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.
