Table Of ContentThe State of Post-Cinema
Malte Hagener • Vinzenz Hediger • Alena Strohmaier
Editors
The State
of Post-Cinema
Tracing the Moving Image in the Age of Digital
Dissemination
Editors
Malte Hagener Alena Strohmaier
Philipps-University Marburg Philipps-University Marburg
Marburg, Germany Marburg, Germany
Vinzenz Hediger
Goethe University
Frankfurt, Germany
ISBN 978-1-137-52938-1 ISBN 978-1-137-52939-8 (eBook)
DOI 10.1057/978-1-137-52939-8
Library of Congress Control Number: 2016957371
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A
cknowledgments
This book is the result of a workshop with the same title conducted in June
2014 at the Forschungskolleg Humanwissenschaften in Bad Homburg/
Germany and would not have been possible without the valuable contri-
butions of our authors which we would like to thank here.
The workshop was financially supported by two projects – we would
therefore like to thank the generous support of the PhD program
“Productivity of Culture” (funded by the Hans-Böckler-Stiftung) and
by the research network “Re-Configurations. History, Remembrance
and Transformation Processes in the Middle East and North Africa”,
founded by the Philipps-Universität Marburg in Spring 2013 with
funding from the Federal Ministry for Education and Research
(BundesministeriumfürBildung und Forschung, BMBF). Its founding
was triggered by the developments in the MENA-region commonly sub-
sumed under the term Arab Spring that highlighted the need for a partial
reassessment of scholarship on MENA countries, for a development of
new perspectives, and for a deepening of our understanding of the events
unfolding in the region: their underlying reasons, historic roots, and
future perspectives.
Special thanks go to our student assistants Anja Schmidt and Anastasia
Stratschka.
Malte Hagener
Vinzenz Hediger
Alena Strohmaier
v
c
ontents
1 Introduction: Like Water: On the Re-Configurations
of the Cinema in the Age of Digital Networks 1
Malte Hagener, Vinzenz Hediger, and Alena Strohmaier
Part I Informal Economies: Promises and Threats of
Dissemination Technologies 15
2 Venice to Go: Cultural In/Difference
and the Digital Ecology of Film 17
Vinzenz Hediger
3 Arab Storytelling in the Digital Age:
From Musalsalāt to Web Drama? 49
Alexandra Buccianti
4 Mapping the Circulation of Films by Women Filmmakers
with Maghrebi Funding in the Digital Age 71
Patricia Caillé
vii
viii CONTENTS
Part II Informal Networks: National-Regional- Global Nexus 87
5 The Good Pirates: Moroccan Cinema in the Age
of Digital Reproduction 89
Jamal Bahmad
6 Watching the Forbidden: Reception of Banned
Films in Iran 99
Saeed Zeydabadi-Nejad
7 Why Stories Matter: Jafar Panahi and the Contours
of Cinema 115
Alena Strohmaier
8 Informal Translation, Post-Cinema and Global
Media Flows 127
Tessa Dwyer and Ramon Lobato
Part III Informal Aesthetics: Reshaping Cine-Cultures 147
9 Post-Cinematic Distribution Flows: Alternative
Content, Sports Films and the (In)Stability
of the Multiplex Market 149
Florian Hoof
10 Distributing Moving Image Art After Digitization 165
Erika Balsom
11 Cinephilia and Film Culture in the Age of Digital
Networks 181
Malte Hagener
CONTENTS ix
12 The Secret Lives of Images 195
Marc Siegel
13 De-coding or Re-Encoding? 211
Kevin B. Lee
Index 225
n c
otes on ontributors
Jamal Bahmad earned a PhD in Film and Postcolonial Cultural Studies
from the University of Stirling (UK) in April 2014 and immediately took
up a postdoctoral Research Fellow position at Phillips University of
Marburg (Germany). In January 2015, he joined the University of Leeds
as a British Academy Postdoctoral Fellow based at the School of Lan-
guages, Cultures and Societies. His research interests center princi-
pally on North African, Amazigh (Berber) and Francophone culture,
cinema, cities, literature, migration, and minorities.
Erika Balsom is a lecturer in Film Studies and Liberal Arts at King’s
College London, specializing in the study of the moving image in art. A
frequent contributor to _Artforum_, she is the author of Exhibiting
Cinema in Contemporary Art (Amsterdam University Press, 2013) and
the co-editor of Documentary Across Disciplines (MIT, 2016).
Alexandra Buccianti has a dual M.A. in Political Sciences and
Comparative Politics from the Middle East research programme at
Sciences Po Paris. Her thesis submitted shortly before the 2011 uprisings
focussed on television talk shows’ contribution to shifting public debate
around political issues in Egypt. She also authored articles on the social
impact of dubbed Turkish drama in the Middle East. Alexandra is a project
manager at the BBC’s international NGO (BBC Media Action) and works
on media and development projects in the MENA region.
Patricia Caillé works on Maghrebi cinemas, women filmmakers and
audiences. She co-edited a Dossier Africultures on Cinémas du Maghreb
xi
xii NOTES ON CONTRIBUTORS
et leurs publics (2012). As a coorganizer of the MENA Cinemas Initiative
in Paris, she co-edited a dossier Africultures “Circulation des films: Afrique
du Nord et Moyen Orient” (2016). As a co-founder of the international
research network HESCALE (IRCAV / Université de Strasbourg), she
has co-edited Regarder des films en Afriques (forthcoming).
Tessa Dwyer is Lecturer in Film and Screen Studies, Monash University.
She researches issues around language and translation in global screen
media and her book Speaking in Subtitles in forthcoming with Edinburgh
University Press. Tessa is a member of the ETMI (Eye Tracking the
Moving Image) research group and committee vice-president of Senses of
Cinema (www.sensesofcinema.com).
Malte Hagener is Professor of the History, Aesthetics, and Theory of
Film at Philipps-Universität Marburg. He is a founding member ofthe
European Network of Cinema Studies ( NECS) and editor of the European
Journal of Media Studies. His publications include Moving Forward,
Looking Back: The European Avant-garde and The Invention of Film Cul-
ture (2007), Film Theory: An Introduction through the Senses (2010), The
Emergence of Film Culture (2014) and Pedro Costa (2016).
Vinzenz Hediger is Professor of Cinema Studies at Goethe University
Frankfurt. He is a co-founder of NECS – European Network of Cinema
and Media Studies and the founding editor of the Zeitschrift für
Medienwissenschaft. His latest publications include a special issue of the
journal Cinema &Cie, No. 26, on the temporalities of post-cinema
(edited together with Miriam De Rosa).
Florian Hoof is an assistant professor in the Department of Film and
Media Studies at Goethe University Frankfurt. He conducts research on
digital network markets, piracy and media sports. He published the mono-
graph Engel der Effizienz (Konstanz University Press 2015) on the media
history of consulting and visual management.
Kevin B. Lee is filmmaker based in Chicago, Illinois, USA. He is a video
essayist and founding editor of Fandor, and editor of Indiewire’s Press
Play blog. He also serves as vice-president of Programming and Education
for dGenerate Films. He previously served as supervising producer of
‘Roger Ebert Presents At the Movies’, and has written on film for Sight &
Sound, the Chicago Sun-Times, Time Out, and Cineaste.
