This page contains a selection of chapters and articles that can be accessed online.

Audio-Writing: Cinema for the Ears

Audio: Cinema for the Ears from Patricia Pisters on Vimeo.

This is an audio version of my PhD From Eye to Brain: Gilles Deleuze, Refiguring the Subject in Film Theory (University of Amsterdam, 1998). The audio recording for the entire manuscript was performed by the Royal Institute for the Blind (Peterborough, 1998). This is Section 12 A from the last chapter of the dissertation Chapter 9: The Sound-Machine, Becoming-Music and the Politics of Becoming-Imperceptible.

Metallurgic Fashion: Rabane, McQueen, Van Herpen

“Metallurgic Fashion: Sartorial Transformations in Changing Techno-Mediated Worlds” in  Adriano D’Aloia, Marie-Aude Baroniam & Marco Pedroni (eds.),Fashionating Image: Audiovisual Media Studies Meet Fashion. Special Issue Comunicazioni sociali,  n. 1 :  2017 Vita e Pensiero / Pubblicazioni dell’Università Cattolica del Sacro Cuore Milano,  43-52. Find here the article in PDF.

"I Just Want to Be Perfect: Affective Compulsive Movement in Black Swan"

In: Cine-files, Issue 10, 2016. Dossier on Cinematic Affect, ed. by Anne Rutherford. My contribution deals with OCD in the form of dancing & GIFs. Here you can read the version including GIFs. A version without repetitive movements can he downloaded as PDF here. 

Our culture has become too complex to understand things in disciplinary isolation

An Interview with Patricia Pisters in the Newsletter of SMART Cognitive Science, 10 May 2016. 

“I grew up in a small village in the South of the Netherlands: there was no cinema, only a library. So I grew up just reading; I went to the library with my father every Friday night. The libraries had these nice big boxes with all these cards, and I just loved ‘playing library’. At home I made every book we had – we did not have a lot of books – into library books with pockets in the inside of the cover containing return cards. I really loved that, and I also liked to play teacher: I wanted to be either a librarian or a teacher. So after high school, I first started doing a vocational teacher training course in Nijmegen, because I wanted to become a French-English teacher. But then when I was in Paris for the first time, I realized that I wanted to really learn the French language, have access to the wealth of books written in French, and I stopped the teacher training course. I went to study in Paris, which is where I discovered cinema. Then I came to Amsterdam, first to work, and then to study. I studied French and also Film Studies, a free doctorate – within this degree it was possible to compose your own program. I went back to France to do my DEA (Diplôme des études approfondies), which is comparable to a research master. In the meantime, the department film and television studies was established in Amsterdam, and professor Elsaesser who set up the program asked me to come and work there. That is how I started to teach, even before I started my PhD; then it was just natural to do also a PhD. So I had some detours: it is through French, and French literature and cinema that I ended up in the department of media studies.”

 

The Future is Now in Post-Cinema

"Flashforward: The Future is Now" (reivised version) in Shane Denson and Julia Leyda, eds. Post-Cinema: Theorizing 21st Century Cinema. Falmer: Reframe Books, 2016. pp. 1-26. Download PDF here. Read the entire issue here

The Neurothriller (popular version)

In  AEON - Ideas and Culture.  8 February 2016.

The Filmmaker as Metallurgist: Political Cinema and World Memory

In Film-Philosophy 20:1 (2016), pp. 149-167. Download PDF here. This article is part of a special issue on Film-Philosophy and a World of Cinemas, edited by David Martin-Jones. The entire issue is available in Open Access at Edinburgh University Press here

New Materialism: Intra-Agential Entanglements and the Neuro-Image

Special Issue on New Materialism, Cultural Studies Review volume 21 number 2 September 2015, pp. 120-144. 

Download PDF . The issue can be found here

 

Memory is no longer what is used to be

In: Sebastian Groes, ed. Memory in the Twenty-first Century: New Critical Perspectives from the Arts, Humanities and Sciences (New York: Palgrave, 2015,  213-216).

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