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Indigo After the Kino-Eye: An e-flux Film Reader | Erin Mills Town Centre
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Essays from e-flux journal examines how moving images circulate, form political imagination, position subjects, and operate as instruments of knowledge and evidence.
The e-flux Film Reader presents a collection of essays from e-flux journal that treat cinema and artists’ moving image as active agents in contemporary social and political life. Rather than surveying the history of film and video, the volume is structured around four connected themes: how moving images function as objects in circulation; how cinema ideologically constructs subjects and how ideology is represented in cinema; the construction and expansion of subjectivity through image-making; and the camera as an instrument of knowledge and evidence production. Across these contexts, the book traces how images bind and divide publics, produce perspectives, and shape what can or cannot be recognized as truth. Organized as a compact reader, it represents a coherent interdisciplinary engagement with moving-image culture over the past decade.
Contributors
Erika Balsom; Robert Bird; Teresa Castro; Thomas Elsaesser and Alexander Alberro; Kodwo Eshun; Harun Farocki; Önder Çakar, Rojava Film Commune, and Hito Steyerl; Arthur Jafa and Tina M. Campt; Sasha Litvintseva and Beny Wagner; Sven Lütticken; Charles Mudede; Isabel Sandoval; Jalal Toufic; Oraib Toukan; and Elena Vogman.
Copublished by e-flux journal
Essays from e-flux journal examines how moving images circulate, form political imagination, position subjects, and operate as instruments of knowledge and evidence.
The e-flux Film Reader presents a collection of essays from e-flux journal that treat cinema and artists’ moving image as active agents in contemporary social and political life. Rather than surveying the history of film and video, the volume is structured around four connected themes: how moving images function as objects in circulation; how cinema ideologically constructs subjects and how ideology is represented in cinema; the construction and expansion of subjectivity through image-making; and the camera as an instrument of knowledge and evidence production. Across these contexts, the book traces how images bind and divide publics, produce perspectives, and shape what can or cannot be recognized as truth. Organized as a compact reader, it represents a coherent interdisciplinary engagement with moving-image culture over the past decade.
Contributors
Erika Balsom; Robert Bird; Teresa Castro; Thomas Elsaesser and Alexander Alberro; Kodwo Eshun; Harun Farocki; Önder Çakar, Rojava Film Commune, and Hito Steyerl; Arthur Jafa and Tina M. Campt; Sasha Litvintseva and Beny Wagner; Sven Lütticken; Charles Mudede; Isabel Sandoval; Jalal Toufic; Oraib Toukan; and Elena Vogman.
Copublished by e-flux journal
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