Letter from the Editors

By Lucia Szemetová and Jacob Browne

Facing Off: From Abstraction to Diffraction in Hito Steyerl’s Abstract (2012)

By Lawrence Alexander

Phone Footage and the Social Media Image as Global Anonymous Cinema: Ana Nyma’s (Anonyme) Fragments of a Revolution (2011) and Peter Snowdon’s The Uprising (2013)

By Tanya Shilina-Conte

Portraiture, Surveillance, and the Continuity Aesthetic of Blur

By Stefka Hristova

The Smartphone Camera and Radical Urban Imaginaries in the (Post-)Pandemic City: The Patio 108 Initiative

By Samuel Fernández-Pichel

Returning to your Roots: Use of Mobile Shooting in an Ethnomediaology case study with the Tejon Native American Tribe in California

By Iakovos Panagopoulos

The Death Image as Commodity: On the Limits of Visibility

By samira makki

Theorising Digital Self-Mediation and the Smartphone as Filmic Apparatus after 6 January, 2021

By Jenny Gunn

Selfie-Portraits: Agnès Varda, JR, and the Politics of Sharing

By Tomas Elliott

Rear-facing camera: Cell phone cinematography in Midnight Traveler (Hassan Fazili, 2019)

By Miche Dreiling

Interfaces of Fiction: Buddha.mov (2017) and Smartphone Aesthetics

By Max Bergmann

Sickhouse and the “Snap Cinema”

By Alex Damasceno

Escape to Totality: Realist Commitments in The Florida Project’s iPhone Finale

By Sam Thompson

Smartphone Cinematics: Contextual Essay

By Sarah Atkinson

Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System

Reviewed by Maria Fernanda Miño Puga

Cinema Against Doublethink: Ethical Encounters with the Lost Pasts of World History

Reviewed by Sanghita Sen

Contemporary Balkan Cinema: Transnational Exchanges and Global Circuits

Reviewed by Anna Batori

Dead Blondes and Bad Mothers: Monstrosity, Patriarchy and the Fear of Female Power

Reviewed by Srishti Walia

Sofia Coppola: The Politics of Visual Pleasure

Reviewed by Ana Maria Sapountzi

The Other Hollywood Renaissance

Reviewed by Chris Horn

Theorizing Film Through Contemporary Art: Expanding Cinema

Reviewed by Sam Thomson

Asian Cinema: A Regional View

Reviewed by Paulina Zurawska

Narrative and Narration: Analyzing Cinematic Storytelling

Reviewed by Matthew Bosica

No Power Without an Image: Icons Between Photography and Film

Reviewed by Jonathan Winkler

Kira Muratova: The Magnificent Maverick

By Dina Iordanova

Watching Muratova in a Time of Social Isolation

By Victoria Donovan

Deconstructing Socialism in the Early Films of Kira Muratova

By Masha Shpolberg

Touch and Sight in the Films of Kira Muratova: Towards the Notion of a Cinema of Gesture

By Irina Schulzki

The Pig’s Gaze: Human-Animal Mutuality in Kira Muratova’s Chekhovian Motifs

By Raymond De Luca