Cinematic Chronotopes

Introduction: Reframing Cinematic Space and Audience Practice in the Digital Age

“…Indeed, much of this research deals with, directly or by implication, transformational aspects of cinematic space and spectator engagement. This includes broad contextual explorations of the multifaceted implications of digital technology on cinema (Keane 2007;Tryon, 2009;Rombes, 2009); fandom and new fan practice (Shefrin, 2004;Christie, 2012); new conceptions of the interactive audience (Cover, 2006;Hesselberth, 2014); the overlapping of cinematic space with contemporary art spaces (Parante & de Carvalho, 2008;Patenburg, 2012;); and theorisations that look to expand the understanding of cinema in light of digital transformations (Iordanova & Cunningham, 2012;Atkinson, 2014). This special edition of Networked Knowledge is informed by, and contributes to, this work addressing questions of cinematic space and audience practice in the context of the digital age.…”

Soft Deposition of Organic Molecules Based on Cluster-Induced Desorption for the Investigation of On-Surface and Surface-Mediated Reactions

“…The peaks at m / z = 1068 and m / z = 1084 can be assigned to the adduct formation of angiotensin II with alkali metals ([M + Na] + and [M + K] + , respectively). The peaks at m / z = 1058 and m / z = 1074 are associated with more complex reactions such as esterification or formylation. , For the former one, the MS/MS spectrum indicates a reaction involving the terminal aspartic acid group of the molecule (Figure S2). Peaks at m / z < 1046 are observed in even lower intensity (<3% of the main peak for both the drop-cast and the DINeC-Depo sample, compare also the spectra with extended mass range in Figure S3).…”

The Precarious Multitude of Bacurau

“…Indeed, Bakthin’s work was essentially moved by the desire also to develop a method to evaluate, together with specific consistent formal categories, the irregular potential and the ‘subversive’ discursive substance of each artistic experience (1990: 269–72). When arguing that chronotopes generate or thicken space-time relationships, Bakthin highlighted the material and non-contemplative nature of the artistic experience, and emphasised its multiple and dynamic nature, one capable of exceeding fixed and monological structures (Bakhtin, 1981: 84–5, 252; Hesselberth, 2014: 7–14). Consequently, we will see how the empathic, ecological, and relational mechanisms grounding filmic experience and connecting viewers with specific modes of marginalised existence allow for practices of solidarity-building, or rather, for a transformative politicisation of supposed subjective and individual sufferings.…”