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The notion of “tacit cinematic knowledge” designates a broad variety of epistemic environments in which knowledge is configured in and through cinematic practices. As an operative term, tacit cinematic knowledge, is supposed to help scholars and practitioners in their engagements with moving images as everchanging aesthetic and epistemic configurations.
Cinematic techniques have been operating in a wide range of cultural practices beyond the classic dispositif of cinema. Configurations of film have appeared in unexpected locations and unsuspected forms, formats, usages, and temporalities, from architectural design to the production of scientific evidence, from social interaction to the organization of labor, the enhancement of sports performance, formal and informal education, warfare, legal procedures, and so on. Drawing on the notion of “tacit cinematic knowledge,” the conference aims to explore the groundwork for theorizing implicit epistemic templates configured by film forms and techniques. It is an attempt to expose inconspicuous cinematic performers shaping daily activities and modes of observation, especially where one least expects to encounter films.