Monday, 27 August 2012

CINEPHILE on Contemporary Realism: Post-Classical Hollywood, Mumblecore, Neo-Neorealism,Tonacci, Reichardt, Greengrass, Van Sant

Framegrab from Meek's Cutoff (Kelly Reichardt, 2010). Read 'Beyond Neo-Neo Realism: Reconfigurations of Neorealist Narration in Kelly Reichardt’s Meek’s Cutoff' by James Lattimer here (large PDF)
[I]n the last decade or so, a reappraisal of realism has risen to the fore. Sparked by the demise of cinema’s ontological basis (the existential link between film’s corporeal nature and its real-world referent) and the renewed pertinence of Bazin’s cardinal question, Qu’est-ce que le cinéma?, realism has been re-framed as a generative area of study in a parlous digital age, enabling new (or newly situated) discourse on cinematic reportage, authenticity, and representation. Recent scholars who have embraced realism’s epistemological subscription—yet managed to traverse the epistemic fissure of a positivist approach—have recognized moments of contingency in contemporary art house and marginal cinemas, rooted either in classical tenets (spatio-temporal integrity, social extension, moral despondence) or emergent ones (“haptic” visuality, profilmic exclusivity, ethical engagement). This issue of Cinephile is situated at the intersection of such discussions. [Editors' Note, Cinephile, Fall 2011]

Film Studies For Free is delighted to announce that the Fall 2011 issue of the great Canadian online film journal Cinephile -- a special issue on realism -- is now available for free download, following its usual period of availability only in a print edition.

The table of contents is given below, and you can download the PDF of the issue here. Below the list of articles, you can find the next Cinephile Call For Papers for an upcoming issue on the New Extremism.

For more on Bazinian, Neo-Bazinian, and Post-Bazinian Film Studies, please check out FSFF's entry as well as other posts accessible via its film realism tag.

Cinephile Fall 2010 Table of Contents
  • Editor’s Note
  • Contributors
  • 'Reenactment and A-filiation in Andrea Tonacci’s Serras da Desordem' by Ivone Margulies
  • 'Post-Classical Hollywood Realism and “Ideological Reality”' by Richard Rushton
  • 'The Sound of Uncertain Voices: Mumblecore and the Interrogation of Realism' by Justin Horton
  • 'The Aesthetics of Trauma: Authenticity and Disorientation in Paul Greengrass’s Bloody Sunday' by Marc Di Sotto
  • 'Beyond Neo-Neo Realism: Reconfigurations of Neorealist Narration in Kelly Reichardt’s Meek’s Cutoff' by James Lattimer
  • 'Gus Van Sant’s Gerry and Visionary Realism' by Tiago de Luca

Call For Papers

Cinephile 8.2, Contemporary Extremism

Deadline for draft submission: September 1, 2012
The last decade has marked an escalation in the treatment of extreme subject matter in European cinema, heralded by the graphic violence and sexuality of French New Extremism at the turn of the millennium and increasingly apparent in films from across Europe. While extreme violence and graphic sexuality have long played a part in the European film tradition (Un Chien Andalou (Buñuel 1929); I Am Curious (Yellow) (Sjöman 1967), Last Tango in Paris (Bertolucci 1972), Salò (Pasolini 1975), etc.), these contemporary films are exceptionally abrasive in the use of transgressive material, employing the sensory capabilities of cinema to impact the spectator on a visceral level. Scholars such as Martine Beugnet, Tanya Horeck, Tina Kendall, and Tim Palmer have pointed to New Extremism as a burgeoning cinematic trend that seeks to re-examine our relationship to the body and to the film screen itself. Onscreen penetrative sex, sexual violence, and explicit gore are central features of films like Lars von Trier’s Antichrist (2009), Gaspar Noé’s Irréversible (2002), Yorgos Lanthimos’s Dogtooth (2009), and Claire Denis’s Trouble Every Day (2001), to name a few films that can be situated within the New Extremist canon.
    With the Fall 2012 issue of Cinephile, we wish to interrogate the parameters and significance of New Extremism. In doing so, we are willing to extend our questions beyond Europe with the hopes of inquiring into Extremism as a global phenomenon. Is New Extremism a feature of European film in particular, prefigured by the European film tradition, or has its influence extended beyond Europe’s borders and bled into other global cinemas? Is Extremism really “new,” or is it merely a contemporary incarnation of old provocations and transgressions? What is the impact of these films, and why should we be watching them (if we should be watching them at all)?
Starting points might include:
  • Extremism outside of Europe: Asian cinema (Ichi the Killer (Miike 2001), Old Boy (Park 2003), etc.), North American cinema (Deadgirl (Sarmiento & Harel 2008), August Underground (Vogel 2001), etc.), and other global cinemas
  • The legitimacy of New Extremism: extreme content in art cinema vs. extreme content in exploitation, horror, and grindhouse cinemas
  • Controversy, notoriety, and censorship (Antichrist, A Serbian Film (Spasojevic 2010), The Human Centipede 2 (Six 2011), etc.)
  • New Extremism and horror cinema (High Tension (Aja 2003), Calvaire (Du Welz 2004), Inside (Bustillo & Maury 2007), Martyrs (Laugier 2008), etc.)
  • Spectatorship, affect, and corporeality
  • Approaches to New Extremism: Genre, mode, movement, or trend?
  • Theory and New Extremism
We encourage submissions from graduate and doctoral students, postdoctoral researchers, and faculty.
    Papers should be between 2000-3500 words, follow MLA guidelines, and include a detailed works cited page, as well as a short biography of the author.  Submissions and inquiries should be directed to:
    Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. We are proud to feature a new article by Sarah Kozloff in our Spring 2012 issue. Previous issues have featured original essays by such noted scholars as K.J. Donnelly, Barry Keith Grant, Matt Hills, Ivone Margulies, Murray Pomerance, Paul Wells, and Slavoj Žižek. Since 2009, the journal has adopted a blind peer-review process and has moved to biannual publication.  It is available both online and in print via subscription.

Friday, 24 August 2012

New Issue of SCOPE: CIA, Resnais, German cinema and Dead Cities in the Cinema

Framegrab from I Am Legend (Francis Lawrence, 2007). Read Elena Woolley's article on "lone-survivor-in-the-dead-city" films
A quick post from Film Studies For Free today, simply to deliver the, as ever, excellent news that Scope, the online journal of film and tv studies, has published a new issue. Some very good articles and a marvellous array of book and film reviews, and conference reports, await you when you click on all the links below. 

Book Reviews
Film and Television Reviews
Conference Reports

Tuesday, 21 August 2012

On 'Acid Aesthetics' and Contemporary Cinematic Stylistic 'Excess' - In Memory of Tony Scott (1944-2012)

Last updated August 30, 2012
A video tribute to Tony Scott, "[A] vigorous and energetic filmmaker extraordinaire"
Filmmaking is like painting…Every stroke or every color impacts another and you build film on the canvas and you get ideas from the last stroke.
 [Tony Scott, audio commentary, Domino DVD]
[T]he minute a viewer begins to notice style for its own sake or watch works which do not provide such thorough motivation, excess comes forward and must affect narrative meaning. Style is the use of repeated techniques which become characteristic of the work; these techniques are foregrounded so that the spectator will notice them and create connections between their individual uses. Excess does not equal style, but the two are closely linked because they both involve the material aspects of the film. Excess forms no specific patterns which we could say are characteristic of the work. But the formal organization provided by style does not exhaust the material of the filmic techniques, and a spectator's attention to style might well lead to a noticing of excess as well. [...] Probably no one ever watches only these non-diegetic aspects [...] through an entire film. Nevertheless, they are constantly present, a whole "film" existing in some sense alongside the narrative film we tend to think of ourselves as watching. [Kristin Thompson, 'The Concept of Cinematic Excess', Ciné-Tracts, 1.2, Summer 1977, pp. 55-56]
Hollywood action scenes became ‘impressionistic,’ rendering a combat or pursuit as a blurred confusion. We got a flurry of cuts calibrated not in relation to each other or to the action, but instead suggesting a vast busyness. Here camerawork and editing didn’t serve the specificity of the action but overwhelmed, even buried it. [David Bordwell, 'A Glance at Blows', Observations on Film Art, September 28, 2008]
In classical continuity styles, space is a fixed and rigid container, which remains the same no matter what goes on in the narrative; and time flows linearly, and at a uniform rate, even when the film’s chronology is scrambled by flashbacks. But in post-continuity films, this is not necessarily the case. We enter into the spacetime of modern physics; or better, into the “space of flows”, and the time of microintervals and speed-of-light transformations, that are characteristic of globalized, high-tech financial capital.  [Steven Shaviro, 'Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales', Film-Philosophy, 14.1, 2010]
The essential characteristic of the acid aesthetic is the employment of early twentieth century hand-crank cameras. Loaded with high-speed reversal film, they are manually cranked forwards and backwards during the shooting, and afterwards cross-processed in an inappropriate developer. The results are quite extreme and fairly unpredictable: multiple exposures within one or more images, high contrasts and de-saturated colors, abrupt visual jolts of overexposed lighting, increased grain activity and discernible smears, cracks and trails on the frame, which add an air of physical authenticity. Film becomes tangible in this aesthetic equation. The analogue form, generally masked in the classical continuity style, is revealed, indeed placed in the foreground. Footage from digital cameras further provides an occasional visual counterpoint to the stylized primitivism of the hand-crank aesthetic, presenting crisp, overly saturated images, which seem, by contrast, manufactured and purely synthetic. The result is a dialectic of control and chaos, with the latter as the defining crux. [...] What becomes clear here is that Scott’s acid aesthetics put on display the cinematic apparatus itself, the process of constructing moving images, both in analogue and digital form. The resulting casualty is the concept of filmic realism. The gained impression is not the order of continuity but the chaos of stylistic transparency, an illustration of the formal potentialities of film, unrestrained by storytelling conventions.
[...] A blend of analogue and digital filmmaking lays bare the inner mechanics of cinema, its texture, emphasizing the process of manipulating and creating moving images. Film, in this regard, can be conceptualized as an enormous canvas, to be filled with color. It is not a coincidence that Tony Scott was trained as a visual artist and generally views himself as such, a cinematic painter. Thus, he constructs rather than documents images, both in the camera and on a post-production computer setup. In Scott’s hands, cinema rediscovers its ability for overt stylization, not eroding, but at least de-privileging what Christian Metz calls the realistic cinema-effect, in favor of a display of cinematic technique. In the words of Lev Manovich, cinema is then “no longer a kino-eye, but a kino-brush”. And indeed Scott’s filmmaking transcends the mere realm of visual representation. Wielding the camera like a brush, and similar to Alexandre Astruc’s pen, the caméra-stylo, he sprays, splashes and splatters paint onto the canvas, producing an expressionistic chaos, reminiscent of paintings by Jackson Pollock. Notwithstanding the overt experimentalism, all this activity is framed by the generic conventions of Hollywood story material. The margins of Scott’s canvas are defined by the tenets of traditional and, with regard to Man on Fire and Domino, arguably quite clichéd narrative. In this regard, Scott’s cinematic paintings become more than just a display of style, namely an unrestrained sensory assault of visual abstraction that, in a postmodern twist of meta-textual discourse, exposes the process of moving image construction, and thereby reconfigures the traditional notion of what mainstream cinema should look like. [Excerpts from Matthias Stork, 'Acid Aesthetics: Tony Scott's Cinema of Chaos', SWTX Popular and American Culture Conference, Albuquerque, New Mexico, February 2012]
I have cautiously championed Tony Scott’s recent work because at least he’s willing to go all the way, however misguided the direction. From Spy Games on, he has stuck to the credo that too much is never enough. His technique is swaggering and undisciplined, mannered to the nth degree. Yet I find his fevered visuals more genuinely arresting than the safe noodlings of most of today’s mainstream cinema. Man on Fire and Déja Vu reheat their genre leftovers into something spicy, if not nourishing, while Domino, the cinematic equivalent of hophead graffiti, wraps its sleazy characters in a visual design apparently inspired by the glowing interior of a peepshow booth.  [David Bordwell, '50 Days of Summer Movies Part 2', Observations on Film Art, September 12, 2009, hyperlink added by FSFF]
Tony Scott’s need to push the boundaries of the postclassical into the classical-plus and the hyperclassical with Man on Fire and Domino suggests a growing impatience with intensified continuity and the postmodern condition. In Top Gun and even True Romance the audience can easily float with the surface structure and identify with the fantasy of transcending both physical space and cultural time. But in Man on Fire and Domino the audience cannot ignore the deaths of Denzel Washington, Edgar Ramirez, and Mickey Rourke, the irrevocable loss of continuity, and the status of the image not as synergistic decoration or digital simulacrum, but as a symptom and agent of cultural flux and despair. Even in Deja Vu, which retreats somewhat from the volatile aesthetic of Man on Fire and Domino, Scott makes postclassical narrative hyperclassical by allowing Denzel Washington to inhabit the past and present simultaneously. Deja Vu, with its post-Katrina New Orleans, opening terrorist attack, and urgent desire to traverse time and prevent the death of Paula Patton, suggests a shell-shocked United States unable to understand the past or ponder the future — Denzel, in a Butterfly Effect-like matrix of temporal frequency and repetition, dies in one narrative thread even as he emerges unscathed in another. Scott pushes the boundaries of narrative time and space so far he doesn’t need the vomit comet or Domino-Vision to achieve the same measure of indeterminacy. Man on Fire, Domino, and Deja Vu suggest that the only sin Tony Scott has committed is not to anticipate the hyperclassical and the classical-plus sooner. [Larry Knapp, 'Tony Scott and Domino — Say hello (and goodbye) to the postclassical', Jump Cut, 50, 2008]

Film Studies for Free was shocked, like everyone else, by the news of Tony Scott's death yesterday. Following the news, much of the day was spent reading online assessments of his important filmmaking career.

These frequently centered, of course, on the role of 'excessive style' in his work, and its (some would say, concomitant) lack of narrative motivation. The ground was thus laid for today's tribute list of more than fifty links to academic studies centering on the debates about cinematic 'excess', as well as on issues of intensified (or 'post'-, or 'Chaos') continuity in contemporary film aesthetics.

Rather incredibly, at the weekend, Matthias Stork, talented author of the video essay series on Chaos Cinema, had sent FSFF a link to a draft version of a new video essay featuring Tony Scott's work, which explored some related issues regarding contemporary film aesthetics. Following yesterday's awful news, Stork worked around the clock to develop that essay to provide an important tribute to Scott's work. You can see the video at the top of this entry, and also at Stork's Vimeo page Cine-Essais.

For more tributes to Scott, an essential round up is given at David Hudson's post devoted to 'Tony Scott, 1944 – 2012' at Fandor's Keyframe Daily website.

A very big Danke schön goes to Matthias Stork for all his essential contributions to this entry. 

Thursday, 16 August 2012

The Great Ealing Film Challenge by Keith M. Johnston

A frame capture from Mandy (Alexander Mackendrick, 1952).
Read Keith M. Johnston's assessment of this film, and Pam Cook's
Today, a rather thrilled Film Studies For Free brings you news that Keith M. Johnston's truly 'Great Ealing Film Challenge' has reached its noble conclusion.

Johnston is Lecturer in Film and Television Studies at the University of East Anglia. His research focuses on the interplay of technology, aesthetics and industry in British film of the 1940s and 1950s, with particular interests in issues of colour, widescreen and 3-D.

He is the author of Coming Soon: Film Trailers and the Selling of Hollywood Technology (McFarland 2009) and Science Fiction Fillm: A Critical Introduction (Berg 2011). He has also published on Ealing's colour aesthetic. You can follow him on Twitter and at the Huffington Post, as well as at his own website.

An ex-resident of Ealing, Keith has always been fascinated by Ealing Studios and its place in British cinema, both past and present. The 'Great Ealing Film Challenge' has been his attempt to better understand the films the studio produced, and what they can tell us about that period in British film history.

Just over a year ago, Keith wrote at his website about his (then) proposed experiment as follows:
[This blog has] decided to conduct its own obscure 80th anniversary celebration... and attempt to watch all of the Ealing Studios films.

Of course, there are some provisos - the list of 95 films I am working from comes from Charles Barr's Ealing Studios book, and is therefore focused entirely on the Michael Balcon years (1938-59). Given the difficulty of seeing much of the studio's output (either before 1938 or, in some cases, after), seeing all of those 95 is already something of a challenge (they're not all available on DVD ). [...]

The order in which I watch the films is largely going to be decided at whim [...] - the initial batch will include some of the well-known titles (commentary on Went the Day Well? and The Man in the White Suit will likely appear in the first week) and those lesser known titles that I realise I've never seen (the likes of The Love Lottery (1954), Nine Men (1943), The Feminine Touch (1954) and Train of Events (1950).
To celebrate the rather impressive achievement of blogging on all 95 films within a year, FSFF brings you not one, but two lists of links to Keith's highly informative and engaging entries! The first comes in the order in which Keith wrote them and the second has been organised alphabetically by year of release.

There will be much more forthcoming from Keith on Ealing Studios' films. He has also been working on co-editing Ealing Revisited with Mark Duguid, Lee Freeman, and Melanie Williams. This major collection will be published by BFI-Palgrave later in 2012, tying in with the BFI's major retrospective of Ealing Studios in November/December 2012.

Oh, and don't forget FSFF's earlier post on Ealing comedy films here.

Well done and thank you, Keith! Surely there should be a wee dram as a reward? At any rate, FSFF hopes you enjoy your readers' gratitude galore!

Prologue: The Great Ealing Film Challenge

Went the Day Well? (1943); Train of Events (1949); A Run for your Money (1949); Fiddlers Three (1944); The Love Lottery (1954); The Cruel Sea (1953); The Long Arm (1956); Nine Men (1943); Nicholas Nickleby (1947); Trouble Brewing (1939); The Magnet (1950); The Ship That Died of Shame (1955); Against the Wind (1948); Another Shore (1948); The Black Sheep of Whitehall (1942); The Ghost of St. Michael’s (1941); Dead of Night (1945); The Feminine Touch (1956); The Titfield Thunderbolt (1953); The Man in the White Suit (1951); The Gentle Gunman (1952); Pink String and Sealing Wax (1945); Saloon Bar (1940); The Next of Kin (1942); The Gaunt Stranger (1938); San Demetrio, London (1943); Where No Vultures Fly (1951); West of Zanzibar (1954); They Came to a City (1944); Return to Yesterday (1940); Lease of Life (1954); Johnny Frenchman (1945); Ships with Wings (1941); Davy (1957); Touch and Go (1955); Spare a Copper (1940); Turned Out Nice Again (1941); Come on George (1939); Whisky Galore! (1949); Let George Do It (1940); Dunkirk (1958); Who Done It? (1956); My Learned Friend (1943); The Captive Heart (1946); The Blue Lamp (1950); Sailor’s Three (1940); The Goose Steps Out (1942); The Halfway House (1944); The Square Ring (1953); The Foreman Went to France (1942); The Bells Went Down (1943); Champagne Charlie (1944); Bitter Springs (1950); The Overlanders (1946); Pool of London (1951); The Rainbow Jacket (1954); The Lavender Hill Mob (1951); The Shiralee (1957); For Those in Peril (1944); The Proud Valley (1940); The Ladykillers (1955); The Siege of Pinchgut (1959); Meet Mr Lucifer (1953); Secret People (1952); The Big Blockade (1942); Out of the Clouds (1955); Cheer Boys Cheer (1939); The Maggie (1953); Undercover (1943); The Four Just Men (1939); Saraband for Dead Lovers (1948); The Loves of Joanna Godden (1947); It Always Rains on Sunday (1947); Cage of Gold (1950); Frieda (1947); The Night My Number Came Up (1955); Hue [&] Cry (1947); Let’s Be Famous (1939); There Ain’t No Justice (1939); Eureka Stockade (1949); Painted Boats (1945); Barnacle Bill (1958); I Believe in You (1952); Dance Hall (1950); Convoy (1940); Scott of the Antarctic (1948); The Man in the Sky (1957); Kind Hearts and Coronets (1949; Young Man’s Fancy (1939); Mandy (1952); The Divided Heart (1954); His Excellency (1952); The Ware Case (1938); Nowhere to Go (1958); Passport to Pimlico (1949)

The Gaunt Stranger; The Ware Case

Cheer Boys Cheer; Come on George; Let’s Be Famous; The Four Just Men; There Ain’t No Justice ; Trouble Brewing; Young Man’s Fancy
The Captive Heart; The Overlanders

Monday, 13 August 2012

Our Beautiful Wickedness: On Reading Films Queerly. In Memory of Alexander Doty

An audiovisual collage made by Catherine Grant in memory of Alexander Doty, 
brilliant author of numerous key texts in LGBT and queer film and cultural studies, 
including the one quoted from in this video: Flaming Classics: Queering the Film Canon 
(London and New York: Routledge, 2000)

[C]lassic [film] texts and personalities actually can be more queer-suggestive than “openly” gay, lesbian, or bisexual texts. That is, the coding of classic or otherwise “mainstream” texts and personalities can often yield a wider range of non-straight readings because certain sexual things could not be stated baldly—and still cannot or will not in most mainstream products—thus often making it more difficult to categorize the erotics of a film or a star. Of course, if you aren’t careful, this line of thought can begin to sound like an argument valorizing the closet, for understanding queerness as always something “connotated” or suggested (and never really there “denotatively”), for “subtexting,” and for “subcultural” readings. But since I don’t see queer readings as any less there, or any less real, than straight readings of classic or otherwise “mainstream” texts, I don’t think that what I do in this book is colluding with dominant representational or interpretive regimes that seek to make queerness “alternative” or “sub” straight. [Alexander Doty, Flaming Classics, pp. 1-2]
In short, my whole life had led me to that piece on The Wizard of Oz. Only by drawing together aspects of autobiography, fandom, pedagogy, and academic training could I express (and, for some, justify) my “queer reception” love for the film, while also recognizing its ideological lapses–largely centered on the butch Elmira Gulch/the Wicked Witch of the West, I might add. [Alexander Doty,  in Henry Jenkins et al, 'Acafandom and Beyond: Alex Doty, Abigail De Kosnik, and Jason Mittell (Part One)', Confessions of an Acafan, September 28, 2011]

Film Studies For Free was shocked and very saddened at the news, just over a week ago, of the untimely death of Alexander Doty, a truly trailblazing film and media scholar.

Doty, Indiana University Professor of Gender Studies and Communication and Culture (and chair of the latter department) was the author of two classic and highly enjoyable books in queer audiovisual cultural studies: Making Things Perfectly Queer (University of Minnesota Press, 1993) and Flaming Classics: Queering the Film Canon (Routledge, 2000). He also co-edited, with Corey Creekmur, the hugely important collection Out in Culture: Lesbian, Gay, and Queer Essays on Popular Culture (Continuum, 1995) and edited two special issues of Camera Obscura on divas.

While Doty didn't claim to have invented queer cultural reading as a scholarly practice, he wowed us with the brilliance, daring and sincerity of his interpretations, ones often deeply rooted in his personal, affective experiences of the cultural forms he was studying. In so doing, he succeeded in showing countless other students of film and media texts why it is so vital to engage in these critical practices in public, why it is essential to be good at them, as well as what is seriously at stake in many identity or, indeed, existence-based scholar-fandoms, like those often engaged in by LGBT subjects.

If, as the Wizard of Oz tells us, 'A heart is not judged by how much you love; but by how much you are loved by others', the many tributes to Doty that have appeared in the last week prove, beyond any doubt, that he had an excellent heart. He certainly had a very courageous one. He, his unique voice, and the work he would have gone on to produce, had his life not been so cruelly cut short, will be hugely missed.

As well as putting together the video collage at the top of this entry, which introduces Doty's compelling justification for queer reading, if not the (possibly even more compelling) details of his actual queer reading of The Wizard of Oz (Victor Fleming, 1939), FSFF has also assembled a list of links in Doty's memory to online studies which perform queer readings of films and moving image culture, as well as openly accessible studies of some films that perform their own queer readings. Two further FSFF video essays are embedded--on Elizabeth Taylor and on "queer Hitchcock", both of which intersect with, and were partly inspired by Doty's own work on these and other themes.

That long list is preceded by a growing collection of links to the online tributes to Doty that have appeared since his death (this will be kept updated), as well as to his own, openly accessible, scholarly work online. FSFF's author very gratefully acknowledges the generosity of Anthony Bleach and the Facebook group Friends of Alexander Doty in assembling the first two of these three lists. Although she only knew Doty through his published work, she would like to convey her condolences for his loss to all those whose lives were graced, as so many evidently were, by knowing him personally.

Finally, at the very foot of today's entry is a call for contributions to a new website for the Global Queer Cinema project (to be launched in September). It will seek to live up to the high standards that Doty's work set for queer cultural critique as it aims to provide a new, openly accessible, internationalist resource for queer film and cultural studies. FSFF will update its readers about this exciting project in the coming weeks.

In the meantime, FSFF is sad that one of those who have most inspired LGBT film studies scholarship will not be around to witness his influence on this project.

Rest in queer peace, Alexander Doty.

Online tributes to Alexander Doty
Online work by Alexander Doty 
Online studies, or performances, of queer reading

Framing Incandescence: Elizabeth Taylor in JANE EYRE by Catherine Grant

Skipping ROPE (with audio commentary) by Catherine Grant. First published in Frames, 1, 2012. Transcript available.

Call For Queer Reading/Writing Contributions 
to the new Global Queer Cinema website

Contributions are invited to the Global Queer Cinema website, hosted by the School of Media, Film and Music at the University of Sussex, UK. The site will be launched in early September 2012. 
The website forms part of the Global Queer Cinema project, an international academic research network project funded by the UK's Arts and Humanities Research Council and based at the University of Sussex. The project is led by Rosalind Galt (University of Sussex) and Karl Schoonover (University of Warwick). The network held its first event in May of this year.
The project website will be run in conjunction with Catherine Grant (University of Sussex and Film Studies For Free) and Laura Ellen Joyce, GQC Project Co-ordinator, and will continue beyond the length of the project, acting in part as an open access archive and news filter for project-generated material, and related queer film studies resources. 
We welcome contributions from researchers interested in queer (and queering) cinema, cultural studies, media, global studies, gender and sexuality, filmmakers, artists, writers and interdisciplinary scholars, or those with an interest in the practice, exploration and dissemination of film. The below list of topics and frameworks. 
  • Queer frames
  • Queer uncanny
  • Queer sounds and music
  • Queer illusions
  • Queer film festivals
  • Queer decades
  • Queer directors
  • Queer avant garde and DIY
  • New Queer Cinema
  • New releases
  • Classic films
  • Androgyny and pandrogyny
  • Queer cosmetics and prosthetics
  • In-depth essays on single films
  • Short essays on single images

We therefore invite short takes of 250 - 300 words, or longer essays (MLA style) of around 1500-2000 words for more in-depth analysis. Multimedia work (non-copyright infringing - using fair use/fair dealing principles) is very welcome. The above list of topics is not exhaustive, and we invite contributions on any topic or theme which you feel would may (queerly) fit our general ethos. Please correspond with us about any proposals for content by email at GQCproject[at]gmail[dot]com, on Twitter at @g_q_c, and do please 'like' us on Facebook. Thank you.