Approaching a National Film History through Data. Network Analysis in German Film History by Malte Hagener, Theresa Blaschke

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Speculative Revisions of Film History: A Curator’s Notes by Rasha Salti

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In the Shadow of the “Indeterminate Speech-Act”: The Populist Politics of Rumor in Fritz Lang’s Early Sound Films by Florian Zappe

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Review of Méliès to 3D: the Cinema Machine exhibition at the Cinémathèque de Paris (October 5th-January 29th, 2017) by David Lipson

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Expressions of a backlash: Challenging the story of success in Norwegian cinema of the 1980s and 1990s by Fosheim Lund Maria, Kielland Servoll Johanne, Holtar Ingrid Synneva

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Sinema Tarihi Çalışmaları ile Türk Sinema Tarihi Yazmaları by Fatma Okumuş

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Corps (é)conduits : La construction d’un regard-machine dans Crash (1996) et Cosmopolis (2012) de David Cronenberg by Guilhem Billaudel

“…Crash et Cosmopolis shall not, however, be apprehended as exceptions, neither in relation to North-American film history nor to Cronenberg’s work itself. Attachment, dependency and eroticism as represented here are but the outcome of the way film history has given an increasingly complex and central focus to the car, paralleling its ever-growing fetishization within Western culture. …”
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Dynamika historii by Teresa Rutkowska

“… Rutkowska omawia książkę The New Film History. Sources, Methods, Approaches. Wybitni badacze brytyjscy – James Chapman, Mark Glancy i Sue Harper – zebrali w tejże antologii teksty, które zarówno pod względem metodologicznym i merytorycznym można wpisują się w ramy nowego sposobu postrzegania historii filmu. …”
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Nowa historia filmu jako archeologia mediów by Thomas Elsaesser

“…Tekst jest tłumaczeniem artykułu Thomasa Elsaessera The New Film History as Media Archaeology, który w oryginale ukazał się w czasopiśmie „Cinémas” (2004, t. 14, nr 2-3, s. 75-117). © 2004 by „Cinémas”. …”
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Quentin Tarantino : du cinéma d’exploitation au cinéma by Philippe Ortoli

“…Indeed, the films of Tarantino do not so much promote a pantheon of films that differs from that erected by the archeologists of cinema, but are driven by a desire to revisit the categories of film history, and thus of art history, ultimately leading to a redefinition of the very object of this quest: cinema, of course, and more generally, the image itself. …”
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