Analysis Beyond Analytics: Exploring the Transformative Crossover Between Cinema & Media Studies and the Digital Humanities

Cinema Studies has always been attuned to technological developments and their impact on machine-made art. Even before the first cinematic experiments in interactive storytelling and database narratives in the 1990s (including USC’s The Labyrinth Project, led by Marsha Kinder, and UCLA experiments in cinema forensics, led by Stephen Mamber), the pre-digital work of visionary filmmakers such as Dziga Vertov, Sergei Eisenstein and Luis Buñuel prefigures the database logic that is exemplary of the ways in which digital culture now organizes and interacts with data (Manovich 2001; Kinder).