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Interactivity as performance allows Nash to draw attention to affect and emotion, considering the different forms that interactive documentary engages with embodied performances such as augmented and virtual reality documentary and gaming. Nash acknowledges the fragility of the interactive documentary because of its experimental approach adopting software platforms that are still in development limiting the audience reach, but she remains hopeful throughout the book that the future for the interactive documentary lies ahead, and we have perhaps only scratched the surface. This book shows how interactive documentary appropriates digital technologies in order to find new methods of engaging with realities that often confront contemporary social concerns and the intricacies of truth. [Extracted from the article]

Film scholar Lucy Fischer opens this book with a preface called "Magritte and Me" in which she tells of her longstanding love of René Magritte's art and the significance this art has had on her life and on her teaching film studies. She then elaborates this concept of resonance arguing that Magritte's art is "realistic" but that it raises conceptual issues that are of importance to film and cinema, arguing that he is as much a philosopher as he is a surrealist artist. Part one; "Backstory", consisting of four chapters, examines films that have been made about Magritte, films Magritte made himself (home movies), film tributes to Magritte and surrealist films directly influenced by Magritte's work. [Extracted from the article]

Beginning with a promise of realizing a spatial critique in film studies, this book contributes to the spatial turn in film studies.It discusses a variety of issues using space as an entry point: cinematic space, place images, institutional and pre-production contexts and their afterlives. The book broadly uses colonial films, Hindi cinema and Bengali films in constituting India as a filmed space; a clarification to this end would have been useful. [Extracted from the article]

The relationship between the motion picture industry and the city of Paris has a long and fascinating dynamic that is as old as cinema itself. Despite its foundational role in film history and position as a cultural model for aspiring filmmakers and movie enthusiasts alike, "In film studies, Paris has gone largely unexamined" (p. 5). Eric Smoodin's I Paris in the Dark i takes on the daunting task of examining 'the varied audiences of Paris, the movies they watched, and their neighbourhood cinemas also highlights significant changes in the practices of film studies' (p. 4). [Extracted from the article]

The I Navajoland Trading Post Encyclopedia i is a masterful compendium of information about trading posts and establishes Kelley and Francis as the foremost experts on the subject. In 1987, Klara Kelley and Harris Francis began working together as cultural resource consultants in and around the Navajo reservation. [Extracted from the article]

One may question such a selection process, as the anthology does seem to focus on a select group of philosophers at the expense of many focused practitioners of the very film theory that the edition hopes to elucidate. I Philosophers on Film from Bergson to Badiou i is a recent collection of essays from leading Continental Philosophers of the past century. [Extracted from the article]