![]() ![]() London: Phaidon.Įisenstein, Sergei, Vsevolod Pudovkin, and Grigori Alexandrov. ‘Der Sandmann 1995: Historical Background’. In Samuel Beckett: Teleplays, edited by Stan Douglas, 11–19. Durham, NC: Duke University Press.ĭouglas, Stan. The Migrant Image: The Art and Politics of Documentary during Global Crisis. Translated by Hugh Tomlinson and Barbara Habberjam. Politics, Poetics: Documenta X, the Book. London: Verso.ĭavid, Catherine, and Jean-François Chevrier, eds. 24/7: Late Capitalism and the Ends of Sleep. Milan: Mimesis International.Ĭrary, Jonathan. In Extended Temporalities: Transient Visions in the Museum and in Art, edited by Alessandro Bordina, Vincenzo Estremo, and Francesco Federici, 73–86. ‘Conceptualizing the Cinematic in Contemporary Art’. The Death of Cinema: History, Cultural Memory and the Digital Dark Age. Houston: Blaffer Gallery, The Art Museum of the University of Houston.Ĭherchi Usai, Paolo. In Chantal Akerman-Moving Though Time and Space, edited by Terrie Sultan, 11–27. ‘Visions in Passing: From the East (D’Est)’. London: Whitechapel Gallery.Ĭarvajal, Rina. In The Cinematic, edited by David Campany, 10–17. Atlas of Emotion Journeys in Art, Architecture, and Film. Cambridge, MA: Belknap Press.īergson, Henri. Jennings, translated by Edmund Jephcott, 101–33. 3: 1935–1938, edited by Howard Eiland and Michael W. ‘The Work of Art in the Age of Its Technological Reproducibility, Second Version ’. Barcelona: Centre Cultural de la Fundació Caixa de Pensions.īenjamin, Walter. In Passages de l’image, translated by James Eddy, 12–14. Paris: Centre Georges Pompidou.īellour, Raymond, Catherine David, and Christine van Assche. Cambridge, MA: MIT Press.īellour, Raymond, Catherine David, and Christine van Assche. ![]() In Future Cinema: The Cinematic Imaginary After Film, edited by Jeffrey Shaw and Peter Weibel, 56–59. In Electronic Culture: Technology and Visual Representation, edited by Timothy Druckrey, translated by James Eddy, 173–99. Antwerp: MHKA Museum of Contemporary Art.īellour, Raymond. In Chantal Akerman: Too Far, Too Close, edited by Dieter Roelstraete and Andreas Kreuger, 95–103. ‘Losing Everything That Made You a Slave: Chantal Akerman in Conversation with Elisabeth Lebovici’. Minneapolis: Walker Art Centre.Īkerman, Chantal, and Elisabeth Lebovici. In Bordering on Fiction: Chantal Akerman’s D’Est, edited by Kathy Halbreich and Bruce Jenkins, 15–45. We've got dozens of fun flairs to choose from.Adams, Sam.So grab your Pogs, Surge cans and Thriller cassettes, and we'll see you in /r/nostalgia! ![]() times we shared with loved ones, both humorous and sad. Here we can take pleasure in reminiscing about the good ol' days. Whether it's an old commercial or a book from your past, it belongs in /r/nostalgia. Nostalgia is often triggered by something reminding you of a happier time.If you need to message the moderators, use the "message the moderators" button below. Many websites do not allow direct links to their images (as it leeches their bandwidth).ĭid you include the name of what you posted in the title?ĭid you wait at least 15 minutes before notifying us? Certain posts are automatically approved. Link not showing up?ĭid you use or a similar service to reupload images? Blog/Tumblr images are often marked as spam. No playlists or custom art work of any kind. This includes commentary, reviewing, reaction and ranking channels. No posts from any personal YouTube accounts or other platforms. There is no rule against reposting, but mods may tag posts as "frequent repost" or even remove it if it has just been posted. A collection of items you have or 'found' is fine. No memes, compilations, or "starter packs". A limit of five posts per day (24 hours) is reasonable. No posts to webstores, blogs or websites with nostalgia items. You must include the name of your nostalgic item in the title. Be polite, respect each other and have fun! ![]()
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