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This volume brings together renowned scholars and early career-researchers in mapping the ways in which European cinema —whether arthouse or mainstream, fictional or documentary, working with traditional or new media— engages with phenomena of precarity, poverty, and social exclusion. It compares how the filmic traditions of different countries reflect the socioeconomic conditions associated with precarity, and illuminates similarities in the iconography of precarious lives across cultures. While some of the contributions deal with the representations of marginalized minorities, others focus on work-related precarity or the depictions of downward mobility. Among other topics, the volume looks at how films grapple with gender inequality, intersectional struggle, discriminatory housing policies, and the specific problems of precarious youth. With its comparative approach to filmic representations of European precarity, this volume makes a major contribution to scholarship on precarity and the representation of social class in contemporary visual culture.

Poverty. --- cinema. --- inequality. --- representation.

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Benjamin Christensen’s Häxan (The Witch, 1922) stands as a singular film within the history of cinema. Deftly weaving contemporary scientific analysis and powerfully staged historical scenes of satanic initiation, confession under torture, possession, and persecution, Häxan creatively blends spectacle and argument to provoke a humanist re-evaluation of witchcraft in European history as well as the contemporary treatment of female “hysterics” and the mentally ill. In Realizing the Witch, Baxstrom and Meyers show how Häxan opens a window onto wider debates in the 1920s regarding the relationship of film to scientific evidence, the evolving study of religion from historical and anthropological perspectives, and the complex relations between popular culture, artistic expression, and concepts in medicine and psychology. Häxan is a film that travels along the winding path of art and science rather than between the narrow division of “documentary” and “fiction.”

History --- Anthropology. --- Cinema.

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Jean-Louis Comolli’s six-part essay Technique and Ideology had a revolutionary effect on film theory and history when it first appeared in Cahiers du Cinéma in 1971. In 2009, Comolli revisited his earlier text, arguing that the present age, marked by the total dominance of media-filtered spectacle over image production, makes the need for an 'emancipated, critical spectator' more pressing than ever. In this volume, Daniel Fairfax presents annotated translations of these two texts to provide an overview of Comolli’s activity as both a theorist and a filmmaker.

Motion pictures --- Philosophy. --- Film Theory, Ideology, Cinema and Politics, Film History, Cahiers du cinéma.

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Revue universitaire électronique visant à diffuser les recherches sur le cinéma, la télévision et les nouveaux écrans. Cette revue a le souci de fournir à ses lecteurs des outils théoriques pour comprendre les enjeux de la création filmique et audiovisuelle, les contextes de production et de réception et les usages sociaux des œuvres. Toutes les perspectives (historique, culturelle, esthétique, économique, sociologique, communicationnelle, anthropologique…) sont bienvenues. Les publications interdisciplinaires, en français et anglais, sont vivement encouragées.

Motion pictures --- Audio-visual materials --- Cinéma --- Audiovisuel --- Study and teaching --- Periodicals --- Etude et enseignement --- Périodiques --- Television broadcasting --- Motion pictures. --- Television broadcasting. --- History --- visual culture --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Telecasting --- Television --- Television industry --- History and criticism --- Broadcasting --- Mass media --- Performing arts --- Cinematografia. --- 7è. art --- Art cinematogràfic --- Cine --- Cinema (Art) --- Cinematografia (Art) --- Films (Obres cinematogràfiques) --- Obres cinematogràfiques --- Pel·lícules cinematogràfiques (Obres cinematogràfiques) --- Audiovisuals --- Espectacles --- Mitjans de comunicació de massa --- Passatemps --- Adaptacions cinematogràfiques --- Catalogació de pel·lícules cinematogràfiques --- Cinema amateur --- Cinema bèl·lic --- Cinema còmic --- Cinema d'art --- Cinema d'aventures --- Cinema d'espies --- Cinema de ciència-ficció --- Cinema de l'oest --- Cinema de romans --- Cinema de terror --- Cinema documental --- Cinema eròtic --- Cinema experimental --- Cinema fantàstic --- Cinema històric --- Cinema independent --- Cinema infantil --- Cinema jurídic --- Cinema mèdic --- Cinema melodramàtic --- Cinema mut --- Cinema musical --- Cinema policíac --- Cinema pornogràfic --- Cinema religiós --- Cinematografia digital --- Crítica cinematogràfica --- Curtmetratges --- Dibuixos animats --- Directors cinematogràfics --- Gèneres cinematogràfics --- Història en la cinematografia --- Noticiaris cinematogràfics --- Personatges de cinematografia --- Producció i direcció cinematogràfiques --- Productors cinematogràfics --- Tràilers --- Veu en off --- Actors --- Art en la cinematografia --- Cinematografia (Tècnica) --- Crítics de cinema --- Dones en la cinematografia --- Efectes especials --- Homosexualitat en la cinematografia --- Periodisme cinematogràfic --- Suspens en la cinematografia --- Temps en la cinematografia --- Terrorisme en la cinematografia --- Violència en la cinematografia

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"Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood.The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism."

aternative realism, cinema, film history, film studies, historiography, speculative fiction