Frontmatter -- Table of Contents -- Editorial -- Acknowledgments -- 1. Introduction -- PART I A Tribute to Agnès Varda -- 2. The Incipit of Beaches of Agnès (Les plages d’Agnès) An Installation in the Form of a Self-portrait -- PART II The End of Cinema? -- 3. Announcing the End of the Film Era. The Lumière Galaxy: Seven Key Words for the Cinema to Come by Francesco Casetti, Columbia University Press, 2015 -- 4. Cinema Hangs Tough -- 5. Jean-Luc Godard’s Histoire(s) du cinéma or Cinema Surpasses Itself -- PART III Technological Transformations -- 6. Mutation, Appropriation and Style -- 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue -- 8. In-Flight Entertainment or the Emptying Process of Art in the Air -- PART IV New Dispositif, New Conditions -- 9. What Kind of Art Is the Cinema of Interactions? -- 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations -- 11. Post-cinema Ecology -- PART V Transformations in Film Form -- 12. Dwelling with Moving Images -- 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film -- 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge -- 15. The Zidane Film -- PART VI Post-cinema, an Artists’ Affair -- 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 -- 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s |