This edition has been produced jointly with:
FICUNAM (International Film Festival of the National Autonomous University of Mexico)
Where is the film analysis today? What are you doing, in the dark, the theory of cinema? This field, as it has been professionally defined (at least in the Anglo-American academic world), is currently divided between historians interested in the social context that examine the great formations of modernity, and experts in the style that They demand the return of outmoded things such as authorial vision, tone, and staging. But there are also other currents, vital and inventive, of which we are hardly hearing anything in any of the official channels. Last day each day , which for this edition has been extended with the essay “Avatars of the meeting”, shines a light on one of these new and exciting ways.
About the Author
Adrian Martin es profesor de estudios de cine y televisión en la Universidad de Monash (Melbourne, Australia), donde codirige también el Departamento de Investigación de Teoría y Cultura Cinematográfica. Durante 2013-2014 ha sido invitado, como profesor distinguido, por la Universidad Goethe (Frankfurt, Alemania). Crítico de cine en activo desde 1979, es autor de cinco libros previos (Phantasms, Once Upon a Time in America, Raúl Ruiz: sublimes obsesiones, The Mad Max Movies y ¿Qué es el cine moderno?), así como de miles de artículos y críticas aparecidas en Trafic, Sight and Sound, Framework, Transit, etc. Es coeditor de las publicaciones online LOLA, Screening the Past y del libro Mutaciones del cine contemporáneo (Errata Naturae 2010).