Showing posts with label ejournals. Show all posts
Showing posts with label ejournals. Show all posts

Monday, 30 June 2014

Happy Holidays Round Up! Adrian Martin Interview, New Journal Issues, Videographic Film Studies and Much More!

Read more about this video here and here

It's been a busy few months and a fair tuckered out Film Studies For Free is off on its annual screen-free holidays from tomorrow for just over a week. While it chills out on a sweltering beach somewhere, generous to a fault (so it says), it's leaving you with LOTS of links to fabulous open access reading, viewing and listening. Just check out the wondrousness below.

Back soonish.

New issue of [in]Transition: A Journal of Videographic Film Studies 1.2, 2014 
Edited by Christian Keathley, the new issue examines some of the formal parameters in emergent videographic film and moving studies. It contains the following entries:

Adrian Martin Interview 
On the longest day of the year, June 21, 2014, Film Studies For Free's author interviewed film studies writer and thinker extraordinaire Adrian Martin. Our conversation took place in the quietest spot we could find in the historic center of Milan late on a World Cup match night. We were both visiting that city for the conference of the Network of European Cinema and Media Studies (NECS), and had been part of a workshop panel that day on videographic film studies, or "audiovisual approaches to audiovisual subjects." We discussed Adrian's turn to audiovisual essays (many made with Cristina Álvarez López) as well as his work more generally, and talked about his new book Mise en Scène and Film Style: From Classical Hollywood to New Media Art (forthcoming from Palgrave Macmillan, later in 2014). Adrian's latest De Filmkrant column 'Serve Yourself' offers an extract from the book as a preview of it: the column is on-line here: In the interview, Adrian talks in detail about a particular audiovisual essay -- Intimate Catastrophes -- which he co-edited with Cristina Álavarez López for the Transit: Cine y otros desvíos website.  Also see "[De Palma’s] Vision" by Martin and Álvarez López here: The interview is available from Film Studies For Free's Podbean Site.

Two new cinephilia links from Photogénie!

Great updates in Kracauer Lecture Video Recording Series at Goethe University, Frankfurt am Main, Germany (links via Vinzenz Hediger), including:

New issue of OFFSCREEN (Volume 18.4, 2014) on Television

Preceding issue of OFFSCREEN (18.3, March 2014) on Memory, Cinema and Time

SCOPE, Issue 26, February 2014

See film scholars Ben Sampson and Drew Morton's fantastic VIDEO ESSAY DIPTYCH: Good Dads/Bad Dads: A Tribute to Cinematic Fathers. Morton has also posted all five drafts of his BAD DADS video essay to share his production process: . Also see Morton's ingenious video on Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles: Day x Day x Day:

Michael Chanan has just uploaded his marvellous video tribute to the remarkable Brazilian documentarist Eduardo Coutinho. For further tributes to Coutinho see here

Ian Magor's great video tribute to the films of Bela Tarr:

Interesting audiovisual essay, on film music' relationship to the image track, by students Noémie Lachance and Jana Zander 

Kevin B Lee's TRANSFORMERS: THE PREMAKE (complete version)  

Computers Watching Movies (Inception) by Benjamin Grosser:

"Walden Connection: The Thoreauvian Agenda in UPSTREAM COLOR" Video by Anna Robertson

Michael Heileman's monumental videographic STAR WARS study Kitbashed" 

Great updates at the Ingmar Bergman Foundation website!

Excellent interview with film scholar Richard Misek, creator of the feature length essay film ROHMER IN PARIS: See his short video essay Mapping Rohmer here: 

Souleymane Cissé on Henri Langlois (video 2:24): (Link via Nicole Brenez)

The Österreichisches Filmmuseum has put Vertov's "Kinoweek" online, in digitized form, for free (link via Vinzenz Hediger)

Also at the Österreichisches Filmmuseum's site, video interviews with, among others, Philip Seymour Hoffman, James Benning, Anna Karina, Michel Ciment… Link via David Hudson:

Remembering Eli Wallach, 1915 - 2014:
David Hudson's tribute entry to Robert Gardner, 1925 – 2014, Anthropologist, filmmaker, author and advocate of the avant-garde:

Ehsan Khoshbakht talks to Dariush Mehrjui, Kamran Shirdel and Masoud Kimiai about the first golden age of Iranian cinema:

kinderspiel, a project on children as media archaeologists, media makers and media players (link via Vinzenz Hediger)

Excellent talk by David Archibald:  "Should Scotland have an independent film industry?"

David Bordwell's first dispatch from Bologna (thanks to David Hudson for the link) 

Niamh Thornton on violence in Amat Escalante's 2013 film HELI.

Great article at Sight and Sound, on "The cinema of the Palestinian revolution" 

Call for Papers for the Global Humanitarianism and Media Culture conference in February 2015 

Transit's new video essay dedicated to deers in cinema!

Wednesday, 21 May 2014

Announcing the launch of MEDIA INDUSTRIES! A new international Open Access Journal

After a hiatus due to some rather pressing research deadlines (and a little holiday), Film Studies For Free pokes its head fleetingly above the e-parapet to announce the exciting launch of a wonderful new open access journal: Media Industries online at

Media Industries is a new peer-reviewed, multi-media, open-access online journal that supports critical studies of media industries and institutions worldwide. The first issue is now online and the journal is also now accepting submissions for future issues.

Issue 1 is the first in a series of three issues to be published over the summer that features essays authored by the journal's highly esteemed editorial board. Each of the board essays discusses the state of the field of media industries studies.

FSFF wishes Media Industries all the very best for a highly industrious open access future.

1.1 Table of Contents (visit the journal for live links)

  • “Welcome to Media Industries” - written by the Editorial Collective: Amelia Arsenault, Stuart Cunningham, Michael Curtin, Terry Flew, Anthony Fung, Jennifer Holt, Paul McDonald, Brian McNair, Alisa Perren, and Kevin Sanson.
  • “Dirt Research For Media Industries” - Charles R. Acland
  • “Media Policy Research and the Media Industries” - Des Freedman
  • “The Value of Ethnography” - Tejaswini Ganti
  • “The Menace of Instrumentalism in Media Industries Research and Education” – David Hesmondhalgh
  • “Placing International Media Production” - Aphra Kerr
  • “On Automation in Media Industries: Integrating Algorithmic Media Production Into Media Industries Scholarship” - Philip Napoli
  • “Film Studies, Cultural Studies, and Media Industry Studies” - Thomas Schatz
  • “Selling Television: Addressing Transformations in the International Distribution of Television Content” - Jeanette Steemers
  • “There Is No Music Industry” – Jonathan Sterne
  • “Globalization Through the Eyes of Runners: Student Interns as Ethnographers on Runaway Productions in Prague” – Petr Szczepanik
  • “The Case for Studying In-Store Media” - Joseph Turow
  • “Industry Proximity” – Patrick Vonderau

Call for Papers
Media Industries invites contributions that range across the full spectrum of media industries, including film, television, internet, radio, music, publishing, electronic games, advertising, and mobile communications. Submissions may explore these industries individually or examine inter-medial relations between industrial sectors. We encourage both contemporary and historical studies, and are especially interested in contributions that draw attention to global and international perspectives, and use innovative methodologies, imaginative theoretical approaches, and new research directions.

More About Media Industries
The journal is maintained by a managing Editorial Collective and Editorial Board comprised of an international group of media industries scholars. For additional information about the Board and Collective, as well as a list of forthcoming essays from Board members, please visit:
Media Industries


Monday, 21 October 2013


Film Studies For Free is under the cosh of a few deadlines right now (there are some great things to come at this here open access campaigning website in the next weeks!).

But it has temporarily cast off its work shackles to rush you tidings of two new ejournal issues: the latest Screening the Past, co-edited by Adrian Martin and Anna Dzenis, and replete with Part One of a brilliant dossier on Aesthetic Issues in World Cinema and a marvellous essay by Nicole Brenez, among other treasures (Hediger, Martin and Tofts, Phelps); and the very welcome return online of the multilingual La furia umana (whose website, and fabulous archive [soon to return fully], were devastated by a malware attack), edited by Toni D'Angela and replete with dossiers on Joseph Losey and Bertrand Bonello, and a marvelous essay by Nicole Brenez, among other treasures (Ramani, Calder Williams, Small, to cite just some anglophone ones)!

Scroll down for all the wonderful contents. FSFF will be back properly soon!


Aesthetic Issues in World Cinema (Part 1)
First Release


Editorial: T.D. / La critique comme concaténation

Confidential report
NICOLE BRENEZ / La Critique comme concept, exigence et praxis


Prima linea
Histoires du cinéma
L'occhio che uccide
Flaming creatures
The new world

Monday, 16 September 2013

FILMICON: The New Journal That Will Launch a Thousand (Plus) Greek Film Studies

Film Studies For Free is delighted to announce the launch of Filmicon: Journal of Greek Film Studies. A peer-reviewed, open access and cross-cultural project, its mission (excerpted from, below) is a refreshing, important and timely one, indeed.

The lively and original contents of its first issue are also linked to below. FSSF would particularly like to flag up Olga Kourelou's brilliantly useful English-language bibliography on Greek Cinema (2010-13), which contains links to numerous online and open access items of further interest, and Deb Verhoeven's excellent study of the Greek film circuit in Australia

FSFF wishes Filmicon the very best of luck: Καλὴ τύχη! 

Screen shot of Filmicon's mission

Filmicon: Journal of Greek Film Studies, Issue 1, September 2013 

EDITORIAL: Creating an Open-Access, Cross-cultural Home for Greek Film Studies




Tuesday, 2 July 2013

VIEW, the Journal of European Television History and Culture: European Television Memories

Screenshot from The Paradox of the Monarchy, an archive-film video collage (by Catherine Grant) exploring some of the psychological and mediatized components of the public's relationship with the UK monarchy. Read Hazel Collie's discussion of significant, gendered, televisual memories, such as those of the coronation of Queen Elizabeth II, in "It's Just So Hard to Bring It to Mind": The Significance of ‘Wallpaper’ in the Gendering of Television Memory Work

Film Studies For Free is delighted to announce that EUscreen has presented issue 03 of VIEW, the Journal of European Television History and Culture.

The new issue treats the subject of 'European Television Memories', and it's full of wonderful discussions of 'dynamic memory practices that take place in the contemporary media landscape as an ongoing, active and performative engagement with the past', as the issue's editorial puts it. Such discussions are highly relevant to film scholars, too.

The full table of contents is given below, with FSFF's congratulations to VIEW on an excellent issue.

VIEW is published by the Netherlands Institute for Sound and Vision in collaboration with Utrecht University, Maastricht University and Royal Holloway University of London. It is supported by the EUscreenXL project, the European Television History Network and the Netherlands Organization for Scientific Research.
VIEW, the Journal of European Television History and Culture is the first peer-reviewed, multi-media and open access e-journal in the field of European television history and culture. It offers an international platform for outstanding academic research and archival reflection on television as an important part of our European cultural heritage. The journal is proud to present its third issue: European Television Memories. It has been guest-edited by Jérôme Bourdon and Berber Hagedoorn and is freely available at:
In the context of the fast development of media studies, the third issue of VIEW highlights debates around the moving borders of national memories, fostered by television in the context of European history. The articles in this issue focus on the contribution of European television researchers, covering all three areas of media studies: production, text and reception. We wish you a pleasant and inspiring journey through European Television Memories! - Twitter: @ViewjournalEU

Friday, 7 June 2013

The Cine-Files' special issue on mise-en-scene: Laura Mulvey, Kristin Thompson, V.F. Perkins, Lesley Stern, Adrian Martin, Christian Keathley, Jean Ma, Girish Shambu, John Gibbs and Jesse Green

Scene from the Iranian film Zir-e poost-e shahr/Under the Skin of the City (Rakhshan Bani-E'temad, 2001). Read a study of this film by Laura Mulvey in the new issue of The Cine-Files. Professor Mulvey has recently launched the Birkbeck Institute for the Moving Image (BIMI) which organises London-based film studies events, many of them with free entry and recorded for global online access. Upcoming BIMI events include some excellent ones on 3D

Film Studies For Free was thrilled to learn of the publication of Issue 4 of The Cine-Files. It, in turn, is delighted to feature ten guest scholars (ranging from the top notch to the legendary!) who offer either analysis of a cinematic “moment” or responses to questions about mise-en-scène and the significance of “close reading.” There are two further excellent articles in the issue by Warwick Mules and Mark Balderston. Thank you to The Cine-Files!

Guest contributions: 

Wednesday, 5 June 2013


Frame grab from Shrek 2 (Andrew Adamson, Kelly Asbury and Conrad Vernon, 2004). Read Brady Hammond's article in the new issue of NECSUS, which explores 'green skin' in contemporary Hollywood cinema

Things have been a little busy in Film Studies For Free's offline universe and so rather quiet in its online one. But it's back with an ecologically sound bang, in the form of some updates about excellent, recent, open access journal issues.

First up is Issue 3 of NECSUS, the European Journal of Media Studies. Its last issue touched on 'Tangibility’. This time round its focus is on ‘"Greenness" in a broader pallet of media-related issues, from sustainable media production to the use of the colour green in a variety of films.'

NECSUS #3_Spring 2013_’Green’


Special Section: Green

Book Reviews:

edited by the NECS Publication Committee

Festival Reviews:

edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network

Exhibition + Website + Conference Reviews:

Monday, 24 December 2012

A Stocking Full of eReading and Viewing: Happy Holidays!

Updated December 31, 2012
Frame grab from Caravaggio (Derek Jarman, 1986). Read Keeley Saunders' article about the tableaux vivants in this film

'Tis the season to be jolly, apparently, and so Film Studies For Free is happy to oblige with some extremely jolly, serious, and completely free eGifts for the festive season, ones from wise men and women around the world. You can find them liberally scattered in list form, below, under the six headers in bold.

This bountiful blog will be back early in the New Year with its list of Best Online (and Open Access) Film Studies Resources in 2012. So, if you haven't taken part in the readers' poll for that yet, you still have a little time.

In the meantime, FSFF wishes you very happy holidays indeed!

SEQUENCE 1.1, 2012

The first array of eBook publications from SEQUENCE Serial Studies in Media, Film and Music has just been launched — a central element in REFRAME and SEQUENCE’s particular model of academic ePublishing.

You can now read SEQUENCE 1.1 — Steven Shaviro’s magisterial and open access article about a film about the end of world (‘MELANCHOLIA, or, The Romantic Anti-Sublime‘) — in a variety of free eBook formats. Just click here to check them out and download them to your devices.


RE.FRAMING ACTIVISM: Creating the Witness

Leshu Torchin's current research focuses on how screen media bear witness to human rights abuses and genocide in order to mobilise audiences. In her guest post for RE.FRAMING ACTIVISM, Torchin introduces some of the issues that are central to her new book, Creating the Witness: Documenting Genocide on Film, Video, and the Internet. Thanks to Torchin and the book’s publishers University of Minnesota Press, REFRAME has been granted the permission to share the extensive introduction to the book online. You can read it here.

ALPHAVILLE, Issue 4, Winter 2012

Open Theme Edited by Stefano Odorico and Aidan Power
Book Reviews Edited by Pierluigi Ercole
Reports Edited by Ian Murphy

NETWORKING KNOWLEDGE: Journal of the MeCCSA-PGN, Vol 5, No 3 (2012): The Biographical Narrative in Popular Culture, Media and Communication

Editorial The Biographical Narrative in Popular Culture, Media and Communication: An Introduction PDF  Matthew Robinson


PGN Matters

THE CINE-FILES: A Scholarly Journal of Cinema Studies, Issue 2, 2012 

Tuesday, 27 November 2012

On ’Tangibility’ and Relocating Cinema: NECSUS #2, Autumn 2012

To celebrate the new issue of NECSUS on tangibility, above is a reposting of TOUCHING THE FILM OBJECT? by Catherine Grant. Also see version with audio commentary

[A] media, singular, is not just its medium – it is not only a support or a device. A media is also and foremost a cultural form; it is defined by the way in which it puts us in relation with the world and with others, and therefore by the type of experience that it activates. By experience, I mean both a confrontation with reality (to gain experience) and the capacity to manage this relation and to give it meaning (to have experience). From its very beginnings, cinema has been based on the fact that it offers us moving images through which we may reconfigure the reality around us and our own position within it. Cinema has always been a way of seeing and a way of living – a form of sensibility and a form of understanding. [Francesco Casetti, 'The relocation of cinema', NECSUS, Issue 2, Autumn 2012]
A great second issue of NECSUS, the brilliant journal of NECS, the European Network for Cinema and Media Studies has been published. It boasts some superlative articles including Francesco Casetti's must-read article from which Film Studies For Free has excerpted above.

For those interested in hapticity, and our experience of the material properties of film, there's a very special section on that topic.

All in all (and all the contents are directly linked to below), some truly wonderful work. Well done and thank you NECSUS!

Editorial Necsus

Special Section: Tangibility

Festival Reviews:
Edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network

Book Reviews:

Exhibition Reviews:

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.