|Screenshot from Groundhog Day (Harold Ramis, 1993). Read Elise Pezzotta's article on the concept of personal time in this and other films.|
As film scholars, we must constantly return to the cinematic production and manipulation of space and time to reassess how it is affected by our changing perception of the ontologies of space and time and, conversely, how our understanding of these physical concepts in cinema alters our spatio-temporal awareness in the real world. The advent of digital technology, with its formal atemporality and virtual space, presents a further radical challenge to our understanding of these categories, adding another layer of complexity to an already complex topic. [Alphaville Editors’ Note by Marian Hurley, Deborah Mellamphy and Jill Moriarty]Film Studies For Free is delighted to note for its readers that Issue 2 of Alphaville: Journal of Film and Screen Media is now online.
This special issue, edited by postdoctoral and doctoral students at University College Cork, focuses on the representation of space and time in cinema. Its excellent articles employ a wide range of methodological approaches and arguments to investigate cinematic spatiotemporal relationships, more than ably demonstrating how these concepts continue to engage and stimulate film scholars.
FSFF particularly liked Sergeant on The Wizard of Oz, Laist on The Matrix, Wortel on post-heritage cinema (see also her great, 2008 PhD thesis Textures of Time: A Study of Cinematic Sensations of Anachronism), as well as Pezzota on alternative and time travel narrative.
Alphaville: Journal of Film and Screen Media Issue 2: Space and Time in Cinema
- 'Scrutinising the Rainbow: Fantastic Space in The Wizard of Oz' by Alexander Sergeant, Kings College London
- 'Bullet-Time in Simulation City: Revisiting Baudrillard and The Matrix by way of the “Real 1999”' by Randy Laist, Goodwin College
- 'Personal Time in Alternative and Time-Travel Narrative: The Cases of Groundhog Day, Twelve Monkeys and 2001: A Space Odyssey' by Elise Pezzotta, University of Bergamo
- 'Revisiting the Past as a Means of Validation: Bridging the Myth of the Resistance and the Satire of the Economic Miracle in Two Comedies “Italian style”' by Giacomo Boitani, National University of Ireland, Galway
- 'From History to Haecceity: Spatial Reframings of the Past in Post-Heritage Cinema' by Eliza Wortel, Independent Scholar
- 'Making Nothing Happen: The Transition from Reactive Nihilism to Affirmation in Jim Jarmusch’s Broken Flowers (2005)' by Anna Backman Rogers, University of Groningen
- Funny Frames: The Filmic Concepts of Michael Haneke, by Oliver C. Speck (2010) Reviewer: Jeremiah Ambrose, Trinity College Dublin
- Celluloid Saviours: Angels and Reform Politics in Hollywood Film, by Emily Caston (2010) Reviewer: Mithuraaj Dhusiya, Hans Raj College, University of Delhi
- Hollywood Catwalk: Exploring Costume and Transformation in American Film, by Tamar Jeffers McDonald (2010) Reviewer: Rebecca Kambuta, Otago University, New Zealand
- What Cinema Is! Bazin’s Quest and its Charge, by Dudley Andrew (2010) Reviewer: Kevin McDonald, Cal State Northridge
- Tim Burton: The Monster and the Crowd: A Post-Jungian Perspective, by Helena Bassil-Morozow (2010) Reviewer: Deborah Mellamphy, University College Cork
- Animating Space: From Mickey To WALL-E, by J.P. Telotte (2010) Reviewer: Mihaela Mihailova, Yale University
Issue 3, Summer 2012, Sound, Voice, Music.
Issue 4, Winter 2012, Open Submission