Interactive Cinema is not only a valiant effort to expand the history and theory of cinema through the inclusion of its interactive dimensions, but also a plea for further attunement between scholarship and practices of (new) media preservation and remediation. More than documenting the existence of these diverse texts, Hassapopoulou offers in her analysis a reconsideration of film theory that disrupts its traditional ocularcentrism, and a recentering of a multisensorial viewser vacillating b...| Film Quarterly
In The Last of Us Part II, the second installment in the hit video game series, players are made to reckon with the moral consequences of its protagonist Joel’s disastrous actions in the previous game. For his inaugural column, Ramzi Fawaz argues that the sequel “is one of contemporary popular culture’s most explicit statements of what political theorist Hannah Arendt calls ‘representative thinking.’” The video game as a medium makes representative thinking an embodied experience,...| Film Quarterly
Alice Rohrwacher’s La chimera (La Chimera, 2023), the director’s fourth feature, opens with a young woman’s face, her glow, her blondeness. Part of the screen is dark, the frame transversally bisected. The shot is a shard of light, a memory retrieved from the recesses of the mind. The image is miraculous, real, yet vanishing with the thin ethereality of a flashback. The film’s first words are in English, as Arthur (Josh O’Connor), a lover, speaks in hushed tones: “So it’s you....| Film Quarterly