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Table of Contents

  1. Miraculous Mathematics: André Bazin’s Film Theory
  2. Angela Dalle Vacche
  3. pp. 117-141
  4. DOI: https://doi.org/10.13110/discourse.38.2.0117
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  1. Cruel Attachments, Tender Counterpoints: Configuring the Collective in Michael Haneke’s The White Ribbon
  2. Claudia Breger
  3. pp. 142-172
  4. DOI: https://doi.org/10.13110/discourse.38.2.0142
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  1. Encounters with the Material: Krzysztof Wodiczko and Site-Specific Media Art
  2. John Kim
  3. pp. 173-192
  4. DOI: https://doi.org/10.13110/discourse.38.2.0173
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  1. On the Impossibility of Object-Oriented Film Theory
  2. Luka Arsenjuk
  3. pp. 197-214
  4. DOI: https://doi.org/10.13110/discourse.38.2.0197
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  1. Assemblage, Constellation, Image: Reading Filmic Matter
  2. Amy Herzog
  3. pp. 215-234
  4. DOI: https://doi.org/10.13110/discourse.38.2.0215
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  1. The Displacement Project
  2. Brian Price
  3. pp. 235-245
  4. DOI: https://doi.org/10.13110/discourse.38.2.0235
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  1. Black Matters
  2. Alessandra Raengo
  3. pp. 246-264
  4. DOI: https://doi.org/10.13110/discourse.38.2.0246
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  1. Ec-Static Air: The Unseeable Sounds of Being Beside Oneself
  2. Kristopher L. Cannon
  3. pp. 265-280
  4. DOI: https://doi.org/10.13110/discourse.38.2.0265
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  1. Roxana and Other Feminist (Hi)stories
  2. Lenka Vráblíková
  3. pp. 281-284
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  1. The Torturer’s Smile as the Stain of Enjoyment
  2. Matthew Flisfeder
  3. pp. 285-290
  4. DOI: https://doi.org/10.13110/discourse.38.2.0285
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  1. Introduction
  2. Brian Price, Alessandra Raengo
  3. pp. 195-196
  4. DOI: https://doi.org/10.13110/discourse.38.2.0195
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  1. Contributors
  3. pp. 291-293
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