New SCREENING THE PAST

Image from After the Rainbow (2009), a two screen video installation by Soda_Jerk, the Australian artist sisters Dom and Dan Angeloro, as discussed in 'The Colour of Nothing: Contemporary Video Art, SF and the Postmodern Sublime' by Andrew Frost

[C]inema is surely a paradoxical object: its medium-specific possibility seems to have been well and truly overrun by its tendency to intermediality, its fundamental impurity. That is where its true materiality-effect, today, is situated: in the palpable aura of a mise en scène that is always less than itself and more than itself, not only itself but also its contrary, ever vanishing and yet ever renewed across a thousand and one screens, platforms and dispositifs. [Adrian Martin, 'Turn the Page: From Mise en scène to Dispositif ', Screening the Past, Issue 31, 2011]

Below, Film Studies For Free presents the table of contents to the latest online issue of Screening the Past.

It's a special issue on the 'intermediality' of cinema, guest-edited by the brilliant and influential Australian film critic and scholar Adrian Martin. It begins with a marvellous contribution by him to the topic. There's also an unmissable 'rerun' of Nicole Brenez's remarkable essay 'Incomparable Bodies'.

Admirers of Martin's work should also be more than excited by the news that the first issue of LOLA, a new film journal edited by him and the film writer and blogger extraordinaire Girish Shambu, is "coming soon"...


Screening the Past, Issue 31 - Cinema Between Media 
(Incorporating U-matic to YouTube, a selection of papers from a National Symposium celebrating three decades of Australian Indigenous Community Filmmaking edited by Therese Davis).

First Release

• Turn the Page: From Mise en scène to Dispositif by Adrian Martin
• Cinema, Disappearance and Scale in David Lynch’s Inland Empire by Jodi Brooks
• The Colour of Nothing: Contemporary Video Art, SF and the Postmodern Sublime by Andrew Frost
• Théâtre du Soleil Meets the Cinema: Acting and Mask Work in Ariane Mnouchkine’s Molière by Laura Sava
• Capital and Co.: Kluge/Eisenstein/Marx by Julia Vassilieva

Dossier: U-Matic to YouTube

• “Working in Communities, Connecting with Culture”: Reflecting on U-matic to YouTube A National Symposium Celebrating Three Decades of Australian Indigenous Community Filmmaking by Therese Davis and Romaine Moreton
• “These Are The Choices We Make”: Animating Saltwater Country by John Bradley Graham Friday Amanda Kearney and Leonard Norman
• Two Laws: A Filmmaking Journey by Alessandro Cavadini and Carolyn Strachan
• Was Two Laws Experimental? by Stephen Muecke
• Story, Film Style and Cross-cultural Collaboration in Aeroplane Dance (1994) by Trevor Graham
• Aeroplane Dance: Whose Story? by Maryrose Casey and John Bradley
• Models of Collaboration in the Making of Ten Canoes (2006) by Nancy E. Wright
• Darlene Johnson on Making Films in Arnhem Land by Therese Davis
• Victorian Indigenous Communities and Digital Storytelling by Jason Eades Helen Simondson and Kimba Thompson
• The Farm (2009) and Indigenous Remembrance by Romaine Moreton

Classics and Re-runs

• Incomparable Bodies by Nicole Brenez

Reviews

• Technics and Time, 3: Cinematic Time and the Question of Malaise, Bernard Stiegler by Daniel Ross
• Making Settler Cinemas: Film and Colonial Encounters in the United States, Australia and New Zealand, Peter Limbrick by Deane Williams
• Cold War Captives: Imprisonment, Escape, and Brainwashing, Susan L. Carruthers by Gabrielle Murray
• Diasporas of Australian cinema, Catherine Simpson, Renata Murawska, Anthony Lambert (eds) by Ina Bertrand
• The Living and the Undead, Gregory A. Waller by Michael Grant
• Dancing Ledge / Kicking the Pricks, Derek Jarman by Niall Richardson
• Cinematic Cold War: The American and Soviet Struggle for Hearts and Minds, Tony Shaw and Denise J. Youngblood by Regina Longo
• Israeli Cinema: East/West and the Politics of Representation, Ella Shohat by Seyda Aylin Gurses
• The Quay Brothers: Into a Metaphysical Playroom, Suzanne Buchan by Mihaela Mihailova
• Crash: Cinema and the Politics of Speed and Stasis, Karen Beckman by Thomas Salek