New Review of Post-Cinema in Zeitschrift für Medienwissenschaft 18 (2018)

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There is a new review of several works on all things post-cinematic, including Post-Cinema: Theorizing 21st-Century Film (which I co-edited with Julia Leyda), alongside Francesco Casetti’s The Lumière Galaxy; Malte Hagener, Vinzenz Hediger, and Alena Strohmaier’s edited collection The State of Post-Cinema; Vinzenz Hediger and Miriam de Rosa’s special issue Post-What? Post-When?; and Astrid Deuber-Mankowsky’s Queeres Post-Cinema.

The review, in German, is titled “Werden/Weiter/Denken: Rekapitulation eines Post-Cinema Diskurses” (roughly: Becoming/Further/Thinking — suggesting a thinking in flux and a thinking beyond — Recapitulation of a Post-Cinema Discourse). The text, by Elisa Linseisen from the Ruhr-Universität Bochum, appears in Zeitschrift für Medienwissenschaft 18 (2018). The full text is available as an open-access PDF.

Review of Post-Cinema: Theorizing 21st-Century Film, Screen 59:1 (2018)

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Lisa Åkervall has a review out in the latest issue of Screen, covering three works on post-cinema: 1) the open-access volume that I edited with Julia Leyda, Post-Cinema: Theorizing 21st-Century Film; 2) the special issue of Cinéma & Cie (16:26-27, 2016), titled ‘Post-what? Post-when? Thinking moving images beyond the post-medium/post-cinema condition,’ edited by Miriam de Rosa and Vinzenz Hediger (which also includes my article on “Speculation, Transition, and the Passing of Post-Cinema”); and 3) Malte Hagener, Vinzenz Hediger, and Alena Strohmeier’s edited collection The State of Post-Cinema: Tracing the Moving Image in the Age of Digital Dissemination

About the collection I co-edited with Julia Leyda, Åkervall writes:

“Shane Denson and Julia Leyda’s comprehensive volume Post-Cinema: Theorizing 21st-Century Film, an open access online publication by Reframe Books, presents a multifaceted compendium. […] The editors’ framing in Post-Cinema is precise and penetrating, flexible enough to accommodate enduring themes in film and media studies while also making allowances for new questions associated with topics such as digital media aesthetics, media archaeology and environmental studies. Their volume rejects the idea that postcinema is merely a successor to cinema or a step in the teleological digitalization of all media, instead identifying it with competing perspectives on a changing media situation that bears on cinema as an institution, a practice and a medium. In this respect the volume admirably addresses our changing media landscape.”

Read the full review here.

Postnaturalism reviewed in MEDIENwissenschaft

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The latest issue of MEDIENwissenschaft: Rezensionen/Reviews includes a nice review of my book Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface. 

For those of you who read German, you can find the entire text of the review, by Anya Heise-von der Lippe (Tübingen/Berlin), here. For everyone else, here is a (rough) translation of the reviewer’s summary statement:

Postnaturalism offers a philosophical approach and an engagement with fundamental ontological and phenomenological questions of human and nonhuman materiality, which is indispensable especially for a post-postmodernity characterized by resource scarcity, climate change, and species extinctions, as well as the threat of a return to essentialist positions in politics and popular culture. Adapting a phrase from Bruno Latour, Denson counters the latter with a postnatural position: “We have never been natural” (24). Furthermore, Denson’s detailed examination — at the level of content, reception, and production — of Frankenstein adaptations is an asset for the analytical and production-aesthetic [produktionsästhetische] investigation of a central text (or modern myth) and its many adaptations in a wide range of text-critical disciplines: from media studies to literary to cultural studies.”

(Again, the translation is rough. Tweaks are more than welcome! Especially if you have suggestions for produktionsästhetisch or for making that first sentence more readable, drop me a line in the comments below…)

Finally, make sure you check out the entire issue of MEDIENwissenschaft, which is chock full of great stuff. Of particular interest to readers of this blog, among other things: the “Perspectives” section contains a longer piece on seriality and television series’ interrelations by Tanja Weber and Christian Junklewitz.

Check out the full contents of the issue here.

Short review of Postnaturalism

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A short review of my book Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface has just appeared in fiph journal 24 (October 2014) — the journal of the Forschungsinstitut für Philosophie Hannover (the Research Institute for Philosophy Hannover, or “fiph” for short). The review, in German, was written by Dominik Hammer of the fiph, and it includes a brief summary and a nice endorsement of the book, part of which I translate here for those who don’t read German:

Postnaturalism is not only the product of a technicization that denatures embodiment (p. 230); rather, it designates the position that the human, but also nature itself, was never natural (p. 24). Nevertheless, the theory remains beholden to the naturalism from which it takes off and sets itself apart [sich abhebt]. Setting out from this “postnaturalism,” the media theorist investigates the connection between Frankenstein films and the development of the “anthropotechnical interface.”

Denson’s book […] is no light fare. For Postnaturalism you have to take your time, but it’s definitely worth it. The work is especially to be recommended for those interested in the philosophy of technology, media theory, and anyone who wants to engage with a postnaturalistic metaphysics.