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JACOB SECHER SCHULSINGER EDITOR FILM & TELEVISION TRIANGLE OF SADNESS Director: Ruben Östlund Production Company: 30WEST & ARTE & BBC Films ECHO Director: Rúnar Rúnarsson Production Company: Nimbus Film Productions & Pegasus Pictures COW Director: Andrea Arnold Production Company: Kat Mansoor Official Selection, Cannes Film Festival (2021) BIG LITTLE LIES (Season Two) Director: Andrea Arnold Production Company: Blossom Films THE HOUSE THAT JACK BUILT Director: Lars Von Trier Production Company: Zentropa Official Selection, Cannes Film Festival (2018) LUX ARTISTS | 1 THE SQUARE Director: Ruben Östlund Production Company: Plattform Produktion Winner, Palme d’Or, Cannes Film Festival (2017) Nominated, Best Foreign Language Film, Academy Awards (2018) Official Selection, Toronto Film Festival (2017) THE UNTAMED Director: Amat Escalante Production Company: Mantarraya Productions Winner, Silver Lion Award Best Director, Venice Film Festival (2016) Official Selection, Toronto Film Festival (2016) Official Selection, London Film Festival (2016) SPARROWS Director: Runar Runarsson Production Company: Nimbus Film Official Selection, Toronto Film Festival (2015) TAKE ME TO THE RIVER Director: Matt Sobel Production Company: Mahoney & Mulligan Productions Official Selection, Sundance Film Festival (2015) Official Selection, London Film Festival (2015) FORCE MAJEURE Director: Ruben Ostlund Production Company: Plattform Produktion Winner, Un Certain Regard, Jury Prize, Cannes Film Festival (2014) Nominated, Best Film, British Independent Film Awards (2015) Official Selection, Toronto Film Festival (2014) NYMPHOMANIAC VOL I/II (Co-editor) Director: Lars Von Trier Production Company: Zentropa Official Selection, Berlin Film Festival (2014) Official Selection Venice Film Festival (2014) PLAY Director: Ruben Ostlund Production Company: Plattform Produktion Winner, Séance “Coup de coeur”, Cannes Film Festival (2011) Official Selection, Toronto Film Festival (2011) Official Selection, New York Film Festival (2011) VOLCANO Director: Runar Runarsson Production Company: Zik Zak Film Official Selection, Cannes Film Festival (2011) Official, Selection, BFI London Film Festival (2011) LUX ARTISTS | 2 SHORT FILM COME SWIM Director: Kristen Stewart Production Company: Refinery29 Official Selection, Cannes Film Festival (2017) Official Selection, Sundance Film Festival (2017) ANNA Director: Runar Runarsson Production Company: Den Danske Filmskole Official Selection, Cannes Film Festival (2014) 2 BIRDS Director: Runar Runarsson Production Company: Zik Zak Film Official Selection, Sundance Film Festival (2009) Official Selection, Cannes Film Festival (2008) DIRECTOR/COMMERCIAL STEVE MCQUEEN Chanel ANDREAS NILSSON Ikea SIMON LADEFOGED Audi, Borsen, Ramasjang Pa Dri, Novosol, Voegele ADA SOBYE Ikea, Arbejdernes Landsbank SE LIGE MIG Arbejdernes Landsbank JONAS ARNBY DSB, Fonecta, Nescafe, Telia, Home, Coop JOHAN STAHL Dr Mama, Dr Licens DIRECTOR/MUSIC VIDEO SIMON BONDE Peder “Ghost of a Smile” ANDREAS NILSSON David Guetta “Play Hard Work Hard” MARTIN DE THURAH David Byrne & St. Vincent “Who” JONAS ARNBY Ane Trolle “The Honest Wall”, Veto “You Say Yes I Say Yes” ANDREAS KOEFOED People Press Play “These Days” LUX ARTISTS | 3.

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5.3 Post-Cinematic Atavism
5.3 Post-Cinematic Atavism BY RICHARD GRUSIN In June 2002, for a plenary lecture in Montreal at the biennial Domitor conference on early cinema, I took the occasion of the much-hyped digital screening of Star Wars: Episode II–Attack of the Clones (George Lucas, 2002) to argue that in entering the 21st century we found ourselves in the “late age of early cinema,” the more than century-long historical coupling of cinema with the sociotechnical apparatus of publicly projected celluloid film (“Remediation”). Two years later, in a lecture at a conference in Exeter on Multimedia Histories, I developed this argument in terms of what I called a “cinema of interactions,” arguing that cinema in the age of digital remediation could no longer be identified with its theatrical projection but must be understood in terms of its distribution across a network of other digitally-mediated formats like DVDs, websites, games, and so forth—an early call for something like what now goes under the name of “platform studies” (“DVDs”). In his recent book on “post-cinematic affect” Steven Shaviro has picked up on this argument in elaborating his own extremely powerful reading of the emergence of a post-cinematic aesthetic (70). I want to return the favor here to take up what I would characterize as a kind of “post-cinematic atavism” that has been emerging in the early 21st century as a counterpart to the aesthetic of post-cinematic affectivity that Shaviro so persuasively details. Sometimes considered under the name of “slow cinema” or “the new silent cinema” (or, as | 1 5.3 Post-Cinematic Atavism Selmin Kara puts it, “primordigital cinema”), post-cinematic atavism is not limited to art- house or independent films.
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