Well, it's been mighty quiet round these parts for a while, and one of the reasons is that Film Studies For Free's supremo was very kindly invited to conceive of, and guest-edit, the inaugural, themed issue of a brand new open access journal run by Film Studies graduate students at the University of St. Andrews (who were led, on this occasion, by Frames founding editor Fredrik Gustafsson - also a film blogger of distinction).
The journal Frames— now added to FSFF's permanent listing of online film and moving studies periodicals—will go on to further great things.
But first issues don't generally get any more bumper, more multimedia—half the contributions focus on, or contain, audiovisual film and moving image studies—or more filled with the work of truly wonderful contributors than this! It's also a particularly timely issue, as its introduction sets out.
The Table of Contents with links to all items is set out below. Thanks so much to everyone involved—and especially to Fredrik—for their hard work. It was a pleasure working with you all.The journal Frames— now added to FSFF's permanent listing of online film and moving studies periodicals—will go on to further great things.
But first issues don't generally get any more bumper, more multimedia—half the contributions focus on, or contain, audiovisual film and moving image studies—or more filled with the work of truly wonderful contributors than this! It's also a particularly timely issue, as its introduction sets out.
[A]s honoured guest editor of this inaugural issue of the online journal Frames [...], I invited 39 fellow film and moving image scholars (including established and emergent film scientists, archivists, publishers, and film and video makers), all of them digital-participant-observers of one kind or another, to contribute their responses in a variety of forms to a semi-rhetorical question: ‘have film and moving image studies been “re-born” digital?’ In other words, what can we do now that we couldn’t before—and what can we no longer do as well—as a result of our increasing take up of particular digital scholarly technologies? Is a language of ‘re-vitalization’ an appropriate one to describe digital developments in our subjects? [Catherine Grant, ‘Film and Moving Image Studies: Re-Born Digital? Some Participant Observations', Frames, 1.1, 2012]
In future weeks, FSFF will profile and discuss particular aspects of the issue. But, from tomorrow, this blogger will be on her annual, offline, holiday for two weeks until July 20th, when she hopes to be re-born digital all over again!
Editorial
- Introducing Frames By founding co-editor Fredrik Gustafsson
- Film and Moving Image Studies: Re-Born Digital? Some Participant Observations Guest Editor's Introduction by Catherine Grant
Feature articles
- Cut, Paste, Glitch, and Stutter: Remixing Film History By Katherine Groo
- The Malleable Computer: Software and the Study of the Moving Image By Daniel Chávez Heras
- The Image as Direct Quotation: Identity, Transformation, and the Case for Fair Use By Jaimie Baron
- Labours of Love: In Praise of Fan Websites By Pam Cook
- Mapping Rohmer – A Video Essay By Richard Misek
- The Video Essay: The Future of Academic Film and Television Criticism? By Erlend Lavik
- In Touch with the Film Object: Cinephilia, the Video Essay, and Chaos Cinema By Matthias Stork
- Sparking Ideas, Making Connections: Digital Film Archives and Collaborative Scholarship By Sarah Atkinson
- Movie Tagger Alpha: Critical Tagging in Emerging Methods of Media Scholarship By Joshua McVeigh-Schultz
- Archive Film Material – A Novel Challenge for Automated Film Analysis By Matthias Zeppelzauer, Dalibor Mitrović and Christian Breiteneder
P.O.V.
- Not in Print: Two Film Scholars on the Internet By Kristin Thompson
- Double Lives, Second Chances By Cristina Álvarez López
- In So Many Words By Adrian Martin
- You Get the Picture By Alexandra Juhasz
- Interface 2.0 By Kevin B. Lee
- Moving Pieces By Matthias Stork
- Some Reflections On My Video Essay Venture “Style in The Wire” By Erlend Lavik
- Film Studies with High Production Values: An Interview with Janet Bergstrom on Making and Teaching Audiovisual Essays By Matthias Stork and Janet Bergstrom
- Teaching the Scholarly Video By Christian Keathley
- Video Essays in the Cinema History Classroom By Kelli Marshall
- Bonus Tracks: The Making of Touching the Film Object and Skipping ROPE (Through Hitchcock’s Joins) By Catherine Grant
- Thirteen Notes: A Poetics of Cinematic Randomization By Nicholas Rombes
- A Universe of New Images By Girish Shambu
- Fair Use and Media Studies in the Digital Age By Steve Anderson
- Click Here To Print This Video Essay: Observations on Open Access and Non-Traditional Format in Digital Cinema and Media Studies Publishing By Andrew Myers
- Open Video Documentary By Patricia Aufderheide
- Video Rising: Remarks on Video, Activism and the Web By Michael Chanan
- Reflections on the Evolution of Cinema=Godard=Cinema By Glen W. Norton
- Research Blogging in Film Studies By Nick Redfern
- Blogging and Tweeting in an Age of Austerity By Fredrik Gustafsson
- Media Studies Makeover By Anne Helen Petersen
- Analysis of Film Colors in a Digital Humanities Perspective By Barbara Flueckiger
- Film Theories and Living Heterogeneity By Dominic Leppla
- Opening the Colonial Film Archive By Tom Rice
- Snakes and Funerals By Emily Jeremiah, James S. Williams and Gillian Wylde
- MASHING UP Derrida and Film By Joanna Callaghan
- Screenwriting 2.0 in the Classroom? Teaching the Digital Screenplay By Andrew Kenneth Gay
- Ask Not What Your Web Can Do For You – Ask What You Can Do For Your Web! Some Speculations about Film Studies in the Age of the Digital Humanities By Adelheid Heftberger
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