Post-cinema : cinema in the Post-art Era
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Abstract
For some time now, in newspapers and books, a series of words keep ap-
pearing that begin with the prefix “post-.” As for these new words, the key to
understanding seems to be a semantics of ambiguity. Post does not indicate
something absolutely different but something in-between: postcapital-
ism would be a new phase of capitalism; postmodernism, a new figure of
modernism; and post-history, history again. In all these cases, to the same
question – does “post-” mean a clear break or the more or less identifiable
result of an evolution? – the same answer arises: “post-” is a “problematic
prefix” that “debates over postmodernism and postmodernity taught us to
treat not as a marker of definitive beginnings and ends, but as indicative of
a more subtle shift or transformation in the realm of culturally dominant
aesthetic and experiential forms” (Denson and Leyda 2016, 6).
This astute remark can be found in Shane Denson and Julia Leyda’s
introduction to Post-cinema: Theorizing 21st-Century Film, a high-quality
collection of texts published in 2016. In addition to the editors, the contribu-
tors include Lev Manovich, Steven Shaviro, Vivian Sobchack and Francesco
Casetti. Considering this title and ours, it is obvious that the two projects
look very similar. Apart from our call for new contributors and the fact
that most of the texts in this volume are newly published or translated into
American English (in Denson and Leyda’s book all the texts are republished
in a more or less revised form), we can clarify the different points or nuances
that specify our approach of the hypothetical notion of post-cinema.
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