10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations

Chapters in this book

1. Frontmatter 1
2. Table of Contents 5
3. Editorial 9
4. Acknowledgments 11
5. 1. Introduction 13
6. PART I A Tribute to Agnès Varda
7. 2. The Incipit of Beaches of Agnès (Les plages d’Agnès) An Installation in the Form of a Self-portrait 27
8. PART II The End of Cinema?
9. 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 45
10. 4. Cinema Hangs Tough 67
11. 5. Jean-Luc Godard’s Histoire(s) du cinéma or Cinema Surpasses Itself 85
12. PART III Technological Transformations
13. 6. Mutation, Appropriation and Style 99
14. 7. The Twenty-First-Century Postcinematic Ecology of the Film Museum. Theorizing a Film Archival Practice in Transition – A Dialogue 129
15. 8. In-Flight Entertainment or the Emptying Process of Art in the Air 143
16. PART IV New Dispositif, New Conditions
17. 9. What Kind of Art Is the Cinema of Interactions? 159
18. 10. Thinking Inside and Outside of the (Black) Box. Bird Box and Netflix’s Algorithmic Operations 175
19. 11. Post-cinema Ecology 193
20. PART V Transformations in Film Form
21. 12. Dwelling with Moving Images 221
22. 13. Extraordinary Stories, a Mariano Llinás Postmodern Art Film 241
23. 14. Art, Otherwise Than Art. Cinema and Contemporary Art: A Mutual Challenge 257
24. 15. The Zidane Film 281
25. PART VI Post-cinema, an Artists’ Affair
26. 16. The Happy Failure. La pluie (Projet pour un texte) by Marcel Broodthaers, 1969 295
27. 17. Per aspera ad astra, or Through Postcinema Toward Cinema, the Reverse Journey of Ilya Khrzhanovsky’s DAU 311
28. 18. Cinématon: The Shortest Films for the Longest Film – A Dialogue 331
29. 19. Documentary as Contemporary Art – A Dialogue 355