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This edited volume is an open access title and assembles both the
historical consciousness and transformation of the MENA region in
various disciplinary and topical facets. At the same time, it aims
to go beyond the MENA region, contributing to critical debates on
area studies while pointing out transregional and cultural
references in a broad and comparative manner.
This book approaches the topic of the state of post-cinema from a
new direction. The authors explore how film has left the cinema as
a fixed site and institution and now appears ubiquitous - in the
museum and on the street, on planes and cars and new digital
communication platforms of various kinds. The authors investigate
how film has become more than cinema, no longer a medium that is
based on the photochemical recording and replay of movement. Most
often, the state of post-cinema is conceptualized from the "high
end" of the most advanced technology; discussions focus on
performance capture and digital 3-D, 4-K projection and industrial
light & magic. Here, the authors' approach is focused on the
"low-end" circulation of filmic images. This includes informal
networks of exchange and transaction, such as p2p-networks, video
platforms and so called "piracy" with a special focus on the Middle
East and North Africa, where political and social transformations
make new forms of circulation and presentation particularly
visible.
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