{"id":1190,"date":"2016-04-11T08:00:33","date_gmt":"2016-04-11T08:00:33","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/post-cinema\/?page_id=1190"},"modified":"2016-04-11T08:45:33","modified_gmt":"2016-04-11T08:45:33","slug":"acknowledgements","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/post-cinema\/acknowledgements\/","title":{"rendered":"ACKNOWLEDGEMENTS"},"content":{"rendered":"

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EDITORS’ ACKNOWLEDGEMENTS<\/h6>\n

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The editors would like to thank all of the contributing authors, as well as Catherine Grant and everybody at REFRAME Books for their hard work and support on this project.<\/p>\n

Shane Denson<\/em>: I would additionally like to acknowledge the material and intellectual support provided during the editing of this book by the German Research Foundation (DFG) and the German Academic Exchange Service (DAAD). Thanks also to my friends and colleagues at the Leibniz Universit\u00e4t Hannover, especially former mentor and collaborator Ruth Mayer; colleagues at Duke University, including Mark Hansen, Mark Olson, Victoria Szabo, Bill Seaman, Tim Lenoir (now at UC Davis), and everyone I\u2019ve had the pleasure of working with in the Program in Literature, the Department of Art, Art History & Visual Studies, the Information Science + Studies program, and the S-1: Speculative Sensation Lab; as well as my colleagues in the Popular Seriality Research Unit, headed by Frank Kelleter of the Freie Universit\u00e4t Berlin. Thanks to Pavle Levi, Scott Bukatman, Pamela Lee, and Paul DeMarinis, along with my other soon-to-be colleagues in the Department of Art & Art History at Stanford University for their feedback, constructive criticism, and support. I would additionally like to thank Steven Shaviro, Patricia Pisters, Adrian Ivakhiv, and Mark Hansen for their participation in a panel on \u201cPost-Cinema and\/as Speculative Media Theory\u201d at the 2015 Society for Cinema and Media Studies conference in Montreal (video of which is online<\/a>). Thanks to Lisa \u00c5kervall, Gregg Flaxman, Claudia Breger, and Anders Bergstrom for discussions of post-cinema at the 2016 SCMS conference in Atlanta, and to the many people who heard me\u00a0talk and provided feedback on post-cinema at the Freie Universit\u00e4t Berlin, the University of Cologne, Texas State University, University of Wisconsin-Milwaukee, University of Toronto, University of Iowa, Duke University, and Stanford University, as well as at a variety of conferences around the world. Thanks to Julia Leyda for seeing this project through with me, as well as to my friends both in and out of academia for their support. Thanks, above all, to my family\u2014first and foremost Karin, Ari, and Evie the Dog!<\/p>\n

Julia Leyda<\/em>: I must acknowledge the generous support of the American Studies Foundation of Japan and the Institute of American and Canadian Studies at Sophia University for international conference travel funding to attend the SCMS conferences in New Orleans (2011) and Chicago (2013) where crucial conversations took place that led to the completion of this book. A model of collegiality in his patience, diligence, and cool, Shane Denson has been a true hero in this process, which often felt like an insurmountable task undertaken while both of us were planning and enduring international relocations and job searches. Thanks also to Catherine Grant, whose vision and execution of an open access academic publishing platform at REFRAME continue to inspire me. I\u2019d like to dedicate the book to Steven Shaviro, not only for his pioneering work in this field, but also in gratitude for his mentoring and friendship throughout these twenty-three years since I took his graduate seminar at the University of Washington, wired out of my mind on espresso and reveling in the majesty of Wax or the Discovery of Television among the Bees<\/a><\/em>\u00a0(David Blair 1993).<\/p>\n

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ACKNOWLEDGEMENT OF PREVIOUS PLACES OF CHAPTER PUBLICATION<\/h6>\n

Lev Manovich, \u201cWhat is Digital Cinema?\u201d \u2013 This essay was first published in 1996, in the German online magazine Telepolis<\/em>, and has been reprinted, in modified form, in two book publications (see works cited). The version reprinted here, however, has appeared only on Manovich\u2019s website.<\/p>\n

Steven Shaviro, \u201cPost-Continuity: An Introduction\u201d \u2013 This chapter was originally published on Steven Shaviro\u2019s blog The Pinocchio Theory<\/em>, under the title \u201cPost-Continuity: Full Text of My Talk,\u201d on March 26, 2012: <http:\/\/www.shaviro.com\/Blog\/?p=1034<\/a>>. It was originally presented at the 2012 Society for Cinema and Media Studies conference in Boston. Reprinted with permission from the author.<\/p>\n

Richard Grusin, \u201cDVDs, Video Games, and the Cinema of Interactions\u201d \u2013 A different version of this\u00a0essay was published in Ilha Do Desterro <\/em>51 (Jul.\/dez. 2006): 69-91; and in\u00a0Multimedia Histories: From the Magic Lantern to the Internet<\/em>\u00a0eds. James Lyons and John Plunkett\u00a0(Exeter: U of Exeter P, 2007): 209-21.<\/p>\n

Vivian Sobchack, \u201cThe Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic \u2018Presence\u2019\u201d \u2013 This chapter reprints \u201cThe Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic \u2018Presence,\u2019\u201d as it appeared in Carnal Thoughts: Embodiment and Moving Image Culture<\/em>, by Vivian Sobchack. \u00a9\u00a02005 by the Regents of the University of California. Published by the University of California Press. Reprinted with permission from the author and from the publisher.<\/p>\n

Patricia Pisters, \u201cFlash Forward: The Future is Now\u201d \u2013 An earlier version of this paper originally appeared in Deleuze Studies <\/em>Volume 5: 2011 supplement: 98-115, and is a companion piece to \u201cSynaptic Signals\u201d (Pisters 2011), which focuses on the schizoanalytic aspects of the neuro-image. Reprinted with permission of Edinburgh University Press.<\/p>\n

Caetlin Benson-Allott, \u201cThe CHORA Line: RealD Incorporated\u201d \u2013 The author wishes to thank South Atlantic Quarterly<\/em> for permission to adapt this article from a 2011 special issue on \u201cDigital Desire\u201d edited by Ellis Hanson.<\/p>\n

Julia Leyda, \u201cDemon Debt: PARANORMAL ACTIVITY as Recessionary Post-Cinematic Allegory\u201d \u2013This is a reprint of the article published in Jump Cut<\/em> 56 (2014)<\/a>.<\/p>\n

Elena del R\u00edo, \u201cBiopolitical Violence and Affective Force: Michael Haneke\u2019s Code Unknown<\/em>\u201d \u2013 Excerpt from The Grace of Destruction: A Vital Ethology of Extreme Cinemas<\/em> by Elena del R\u00edo (forthcoming 2016) is reprinted with permission of Bloomsbury Academic.<\/p>\n

Francesco Casetti, \u201cThe Relocation of Cinema\u201d \u2013 From The Lumi\u00e8re Galaxy<\/em>, by Francesco Casetti. Copyright \u00a92015 Columbia University Press. Reprinted with permission of the publisher.<\/p>\n

Richard Grusin, \u201cPost-Cinematic Atavism\u201d \u2013 This essay was previously published in SEQUENCE: Serial Studies in Media, Film and Music<\/em>, 1.3, 2014 <\/a>and is reprinted here with permission of the author.<\/p>\n

Alessandra Raengo, \u201cLife in Those Shadows! Kara Walker\u2019s Post-Cinematic Silhouettes\u201d \u2013 This chapter was first published under the same title in The Very Beginning\/At the Very End<\/em>. Eds. Jane Gaines, Francesco Casetti, and Valentine Re. Udine: Forum, 2010. 211-20. Reprinted with permission from Forum Editrice Universitaria Udinese. Artwork \u00a9Kara Walker, courtesy of Sikkema Jenkins & Co., New York.<\/p>\n

Adrian Ivakhiv, \u201cThe Art of Morphogenesis: Cinema in and beyond the Capitalocene\u201d \u2013 This chapter includes modified segments of the concluding section of Ecologies of the Moving Image <\/em>(Wilfrid Laurier University Press, 2013).<\/p>\n

Therese Grisham, Julia Leyda, Nicholas Rombes, and Steven Shaviro, \u201cThe Post-Cinematic in PARANORMAL ACTIVITY and PARANORMAL ACTIVITY 2\u201d \u2013 This roundtable discussion was first published in the online journal La Furia Umana <\/em>10 (2011). Web. <http:\/\/www.lafuriaumana.it\/index.php\/archives\/34-lfu-10\/45-la-furia-umana-10<\/a>>.<\/p>\n

Paul Bowman, Kristopher L. Cannon, Elena del R\u00edo, Shane Denson, Adrian Ivakhiv, Patricia MacCormack, Michael O\u2019Rourke, Karin Sellberg, and Steven Shaviro, \u201cPost-Cinematic Affect: A Conversation in Five Parts\u201d \u2013 This conversation originally appeared in five daily installments, from August 29-September 2, 2011, on the MediaCommons website In Media Res<\/em>, as a theme week devoted to Steven Shaviro\u2019s Post-Cinematic Affect. <\/em>Web.<http:\/\/mediacommons.futureofthebook.org\/imr\/theme-week\/2011\/35\/steven-shaviros-post-cinematic-affect-august-29-sept-2-2011<\/a>>.<\/p>\n

Shane Denson, Therese Grisham, and Julia Leyda, \u201cPost-Continuity, the Irrational Camera, Thoughts on 3D\u201d \u2013 This roundtable discussion was first published in the online journal La Furia Umana <\/em>14 (2012). Web. <http:\/\/www.lafuriaumana.it\/index.php\/archives\/41-lfu-14<\/a>>. [offline]<\/p>\n","protected":false},"excerpt":{"rendered":"

EDITORS’ ACKNOWLEDGEMENTS   The editors would like to thank all of the contributing authors, as well as Catherine Grant and … Continue reading ACKNOWLEDGEMENTS<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-1190","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7eBQu-jc","_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/post-cinema\/wp-json\/wp\/v2\/pages\/1190","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/post-cinema\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/post-cinema\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/post-cinema\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/post-cinema\/wp-json\/wp\/v2\/comments?post=1190"}],"version-history":[{"count":6,"href":"https:\/\/reframe.sussex.ac.uk\/post-cinema\/wp-json\/wp\/v2\/pages\/1190\/revisions"}],"predecessor-version":[{"id":1322,"href":"https:\/\/reframe.sussex.ac.uk\/post-cinema\/wp-json\/wp\/v2\/pages\/1190\/revisions\/1322"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/post-cinema\/wp-json\/wp\/v2\/media?parent=1190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}