Shane Denson and Julia Leyda (eds), Post-Cinema: Theorizing 21st-Century Film; Cinéma & Cie, vol. 16, no. 26/27 (2016), ed. Miriam De Rosa and Vinzenz Hediger; Malte Hagener, Vinzenz Hediger and Alena Strohmaier (eds), The State of Post-Cinema: Tracing the Moving Image in the Age of Digital Dissemination.
2018; Oxford University Press; Volume: 59; Issue: 1 Linguagem: Inglês
10.1093/screen/hjy008
ISSN1460-2474
Autores Tópico(s)Cinema and Media Studies
ResumoRecent years have witnessed a hype in postcinema. This happens not surprisingly at a time when cinema – if we are to take films such as The Canyons (Paul Schrader, 2013) and Spring Breakers (Harmony Korine, 2012) and platforms such as Hulu and Netflix as any kind of sign – is facing a transformation so sweeping as to invite questions about whether it exists in the same way it did decades ago, or if, instead, it has ceded its cultural priority to new configurations of platforms, modes of exhibition and practices that resituate our relationship to moving image cultures.1 One sign of the uptick of interest in the idea of postcinema is the proliferation of books, articles, conferences, graduate seminars and edited collections dedicated to its analysis. This theoretical endeavour can be divided into two distinct discourses. In the late 1990s and early 2000s, theorists warned of the end or the death of cinema – a great rupture – in the face of a supposedly new and threatening digital cinema. In the past ten years, by contrast, scholars turned specifically to the term ‘postcinema’, usually identifying it with shifting relations to traditional cinema. The older emphasis on rupture has given way to an interest in the dislocation and recomposition of cinematic assemblages. These more recent theoretical studies place particular emphasis on how contemporary media cultures have adapted and expanded the aesthetics of cinema. In this review I discuss three recent additions to the scholarship on postcinema and digital cinema.
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