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Béla Tarr's last feature film The Turin Horse (2011) begins with a prologue that narrates Friedrich Nietzsche's mental breakdown in Turin in 1889, which was allegedly prompted by his witnessing a cab driver brutally whipping his horse. Nietzsche's name is not mentioned again in the film, and the viewer is left wondering what connection, if any, exists between the Nietzsche story and the film's narrative. Scholars often refer to one or another aspect of Nietzsche's philosophy when analysing Tarr's film. Yet, to date, no comprehensive study has been devoted to exploring the connection between The Turin Horse and Nietzsche's philosophy. This article seeks to fill this gap in the literature. The first section examines the connection between the prologue and the film. In the second section, attention is given to the most evident connection between Tarr's film and Nietzsche's philosophy, namely the use of circularity and repetition in The Turin Horse and Nietzsche's idea of the eternal recurrence of the same. The third section interprets the neighbour's monologue in light of Nietzsche's death of God. Finally, the fourth section is devoted to nihilism.

If film immortalises the ephemeral and presentifies the past, this is especially true of home movies, whose content is not the result of a narrative composition or an invention of fiction, but the product of fragments of reality. These three categories – fiction, documentary, and the home movie – have been analysed by Jean-Pierre Meunier and Vivian Sobchack, with an emphasis on the effect that each film mode can have on the spectator, eliciting a particular emotional and cognitive response. But these authors’ models depend entirely on the spectator’s experience to identify each mode, with the home movie being limited to footage in which we can recognise our own families. Nevertheless, a stranger’s home movie can elicit an act of recognition through an intersubjectivity that arises from the footage. On this basis, this article proposes a reading of the home movie as a reliquary of memory, where content and medium intersect to give rise to the particular experience associated with this film mode.

This article probes the ways in which returning to Palestine is imagined in Razan AlSalah’s two video works Your Father Was Born 100 Years Old, and So Was the Nakba (2018) and Canada Park (2020). In foregrounding the refusal of configurations substantiated by state concessions and normalisation treaties, the article treats loss as central to the manifold rehearsals of return. In AlSalah’s work, loss is understood not as becoming less, but rather as a proposition for becoming otherwise. Here, the practice of loss is explored through the glitch as both a conceptual framework espousing opacity and a pragmatic tool engaging pixel breaks. Rather than reducing the glitch to a mere erroneous aesthetic, the article underscores the active capacity in encountering a glitch or deliberately engendering it by exploring the tensions between colonial imageries reproduced in digital maps, and, in contrast, montage as AlSalah’s tool for intervention. Finally, the article serves as a theoretical experimentation with what I call “dialectical poethics,” which reads the filmic return through loss as an attempt to go against linearity, intelligibility, and finality, yet insists on a materialist grounding of the glitch as a method that is historically situated rather than always-already emancipatory.

In this article, I undertake a close reading of Isabel Rocamora's 2015 film installation Faith, which shows, on three separate screens, Jewish, Christian, and Muslim men simultaneously performing their morning prayers in three distinct, historically significant sites in the Judean desert. Setting the cinematic and installation properties of the work into dialogue with a number of philosophers (Levinas, Derrida, Cavell), film theorists (Bazin, Deleuze, Chion), and art theorists (Fried, Elkins), I argue that it adopts a postsecular approach to religious pluralism. That is, without being a religious artwork, Faith nevertheless deconstructs the conventional liberal secular approach of universalist neutrality towards inter-religious relations and instead configures the relations between the human figures in the work according to an alterity that requires not cognitive certainty but inter-human faith. The work is thereby consistent with Derrida's notion that tout autre est tout autre (every other is wholly other).

While experiencing natural beauty is a key appeal of the cinema and other moving-image media, academic film scholarship has rarely paid attention to it. In this article I will use the widespread motif of the gently rustling wind as a pars pro toto to make some general remarks about the experience of natural beauty in film. I will first note the firm place of the motif of the rustling wind in film theoretical debates from the late 19th century until today. Then, I will propose three modes of how viewers can experience this beautiful motif in film. In the following section I will discuss how film's mediation modifies the experience of natural beauty. And in a final step I will explore the reciprocal relation between nature and film, and how one can enhance the appreciation of the other. Ultimately, I follow two – mutually imbricated – goals. On the one hand, I aim to (re)connect the film theoretical discourse about the wind in the trees to natural beauty. On the other hand, I use the motif of the gently rustling wind to say something more general about the aesthetic experience of natural beauty in film.

Agnieszka Holland’s Spoor (Pokot, 2017), an adaptation of Olga Tokarczuk’s novel Drive Your Plough Over the Bones of the Dead (2009), tells the story of an old woman, Janina Duszejko (Agnieszka Mandat), who advocates for animal rights and uses every measure to fight the local hunting culture. Due to the centrality of the relationship between human beings and the world of nature, Holland’s film refers to the recent debates aimed at de-centralizing the human subject. This article will argue, however, that despite its attempt to alter the human–animal relationship, Spoor conveys anthropocentric perspectives and as such it does not participate in the “non-human turn.” Instead, the film can be linked to the “emotional turn” taking precedence in the humanities during the last two decades, in that it expresses the director’s affective response to the political realities of contemporary Poland, especially its unshaken patriarchal power, which subordinates the social margins.

Maurice Pialat (1925–2003) in his Libération article “Éloge de Poussin” (1987) tells us that cinema has made no progress since the Lumière brothers’ first projected images. Provocatively, he informs his readers that only painting has progressed and, as such, remains the far more innovative art form. For all the pointed remarks directed with some force towards French film critics and filmmakers, Pialat’s short notes in Libé offer us something more. It is one of the few opportunities to consider the auteur’s critical and aesthetic approaches to filmmaking. While Pialat emphasises the failure of critics and filmmakers to elevate cinema to the level of art, the article more saliently invites us to analyse Pialat’s understanding of cinematic practice as an intricate enfolding of painterly and cinematic concepts. In this article I contend that, through a reading of the theoretical dimensions Pialat introduces in his “elegy” to the Classicist painter Nicolas Poussin (1594–1665), along with an analysis of a selection of the director’s films, we not only discover Pialat’s film-philosophy; moreover, we discover new ways to study Pialat’s acute rendering of fraught manhood. Significantly, I argue, Pialat’s wrestling with masculinity (fatherhood, sexual desire, boyhood, and so on) reveals itself through a key element critical to Poussin’s aesthetic palette: the colour blue.

Brady Corbet's Vox Lux (2018) depicts school shooting survivor Celeste's transformation into a singing superstar, connecting the trauma of a terrorist attack to the phenomenon of musical celebrity. In so doing, the film narrativises the relationship between the pop singer and neoliberal resilience discourse that has been explored by music philosopher Robin James. Mobilising Jacques Rancière's definition of political art, this article suggests that, rather than endorsing the resilience that it depicts, the film formally critiques the neoliberal function of pop stardom by disrupting the pleasurable affect associated with pop music and celebrity. Whilst Raffey Cassidy's performance of the soundtrack was praised in many reviews, the performance of Natalie Portman (playing the older Celeste) was criticised for its inauthentic delivery. Far from being a weakness of the film, my reading suggests that it is in the formal discord between the pleasurably resilient affect of the music and Portman's laboured performance that the film's political-philosophical critique of neoliberal resilience discourse comes to the fore. Taking an interdisciplinary approach grounded in the perspectives of political philosophy, girlhood studies, and celebrity studies, this article proposes that Vox Lux interrogates the neoliberal function of celebrity through a formal disruption of the pleasurable affect associated with the resilient pop star's musical performance.

To the French critics who originally labelled certain films noir it seemed that a class of Hollywood products had gone darker during the war years – as though a dark filter had been placed over the lens. Films were not designed or marketed as noir, and retrospectively noir's status as a genre is still unsettled. Yet there is widespread interest today in experiencing diverse films as noir, and even in using a Noir Filter in Instagram and video games. Pursuing the filter clue, the noir experience can be thought of as subjection to a dark filtering of narrative. Image filtering styles can help to resolve not only the puzzle of noir's quasi-genre status but also an issue of general interest in aesthetic experience. The use of image filters makes a distinctively powerful contribution to the experience of a work or genre, or to the cultural dominance of an aesthetic regime, due to the unobtrusive formative role it plays in the economy of experience.

In Chloé Zhao's 2020 film Nomadland, Fern's commitment to eschewing a geolocalizable “home” uproots her from conventional patterns of domesticity and transforms her into an inhabitant of planet earth as a whole, enabling a new way of thinking about identity, environment, and the nature of human freedom. The kind of freedom that Fern's narrative evokes stands in deliberate contrast to the masculinized, heroic style of freedom that American films have done so much to promulgate. In contrast to this conventional representation of freedom, new materialist criticism has examined the many ways that human agency emerges from within a dense web of interconnections that bind together human beings with one another, with other life forms, with inanimate matter, and with the cosmic expanses of time and space. Nomadland can be understood as a film that picks up the iconography of conventional American cinematic freedom in order to redirect this iconography into a new materialist worldview.

YouTube, Instagram and TikTok are increasingly used today as tools of resistance and environments of expression. This paper will focus on feminist video-selfies that address stereotypes of the female body, status and behaviour and propose to ironically dismantle them. The article will consider issues of female networked presence and creativity by referring to early attempts to create a personal video channel, documented by Elisa Giardina Papa in her video artwork need ideas!?!PLZ!! (2011). The undercover presentation of political content will be discussed as an activist strategy, as in artist Addie Wagenknecht’s fake make-up tutorials, in which she actually gives instructions on how to protect oneself both online and offline. Video-selfies are widely shared on social platforms as a playful way to meditate on personal identity. This happens, for example, thanks to the social filters of the artist S()fia Braga, which allow users to freely experiment with unfathomable views of themselves and to interact with others in a performative way. All these examples use creative strategies to convey a critical message. While never discouraging physical protest, they offer another ground for activism and dissent, and the possibility of literally embodying them.

The inextricable connection between uprisings and technologies of audiovisual recording and broadcasting, especially within an ecology of digital networks, suggests the possibility to follow events in ‘real time’. This paper asks how filmmakers explore the complexities of this notion—and the questions of spectatorship, temporality and mediation that are attached to it—by drawing on the an-archive of protest footage. It is especially interested in the ways in which found footage filmmaking manages to (re-)create a sense of the historical present without resorting to a flat presentism. How do filmmakers re- and deconstruct experiences of ‘real time’ and the fraught notion of immediacy it proposes? How do their narrations attempt to give shape to the openness of the present moment? And how do they negotiate the latent historicity of events? To approach these questions, the paper undertakes a close reading of two films, Fragments of a Revolution (anonymous, 2011) and Videograms of a Revolution (Harun Farocki and Andrei Ujică, 1992), thus drawing a connection between digital and analogue ‘guerilla images’.

Throughout this paper, I will focus on the media-documentation of Genoa’s G8 protests in 2001. More precisely, I will delve into the role of Indymedia Italia in the development of Genoa Social Forum’s Media Center, also referring to two of the most relevant videos produced by them and now collected in the online repository NGV – New Global Vision. In other words, I aim to highlight the aesthetic and political stances of a specific media collective during one of the most relevant historical events at the beginnings of the 21st Century.

Video activism prominently advocates for human rights and justice by circulating records of abuses and state violence's impact on daily life. However, in the over-saturated online space, these images lose context amid constant sharing, demanding attention. Hence, organizing them within the framework of social struggles, resistance, and justice is crucial. In this context, digital activist archive initiatives (e.g., 858.ma 2018; labournet.tv 2011; Arkib Filem Rakyat 2023; B’Tselem 2012) not only make sense of the surplus of internet images but also act as a counter-practice that challenges the states’ official archiving practices and its claim of monopoly over history. Activist archiving practices wrest control away from established institutions, enabling the dissemination of alternative histories through images. As a result, these archives preserve the experiences of social groups ignored by official ideology and foster the proliferation of grassroots practices. Furthermore, the video activist archive emerges as an alternative platform that is generated collectively to reproduce knowledge and sociopolitical relations based on solidarity. This essay will center on a study of bak.ma - the digital media archive of social movements created following the Gezi Park protests (Istanbul, 2013). It seeks to examine how this archive constructs a social memory beyond state-approved knowledge and practices, achieved through decentralized and collective data collection that restores control of protest movements to the people. Additionally, this essay will also shed light on the challenges inherent in activist initiatives, encompassing issues like censorship, accessibility, the reproduction of knowledge, activist labor and sustainability.

This article explores the impact of film festivals’ retrospective programming on the canons of global art cinema, wanting to contribute to a current trend in film scholarship exploring the relationship between film festivals and film histories. The argument proposed here is that, by recircling and mediating the latest film restorations and even taking ownership of specific restoration initiatives, film festivals have become key platforms for the rediscovery of so-called ‘film classics’, thus crucially contributing to shape the articulations and understanding of film histories. To this aim, the article gauges with the dynamics of cinematic rediscoveries through the theoretical prism of cultural memory studies, exploring how film festivals developed, between the early 1980s and the 1990s, a retrospective interest in the material body of the film historical past, and its preservation and restoration,acting as both arbiters and harbingers of what body of films become available once again and, eventually, studied by scholars, critics and students. By considering several institutional cases and the emergence of retrospective strands in some of the major A-list festivals, this article contends that these festivals have become essential ‘sites of passage’ to the contemporary ways of accessing and historicizing of the histories of global art cinema.

Since September 7, 2017, the two English-speaking regions of Cameroon have been brutalised by a separatist struggle variously called the Ambazonia War, the NOSO war or the Anglophone crisis. This conflict which opposes some separatist armed groups and government forces has involved the use by each side, of online-based visual propaganda aimed at framing their opponents in a negative light and wooing both domestic audiences and the international community in favour of their respective causes. This determination to negatively frame the opposite camp has led not only to a war of gloomy images but also the recrudescence of an aesthetic of violence in the video-assisted propaganda of the warring parties. This aesthetics of violence has so far remained understudied. This paper seeks to fill this gap by examining how specific violent images have circumstantially been constructed, deconstructed and mobilised by both separatist and anti-separatist forces in this conflict to frame or counter-frame their opponent. Using a qualitative content analysis of relevant online videos/footage, semiotics, documentary analysis and critical observations, the paper specifically addresses three questions: What has been the role of visual-based propaganda in the Ambazonia war? How have the domestic and the foreign audiences received this visual propaganda? And how have international observers – such as news agencies, politics observatories and other world organisations – mediated in the war of images that opposes government and the armed separatist groups in Cameroon?

The article looks at the research methods that lie behind the film We No Longer Prefer Mountains (2022) by Palestinian artist Inas Halabi. The movie represents a counternarrative of the identity and political issues of the Druze community living in Israel, achieved from within through an immersive glimpse. The aim is to analyse the way the visual artist relies on specific methodologies (which are contextualized within the field of Palestinian studies) to build an alternative perspective on Druze history. On one side, the paper considers oral history as it is practiced in the film: a method to write history from below, to highlight the interconnections of individual and collective stories, and to exhibit forms of sumud (resistance) in everyday life. On the other, it focuses on fukeiron, a method of filming the landscape applied by Halabi to expose symbols of colonial control hidden in both natural and urban environments. Overall, the article thinks about the role that the artist can play and the way she can contribute to a militant and decolonial research from her particular position and application of specific methodologies.

In this article, I engage with Shawn Loht’s argument concerning film viewing as being-in-the-world, developed in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), focusing on the aesthetics of mood with particular attention to boredom. I elaborate on a phenomenological ontology of the film experience and its perceptual “rules” which hinge on aesthetic choices: what kind of world does the film open up for the viewer? Loht’s account of viewing Dasein enables us to deepen phenomenological approaches regarding the relationship between (cinematic) moods and (filmic) understanding, and through his engagement with Mitsein, to expand on film spectatorship conceived as a relation with a shared film world. I look at how Heideggerian boredom can elicit spectatorial experiences and disclosure of meaning, as well as allowing characters’ being in the film world. A broader engagement with cinematic moods is also conducive to exploring limits and potentialities of a possible Heideggerian film-philosophy. To illustrate some of these points, I discuss Ryusuke Hamaguchi’s Drive My Car (2021), wherein boredom is consistently awakened through aesthetic strategies of dead-time, silence, slowness and repetition. In the film, the mood of boredom, but also that of love and grief as world-disclosing moods which produce a radical change in our being-in-the-world, is a way to establish a sense of our embeddedness, orient our understanding and disclose our finitude and solitude.

This response article addresses the conception of “film as philosophy” developed by Shawn Loht in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), with specific attention to the relevance and implications of Loht's approach for the broader debate beyond a strictly Heideggerian film-philosophy. The article proceeds in three distinct takes. The first take examines Loht's later-Heideggerian inspirations, arguing that although these more fundamental notions of philosophy open significant possibilities for film as philosophy, they nevertheless run the risk of being too embracive, as well as too elusive, to make a distinctive contribution to the debate. For its second take, the article resets its initial point of departure by considering how the earlier Heidegger of Being and Time cues in Loht's approach a special – albeit, ultimately, untenable – investment in cinematic reflexivity, with the stylistic hallmarks of Terrence Malick serving as a test case. In its final take, the article concludes by venturing a possible solution to the questions raised in the first two takes. Here it is proposed that, in contrast to Loht's general interest in cinematographic devices, the voiceover holds a far more sustainable promise of reflexivity, while at the same time giving more prominence to the viewer's acts of listening – which is what a quintessentially Heideggerian film phenomenology surely asks for.

In response to Shawn Loht’s 2017 project delineating a Heideggerian phenomenology of film, Phenomenology of Film: A Heideggerian Account of the Film Experience, I examine how productive Loht’s Dasein-centric account of the film viewer might be for considering diverse film-viewer experiences. Starting from Loht’s premise that the film–viewer relation is the constitutive ground of filmic disclosure, I raise two concerns regarding Heidegger’s account of Dasein that might obscure an account of the diversity of film viewers and associated heterogeneity of filmic disclosure: Dasein’s lack of concreteness with respect to lived experience, and Heidegger’s neglect of embodiment and bodily difference. I firstly argue that Dasein’s lack of concreteness is productive for theorising the diversity of film viewers by discussing the concept of Dasein through formal indication, a Heideggerian notion that Loht draws upon in order to account for filmic disclosure. I then examine a key objection, that Heidegger’s neglect of embodiment limits the productivity of a Dasein-centric account of film viewers for theorising diversity. I refer to Katharina Lindner’s interpretation of Heidegger’s notion of being-in-the-world in a queer phenomenology of film, set out in “Questions of Embodied Difference: Film and Queer Phenomenology” (2012), to suggest a pathway for how Dasein’s being-in-the-world might offer an account of film viewing that takes into consideration the embodiment of diverse viewers.

This article responds to critical views of John Rhym, Martin Rossouw, Ludo de Roo, and Annie Sandrussi on my 2017 book Phenomenology of Film: A Heideggerian Account of the Film Experience. The article also takes up positive footholds from the analyses of Chiara Quaranta and Jason Wirth. The main topics addressed include Martin Heidegger’s ontic-ontological distinction; the notion of film-as-philosophy; being-in-the-world read as being-in-the-film-world; and questions surrounding the facticity and identity of the film viewer.

Shawn Loht's ground-breaking Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) offers a detailed account of film experience as rooted in Martin Heidegger's existential structure of Dasein. Adapting Being and Time for a phenomenology of cinematic experience, Loht accurately describes how various existential structures of Dasein are “fostered” by the projected world of film: in Loht's account, being-in-the-world is extended in the film experience. Loht's project offers fertile ground for developing the phenomenological basis of film experience. Yet, Loht anchors this account of film experience primarily in Heidegger's early philosophy; this leaves his adaptation not without challenges. First, if the structure of film experience is mapped too closely onto the notion of Dasein projecting itself into the filmworld, this theory presents the risk of taking the early Heidegger's “hands-on” approach too literally. Moreover, in its concern for Dasein's extensions into the world of film, Phenomenology of Film says little about the distinctly mediated character of filmworlds; this leaves ambiguous where the film experience effectively takes place.

This article argues that the strengths and problems of Shawn Loht's Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) are rooted in its method, which derives from a specific interpretation of Heidegger's existential analytic and from the critical strategy implemented by Heidegger – and thus later adopted by his readers and applied to various disciplinary domains – in his polemical engagement with the history of philosophy. Central to this method is what I refer to as the ontic-ontological schema, and the article maps out the ways in which it operates in Loht's book: how it shapes his critical intervention into film studies and his claims about film ontology and spectatorship. My argument is that the ontic-ontological schema, while allowing the author to make interesting inroads into debates in film-philosophy, nonetheless undermines the coherence and efficacy of his claims about the cinematic experience as well as his attempts to mobilize these claims in the analysis of specific films. That is, Loht's disciplinary application of the ontic-ontological schema makes for a compelling discursive polemic, but it also exposes a crucial conceptual incompatibility in the work's configuration of and navigation between ontology, aesthetics, and criticism.

This is a philosophical rumination on Shawn Loht’s important extension of “film as philosophy” into a Heideggerian phenomenological account of the philosophical response that cinema can engender. After considering the importance of these kinds of approaches, I turn to Loht’s phenomenological engagement with Terrence Malick’s early masterpiece, Days of Heaven (1978). After sympathetically reviewing his “interpretation”, I expand upon its delineation of “earth and world” to include the “fallenness” of the world as well as the possibility of a metanōetic awakening to the vocation of “mud doctor”, that is, to heal the rift between earth and world, a rift made more exigent by world war, economic exploitation, and the ecological catastrophe of the Anthropocene.

This article provides a history of the implementation, in the United States and Europe, of collection processes on cinema attendance, on the results obtained by films in terms of admissions or box-office receipts, and on the international trade of films. The contribution shows how the US industry was already from the 1910s concerned with obtaining a statistical portrait of European markets while efforts to set up an integrated European statistical tool, imagined in the 1920s, did not come to fruition. This was only achieved in the 1990s with the creation of the European Audiovisual Observatory and its LUMIERE database.

Language has proven to be an important factor in film performance models, film finance considerations, and festival program selections. This essay uses multi-year global data sets (UN and supplementary databases) to analyse the relationship between the languages in which a film is produced and offered to cinemagoers on the one hand, and the co-production activities and dynamics which engender these patterns on the other hand. While European Commission policies, underlining the peculiar “linguistic polity”of the European Union, have been influential in the making of multilingual cinema productions motivated by subsidy rules, taxation and grant schemes, the pattern is rather global, reflecting uptake of cinematic product in many “territories” and the mobilization of film across national and regional language divides. The analysis shows that Europeanization has much wider implications beyond Europeans’ cultural consumption and identity construction, with Europe’s co-production policies casting a wider net of cultural resistance to Global Hollywood and its majority of English-language blockbusters as well as attending to language preservation in the European neighborhood in addition to Europe, where local and regional heritage policies are well instituted. The study examines the results against Abram de Swaan’s theory of the Global Language System, examining the Q-value theory to the language patterns emerging from film productions with multiple languages, which must be assessed in its relation to cultural consumption that may not follow from formal schooling and habitus formation.

In recent years, cinema culture in Europe has undergone a substantial reorganization of production models and a profound change of public intervention in favor of the film industry. This article aims to reconstruct the different combinations between protectionist and liberalist policies through a comparative analysis of the contemporary European national cinema aids, identifying differences and shared trends and verifying the existence of a “continental” cinema support model. Therefore the article will analyze public support policies on cinema production, distribution, and exhibition in the EU and in several of its member states (including France, Germany, England, Spain, and Italy) from 2018 to 2022. Focusing on theatrical release windows, this essay will attempt to answer the following main questions: is there a “European” mark in policies in favor of cinema? Can we speak of a “European” model (even outside the European Union) of support for the cinema? What are the elements and actions that define it? What are the sectors of the industry in which it is most fully expressed (production, distribution, exhibition)? And what are the themes and areas in which, on the contrary, national differences (sometimes driven by resurgent nationalisms) are most marked?