tag:blogger.com,1999:blog-9253955360237211382024-03-04T00:26:21.769+00:00Film Studies For FreeCatherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.comBlogger613125tag:blogger.com,1999:blog-925395536023721138.post-47868864650013431702022-06-07T14:07:00.010+01:002023-11-23T11:43:28.191+00:00In the Nick of Time: On Cli-Fi and Ecocinema Film and Moving Image Studies<div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YRR-Ohcz4y8?si=xWT04GwZqnUEZ0Ba" title="YouTube video player" width="560"></iframe></div><div>Well, it's been <a href="https://filmstudiesforfree.blogspot.com/2019/12/afore-ye-go-2019-essential-tributes.html" target="_blank">a while</a>... Something or other must have happened in the meantime... <span face="Roboto, sans-serif" style="background-color: white; font-size: 24px; text-align: center; white-space: pre-wrap;">🤔</span></div><div><br /></div><div><a href="https://filmstudiesforfree.blogspot.com" target="_blank">Film Studies For Free</a> is nonetheless very happy to be back, still fighting the good fight for high-quality, openly-accessible, film and moving image studies resources. </div><div><br /></div><div>With no further ado, <a href="https://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a> is thrilled to bring its readers and audio-viewers a brilliant new <a href="https://vimeo.com/676546312" target="_blank">video essay</a> (embedded above) entitled “<a href="https://vimeo.com/676546312" target="_blank">Climate Fictions, Dystopias, and Human Futures</a>” by <a href="https://www.ntnu.edu/employees/julia.leyda" target="_blank">Julia Leyda</a> and <a href="https://www.engsem.uni-hannover.de/en/seminar/personenverzeichnis/kathleen-loock/" target="_blank">Kathleen Loock</a>. Thanks so much to them for sharing with us their wonderful study of the evolution of climate fiction cinema, with its powerful videographic plea for greater diversity and complexity in the Cli-Fi audiovisual imaginary.</div><div><br /></div><div>Below the informative text about their video that they have supplied (scroll down), <a href="https://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a> has curated a list of links to further great and openly accessible film and moving image studies research and resources on these essential topics, some of which are drawn from Susanne Leikam and Julia Leyda's marvellous 2017 critical bibliography '<a href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/#" target="_blank">Cli-Fi in American Studies: A Research Bibliography</a>', published in <i>American Studies Journal </i>(<a href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/#">DOI 10.18422/62-08</a><span style="color: #003f63;"><span style="background-color: white; caret-color: rgb(0, 63, 99); font-size: 14px; letter-spacing: 1px; text-transform: uppercase;">)</span></span>.</div><div><br /></div><blockquote style="border: medium; margin: 0px 0px 0px 40px; padding: 0px;"><div style="text-align: left;"><span style="font-family: times;"><i style="caret-color: rgb(34, 34, 34); color: #222222;"><span lang="EN-US">Don’t Look Up </span></i><span lang="EN-US" style="caret-color: rgb(34, 34, 34); color: #222222;">(2021), a comedy about a comet on a collision course with Earth, is one of Netflix’s most-watched English-language films of all time. It sparked discussions around climate change and created a <a href="https://dontlookup.count-us-in.com/en" target="_blank">climate action platform</a> that outlines what individuals can do against climate change. Netflix has also launched its <a data-saferedirecturl="https://www.google.com/url?q=https://about.netflix.com/en/news/a-new-earth-month-collection-celebrates-our-planet-and-its-heroes&source=gmail&ust=1654073456126000&usg=AOvVaw1sVa_-4AwsquSnWPvExyx-" href="https://about.netflix.com/en/news/a-new-earth-month-collection-celebrates-our-planet-and-its-heroes" style="color: #1155cc;" target="_blank">Sustainability Collection</a> in April 2022, with more than 170 films and series aimed at raising environmental awareness. “Entertain to Sustain” is the slogan behind the production and curation of this content and it goes hand in hand with Netflix’s <a data-saferedirecturl="https://www.google.com/url?q=https://about.netflix.com/en/news/net-zero-nature-our-climate-commitment&source=gmail&ust=1654073456126000&usg=AOvVaw2UhKl-5ZOYOp-Qv9iFm1HN" href="https://about.netflix.com/en/news/net-zero-nature-our-climate-commitment" style="color: #1155cc;" target="_blank">Net Zero + Nature</a> plan. But the question of what can be done, and what a movie or television series can achieve, has also led to criticism of Netflix’s greenwashing, emphasizing individual action and piecemeal corporate PR-heavy policies over politics. In our video essay “Climate Fictions, Dystopias, and Human Futures,” we take <i>Don’t Look Up </i>as a starting point to look back at the evolution of the concept of “cli-fi” (climate fiction) over more than a decade, reflect on shifting storytelling strategies of cli-fi films past, present, and future, and probe their possible impact -- from precursors such as <i>Planet of the Apes</i> (1968) and <i>Soylent Green </i>(1973) to the “classic” <i>The Day after Tomorrow</i> (2004) to recent variations on the cli-fi formula that break out of the white patriarchal mode like <i>Fast Color</i> (2018) and that incorporate lighter affects like <i>Downsizing </i>(2017). If cli-fi has a role to play in helping contemporary audiences imagine possible futures, part of its task will be to employ more diverse stories, characters, and settings. [JL and KL]</span></span></div></blockquote><div><br /></div><div>The below list will be updated when further good links surface, or come to mind. So, do please let <a href="https://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a> know if you have any resources to add! Thank you!</div><div><br /></div><div><br /></div><div style="text-align: left;"><span style="color: #003f63;"><span style="background-color: white; caret-color: rgb(0, 63, 99); letter-spacing: 1px; text-transform: uppercase;"><b>Links</b></span></span></div><div><br /></div><div style="text-align: left;"><a href="https://thenewinquiry.com/anthropocene-realism/" target="_blank">Morgan Adamson, 'Anthropocene Realism' New Inquiry 30 Nov. 2015</a><br /><br /><a href="https://doi.org/10.3366/film.2020.0140" target="_blank">Andrea Avidad, 'Deadly Barks: Acousmaticity and Post-Animality in Lucrecia Martel's La ciénaga', Film-Philosophy, Volume 24 Issue 2, 2020</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><a href="https://doi.org/10.5038/1944-0472.13.4.1867" target="_blank">Natalie D. Baker, 'Zombie Experts and Anarchy Imaginaries: Fantasies of 'Crises to Be' in Climate Change Futures', Journal of Strategic Security, ol. 13, No. 4, 2020</a></div><div><br /></div><div><div><a href="https://doi.org/10.4000/eces.4907" target="_blank">Giovanni Bettini, 'About Time! The Abyss of the Future and End(s) of Subjectivity in (Climate) Dystopias', e-cadernos CES [Online], 32 | 2019</a></div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="https://academic.oup.com/screen/article/62/4/533/6500328" target="_blank">Graiwoot Chulphongsathorn and Philippa Lovatt, 'Tracing the Anthropocene in Southeast Asian film and artists’ moving image: Introduction', Screen, 62.4, Winter 2021</a></div><br /><a href="https://punctumbooks.com/titles/shadowing-the-anthropocene-eco-realism-for-turbulent-times/" target="_blank">Tom Cohen, ed. Telemorphosis: Theory in the Era of Climate Change. Vol. 1. Ann Arbor, MI: Open Humanities Press, 2012</a><br /><br /><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Annihilation_256-281.pdf" target="_blank">Sara L. Crosby, Andrew Hageman, Shannon Davies Mancus, Daniel Platt, and Alison Sperling, Annihilation: A Roundtable Review. Gothic Nature. 1, 2019</a> PDF<br /><br /><a href="https://research.gold.ac.uk/id/eprint/26856/3/transnational%20ecocritique%20and%20community-1%20SC.pdf" target="_blank">Sean Cubitt, 'Ecocritique as Transnational Commons'. Transnational Screens, 10(1), pp. 1-11, 2019.</a> PDF</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="https://www.blog.shanedenson.com/?p=2658" target="_blank">Shane Denson, 'Post-Cinema After Extinction', medieninitiative, 21 May 2015</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="http://mediafieldsjournal.org/post-cinema-after-extinction/" target="_blank">Shane Denson, 'Post-Cinema After Extinction [expanded version]', Media Fields Journal, 2018</a></div><div style="text-align: left;"><br /><a href="https://doi.org/10.1007/s11059-016-0335-z" target="_blank">Simon Estok, 2016). Ecomedia and ecophobia. Neohelicon (Budapest), 43(1), 2016</a><br /><br /><a href="https://doi.org/10.37536/reden.2022.3.1818" target="_blank">Michael Fuchs and Christy Tidwell, 'The Anthropocene, Nature, and the Gothic: An Interview with Christy Tidwell', REDEN. Revista Española De Estudios Norteamericanos, 3(2), 100-112.</a> PDF<br /><br /><a href="https://doi.org/10.13130/2035-7680/521" target="_blank">Angel Galdón Rodríguez, 'Starting to Hate the State: The Beginning of the Character’s Dissidence in Dystopian Literature and Films', Altre Modernità, no. 3, Università degli Studi di Milano, 2010, pp. 166–73</a> PDF<br /><br /><div><a href="https://gothicnaturejournal.com/" target="_blank">GOTHIC NATURE JOURNAL: New Directions in Ecohorror and the EcoGothic</a>, <a href="https://gothicnaturejournal.com/issue-1/" target="_blank">Issue 1, 2019</a> and <a href="https://gothicnaturejournal.com/issue-2/" target="_blank">Issue 2, 2020</a></div></div><ul style="box-sizing: border-box; line-height: inherit; text-align: left; text-decoration: none;"><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Parker-Poland_1-20_Gothic-Nature-1_2019.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘Introduction’, Elizabeth Parker and Michelle Poland</span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Hillard_21-33_Gothic-Nature-1_2019.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘Gothic Nature Revisited: Reflections on the Gothic of Ecocriticism’, Tom J. Hillard </span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Estok_34-53_Gothic-Nature-1_2019.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘Theorising the EcoGothic’, Simon C. Estok</span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Corstorphine_54-77_Gothic-Nature-1_2019.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘“Don’t be a Zombie”: Deep Ecology and Zombie Misanthropy’, Kevin Corstorphine</span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Packham_78-102_Gothic-Nature-1_2019.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘Children of the Quorn: The Vegetarian, Raw, and the Horrors of Vegetarianism’, Jimmy Packham</span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Cullen_103-126_Gothic-Nature-1_2019.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘A Stern, a Sad, a Darkly Meditative, a Distrustful, if not a Desperate Man, Did He Become, from the Night of that Fearful Dream’: Nathaniel Hawthorne’s Nocturnal Gothic’, Sarah Cullen </span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Ricard_127-154.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘”On the Border Territory Between the Animal and the Vegetable Kingdoms”: Plant-Animal Hybridity and the Late Victorian Imagination’, Marc Ricard</span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Smith-Yeo_155-176.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘EcoGothic, Ecohorror and Apocalyptic Entanglement in Alan Moore and Dave Gibbons’ Tales of the Black Freighter’, James L. Smith and Colin Yeo</span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Beasley_177-201_Gothic-Nature-1_2019.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘The Value(s) of Landscape: The Sublime, the Picturesque, and Ann Radcliff’, Garland D. Beasley</span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2019/09/Mortensen_202-225_Gothic-Nature-1_2019.pdf" style="box-sizing: border-box; line-height: inherit; text-decoration: none;"><span style="color: #999999;">‘”Monkey-Advice and Monkey-Help”: Isak Dinesen’s EcoGothic’, Peter Mortensen</span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2021/03/1-GN2-Articles-Parker-and-Poland.pdf" style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit; text-decoration: none;"><span style="color: #999999; font-family: inherit;">We Live in EcoGothic Times: <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Gothic Nature</span> in the Current Climate, <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Elizabeth Parker and Michelle Poland</span></span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2021/03/2-GN2-Articles-D-Keetley.pdf" style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit; text-decoration: none;"><span style="color: #999999; font-family: inherit;">Dislodged Anthropocentrism and Ecological Critique in Folk Horror: From ‘Children of the Corn’ and <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">The Wicker Man</span> to ‘In the Tall Grass’ and <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Children of the Stones</span>, <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Dawn Keetley</span></span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2021/03/3-GN2-Articles-A-Hauke.pdf" style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit; text-decoration: none;"><span style="color: #999999; font-family: inherit;">The Wicked Witch in the Woods: Puritan Maternalism, Ecofeminism, and Folk Horror in Robert Eggers’ <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">The VVitch: A New-England Folktale</span>, <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Alexandra Hauke</span></span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2021/03/4-GN2-Articles-K-Barnes.pdf" style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit; text-decoration: none;"><span style="color: #999999; font-family: inherit;">Soundtrack to Settler-Colonialism: Tanya Tagaq’s Music as Creative Nonfiction Horror, <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Kateryna Barnes</span></span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2021/03/5-GN2-Articles-C-Tidwell.pdf" style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit; text-decoration: none;"><span style="color: #999999; font-family: inherit;">The Ecohorror of Omission: Haunted Suburbs and the Forgotten Trees of <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">A Nightmare on Elm Street</span>, <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Christy Tidwell</span></span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2021/03/6-GN2-Articles-R-Gibson.pdf" style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit; text-decoration: none;"><span style="color: #999999; font-family: inherit;">All You Need Is Love?: Making the Selfish Choice in <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">The Cabin at the End of the World</span> and <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">The Migration</span>, <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Rebecca Gibson</span></span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2021/03/7-GN2-Articles-M-Fryers.pdf" style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit; text-decoration: none;"><span style="color: #999999; font-family: inherit;">The Haunted Seas of British Television: Nation, Environment and Horror, <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Mark Fryers</span></span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2021/03/8-GN2-Articles-A-Gonzaelez.pdf" style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit; text-decoration: none;"><span style="color: #999999; font-family: inherit;">Tentacles from the Depths: The Nautical Horror of D. T. Neal’s <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Relict</span>, <span style="box-sizing: border-box; font-style: italic; line-height: inherit;">Antonio Alcalá González</span></span></a></li><li><a href="https://gothicnaturejournal.com/wp-content/uploads/2021/03/9-GN2-Articles-T-Thelen.pdf" style="box-sizing: border-box; caret-color: rgb(37, 37, 37); font-family: inherit; line-height: inherit; text-decoration: none;"><span style="color: #999999;"><span style="font-family: inherit;"><span style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit;">Real Mermaid vs. Nuclear Power Plant: Ecofeminist Vengeance and </span></span><span style="box-sizing: border-box; caret-color: rgb(37, 37, 37); font-family: inherit; font-style: italic; line-height: inherit; text-decoration: none;">Ama</span><span style="font-family: inherit;"><span style="box-sizing: border-box; caret-color: rgb(37, 37, 37); line-height: inherit;">Divers in Japanese Horror</span></span><span style="box-sizing: border-box; caret-color: rgb(37, 37, 37); font-family: inherit; font-style: italic; line-height: inherit; text-decoration: none;">, Timo Thelen</span></span></a></li></ul><div style="text-align: left;"><a href="https://library.oapen.org/handle/20.500.12657/41204" target="_blank">Rodney Harrison. and Colin Sterling, eds, Deterritorializing the Future: Heritage in, of and after the Anthropocene (Open Humanities Press, 2020)</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div><a href="https://lnu.diva-portal.org/smash/get/diva2:1540238/FULLTEXT01.pdf" target="_blank">Johan Höglund, 'Militarizing the Anthropocene: Hollywood, Climate Fiction and Security in Future Americas', EAAS presentation, 2021</a> PDF</div><br /><a href="https://screenculture.wp.st-andrews.ac.uk/2020/04/30/themed-playlist-digital-and-interactive-media-projects-that-think-through-the-environment/" target="_blank">Dale Hudson and Patricia R. Zimmermann, 'Digital and Interactive Media Projects that Think Through the Environment', St. Andrews University's Centre for Screen Studies' Themed Playlist, 2020</a><br /><br /><a href="https://punctumbooks.com/titles/shadowing-the-anthropocene-eco-realism-for-turbulent-times/" target="_blank">Adrian Ivakhiv, Shadowing the Anthropocene: Eco-Realism for Turbulent Times (Punctum Books, 2018)</a><br /><br /><a href="http://library.oapen.org/handle/20.500.12657/22466" target="_blank">Erin James and Eric Morel, eds, Environment and Narrative: New Essays in Econarratology (Ohio State University Press, 2020)</a><br /><br /><a href="https://reframe.sussex.ac.uk/post-cinema/6-2-kara/" target="_blank">Selmin Kara, 'Anthropocenema: Cinema in the Age of Mass Extinctions'. Post-Cinema: Theorizing 21st-Century Film. Ed. Shane Denson and Julia Leyda. Falmer: Reframe, 2016</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="https://doi.org/10.7146/lev.v0i7.125341" target="_blank">Caroline Kjærulff, 'The Ambiguous Portrayal of Nature in Annihilation', Leviathan: Interdisciplinary Journal in English, (7), 2021 </a><br /><br /><a href="https://doi.org/10.3366/film.2017.0053" target="_blank">Angelos Koutsourakis, 'Visualizing the Anthropocene Dialectically: Jessica Woodworth and Peter Brosens’ Eco-Crisis Trilogy', Film-Philosophy, Volume 21 Issue 3, Page 299-325, 2017</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="https://doi.org/10.7146/lev.v0i7.125338" target="_blank">Trine Mærsk Kragsbjerg, 'The Malthusian Alternative and Overpopulation in Avengers: Infinity War and Avengers: Endgame', Leviathan: Interdisciplinary Journal in English, No. 7, 2021</a><br /><br /><a href="https://blog.commarts.wisc.edu/2013/07/26/enough-said-beasts-of-the-southern-wild-sharknado-and-extreme-weather/" target="_blank">Julia Leyda, 'Enough Said? Beasts of the Southern Wild, Sharknado, and Extreme Weather', Antenna: Responses to Media and Culture 26 July 2013 </a><br /><br /><a href="https://www.iass-potsdam.de/sites/default/files/files/wp_nov_2016_the_dystopian_impulse_of_contemporary_cli-fi.pdf" target="_blank">Julia Leyda, Kathleen Loock, Alexander Starre, Thiago Pinto Barbosa, and Manuel Rivera, 'The Dystopian Impulse of Contemporary Cli-Fi: Lessons and Questions from a Joint Workshop of the IASS and the JFKI (FU Berlin)', Working Paper of the Institute for Advanced Sustainability Studies, Potsdam (Dec. 2016)</a> PDF<br /><br /><a href="https://library.oapen.org/handle/20.500.12657/51197" target="_blank">Martin Löschnigg and Marzena Sokołowska-Paryż, eds, The Enemy in Contemporary Film, Volume 12, (De Gruyter, 2018)</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="https://academic.oup.com/screen/article/62/4/559/6500324" target="_blank">Philippa Lovatt, 'Foraging in the ruins: Nguyễn Trinh Thi’s mycological moving-image practice', Screen, 62.4, Winter 2021 </a><br /><br /><a href="https://library.oapen.org/handle/20.500.12657/52144" target="_blank">Tiago de Luca, Planetary Cinema: Film, Media and the Earth (Amsterdam University. Press, 2021)</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="https://www.literarygeographies.net/index.php/LitGeogs/article/view/239" target="_blank">Jeff Vance Martin and Gretchen Sneegas, 'Critical Worldbuilding: Toward a Geographical Engagement with Imagined Worlds', Literary Geographies, Vol 6, No 1 (2020) </a></div><div style="text-align: left;"><ul style="text-align: left;"><li><span style="color: #999999;"><a href="#">Does Wall•E Dream of Electric Kale? The California Dream as Post-Scarcity Nightmare</a> Alexander Robert Tarr </span></li><li><span style="color: #999999;"><a href="#">Geographies of Science Fiction, Peace, and Cosmopolitanism: Conceptualizing Critical Worldbuilding through a Lens of Doctor Who</a> Hannah Carilyn Gunderman </span></li><li><span style="color: #999999;"><a href="#">Expanding Climate Science: Using Science Fiction’s Worldbuilding to Imagine a Climate Changed Southwestern U.S.</a> Dylan M. Harris</span></li></ul></div><div style="text-align: left;"><a href="https://doi.org/10.3366/film.2016.0005" target="_blank">David Martin-Jones, 'Trolls, Tigers and Transmodern Ecological Encounters: Enrique Dussel and a Cine-ethics for the Anthropocene', Film-Philosophy, Volume 20 Issue 1, 2016</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="https://digitalcommons.usf.edu/cgi/viewcontent.cgi?article=9449&context=etd" target="_blank">Laura Mattson, 'Elemental Climate Disaster Texts and Queer Ecological Temporality', MA Thesis, College of Arts and Sciences University of South Florida, 2020</a> PDF</div><div style="text-align: left;"><br /></div><div><a href="https://www.calameo.com/fiaf/read/0009185404b2adb997f4e" target="_blank">Emily Munro, 'Living. Proof: Exploring the Climate Crisis through Archive Footage', Journal of Film Preservation, 4, 2022</a><br /><br /><a href="https://library.oapen.org/handle/20.500.12657/44018" target="_blank">Adam O'Brien, Transactions with the World: Ecocriticism and the Environmental Sensibility of New Hollywood (Berghahn Books, 2016)</a><br /><br /><a href="https://doi.org/10.29107/rr2021.2.1" target="_blank">Katarzyna Paszkiewicz, 'Cinema and Environment: The Arts of Noticing in the Anthropocene', "Res Rhetorica" 8 (2):2-21</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="http://dx.doi.org/10.2139/ssrn.2612759" target="_blank">Matthew Rimmer, 'The Culture Wars of Climate Change', SSRN, 2015 </a><br /><br /><a href="https://cupola.gettysburg.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1084&context=books" target="_blank">Stephen Rust, Salma Monani, and Sean Cubitt, 'Introduction: Ecologies of Media', </a><br /><a href="https://cupola.gettysburg.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1084&context=books" target="_blank">In Rust, Monani, and Cubitt. eds. Ecomedia: Key Issues. Routledge Earthscan series, 1-14, 2015</a> PDF<br /><br /><a href="https://yaleclimateconnections.org/2014/11/interstellar-looking-for-the-future-in-all-the-wrong-spaces/" target="_blank">Michael Svoboda, 'Interstellar: Looking for the Future in All the Wrong Spaces'. Yale Climate Connections 12 Nov. 2014.</a><br /><br /><a href="https://yaleclimateconnections.org/2014/11/what-do-we-learn-from-cli-fi-films-hollywood-still-stuck-in-holocene/" target="_blank">Michael Svoboda, '(What) Do We Learn from Cli-Fi Film? Hollywood Still Stuck in the Holocene'. Yale Climate Connections 19 Nov. 2014</a><br /><br /><a href="https://library.oapen.org/handle/20.500.12657/37507" target="_blank">Thomas Waugh, The Conscience of Cinema (Amsterdam University Press, 2016)</a></div>Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-33103210488175754892019-12-31T17:54:00.004+00:002020-01-01T13:51:47.503+00:00Afore Ye Go, 2019: Essential Tributes (Elsaesser, Wollen, Lindner) Plus Favourite-of-the-Year Open Access Resources<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" src="https://player.vimeo.com/video/372100471?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;"></iframe></div>
<blockquote class="tr_bq">
<div style="text-align: center;">
<a href="https://vimeo.com/372100471">FALLING: 3 x <i>Girls in Uniform</i></a></div>
<span style="font-size: x-small;">A comparative videographic study by <a href="https://catherinegrant.org/">Catherine Grant</a> showcasing the repetitions and variations across two sets of corresponding sequences from the three direct film adaptations of Christa Winsloe's MÄDCHEN IN UNIFORM (aka RITTER NÉRESTAN and GESTERN UND HEUTE, 1930-32). Video first published at <a href="https://reframe.sussex.ac.uk/mediatico/2019/12/08/these-mexican-madchen/">MEDIÁTICO</a> in December 2019, alongside a great text on the Mexican adaptation by Roberto Carlos Ortiz.</span></blockquote>
<br />
Better late than never, so they say. But it is especially late for this to be the <i>very first</i>, as well as the very last, blog entry of 2019 at <a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a>...<br />
<br />
What else can this blog's <a href="https://catherinegrant.org/">author </a>say, but <i>sorry </i>/ <i>not sorry</i> for being distracted by an incredibly busy year spent in hot pursuit of other excellent open-access screen studies initiatives - all listed immediately beneath this introduction.<br />
<br />
It has also been a year of tremendous loss for many, especially, it seems, in the realm of film and moving image studies. So this end of year/end of decade <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a> post has a somewhat sombre tone and distinctly commemorative content. It offers warm <i>tributes in links</i> to the work and lives of the two foundational film scholars-filmmakers who sadly died late in 2019: <b><a href="https://en.wikipedia.org/wiki/Thomas_Elsaesser">Thomas Elsaesser</a></b> and <b><a href="https://en.wikipedia.org/wiki/Peter_Wollen">Peter Wollen</a></b>. We owe them so much. It also offers a further deeply-heart-felt tribute to a brilliant young film scholar who, in February of this year, died way too soon: <b><a href="https://en.wikipedia.org/wiki/Katharina_Lindner">Katharina "Kat" Lindner</a></b>.<br />
<br />
<a href="https://filmstudiesforfree.blogspot.com/">FSFF</a>'s author had the great fortune, honour and pleasure of meeting all three of these wonderful contributors to our discipline. She sends much love and sincere condolences to their partners, families and close friends. As further online tributes to these scholars appear, the entries below will be updated.<br />
<br />
Other huge film studies losses, in this cruel year, have included <a href="http://www.davidbordwell.net/blog/2019/07/09/kindest-e-a-memoir-of-edward-branigan/">Edward Branigan</a> and Eileen Bowser.<br />
<br />
Below <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a>'s tributes, this end of year entry continues with this blog's customary lists of links to some of its favourite open-access film and moving image studies resources from 2019.<br />
<br />
<a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> wishes all of its readers and viewers a happy and healthy 2020! It hopes to see a lot more of you in the next decade!<br />
<br />
<br />
<br />
<div style="text-align: center;">
<b><i><u>Film Studies For Free's Author's OA Activities in 2019</u></i></b></div>
<ul>
<li>3 new open-access co-edited collections: </li>
<ul>
<li><a href="http://www.thecine-files.com/introducing-beast-fables/">Beast Fables: On Animals in the Cinema</a> with <a href="https://www.scad.edu/academics/faculty/tracy-cox-stanton">Tracy Cox-Stanton</a> at <a href="http://www.thecine-files.com/"><i>The Cine-Files</i></a>; </li>
<li><a href="https://necsus-ejms.org/new-ways-of-seeing-and-hearing-the-audiovisual-essay-and-television/">New ways of seeing (and hearing): The audiovisual essay and television</a> with <a href="https://www.uva.nl/profiel/k/o/j.w.kooijman/j.w.kooijman.html?1577791665720">Jaap Kooijman</a> at <a href="https://necsus-ejms.org/"><i>NECSUS: European Journal of Media Studies</i></a>; </li>
<li><a href="https://olh.openlibhums.org/collections/special/pride-revisited-cinema-activism-and-re-activation/"><i>Pride</i> Revisited: Cinema, Activism and Re-Activation</a>, with <a href="https://www.gla.ac.uk/schools/ges/staff/diarmaidkelliher/">Diarmaid Kelliher</a> at the <a href="https://olh.openlibhums.org/">Open Library of Humanities</a> Journal. </li>
</ul>
<li>2 new open access, multimedia websites: </li>
<ul>
<li><a href="http://videographicessay.org/">The Videographic Essay: Practice and Pedagogy</a>, which collects both previously-published and new versions of writings by Christian Keathley, <a href="https://justtv.wordpress.com/2019/12/21/the-videographic-essay-an-open-access-site/">Jason Mittell</a> and <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a>'s author Catherine Grant, and many videos by them and others, among other useful material; </li>
<li><a href="http://screenstudies.video/">screenstudies.video</a>, another still in production research resource by this blog's author, coming very soon in 2020... </li>
</ul>
<li>Service on the steering committee of the brilliant new pre-print initiative <a href="https://mediarxiv.org/">MediArxiv: Open Archive for Media, Film, and Communication Studies</a>, as well as on the boards of numerous other OA archives and journals... Also check out the new bilingual Spanish/English journal <a href="https://tecmerin.uc3m.es/en/journal-i2-2019-1/"><i>Tecmerin</i>: Revista de Ensayos Audiovisuales / Journal of Audiovisual Essays</a> </li>
<li>2 great podcast interviews on video essays: <a href="https://thevideoessay.com/2019/08/01/post-186693531649-episode-2-catherine-grant/">one with Will DiGravio</a> for the new <a href="https://thevideoessay.com/">The Video Essay Podcast</a>; and <a href="https://josearroyoinconversationwith.com/2019/12/06/catherine-grant/">one with José Arroyo</a> for his <a href="https://josearroyoinconversationwith.com/2019/12/06/catherine-grant/">Conversations with Film Scholars</a> series </li>
<li>Much ongoing co-editorial labour of love at <a href="http://mediacommons.org/intransition/"><i>[in]Transition: Journal of Videographic Film and Moving Image Studies</i></a>, which, in 2019, added two brilliant new co-editors to its team: <a href="https://www.filmandmedia.pitt.edu/people/neepa-majumdar">Neepa Majumdar</a> and <a href="http://english.qc.cuny.edu/quick-links/kevin-ferguson/">Kevin L. Ferguson</a>. </li>
<li>16 new online video essays on screen studies topics: 14 published <a href="https://vimeo.com/showcase/6590920">here</a>; and 2 more <a href="http://www.thecine-files.com/cgrant/">here</a>; including probably her <a href="https://vimeo.com/301095918">best one ever</a>. </li>
<li>And continued daily or weekly sharing at <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a>'s <a href="https://twitter.com/filmstudiesff">Twitter</a> and <a href="https://www.facebook.com/FilmStudiesForFree/">Facebook</a> accounts.</li>
</ul>
<div style="text-align: center;">
<br />
-------------------------<br />
<br />
<b><i><u>In Memoriam Thomas Elsaesser</u></i></b><br />
(1943–2019)<br />
<br />
<blockquote class="tr_bq">
<i>Personal tribute by Catherine Grant</i> </blockquote>
<blockquote class="tr_bq">
<div style="text-align: left;">
<span style="text-align: justify;">I still can’t believe Thomas Elsaesser has died. A foundational and inspirational figure in our field - and for me personally, especially given his utter dedication to open access publishing, both <a href="http://www.thomas-elsaesser.com/">by his own example</a>, sharing so many of his publications at his website, as well as as a hugely important figure at <a href="https://www.aup.nl/en/articles/remembering-our-colleague-and-friend-thomas-elsaesser">Amsterdam University Press</a>.</span></div>
</blockquote>
<blockquote class="tr_bq">
<div style="text-align: left;">
<span style="text-align: justify;">I met Thomas in 2001 at the Forever Godard conference and remained in touch. In the last years, especially, I got to spend time with him in person quite a lot as our paths crossed on many conference trips and he visited the institutions I have worked in numerous times, including to screen his lovely film </span><span style="text-align: justify;"><i><a href="https://sunislandfilm.com/">The Sun Island</a></i></span><span style="text-align: justify;">. From his work on melodrama, authorship (his Fassbinder book, linked to below was a huge influence on my work), media history and archaeology, through to, latterly, research by film and video practice, he was always leading the way. He was hugely supportive of <a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> over the years, and of the scholarly endeavour of videographic approaches to our discipline, in which he was also a pioneer (see below).</span></div>
</blockquote>
<blockquote class="tr_bq">
<span style="text-align: justify;"></span><br />
<div style="text-align: left;">
<span style="text-align: justify;"><span style="text-align: center;">Where will we go now, Thomas?</span></span></div>
<span style="text-align: justify;">
</span></blockquote>
<br />
<b><i>Online Tributes and Festschrifts</i></b><br />
<ul>
<li style="text-align: left;"><a href="https://necsus-ejms.org/stories-we-tell-remembering-thomas-elsaesser/">'Stories we tell: Remembering Thomas Elsaesser</a>, by Malte Hagener, <i>NECSUS: European Journal of Media Studies</i>, 12 December, 2019</li>
<li style="text-align: left;"><a href="https://www.uva.nl/en/shared-content/faculteiten/en/faculteit-der-geesteswetenschappen/news/2019/12/in-memoriam-thomas-elsaesser.html">'In Memoriam Thomas Elsaesser' by Patricia Pisters, UvA website, 7 December, 2019</a></li>
<li style="text-align: left;"><a href="http://dx.doi.org/10.5117/9789089640253">Mind the Screen : Media Concepts According to Thomas Elsaesser</a>, edited by Patricia Pisters, Wanda Strauven and Jaap Kooijman (Amsterdam University Press, 2008)</li>
<li style="text-align: left;"><a href="https://www.aup.nl/en/articles/remembering-our-colleague-and-friend-thomas-elsaesser">'Remembering our colleague and friend Thomas Elsaesser', by Maryse Elliott, Senior Commissioning Editor at Amsterdam University Press, December 2019</a></li>
<li style="text-align: left;"><a href="https://www.criterion.com/current/posts/6725-tributes-to-thomas-elsaesser">Tributes to Thomas Elsaesser, by David Hudson, Criterion Daily, 10 December 2019</a></li>
<li style="text-align: left;"><a href="http://www.essayfilmfestival.com/in-memory-of-thomas-elsaesser/?fbclid=IwAR0apeD6H3yuRGIlADWmQ2Y-zq5PIx8udtRY-lczDMpbGZf0slJINMSVUfg">'In Memory of Thomas Elsaesser, film scholar and filmmaker extraordinaire', The Essay Film Festival, December 2019</a></li>
<li style="text-align: left;"><a href="https://www.nytimes.com/2019/12/19/movies/thomas-elsaesser-dead.html?emc=rss&partner=rss">Thomas Elsaesser, Film Scholar With A Broad View, Dies At 76, <i>New York Times</i>, by Richard Sandomir, December 19, 2019</a></li>
</ul>
<b><i><br /></i></b>
<b><i>Open Access Books</i></b><br />
<div style="text-align: left;">
</div>
<ul>
<li style="text-align: left;"><a href="http://www.oapen.org/search?identifier=340267"><i>Writing for the Medium : Television in transition</i></a>, edited by Lucette Bronk, Thomas Elsaesser and Jan Simon (Amsterdam University Press, 1994)</li>
<li style="text-align: left;"><a href="http://dx.doi.org/10.5117/9789053560594"><i>Fassbinder's Germany : History, Identity, Subject</i></a>, by Thomas Elsaesser (Amsterdam University Press, 1996)</li>
<li style="text-align: left;"><a href="http://dx.doi.org/10.5117/9789053561720"><i>A Second Life : German Cinema's First Decades</i></a>, edited by Thomas Elsaesser (Amsterdam University Press, 1996)</li>
<li style="text-align: left;"><a href="http://dx.doi.org/10.5117/9789053566350"><i>Harun Farocki : Working on the Sight-Lines</i></a>, edited by Thomas Elsaesser (Amsterdam University Press, 2004)</li>
<li style="text-align: left;"><a href="http://dx.doi.org/10.5117/9789053566312"><i>The Last Great American Picture Show : New Hollywood Cinema in the 1970s</i></a>, edited by Noel King, Thomas Elsaesser and Alexander Horwath (Amsterdam University Press, 2004)</li>
<li style="text-align: left;"><a href="http://dx.doi.org/10.5117/9789053565940">European Cinema : Face to Face with Hollywood</a>, by Thomas Elsaesser (Amsterdam University Press, 2005) - this collection includes Elsaesser's essay on Peter Wollen's first solo-directed film <i>Friendship's Death</i> (1987).</li>
<li style="text-align: left;">And <a href="http://dx.doi.org/10.5117/9789089640253"><i>Mind the Screen : Media Concepts According to Thomas Elsaesser</i></a>, edited by Patricia Pisters, Wanda Strauven and Jaap Kooijman (Amsterdam University Press, 2008)</li>
</ul>
<b><i><br /></i></b>
<b><i>Websites</i></b><br />
<b><i><br /></i></b>
<a href="http://www.thomas-elsaesser.com/">Thomas Elsaesser</a> - Including a list of <a href="http://www.thomas-elsaesser.com/publicationsnewlist">Publications</a> (many downloadable as PDFs)<br />
<br />
<a href="https://routledgetextbooks.com/textbooks/9781138824300/">Film Theory: An Introduction Through the Senses</a><br />
<br />
<br />
<b><i>Online Interviews (more to be added)</i></b><br />
<b><i><br /></i></b>
<a href="https://soundcloud.com/user-952189740/eff-2018-fourteen-thomas-elsaesser-in-discussion">Essay Film Festival 2018: Thomas Elsaesser in Discussion with Erica Carter</a><br />
<a href="https://soundcloud.com/user-952189740/eff-2018-fourteen-thomas-elsaesser-in-discussion">about his 2018 film <i>The Sun Island</i></a><br />
<br />
<br />
<b><i>Videos and Video Essays</i></b><br />
<br />
<a href="https://vimeo.com/user42402445">Thomas Elsaesser's Vimeo Account</a><br />
<br />
<a href="http://mediacommons.org/intransition/2014/02/28/bergman-senses-thomas-elsaesser-anne-bachman-and-jonas-moberg">BERGMAN SENSES (Thomas Elsaesser, Anne Bachmann and Jonas Moberg)</a><br />
<br />
<br /></div>
<div style="text-align: center;">
<b><i>Film Studies For Free Tribute videos</i></b></div>
<br />
<div style="padding: 36.46% 0 0 0; position: relative;">
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" src="https://player.vimeo.com/video/377689080?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;"></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script>
<br />
<div style="text-align: center;">
<a href="https://vimeo.com/377689080">Installations and Compilations: Elsaesser Senses</a></div>
<br />
<div style="text-align: center;">
<div style="padding: 36.46% 0 0 0; position: relative;">
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" src="https://player.vimeo.com/video/377695558?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;"></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script></div>
<div style="text-align: center;">
<a href="https://vimeo.com/377695558">Installations and Compilations: Elsaesser Senses - Commentary version</a><br />
<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
-------------------------</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b><i><u>In Memoriam Peter Wollen</u></i></b></div>
<div style="text-align: center;">
<b><i>(1938-2019)</i></b></div>
<br />
<div style="text-align: center;">
<span style="font-style: italic; font-weight: bold;"><br /></span></div>
<div style="text-align: center;">
<i>Personal tribute by Catherine Grant</i></div>
<br />
<blockquote class="tr_bq" style="text-align: justify;">
I only met Peter Wollen once in real life - also at the 2001 Forever Godard where I met Thomas Elsaesser and other foundational film scholars. But I encountered him in my head many many times, and will continue to do so. His work - particularly his brilliant filmmaking explorations with Laura Mulvey, and the second edition of his book <i>Signs and Meaning in the Cinema</i>, with its groundbreaking arguments about film authorship and 'patterns of energy cathexis' - were of huge importance to my own writing, teaching, and also filmmaking. His 2001 account of cinephilia in "An Alphabet of Cinema" (NEW LEFT REVIEW, 12) is even more of an influence <a href="http://www.thecine-files.com/cgrant/">on what I</a> and others are doing now in our video essays and works of creative criticism. I am very much looking forward to the cinematic re-release of <i>Friendship's Death</i>, his 1987 solo-directed essay film, in 2020, and feel sure that Wollen's work, with its timely prescience, will endure in many ways that we cannot yet predict.</blockquote>
<br />
<div style="text-align: center;">
<b><i>Online Tributes</i></b></div>
<div style="text-align: center;">
<b><i><br /></i></b></div>
<div style="text-align: center;">
<a href="https://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/obituaries/peter-wollen-film-theory-modernism-signs-meaning-riddles-sphinx-passenger">'Peter Wollen obituary: the maven of British film theory',</a></div>
</div>
<div style="text-align: center;">
<div style="text-align: center;">
<a href="https://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/obituaries/peter-wollen-film-theory-modernism-signs-meaning-riddles-sphinx-passenger">by Henry K. Miller, <i>Sight and Sound</i>, 20 December 2019</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://www.artforum.com/news/peter-wollen-1938-2019-81670">PETER WOLLEN (1938–2019)</a>, <i>Artforum</i>, December 20, 2019</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<b></b><br />
<div style="text-align: center;">
<b><b><i>Online written work by Peter Wollen</i></b></b><br />
<b><b><i><br /></i></b></b></div>
<b>
</b>
<br />
<a href="https://pi.library.yorku.ca/ojs/index.php/public/article/viewFile/30199/27735">'Knight's Moves', PUBLIC, </a><a href="https://pi.library.yorku.ca/ojs/index.php/public/article/viewFile/30199/27735">25, 2002</a> (<span style="text-align: center;">about Mulvey/Wollen's joint work)</span><br />
<a href="http://www.luxonline.org.uk/articles/the_field_of_language_in_film%281%29.html">'The Field of Language on Film', October, 17, Summer 1981 [Lux Online version]</a> (<span style="text-align: center;">about Mulvey/Wollen's joint work)</span><br />
<a href="http://www.ejumpcut.org/archive/onlinessays/JC10-11folder/LoachGarInt.html" style="text-align: center;">'Interview with Tony Garnett and Ken Loach: Family Life in the making', by Anthony Barnett, John McGrath, John Mathews, and Peter Wollen, from Jump Cut, no. 10-11, 1976</a><br />
<a href="http://artsites.ucsc.edu/faculty/gustafson/FILM%20162.W10/readings/wollen.auteur.pdf">Ch. 2, <i>Signs and Meaning in the Cinema</i>; 'The Auteur Theory'</a> [PDF]</div>
<div style="text-align: center;">
<br />
<div>
<br /></div>
<div style="text-align: center;">
<span style="font-style: italic; font-weight: bold;">S.T.R.O.B.E. by Peter Wollen</span></div>
<div style="text-align: center;">
<span style="font-style: italic; font-weight: bold;"><br /></span></div>
<div style="text-align: center;">
<span style="font-style: italic; font-weight: bold;"><a href="https://web.archive.org/web/19980111033408/http://www.cinema.ucla.edu/strobe/wollen/default.html"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsny_Y0BfKercZKQZkb8LvzACqyw_k1ncOVHxCPTmPzTNF67pah9txXz0B699GRuw-SQg8csYgldNwjOEKOgVp77-vw080KUo8WfYBoz1t5Mer6S0P4ZOMXzMEEqtpVc_-wVnmftBJsNU/s320/Screenshot+2019-12-31+at+17.34.57.png" width="320" /></a></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://web.archive.org/web/19980111033408/http://www.cinema.ucla.edu/strobe/wollen/default.html">[Link]</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b><i>Work about Wollen's Research and Filmmaking</i></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: center;">
<a href="https://pure.royalholloway.ac.uk/portal/files/30904436/2018helm_grovasnphd.pdf">Nicolas Helm-Grovas, Laura Mulvey and Peter Wollen: Theory and Practice, Aesthetics and Politics, 1963-1983, PhD thesis, Royal Holloway, University of London, 2018</a><br />
<br />
<a href="http://dx.doi.org/10.5117/9789053565940"><i>European Cinema : Face to Face with Hollywood</i></a>, by Thomas Elsaesser (Amsterdam University Press, 2005) - this collection includes Elsaesser's essay on Peter Wollen's first solo-directed film <i>Friendship's Death</i> (1987), and numerous other references to his work.<br />
<br />
<a href="http://www.luxonline.org.uk/artists/laura_mulvey_and_peter_wollen/index.html">Lux Online Entry on 'Laura Mulvey and Peter Wollen'</a></div>
</div>
<div style="text-align: center;">
<b><i><br /></i></b></div>
<div style="text-align: center;">
<a href="http://www.luxonline.org.uk/artists/laura_mulvey_and_peter_wollen/essay%281%29.html"></a><a href="http://www.luxonline.org.uk/artists/laura_mulvey_and_peter_wollen/essay%281%29.html">Rakhee Balaram, Entry on 'Laura Mulvey and Peter Wollen', Lux Online</a></div>
</div>
<div style="text-align: center;">
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.screenonline.org.uk/people/id/472653/"></a><a href="http://www.screenonline.org.uk/people/id/472653/">Eleanor Burke, BFI Screenonline entry on 'Peter Wollen'</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.afterall.org/journal/issue.15/what.does.it.mean.say.feminism.back.reaction.riddl">Charles Esche,'What does it mean to say that feminism is back? A reaction to Riddles of the Sphinx', Afterall Journal, 15, Spring/Summer 2007</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.bfi.org.uk/news-opinion/news-bfi/interviews/laura-mulvey-riddles-sphinx/">Chris Fennell, 'Laura Mulvey on Riddles of the Sphinx', BFI, October 1, 2013</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.screenonline.org.uk/film/id/567507/"></a><a href="http://www.screenonline.org.uk/film/id/567507/">William Fowler, BFI Screenonline entry on 'Penthesilea: Queen of the Amazons (1974)'</a></div>
</div>
<div style="text-align: center;">
<div style="text-align: center;">
<br />
Laura Mulvey, <a href="https://pi.library.yorku.ca/ojs/index.php/public/article/viewFile/29783/27367">'The Oedipus Myth: Beyond the Riddles of the Sphinx', PUBLIC, 2, 1989 </a> </div>
<b><i><br /></i></b>
<b><i><u><br /></u></i></b>
<br />
<div style="text-align: center;">
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" src="https://player.vimeo.com/video/75600309?byline=0&portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;"></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script></div>
<div style="text-align: center;">
<a href="https://vimeo.com/75600309">Laura Mulvey on RIDDLES OF THE SPHINX (Mulvey and Wollen, 1977)</a> </div>
<br />
<br /></div>
<div style="text-align: center;">
<div style="padding: 75% 0 0 0; position: relative;">
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" src="https://player.vimeo.com/video/223329882?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;"></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/223329882">Wollen epigraph</a> by <a href="https://vimeo.com/user6973764">Christian Keathley</a><br />
<b style="text-align: center;"></b>
<b style="text-align: center;"><i><br /></i></b><br />
<b style="text-align: center;"><i><br /></i></b>
<b style="text-align: center;"><i>Film Studies For Free Tribute video</i></b><br />
<b style="text-align: center;"><i><br /></i></b>
<br />
<div style="padding: 100% 0 0 0; position: relative;">
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" src="https://player.vimeo.com/video/380747401?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;"></iframe></div>
<br />
<br />
<br />
-------------------------<br />
<br />
<br />
<div style="text-align: center;">
<b><i><u>In Memoriam Katharina Lindner</u></i></b><br />
(1979-2019)<br />
<br />
<i>Personal tribute by Catherine Grant</i><br />
<blockquote class="tr_bq" style="text-align: justify;">
Kat Lindner is missed so acutely by so many in her twin worlds of football and film studies. I met her only once in person, a few years ago, though we corresponded about our work over the years. She came to an event in Glasgow at which I was talking, as usual, about video essays. She was a razor sharp, deeply original thinker, with a truly glowing presence. Afterwards we talked for a long time - me trying to convince her, and almost succeeding, I think, that her fabulous work on queer cinematic phenomenology would translate brilliantly to this audiovisual format if only she would take it up. It was an exhilarating conversation and I wish it hadn't had to end. Even before that memorable encounter, I loved her work (especially her path-breaking 2017 book <a href="https://www.bloomsbury.com/uk/film-bodies-9781838608552/" style="font-style: italic;">Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema</a>), and used it in my own research <a href="http://www.thecine-files.com/grant/">directly</a> and <a href="https://vimeo.com/218972604">indirectly</a>. One day I would like to make a video essay about her writing - but I haven't been able to yet.</blockquote>
<br />
<b><i>Online Tributes</i></b><br />
<div style="text-align: center;">
<br /></div>
<a href="https://maifeminism.com/dr-katharina-lindner-a-tribute/">'Towards a Queer Feminist Vernacular: Dr Katharina Lindner’s Film Bodies'</a></div>
<div style="text-align: center;">
<a href="https://maifeminism.com/dr-katharina-lindner-a-tribute/">by Jenny Chamarette and So Mayer with Davina Quinlivan, MAI: Feminism and Visual Culture, May 15, 2019</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://www.timeshighereducation.com/people/katharina-lindner-1979-2019">'Katharina Lindner, 1979-2019: Tributes paid to footballer turned queer theorist', by Matthew Reitz, THE, 28 February 2019</a><b><i><br /></i></b>
<a href="https://www.heraldscotland.com/opinion/17432026.obituary-kat-lindner-academic-and-footballer-for-glasgow-city/">'Obituary: Kat Lindner, academic and footballer for Glasgow City', <i>The Herald</i>, 14 February 2019</a><br />
<br />
'Screening Expectation' in <a href="https://www.berghahnjournals.com/view/journals/screen-bodies/screen-bodies-overview.xml">Screen Bodies</a>, by <a href="https://www.berghahnjournals.com/search?f_0=author&q_0=Brian+Bergen-Aurand">Brian Bergen-Aurand</a><br />
DOI: <a href="https://doi.org/10.3167/screen.2018.030201">https://doi.org/10.3167/screen.2018.030201</a> <a href="https://www.berghahnjournals.com/downloadpdf/journals/screen-bodies/3/2/screen030201.pdf">[PDF]</a><br />
<img border="0" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPJuNKyswQNX78Yvt7jn_ysf3AKqGyfHn_YCkQqKlSJXgM09wAogmlu4oL1vAlsFSr9jEyrrUAzEDaZuOj7LXXw5OL8fsGP-6BaQzmgHBAdVC8yYIM-hxXlf1RGPdFK48fJHy35yd6wAk/s320/Screenshot+2019-12-31+at+15.19.52.png" width="320" /><br />
<br />
<b><i><br /></i></b>
<b><i>Online Film Studies Writing by Lindner</i></b><br />
<b><i><br /></i></b><a href="http://www.necsus-ejms.org/questions-of-embodied-difference-film-and-queer-phenomenology/">'Questions of embodied difference: Film and queer phenomenology',</a><br />
<a href="http://www.necsus-ejms.org/questions-of-embodied-difference-film-and-queer-phenomenology/"><i>NECSUS: European Journal of Media Studies</i>, Autumn 2012</a><br />
<br />
<a href="https://www.academia.edu/1987775/Lindner_K._2012_Situated_bodies_cinematic_orientations_Film_and_queer_phenomenology_in_Saer_Ba_and_William_Higbee_eds_De-Westernizing_Film._London_Routledge_pp._152-165">‘Situated bodies, cinematic orientations: Film and (queer) phenomenology’, in Saer Ba and William Higbee (eds), <i>De-Westernizing Film</i>. London: Routledge, 2012, [pre-print]</a><br />
<br />
<a href="https://www.nottingham.ac.uk/scope/documents/2011/june-2011/lindner.pdf">'Spectacular (Dis-) Embodiments: The Female Dancer on Film', <i>Scope</i>, 20, June 2011</a> PDF<br />
<br />
<a href="https://www.academia.edu/1162295/Lindner_K._2011_There_is_a_reason_why_Sporty_Spice_is_the_only_one_of_them_without_a_fella..._The_lesbian_potential_of_Bend_it_Like_Beckham_._New_Review_of_Film_and_Television_Studies_Vol._9_No.2_pp._204-223">‘‘There is a reason why Sporty Spice is the only one of them without a fella...’: The ‘lesbian’ potential of <i>Bend it Like Beckham</i>’. <i>New Review of Film and Television Studies</i>, Vol. 9, No.2, 2011, pp. 204-223 [pre-print]</a><br />
<br />
<a href="https://www.academia.edu/1162286/Lindner_K._2011_Bodies_in_action_Female_athleticism_on_the_cinema_screen_._Feminist_Media_Studies_Vol.11_No.3_pp._321-345">‘Bodies ‘in action’: Female athleticism on the cinema screen’. <i>Feminist Media Studies</i>, Vol.11, No.3, 2011, pp. 321-345 [pre-print]</a><br />
<br />
<a href="https://www.academia.edu/194251/Lindner_K._2009_Fighting_for_subjectivity_Articulations_of_physicality_in_Girlfight_._In_Journal_of_International_Women_s_Studies_2009_Vol.10_No.3_pp.4-17">‘Fighting for subjectivity: Articulations of physicality in Girlfight’. <i>In Journal of International Women’s Studies</i>, 2009, Vol.10, No.3, pp.4-17. [pre-print]</a><br />
<br />
<i>(Other online publications and pre-prints on media studies topics by Lindner are accessible <a href="https://stir.academia.edu/KatharinaLindner">here</a>)</i><br />
<b><i><br /></i></b>
<b><i><br /></i></b>
<b><i>Writing about Lindner's Research</i></b><br />
<b><i><br /></i></b>
<a href="https://www.timeshighereducation.com/books/review-film-bodies-katharina-lindner-i-b-tauris">Davina Quinlivan, 'Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema, by Katharina Lindner' Times Higher Educational Supplement, January 18, 2018</a><br />
<br />
<a href="https://www.euppublishing.com/doi/full/10.3366/film.2018.0094">Jules O'Dwyer, Katharina Lindner (2017) <i>Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema</i>, <i>Film-Philosophy</i>, 22.3</a><br />
<br />
<b><i>Kat's Inspirational Hartford Hawks Hall of Fame Acceptance Speech, Class of '03</i></b><br />
<b><i><br /></i></b>
<a href="https://youtu.be/Hmx16ZCPTz4">Video link</a><br />
<br />
<br />
-------------------------<br />
<br />
<br />
<b><u><i>FSFF's Favourite Online Film and Moving Image Studies 2019</i></u></b><br />
<b><u><i><br /></i></u></b></div>
<br />
<div style="text-align: center;">
<b><i>Favourite Contributions to Online Film Scholarly Culture by a Single Scholar</i></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Jennifer Proctor for '<a href="http://mediacommons.org/intransition/am-i-pretty">Am I Pretty?</a> and a “Sonic Gaze”', <i>[in]Transition: Journal of Videographic Film and Moving Image Studie</i>s, 2019, plus her article 'Teaching avant-garde practice as videographic research', in<i> Screen</i>, 60.3, Autumn 2019; and especially for her inspirational continuing work on the inclusive teaching initiative, <a href="http://www.editmedia.org/">EDIT Media</a> (Equity, Diversity, and Inclusion in Teaching Media), <a href="http://www.editmedia.org/">http://www.editmedia.org</a><br />
<br />
<br />
<b><i>Favourite Open Access Journal Article</i></b><br />
<br />
<a href="https://www.euppublishing.com/doi/full/10.3366/film.2019.0107">'“Our Bravest and Most Beautiful Soldier”: Pola Negri, Wartime and the Gendering of Anxiety in <i>Hotel Imperial</i>', by Elisabetta Girelli, in <i>Film-Philosoph</i>y's special issue on Stardom and Film-Philosophy (23.2, 2019), edited by Lucy Bolton</a></div>
<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b><i>Favourite New Open Access Journal Issue</i></b></div>
<br />
<div style="text-align: center;">
<a href="https://framescinemajournal.com/"><i>Frames Cinema Journal </i>for Magical Women, Witches & Healers</a>,</div>
<div style="text-align: center;">
Issue 16, Winter 2019, edited by <a href="https://framescinemajournal.com/article/letter-from-the-editors-12/">Ana Maria Sapountzi & Peize Li </a> </div>
<br />
<div style="text-align: center;">
<span style="font-style: italic; font-weight: bold;"><br /></span></div>
<div style="text-align: center;">
<b><i>Favourite New Open Access Journal</i></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://mediaenviron.org/">Media+Environment</a>, edited by Alenda Chang, Adrian Ivakhiv and Janet Walker<br />
<br />
<br />
<div style="text-align: center;">
<b>Most Missed Online Journal That Stopped Publishing in 2019</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
<i><a href="http://cleojournal.com/">Cléo: A Journal of Film and Feminism </a></i></div>
<div style="text-align: center;">
(Read about its demise<a href="https://www.theglobeandmail.com/arts/film/article-an-oral-history-of-cleo-from-a-semi-formed-email-to-a-landmark/"> here</a>. But, thanks to the generosity of filmmaker Barry Jenkins, you can <a href="https://cleojournal.bigcartel.com/product/the-cleo-reader-2013-2019">purchase a compendium of the best writing</a> in its six year run).</div>
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>Favourite Three New Open Access eBooks</b><br />
<b><br /></b>
<i><a href="http://www.oapen.org/search?identifier=1005016">The Cinema of Marguerite Duras : Multisensoriality and Female Subjectivity</a></i><br />
<a href="http://www.oapen.org/search?identifier=1005016">By<b> </b>Michelle Royer (Edinburgh University Press, 2019)</a><br />
<br />
<i><a href="http://dx.doi.org/10.1525/luminos.65">Frame by Frame: A Materialist Aesthetics of Animated Cartoons</a></i><br />
<a href="http://dx.doi.org/10.1525/luminos.65">By Hannah Frank (University of California Press, Oakland, 2019)</a><br />
<br />
<i><a href="http://www.oapen.org/search?identifier=1005810">The Structures of the Film Experience by Jean-Pierre Meunier: </a></i><br />
<i><a href="http://www.oapen.org/search?identifier=1005810">Historical Assessments and Phenomenological Expansions</a></i><br />
<a href="http://www.oapen.org/search?identifier=1005810">By Julian Hanich and Daniel Fairfax (Amsterdam University Press, 2019)</a><br />
<b><br /></b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
<b><i>Favourite Film Studies Blog (as Ever)</i></b><br />
<b><i><br /></i></b>
<a href="http://www.davidbordwell.net/blog/"><i>Observations on Film Art</i> by David Bordwell and Kristin Thompson</a><br />
<br />
<b><i><br /></i></b>
<b><i>Favourite</i></b><b><i> New Film and Moving Image Studies Related Podcast</i></b></div>
<br />
<div style="text-align: center;">
Will DiGravio's <a href="https://thevideoessay.com/">The Video Essay Podcast</a><br />
<br /></div>
<br />
<div style="text-align: center;">
<b><i>Favourite Online Videographic Approach to Screen Studies</i></b></div>
<br />
<div style="text-align: center;">
<i><a href="https://vimeo.com/343652470">Poor Jesse </a></i>by Jason Mittell,</div>
<div style="text-align: center;">
Part of "<a href="https://vimeo.com/showcase/5265859">The Chemistry of Character in BREAKING BAD</a>: An <a href="https://justtv.wordpress.com/2018/07/01/my-plans-for-an-audiovisual-book/">Audiovisual Book</a>"<br />
<br />
<br />
<b><i>Favourite</i></b><i><b> Collection of Online Video Essays (Not Published by FSFF)</b></i><br />
<i><b><br /></b></i>
<i><b><a href="https://necsus-ejms.org/portfolio/autumn-2019_gesture/"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc84qN7hxfa3zoi6r8PykSOOIrb2Gu-q2YbEItR2vnbYUxZFplvaOd1KytaBAXSXKL1wxeiodqlYIBuSgv_2GmkQ8RpkKUkrvy3vwQvV73uIXRotDKFwo7DQmsIMKIOcA0BHXXHbACp58/s320/79868433_2753207418070789_2134010309822644224_o.jpg" width="320" /></a><span id="goog_595959942"></span><span id="goog_595959943"></span><a href="https://www.blogger.com/"></a></b></i><br />
<div style="text-align: center;">
<br /></div>
In an excellent new issue of <a href="https://www.facebook.com/NECSUS-European-Journal-of-Media-Studies-308790632646826/?__xts__%5B0%5D=68.ARAvR0MV0qsP--Hy-hrP5dRs83Xwve4ku0bR8oY-aO8mvCE3GAl1tfjdFKkULCwDIROcX7XW7YjRML6rt42q7UCXTx5_W6wcDn2dv1bcxHkL304sBev6cTTKGVr7-FrXzPbxTGtUuFbuPnTQU9bPH1Zo2OHnDsO7sf_U66MB4Aanc2h3W1WQyKONjCc5iCeqfL7Sn7DitO8zKKzLMfPpLh56YRV4AfvY4gNOkbgh1rBrob4r9UCzTyUKsuMHozgwh-7Yqb1k0Qj4ZE8qMD7A6GkzXkiRD4eyZsu2LJspDgb556uzSVaHZS5PJB7zs-0d4ALLpy3Je_Gwkwa4MH-r&__tn__=%2CdK%2AF-R&eid=ARBGYlARI2IMTPDL1uo7glni6VQLnUfRZ9q6KbsundAi469S2rLp6tKa0pPrxltlyL0_RBQsAycA9IX1">NECSUS European Journal of Media Studies</a>, Autumn 2019, devoted to treatments of gesture, came this <a href="https://necsus-ejms.org/portfolio/autumn-2019_gesture/">collection of three excellent video essays</a> in a section edited by Tracy Cox-Stanton: (scroll down)</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br />
-------------------------<br />
<br />
<b><u><i>14 of Film Studies For Free Video Essays Published in 2019</i></u></b></div>
<br />
<span style="color: #1a2e3b; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; white-space: pre;"></span><br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" src="https://vimeo.com/showcase/6590920/embed" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;"></iframe></div>
<span style="color: #1a2e3b; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; white-space: pre;">
</span></div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-68866714206489878942018-12-24T14:29:00.002+00:002018-12-24T15:07:53.085+00:00Ten Festive Treats from Film Studies For Free!<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/300303270?portrait=0" style="height: 100%; left: 0px; position: absolute; text-align: center; top: 0px; width: 100%;" webkitallowfullscreen=""></iframe></div>
<div style="text-align: center;">
1. <a href="https://vimeo.com/300303270">FATED TO BE MATED: An Architectural Promenade</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a> on <a href="https://vimeo.com/">Vimeo</a>. As discussed in <a href="https://backdoorbroadcasting.net/2018/11/catherine-grant-screen-studies-as-device-working-through-the-video-essay/" style="text-align: start;">"Screen studies as device?: Working through the video essay"</a> and at <a href="https://filmanalytical.blogspot.com/2018/12/fated-to-be-mated-architectural.html">Filmanalytical</a></div>
<br />
<div style="text-align: center;">
<i>Sawing Fred Astaire and Cyd Charisse in half.</i></div>
<div style="text-align: center;">
<i>A queer experiment in cinephilic re-spatialisation</i><br />
<i><br /></i></div>
<br />
<span style="font-size: medium;">Season's Greetings and Happy Holidays from <a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a>! Let's celebrate with a new video essay (above) and nine sets of treats (below) representing some of <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a>'s favourite online film and moving image studies items from 2018.</span><br />
<br />
<br />
2. <a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/introduction-to-the-special-dossier-on-roma-alfonso-cuaron/">MEDIÁTICO</a> - <b>Special Dossier on Alfonso Cuarón's <i>Roma</i></b> (2018) by nine world-leading scholars on Latin American Cinema<br />
<ul>
<li><a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/introduction-to-the-special-dossier-on-roma-alfonso-cuaron/">INTRODUCTION TO THE SPECIAL DOSSIER ON ROMA (ALFONSO CUARON)</a> by Dolores Tierney</li>
<li><a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/special-dossier-on-roma-watching-roma-in-mexico-city/">WATCHING ROMA IN MEXICO CITY</a> by Paul Julian Smith</li>
<li><a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/special-dossier-on-roma-broken-memory-voice-and-visual-storytelling/">BROKEN MEMORY, VOICE AND VISUAL STORYTELLING</a> by Pedro Ángel Palou</li>
<li><a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/special-dossier-on-roma-alfonso-cuarons-love-letter-to-his-nana/">ALFONSO CUARÓN’S LOVE LETTER TO HIS NANA</a> by Deborah Shaw</li>
<li><a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/special-dossier-on-alfonso-cuarons-roma-class-trouble/">CLASS TROUBLE</a> by Ignacio M. Sánchez Prado</li>
<li><a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/special-dossier-on-roma-memories-of-c-leo-on-auteurism-and-roma/">MEMORIES OF C/LEO – ON AUTEURISM AND ROMA</a> by Jeffrey Middents</li>
<li><a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/special-dossier-on-roma-feminism-and-intimate-emotional-labor/">FEMINISM AND INTIMATE/EMOTIONAL LABOR</a> by Olivia Consentino</li>
<li><a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/special-dossier-on-roma-the-paradoxes-of-cinephilia-in-the-age-of-netflix/">THE PARADOXES OF CINEPHILIA IN THE AGE OF NETFLIX</a> by Belén Vidal</li>
<li><a href="http://reframe.sussex.ac.uk/mediatico/2018/12/24/special-dossier-on-roma-recuerda-notes-on-alfonso-cuarons-roma/">RECUERDA, NOTES ON ALFONSO CUARÓN’S ROMA</a> by Robert Carlos Ortiz</li>
</ul>
<div>
<br />
<br /></div>
<div>
3. Twenty of <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a>'s favourite video essays from 2018<br />
<br />
<div style="text-align: center;">
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/261768770?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script></div>
<div style="text-align: center;">
<a href="https://vimeo.com/261768770">Cotton - The Fabric of Genocide</a> from <a href="https://vimeo.com/user26521521">Cydnii Harris</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/277901900?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/277901900">What's Walt Thinking? Mind Reading & Serialized Memory in Breaking Bad</a> from <a href="https://vimeo.com/jmittell">Jason Mittell</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/256476029" webkitallowfullscreen="" width="640"></iframe><br />
<a href="https://vimeo.com/256476029">Dorothy, Isabella, Dorothy</a> from <a href="https://vimeo.com/user5964895">Liz Greene</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/263026726?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/263026726">The Signature Effect - trailer</a> from <a href="https://vimeo.com/user6973764">Christian Keathley</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
<br />
<div style="padding: 66.67% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/280991124?portrait=0" style="height: 100%; left: 0px; position: absolute; text-align: center; top: 0px; width: 100%;" webkitallowfullscreen=""></iframe></div>
<div style="text-align: center;">
<script src="https://player.vimeo.com/api/player.js"></script><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/280991124">Bush Mama Epigraph</a> from <a href="https://vimeo.com/user5231506">Neepa Majumdar</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="text-align: center;">
<div style="padding: 53.86% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/258340561?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script></div>
<div style="text-align: center;">
<a href="https://vimeo.com/258340561">Women, Intimacy, and Sexual Violence in Hitchcock Films</a> from <a href="https://vimeo.com/hampsten">Emma Hampsten</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: center;">
<div style="padding: 41.67% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/254699391?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script></div>
<div style="text-align: center;">
<a href="https://vimeo.com/254699391">The Follow Shot: A Tale of Two Elephants</a> from <a href="https://vimeo.com/user70566677">Jordan Schonig</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: center;">
<div style="padding: 55.97% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/244029363?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script></div>
<div style="text-align: center;">
<a href="https://vimeo.com/244029363">Berlin Moves</a> from <a href="https://vimeo.com/user10408959">Evelyn Kreutzer</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: center;">
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/232594484?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script></div>
<div style="text-align: center;">
<a href="https://vimeo.com/232594484">I Feel, Therefore I Can Be Free</a> from <a href="https://vimeo.com/user36462845">Nzingha Kendall</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
</div>
</div>
</div>
</div>
<br /></div>
<div>
<div>
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/291452767?portrait=0" style="height: 100%; left: 0px; position: absolute; text-align: center; top: 0px; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script></div>
<div>
<div style="text-align: center;">
<a href="https://vimeo.com/291452767">Melodramatic Railway Sounds - Video Essay</a> from <a href="https://vimeo.com/user41789151">Oswald Iten</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1nwRGM-8VNk" width="560"></iframe><br />
<a href="https://mubi.com/notebook/posts/video-essay-the-apartment">David Verdeure's 'The Apartment' at MUBI</a><br />
<br /></div>
<div style="text-align: center;">
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/259579651?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<a href="https://vimeo.com/259579651">Flânerie 2.0 [ENG SUBS]</a> from <a href="https://vimeo.com/user10822253">Chloé Galibert-Laîné</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="padding: 55.21% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/302291787?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://filmkrant.nl/video/the-thinking-machine-24-english/">The Thinking Machine 24: When You Read This Letter</a> by Cristina Alvarez López and Adrian Martin from <a href="https://vimeo.com/filmkrant">De Filmkrant</a><br />
<br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/233553740?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/233553740">Cinders of La Invasión: Reenactment as Index in Abner Benaim's Invasión</a> from <a href="https://vimeo.com/user29671050">Nike Nivar Ortiz</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/225587129?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/225587129">Remixing Rose Hobart</a> from <a href="https://vimeo.com/dereklong">Derek Long</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/249669032?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/249669032">America is (not) Cool</a> from <a href="https://vimeo.com/cinemajok">Jenny OK</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/256412237?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/256412237">Sound in Hanna-Barbera</a> from <a href="https://vimeo.com/user71118718">Patrick Sullivan</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="padding: 50% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/250978806?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/250978806">Some People Like Hearing Sad Things: A Meditation on "Transparent"</a> from <a href="https://vimeo.com/nicolemorse">Nicole Morse</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/256688293?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/256688293">Cruising Différance in 3 Scenes</a> from <a href="https://vimeo.com/user23463974">Marc Francis</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/301889494?portrait=0" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script><br />
<a href="https://vimeo.com/301889494">#65 - Childhood by Hirokazu Kore-eda // Enfants rois</a> from <a href="https://vimeo.com/3couleurs">TROISCOULEURS</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
4. <a href="https://necsus-ejms.org/portfolio/autumn-2018_mapping/">NECSUS: European Journal of Media Studies</a>. Autumn 2018 Issue on Mapping</div>
</div>
</div>
</div>
<blockquote class="tr_bq">
<ul>
<li><a href="https://necsus-ejms.org/editorial-necsus-autumn2018/">Editorial NECSUS</a></li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/early-cinema-sergei-eisenstein-and-film-culture-today-an-interview-with-ian-christie-on-new-directions-in-film-history/">Early cinema, Sergei Eisenstein, and film culture today: An interview with Ian Christie on new directions in film history</a> by Annie van den Oever and Malte Hagener</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/the-playfulness-of-ingmar-bergman-screenwriting-from-notebooks-to-screenplays/">The playfulness of Ingmar Bergman: Screenwriting from notebooks to screenplays</a> by Anna Sofia Rossholm</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/handmade-films-and-artist-run-labs-the-chemical-sites-of-films-counterculture/">Handmade films and artist-run labs: The chemical sites of film’s counterculture</a> by Rossella Catanese and Jussi Parikka</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/border-crossings-serial-figures-and-the-evolution-of-media/">Border crossings: Serial figures and the evolution of media</a> by Shane Denson and Ruth Mayer</li>
</ul>
<i>Special section: #Mapping</i>edited by Giorgio Avezzù, Teresa Castro, and Giuseppe Fidotta<br />
<ul>
<li>The exact shape of the world: Mapping and the media by Giorgio Avezzù, Teresa Castro, and Giuseppe Fidotta</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/the-mapping-of-500-days-of-summer-a-processual-approach-to-cinematic-cartography/">The mapping of ‘500 Days of Summer’: A processual approach to cinematic cartography</a> by Chris Lukinbeal</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/earth-networks-the-human-surge-and-cognitive-mapping/">Earth networks: ‘The Human Surge’ and cognitive mapping</a> by Tiago de Luca </li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/digital-maps-and-fan-discourse-moving-between-heuristics-and-interpretation/">Digital maps and fan discourse: Moving between heuristics and interpretation</a> by Marta Boni</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/embodied-cartographies-of-the-unscene-a-feminist-approach-to-geovisualising-film-and-television-production/">Embodied cartographies of the unscene: A feminist approach to (geo)visualising film and television production</a> by Laura Sharp</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/making-the-map-speak-indigenous-animated-cartographies-as-contrapuntal-spatial-representations/">Making the map speak: Indigenous animated cartographies as contrapuntal spatial representations</a> by Lola Remy </li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/plus-ultra-coloniality-and-the-mapping-of-american-natureculture-in-the-empire-of-philip-ii/">Plus ultra: Coloniality and the mapping of American natureculture in the empire of Philip II</a> by Adam Wickberg</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/media-mapping-and-oil-extraction-a-louisiana-story/">Media mapping and oil extraction: A Louisiana story</a> by Janet Walker</li>
</ul>
<i> Festival reviews:</i>edited by Marijke de Valck and Skadi Loist<br />
<ul>
<li><a href="https://necsus-ejms.org/a-brief-study-of-film-festivals-in-mexico-consumption-and-historical-evolution-2010-2016/">A brief study of film festivals in Mexico: Consumption and historical evolution 2010-2016</a> by Jacob Bañuelos and Juan Olmedo</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/the-dutch-film-festival-landscape-a-walk-through/">The Dutch film festival landscape: A walk-through</a> by Harry van Vliet </li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/evidentiary-aesthetics-landscapes-of-violence-at-ridm-2017/">Evidentiary aesthetics: Landscapes of violence at RIDM 2017</a> by Patrick Smith</li>
</ul>
<i> Exhibition reviews:</i>edited by Miriam de Rosa and Leo Goldsmith<br />
<ul>
<li><a href="https://necsus-ejms.org/codes-of-conflux-collaborations-between-human-and-computer-in-momas-thinking-machines/">Codes of conflux: Collaborations between human and computer in MoMa’s ‘Thinking Machines’</a> by Leo Goldsmith</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/nothing-stable-under-heaven-at-the-san-francisco-museum-of-modern-art/">Nothing stable under heaven at the San Francisco Museum of Modern Art</a> by Justin Ross Muchnick</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/racial-phantasmagoria-the-demonisation-of-the-other-in-richard-mosses-incoming/">Racial phantasmagoria: The demonisation of the other in Richard Mosse’s ‘Incoming’</a> by Diego Ramirez</li>
</ul>
<i> Book reviews:</i>edited by Lavinia Brydon and Victoria Pastor-González<br />
<ul>
<li><a href="https://necsus-ejms.org/reimagining-african-independence/">(Re)imagining African independence</a> by Vicente Sanchez-Biosca </li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/form-and-feeling-kinaesthetic-knowing-artificial-darkness/">Form and feeling: Kinaesthetic Knowing / Artificial Darkness</a> by Seth Barry Watter</li>
</ul>
<i> Audiovisual essays:</i>edited by Miklós Kiss<br />
<ul>
<li><a href="https://necsus-ejms.org/videographic-scene-analyses-part-2/">Videographic scene analyses, part 2</a> by Miklós Kiss </li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/witnessing-the-western/">Witnessing the western</a> by Luís Azevedo </li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/marxism-in-metropolis/">Marxism in ‘Metropolis’</a> by Greta Calaciura and Shant Bayramian </li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/the-l-song-take-in-before-sunrise/">The l/song take in ‘Before Sunrise’</a> by Ian Garwood</li>
</ul>
<ul>
<li><a href="https://necsus-ejms.org/agent-of-chaos-discontinuous-editing-in-the-dark-knight/">Agent of chaos: Discontinuous editing in ‘The Dark Knight’</a> by Drew Morton</li>
</ul>
</blockquote>
<div>
<div>
<br />
5. Erika Balsom's brilliant <a href="https://www.bfi.org.uk/news-opinion/sight-sound-magazine/reviews-recommendations/image-book-jean-luc-godard-ruminative-radical-montage">essay on Jean-Lun Godard's latest film <i>Le livre d'image</i> <i>The Image Book</i></a><br />
<br />
6. <a href="https://wfpp.cdrs.columbia.edu/2018/11/02/new-profiles-fall-2018/">Latest round up of profiles at the amazing Women's Film Pioneers Project</a><br />
<ul>
<li>Travelogue filmmaker and anthropologist <a href="https://wfpp.cdrs.columbia.edu/pioneer/kathleen-romoli/">Kathleen Romoli</a>(Colombia) by Isabel Arredondo</li>
<li>Director, producer, and screenwriter <a href="https://wfpp.cdrs.columbia.edu/pioneer/louise-kolm-fleck/">Louise Kolm-Fleck</a>(Austria, Germany, China) by Claudia Walkensteiner-Preschl</li>
<li>Director, actress, producer, and screenwriter <a href="https://wfpp.cdrs.columbia.edu/pioneer/francesca-bertini/">Francesca Bertini</a> (Italy) by Monica Dall’Asta</li>
<li>Chief accountant, office manager, and production secretary <a href="https://wfpp.cdrs.columbia.edu/pioneer/aili-kari/">Aili Kari</a> (Finland) by Hannu Salmi</li>
<li>Producer, screenwriter, and editor <a href="https://wfpp.cdrs.columbia.edu/pioneer/virginia-de-castro-e-almeida/">Virgínia de Castro e Almeida</a> (Portugal, France) by Tiago Baptista</li>
<li>Director, producer, screenwriter, actress, and camerawoman <a href="https://wfpp.cdrs.columbia.edu/pioneer/angela-murray-gibson/">Angela Murray Gibson</a> (United States) by Charles “Buckey” Grimm</li>
<li>Set designers and location scouts <a href="https://wfpp.cdrs.columbia.edu/pioneer/frances-baker-farrell-lettice-ramsey-and-mairin-hayes/">Frances Baker Farrell and Lettice Ramsey</a> & actress/editor <a href="https://wfpp.cdrs.columbia.edu/pioneer/frances-baker-farrell-lettice-ramsey-and-mairin-hayes/">Máirín Hayes</a> (Ireland) by Donna Casella</li>
<li>Publicist, trade journal editor and writer, and business owner <a href="https://wfpp.cdrs.columbia.edu/pioneer/mabel-condon/">Mabel Condon</a> (United States) by Carolyn Jacobs</li>
<li>Director, actress, and film company founder <a href="https://wfpp.cdrs.columbia.edu/pioneer/cleo-de-verberena/">Cleo de Verberena</a> (Brazil) by Marcella Grecco de Araujo</li>
</ul>
</div>
<br />
7. The fabulous research project and resource <a href="https://zauberklang.ch/filmcolors">Timeline of Historical Film Colors</a> is now on <a href="https://www.instagram.com/timeline_filmcolors/">Instagram</a> as <a href="https://www.instagram.com/timeline_filmcolors/">@timeline_filmcolors</a>!</div>
<div>
<br /></div>
<div>
8. <a href="https://dcairns.wordpress.com/2018/12/22/box-set/">The Shadowcast: A remarkable new film podcast from film critic genius David Cairns</a></div>
<div>
<br /></div>
<div>
9. Allison Wilmore's <a href="https://www.buzzfeednews.com/article/alisonwillmore/isle-of-dogs-jared-leto-orientalism">'Orientalism is Alive and Well in American Cinema'</a> (link via Girish Shambu)<br />
<br /></div>
<div>
10. "<a href="https://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/festivals/breaking-your-reservation-rise-indigenous-cinema">Breaking your reservation: the rise of indigenous cinema</a>" by So Mayer</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-39399811745116945932018-08-24T11:41:00.002+01:002018-08-24T19:23:45.417+01:00Celebrating Ten Years of FILM STUDIES FOR FREE, with Two New Aretha-on-Film Tributes and Tens of Other Awesome Links!<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/285718829?title=0&portrait=0" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/285718829">THINK FREEDOM</a> by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: center;">
<i>A video tribute to the Queen of Soul, Aretha Franklin (1942-2018), and the constantly surprising cinematic performance of her 1968 song 'Think' in </i>The Blues Brothers<i> (US 1980)</i><i>. The video takes the form of an audiovisual infographic on John Landis's dynamic filming of the song scene,</i><br />
<i>starring Franklin as the irrepressible Mrs. Murphy.</i></div>
<div style="text-align: center;">
<i><span style="font-size: xx-small;"><br /></span></i></div>
<div style="text-align: center;">
<i><span style="font-size: x-small;">(P.S. If you think I'm mapping any of the shots incorrectly, just let me know.</span></i></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>This is a</i><i> great exercise to do with students, but it can be tricker than it looks...)</i></span></div>
<div style="text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ01XCsjLiaE_zph1hL-zTwwuntuTgvtQiEJqq6lrFCcrG2VB0C4oP9BO6s5TQ2K2Zz56TjmQpdGd1ntaxPu6jDorw_lY_WetgFzM-PF1nBUi7diSa3wjur0S-c6LE397ZucBnDIMc4jw/s1600/Screen+Shot+2018-08-20+at+14.08.09.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1050" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ01XCsjLiaE_zph1hL-zTwwuntuTgvtQiEJqq6lrFCcrG2VB0C4oP9BO6s5TQ2K2Zz56TjmQpdGd1ntaxPu6jDorw_lY_WetgFzM-PF1nBUi7diSa3wjur0S-c6LE397ZucBnDIMc4jw/s200/Screen+Shot+2018-08-20+at+14.08.09.png" width="200" /></a></div>
<div style="text-align: center;">
<br /></div>
<div>
<div style="text-align: left;">
<a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> is ten years old today! Yes! It was exactly one whole decade ago that it went public online for the first time, just a few weeks before the 2008 financial crash <i><a href="https://en.wikipedia.org/wiki/Lehman_Brothers">really</a></i> took off... What a truly excellent time to have become the international purveyor of links to high-quality FREE stuff for film and screen media studies!</div>
</div>
<div>
<div style="text-align: left;">
<br /></div>
</div>
<div>
<div style="text-align: left;">
The re-distributive, Open Access-championing, project that <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> embraced had been conceived (of) a mere couple of weeks before, early one morning, in one of those rather dramatic lightbulb moments: "Wouldn't it be excellent if there could be a blog that directed film scholars to good, openly accessible resources for them online?" And thus it came to pass.<br />
<br />
What a blast it has been.</div>
</div>
<div>
<div style="text-align: left;">
<br /></div>
</div>
<div>
<div style="text-align: left;">
Brought to you from a somewhat remote log cabin in a tiny internationalist enclave of pre-Brexit Britain (pictured for the first time online, below), its mission was equally inspired by the extremely lively and considerably less corporate atmosphere, at the time, of the cinephile Web 2.0, post-the establishment of YouTube in 2005 - a fascinating period now both scrutinised and immortalised by fellow participant-observer in that era and since (and blogger and cinephile extraordinaire) Girish Shambu in his wonderful 2016 book <i><a href="https://www.caboosebooks.net/the-new-cinephilia">The New Cinephilia</a></i>.</div>
</div>
<div>
<br /></div>
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigvOk7LvMIMA4WRXqSVxxwo3GE2tDJbkemuU_7i-YAB5z2r-ETrbYhMNroRbM2HauCm1_0zPuL8SFkaAMFju_cGnZUDsa9dcddoR9rcIAl8ax_-A31p37cU1rG7ZnlBDSHzVv8x08fArw/s1600/FSFF%2527s+Log+Cabin.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1154" data-original-width="1600" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigvOk7LvMIMA4WRXqSVxxwo3GE2tDJbkemuU_7i-YAB5z2r-ETrbYhMNroRbM2HauCm1_0zPuL8SFkaAMFju_cGnZUDsa9dcddoR9rcIAl8ax_-A31p37cU1rG7ZnlBDSHzVv8x08fArw/s200/FSFF%2527s+Log+Cabin.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">The spiritual home of <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a></td></tr>
</tbody></table>
</div>
<div>
<div style="text-align: left;">
With no pomp or circumstance and—in the manner of an uncertain TV pilot episode—with very little sense of the form it would go on to take, on August 24, 2008, <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> posted an <a href="https://filmstudiesforfree.blogspot.com/2008/08/on-directors-cut.html">inaugural entry</a> on three 'very worthwhile items on the Director's Cut' (about which its scholar-author had recently been writing for a subsequently published <a href="https://catherinegrant.org/auteur-machines/">book chapter</a>).<br />
<br />
The blog very soon found its processual feet in the form of producing mostly long, handily bullet-pointed lists of curated links to (mostly English-language) 'online, <a href="http://en.wikipedia.org/wiki/Open_access_%28publishing%29">Open Access</a>, film and audiovisual media studies resources of note.'<br />
<br />
Oh, and <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> embraced a <i>hilarious </i>third-person sense of humour and directed it at a virtual second-person audience... What writing larks it has had! Dear Reader, it has been a total pleasure.</div>
</div>
<div style="text-align: left;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5En8TfddW04aY2vRfgAg3Sl9xVf5l3q0l95kQFvwA-8iCvzMgxznldWGyeEBwFYD26cunMHTUxnQdQbW1iO5NmwhclqZqY6aKmVLfjhPYPcOZ4N7QX6eeCyG5Ip4TEqvmrMyHUs4yqW0/s1600/Screen+Shot+2018-08-23+at+16.36.28.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="837" data-original-width="749" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5En8TfddW04aY2vRfgAg3Sl9xVf5l3q0l95kQFvwA-8iCvzMgxznldWGyeEBwFYD26cunMHTUxnQdQbW1iO5NmwhclqZqY6aKmVLfjhPYPcOZ4N7QX6eeCyG5Ip4TEqvmrMyHUs4yqW0/s320/Screen+Shot+2018-08-23+at+16.36.28.png" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">What <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a> used to look like in its first years (image courtesy of the <a href="https://web.archive.org/web/20101130102650/http://filmstudiesforfree.blogspot.com/2010/02/for-love-of-film.html">WAYBACK MACHINE</a>)</td></tr>
</tbody></table>
<div style="text-align: left;">
Please permit <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> the indulgence of one final reflection on this anniversary. The experience of fun, energy and experimentalism in producing <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> over the last decade has had some unimaginable and unintended consequences - unimaginable and unintended ten years ago, anyhow. They have been wonderful, too.<br />
<br />
For one, little had<span style="text-align: center;"> thi</span>s blog's author thought that carrying out the research for this website would entail a shift away from her own, rather conventional, film and media scholar-<i>modus operandi</i> to a world of experimental, film and social media publishing <i>proper </i>(with the <a href="http://mediacommons.futureofthebook.org/intransition/">[in]Transition</a> and <a href="http://reframe.sussex.ac.uk/">REFRAME</a> platforms, among others) as well as to that of <a href="https://vimeo.com/filmstudiesff">audiovisual production</a>. But <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a>'s runaway enthusiasm for the emergent digital forms of film studies it was discovering online and linking to, such as the <a href="https://filmstudiesforfree.blogspot.com/2009/01/shooting-down-youtube-bring-back-kevin.html">video essay</a>, brought about just such a dramatic change in its author's conception of what academic work in the Humanities might be (and ought to be), these days, which is one reason why despite everything (including the ongoing downfall of Western democracies) <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> still <img alt="" class="img" height="16" role="presentation" src="https://static.xx.fbcdn.net/images/emoji.php/v9/f6c/1/16/2764.png" style="border: 0px; caret-color: rgb(29, 33, 41); color: #1d2129; font-size: 14px; text-align: center; vertical-align: -3px;" width="16" /> the interwebs....<br />
<br />
If you want to read more about <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a>'s thoughts on the above turns, there's a <a href="http://framescinemajournal.com/article/re-born-digital/">2012 article by its author</a>, a <a href="https://filmstudiesforfree.blogspot.com/2011/01/borgesian-film-studies-library.html">research dissertation about this blog</a> based on interviews with her, a <a href="http://aim.org.pt/ojs/index.php/revista/article/view/427/pdf">very recent and excellent interview</a> reflecting on all the above, carried out by the fabulous film scholar Sérgio Dias Branco for the online journal <a href="http://aim.org.pt/ojs/index.php/revista/article/view/427/pdf" style="font-style: italic;">Aniki</a>, and tons more thoughts in publications listed <a href="https://catherinegrant.org/">here</a>.<br />
<br />
This brings us back to <a href="https://en.wikipedia.org/wiki/Open_access">OA</a> business as usual: today's anniversary entry consists of the usual lists of links, below - this time to commemoratively-focused ones connected, of course, to <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a>'s first decade of existence. But, <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> also offers you, as is its <a href="https://www.collinsdictionary.com/dictionary/english/as-is-ones-wont">wont</a>, one video <a href="https://vimeo.com/285718829">above</a> and one <a href="https://vimeo.com/286178727">below</a>: two modest (film studies-oriented) tributes to the cinematic magic (in <i><a href="https://en.wikipedia.org/wiki/The_Blues_Brothers_(film)">The Blues Bothers</a></i> and <i><a href="https://en.wikipedia.org/wiki/Moonlight_(2016_film)">Moonlight</a></i>) of <a href="https://en.wikipedia.org/wiki/Aretha_Franklin">Aretha Franklin</a>, the Queen of Soul, who sadly passed away on August 16, 2018.<br />
<br />
Keep coming back, Readers (well over 5 million of you, and still counting..). <i>Thank you!</i><br />
<i><br /></i>
And thank you very much, Open Access authors and publishers! Without you, <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> really wouldn't exist... Would it?<br />
<br />
Please follow <a href="https://twitter.com/filmstudiesff">@filmstudiesff</a> on <a href="https://twitter.com/filmstudiesff">Twitter</a> and the <a href="https://www.facebook.com/FilmStudiesForFree/">Film Studies For Free</a> page on <a href="https://www.facebook.com/FilmStudiesForFree/">Facebook</a>, where quality links are shared daily.<br />
<br />
<div style="text-align: right;">
<i><span style="font-size: x-small;">Finally, huge thanks to <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a>'s author's partner and soulmate Joyce for supporting <a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a></span></i></div>
<div style="text-align: right;">
<i><span style="font-size: x-small;">(and everything else) </span></i><i><span style="font-size: x-small;">in every single way possible for each of the last great ten years.</span></i></div>
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/286178727?portrait=0" webkitallowfullscreen="" width="640"></iframe></div>
<div style="text-align: center;">
<span style="background-color: white; color: #1a2e3b; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px; letter-spacing: 0.1599999964237213px;"></span><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/286178727">PICK ONE</a> by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<div style="text-align: center;">
<i>On a choice song in </i>Moonlight<i> (Barry Jenkins, USA 2016)</i></div>
<br />
TEN ANNIVERSARY LINKS LISTS:</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
1. TEN (SETS OF) INSPIRATIONAL FILM AND SCREEN STUDIES BLOGGERS</div>
</div>
<div style="text-align: center;">
<ul>
<li style="text-align: left;"><a href="http://www.davidbordwell.net/blog/">David Bordwell and Kristin Thompson</a>, <i>of course!</i></li>
<li style="text-align: left;"><a href="https://www.alsolikelife.com/shooting">Kevin B. Lee</a>, more influential in relation to everything <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> (and its author) does in the realm of online film and media studies than he could possibly imagine.... A true original!</li>
<li style="text-align: left;"><a href="http://girishshambu.blogspot.com/">Girish Shambu</a>, without whom none of <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a>'s last ten years would have been possible, or even noticed...</li>
<li style="text-align: left;"><a href="http://henryjenkins.org/">Henry Jenkins</a>, still setting the standard for critical media studies online. Immense!</li>
<li style="text-align: left;"><a href="http://alexandrajuhasz.com/">Alexandra Juhasz</a>, (of <a href="https://aljean.wordpress.com/">Media Praxis</a>) a genuine innovator and all round fabulous scholar-maker-activist</li>
<li style="text-align: left;"><a href="http://www.jonathanrosenbaum.net/">Jonathan Rosenbaum</a>, <a href="https://twitter.com/mattzollerseitz">Matt Zoller Seitz</a>, film (and TV) critic-authors of the film websites I enjoy reading the most. Also, the most generous.</li>
<li style="text-align: left;"><a href="http://www.chutry.wordherders.net/wp/">Chuck Tryon</a> (<a href="http://www.chutry.wordherders.net/wp/">The Chutry Experiment</a>), took participant-observation in online digital media studies to a whole new level.</li>
<li style="text-align: left;"><a href="https://profpamcook.com/">Pam Cook</a>, <a href="https://twitter.com/Katherine_Groo">Katherine Groo</a> (<a href="https://katherinegroo.com/half-films/">Half/Films</a>), <a href="https://twitter.com/categoryD">Chris Cagle</a> (<a href="http://categoryd.blogspot.com/">Category D</a>), three of the smartest people in the film scholarly universe online.</li>
<li style="text-align: left;"><a href="https://twitter.com/Requiem102">Nick Rombes</a>, <a href="https://medieninitiative.wordpress.com/">Shane Denson</a>, <a href="https://justtv.wordpress.com/">Jason Mittell </a>- thanks for all the manifold brilliant ideas!</li>
<li style="text-align: left;">And for their wondrous film criticism blogging: <a href="http://selfstyledsiren.blogspot.com/">Farran Smith Nehme</a> / <a href="http://www.ferdyonfilms.com/about/">Marilyn Ferdinand</a> / <a href="https://twitter.com/roderick_heath">Roderick Heath</a> (the backbone of the <a href="https://www.filmpreservation.org/blog/tags/blogathon">Film Preservation Blogathon</a> in which <a href="https://filmstudiesforfree.blogspot.com/" style="text-align: center;">FSFF</a> participated in its earlier years). And last but not least <a href="http://www.coffeecoffeeandmorecoffee.com/">Peter Nellhaus</a>, especially for his dedication to (and huge knowledge about and love for) cinema beyond that which exists in the English language. </li>
</ul>
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
2. TEN FAVOURITE OPEN ACCESS FILM AND SCREEN STUDIES E-BOOKS</div>
</div>
<ul>
<li><a href="http://reframe.sussex.ac.uk/reframebooks/archive2016/the-arclight-guidebook-to-media-history-and-the-digital-humanities/">Charles R. Acland and Eric Hoyt, <i>The Arclight Guidebook to Media History and the Digital Humanities</i> (Falmer: REFRAME Books, 2016)</a></li>
<li><a href="http://www.oapen.org/search?identifier=442726">Erika Balsom, <i>Exhibiting Cinema in Contemporary Art</i> (Amsterdam: Amsterdam University Press, 2013)</a></li>
<li><a href="http://networkcultures.org/blog/publication/tod-27-videoblogging-before-youtube/">Trine Bjørkmann Berry, <i>Videoblogging Before YouTube</i> (Amsterdam: Institute of Network Cultures, 2018)</a></li>
<li><a href="https://quod.lib.umich.edu/c/cjfs/0920054.0001.001/--ozu-and-the-poetics-of-cinema-david-bordwell?rgn=main;view=toc">David Bordwell, <i>Ozu and the Poetics of Cinema</i> (Ann Arbor, MI: University of Michigan Library, 2004)</a> [and all DB's other OA books listed <a href="http://www.davidbordwell.net/books/">here</a>)</li>
<li><a href="http://reframe.sussex.ac.uk/post-cinema/">Shane Denson and Julia Leyda (eds), <i>Post-Cinema: Theorizing 21st-Century Film</i> ( Falmer: REFRAME Books, 2016)</a></li>
<li><a href="http://www.oapen.org/search?identifier=341357">Paul Grainge (ed), <i>Memory and Popular Film</i> (Manchester: Manchester University Press, 2003)</a></li>
<li><a href="http://ark.cdlib.org/ark:/13030/ft1j49n6d3/">Andrew Horton (ed), <i>Play It Again, Sam: Retakes on Remakes</i> (Berkeley: University of California Press, 1998)</a></li>
<li><a href="http://ark.cdlib.org/ark:/13030/ft4779n9q5/">Mikhail Iampolski, <i>The Memory of Tiresias: Intertextuality and Film</i> (Berkeley: University of California Press, 1998</a>)</li>
<li><a href="http://www.oapen.org/search?identifier=426536">Belén Vidal,</a><a href="http://www.oapen.org/search?identifier=426536"> <i>Figuring the Past: Period Film and the Mannerist Aesthetic</i> (Amsterdam: Amsterdam University Press, 2012) </a></li>
<li><a href="http://dare.uva.nl/aup/en/record/172613">Siegfried Zielinski, <i>Audiovisions: Cinema and Television as Entr'actes in History</i> (Amsterdam University Press, 1999)</a></li>
</ul>
<div>
For more see <a href="https://filmstudiesforfree.blogspot.com/p/open-access-film-e-books-list.html">HERE</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
3. TEN FAVOURITE OPEN ACCESS PHD THESES</div>
</div>
<ul>
<li><a href="http://bbktheses.da.ulcc.ac.uk/215/">Tiago Baptista, Lessons in looking : the digital audiovisual essay, PhD thesis, Birkbeck, University of London, 2016</a></li>
<li><a href="https://dare.uva.nl/search?identifier=80a911f9-c4a1-456f-96cf-22f6574fc700">Melis Belil, Home away from home: global directors of new Hollywood, PhD Thesis, UvA, 2007</a></li>
<li><a href="http://eprints.nottingham.ac.uk/10386/">Felicia Chan, In Search of a Comparative Poetics: Cultural Translatability in Transnational Chinese Cinemas, PhD Thesis, University of Nottingham, 2007</a></li>
<li><a href="http://wrap.warwick.ac.uk/4048/">Catherine Fowler, The films of Chantal Akerman: a cinema of displacements, PhD Thesis, University of Warwick, 1995</a></li>
<li><a href="http://dare.uva.nl/en/record/163545">Malte Hagener, Avant-garde culture and media strategies: the networks and discourses of the European film avant-garde, 1919-39, PhD Thesis, UvA, 2005</a> </li>
<li><a href="http://sro.sussex.ac.uk/48856/">Frances Hubbard, Screendance: corporeal ties between dance, film, and audience. PhD thesis, University of Sussex, 2014</a></li>
<li><a href="http://wrap.warwick.ac.uk/4099/">Andrew Klevan, Disclosure of the everyday : the undramatic achievements in narrative film, PhD Thesis, University of Warwick, 1996</a> </li>
<li><a href="https://www.scribd.com/user/5239/Michael-Z-Newman">Michael Z. Newman, Characterization in American Independent Cinema, PhD University of Wisconsin-Madison, 2005</a> </li>
<li><a href="http://spectrum.library.concordia.ca/434/">Julianne Pidduck, Intimate places and flights of fancy : gender, space, and movement in contemporary costume drama. PhD thesis, Concordia University, 1997</a> </li>
<li><a href="http://bit.ly/999T5m">Tim J. Smith, </a><a href="https://www.era.lib.ed.ac.uk/handle/1842/1076">'An Attentional Theory of Continuity Editing', PhD thesis, University of Edinburgh, 2005</a></li>
</ul>
<div>
For more see <a href="https://filmstudiesforfree.blogspot.com/p/online-film-and-moving-studies-phd.html">HERE</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
4. TEN FAVOURITE SETS OF OPEN ACCESS RESEARCH AND TEACHING RESOURCES</div>
</div>
<div style="text-align: center;">
<ul>
<li style="text-align: left;"><a href="http://lantern.mediahist.org/">Lantern</a>, the search platform for the collections of the <a href="http://mediahistoryproject.org/">Media History Digital Library</a>, an open access initiative led by David Pierce and Eric Hoyt.</li>
<li style="text-align: left;"><a href="http://mediacommons.futureofthebook.org/">MediaCommons</a>, a Digital Scholarly Network</li>
<li style="text-align: left;"><a href="http://www.oapen.org/home">Oapen Books</a> - not a publisher but a library, where you can find vast quantities of film and screen studies research in book form.</li>
<li style="text-align: left;"><a href="http://www.editmedia.org/">EDIT media</a> (Equity, Diversity, and Inclusion in Teaching Media). Thank you, <a href="https://cargo.jenniferproctor.com/">Jennifer Proctor</a>, and colleagues</li>
<li style="text-align: left;"><a href="http://www.criticalcommons.org/">Critical Commons</a> (For Fair and Critical Participation in Media Culture). Thank you, Steve Anderson!</li>
<li style="text-align: left;"><a href="https://vimeo.com/groups/audiovisualcy">Audiovisualcy</a> and the <a href="http://reframe.sussex.ac.uk/audiovisualessay/">Audiovisual Essay</a> website</li>
<li style="text-align: left;"><a href="http://vectors.usc.edu/journal/index.php?page=Introduction">Vectors Journal</a> and <a href="http://kairos.technorhetoric.net/">Kairos Journal</a></li>
<li style="text-align: left;"><a href="http://www.kracauer-lectures.de/en/">Kracauer Lectures in Film and Media Theory</a> (Thank you, Vinzenz Hediger)</li>
<li style="text-align: left;"><a href="http://zauberklang.ch/filmcolors/">Timeline of Historical Film Colors</a> (Thank you, Barbara Fluekiger)</li>
<li style="text-align: left;">Society for Cinema and Media Studies and Cinema Journal Open Access ventures: <a href="https://www.cmstudies.org/page/CJ_in_focus">In Focus</a>, <a href="http://www.aca-media.org/">Aca-Media Podcast</a>, <a href="https://www.cmstudies.org/page/CJ_Archival_News">Archival News</a>, <a href="https://www.cmstudies.org/page/CJ_afterthoughts">Afterthoughts and Postscripts</a>, and <a href="https://www.teachingmedia.org/">Teaching Media</a></li>
</ul>
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
5. TEN FAVOURITE SOCIAL MEDIA GURUS FOR FILM / SCREEN CRITICISM AND MORE</div>
</div>
<div style="text-align: center;">
<ul>
<li style="text-align: left;">The legendary <a href="https://twitter.com/dwhtwit?lang=en">David Hudson</a>, now at <a href="https://twitter.com/CriterionDaily">Criterion | Daily</a> (Previously of GreenCineDaily, The Daily | MUBI, and the Daily | Fandor)</li>
<li style="text-align: left;"><a href="http://www.sophiemayer.net/">So Mayer</a>, <a href="https://twitter.com/tr0ublemayer?lang=en">@Tr0ublemayer</a></li>
<li style="text-align: left;"><a href="http://www.filmcritic.com.au/">Adrian Martin</a>, <a href="https://twitter.com/AdrianMartin25">@adrianmartin25</a></li>
<li style="text-align: left;">Open Access in Media Studies, <a href="https://twitter.com/OAmediascholar" style="text-align: center;">@OAmediascholar</a></li>
<li style="text-align: left;">Matt Zoller Seitz, <a href="http://matt zoller seitz nancy dawson">@mattzollerseitz</a></li>
<li style="text-align: left;">The Notebook at MUBI <a href="https://twitter.com/NotebookMUBI">@NotebookMUBI</a></li>
<li style="text-align: left;">Society for Cinema and Media Studies, <a href="http://scmstudies/">@SCMSstudies</a></li>
<li style="text-align: left;">David Verdeure, <a href="https://twitter.com/filmscalpel">@Filmscalpel</a></li>
<li style="text-align: left;">Cristina Álvarez López, <a href="https://twitter.com/LaughMotel">@laughmotel</a></li>
<li style="text-align: left;">Useful new kid on the block: <a href="https://twitter.com/scmspedagogy">@scmspedagogy</a></li>
</ul>
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
6. TEN FAVOURITE SETS OF VIDEO AND AUDIO RESOURCES</div>
</div>
<div style="text-align: center;">
<ul>
<li style="text-align: left;">The <a href="https://filmstudiesforfree.blogspot.com/2016/07/for-all-to-see-and-to-see-sense-of-in.html">VF Perkins interviews</a> (scroll down on the page): 12 constituent parts of a truly fascinating interview with legendary film scholar V.F. Perkins which took place at the <a href="http://www.kinoachteinhalb.de/">Kino 8 1/2</a> in Saarbrücken, Germany, and was filmed by <a href="http://vimeo.com/hbksaar">Media Art and Design Studiengang</a>. In the interview, Perkins engagingly discusses his approach to film studies and, in particular, talks about the trajectory of his foundational 1972 book <a href="http://books.google.com/books/about/Film_as_film.html?id=oUI9dCovUBYC">Film as Film</a>, and about his research on Jean Renoir's1939 film <a href="https://en.wikipedia.org/wiki/The_Rules_of_the_Game">Le Régle du jeu</a> about which he had written a <a href="https://he.palgrave.com/page/detail/la-regle-du-jeu-/?sf1=barcode&st1=9780851709659">2012 book for the BFI Film Classics series</a> (excerpt <a href="https://he.palgrave.com/resources/sample-chapters/9780851709659_sample.pdf">here</a>)</li>
<li style="text-align: left;"><a href="https://www.bfi.org.uk/news-opinion/sight-sound-magazine/video/video-haunted-memories-cinema-victor-erice">Haunted memory – the cinema of Víctor Erice</a>, a video essay by Adrian Martin and Cristina Álvarez López, 'exploring the joy and regret of nostalgia with one of the cinema’s great, spare poets of sense-memory.' (also see their <a href="http://www.filmkrant.nl/video-essays/">Thinking Machine</a> video essay work for <a href="http://www.filmkrant.nl/video-essays/">Filmkrant</a>)</li>
<li style="text-align: left;"><a href="https://vimeo.com/94101046">Transformers the Premake</a>, by Kevin B. Lee</li>
<li style="text-align: left;"><a href="http://reframe.sussex.ac.uk/audiovisualessay/reflections/intransition-1-3/christian-keathley/">50 Years On</a>, a video essay about cinephilia and history by Christian Keathley</li>
<li style="text-align: left;"><a href="http://mediacommons.futureofthebook.org/intransition/2015/12/28/fembot-red-dress">Fembot in a Red Dress</a>, by Allison de Fren</li>
<li style="text-align: left;"><a href="http://mediacommons.futureofthebook.org/intransition/2015/12/29/homeless-ghost-moving-camera-and-its-analogies">A Homeless Ghost: The Moving Camera and its Analogies</a> by Patrick Keating</li>
<li style="text-align: left;"><a href="https://vimeo.com/128802027">A.I. Artificial Intelligence - A Visual Study</a>, by Benjamin Sampson</li>
<li style="text-align: left;"><a href="http://cinentransit.com/category/videos/">Collection of video essays</a> (some in Spanish) built up by <a href="http://cinentransit.com/">Transit - Cine y otros desvíos</a></li>
<li style="text-align: left;"><a href="https://www.cmstudies.org/page/fieldnotes">Society for Cinema and Media Studies Fieldnotes Project</a></li>
<li style="text-align: left;">Podcasts <i>extraordinaires</i>: <a href="http://www.thecinephiliacs.net/">The Cinephiliacs</a> (Peter Labuza); <a href="http://www.cinematologists.com/">The Cinematologists</a> (Neil Fox and Dario Llinares); <a href="http://www.youmustrememberthispodcast.com/">You Must Remember This</a> (Karina Longworth); and relative newcomer, <a href="https://itunes.apple.com/us/podcast/eavesdropping-at-the-movies/id1329422486?mt=2">Eavesdropping at the Movies</a> (<a href="https://notesonfilm1.com/">José Arroyo</a> and Michael Glass).</li>
</ul>
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
7. TEN FAVOURITE RECENT LINKS</div>
</div>
<div style="text-align: center;">
<ul>
<li style="text-align: left;">Filmscalpel's brilliant new video-essay collection: <a href="http://www.filmscalpel.com/dossiers/">Director Dossiers</a></li>
<li style="text-align: left;">New audiovisual essay by Cristina Álvarez López and Adrian Martin: <a href="http://www.filmkrant.nl/video-essays/16977">The Gauntlet - Place and Space in a Scene from <i>Notorious</i>.</a></li>
<li style="text-align: left;"><span style="text-align: center;"><a href="https://www.aup.nl/en/articles/film-history-as-media-archaeology-an-interview-with-thomas-elsaesser-and">Film History as Media Archaeology: an interview with Thomas Elsaesser and Vladimir Lukin</a></span></li>
<li style="text-align: left;"><a href="http://www.editmedia.org/teaching-material/hegemonic-cinematography-exercise/?utm_source=dlvr.it&utm_medium=facebook"><span style="text-align: center;">Hegemonic Cinematography Exercise by </span><span style="text-align: center;">Professor Ruth Goldman, SUNY Buffalo State, for EDIT Media</span></a></li>
<li style="text-align: left;"><span style="text-align: center;"><a href="http://remezcla.com/film/hollywood-color-podcast-lupe-velez-dolores-del-rio/">Hollywood in Color [podcast] 'looks at the history of film through the lens of the underappreciated minority actresses who came up through the ranks.' </a>Thanks to Liz Greene for the link.</span></li>
<li style="text-align: left;"><span style="text-align: center;"><a href="http://www.nowplayingnetwork.net/supportingcharacters/episode41">Film critic and scholar extraordinaire Adrian Martin is the latest guest (no. 41) on Bill Ackerman's podcast series SUPPORTING CHARACTERS!</a> Bill's questions (more or less the same that he asks each person featured) tend to focus on autobiography, early years, career matters, and so on. Many films are also mentioned along the way.</span></li>
<li style="text-align: left;"><span style="text-align: center;"><a href="http://www.davidbordwell.net/blog/2018/08/19/is-there-a-blog-in-this-class-2018/">Is there a blog in this class? 2018</a> - the annual roundup by David Bordwell and Kristin Thompson of</span> lists of suggestions of posts at <a href="http://www.davidbordwell.net/blog/2018/08/19/is-there-a-blog-in-this-class-2018/">Observations on Film Art</a> that might be useful in classes, either as assignments or recommendations.</li>
<li style="text-align: left;"><a href="https://www.washingtonpost.com/news/posteverything/wp/2018/08/09/the-oscars-have-always-been-crass-its-new-award-for-popular-film-just-embraces-that/">Top notch film scholar Caetlin Benson-Allott on the recent Oscar developments</a>.</li>
<li style="text-align: left;"><a href="http://www.apparatusjournal.net/index.php/apparatus/issue/view/9/showToc">Latest issue of the online journal APPARATUS on the influence of women on Eastern European film form, their significance, their skills, and their expertise, through their work as editors and beyond.</a></li>
<li style="text-align: left;"><a href="https://www.centerforthehumanities.org/blog/crucial-circulations-vhs-and-queer-aids-archives">The Center for the Humanities Blog on Crucial Circulations: VHS and Queer AIDS Archives by Jaime Shearn Coan (link via Alexandra Juhasz)</a></li>
</ul>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<br /></div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
8. TEN FAVOURITE SETS OF OPEN ACCESS FILM AND SCREEN MEDIA JOURNALS</div>
</div>
<div style="text-align: center;">
<ul>
<li style="text-align: left;">Primarily non-English language ones: <a href="http://aim.org.pt/ojs/index.php/revista">Aniki</a>, <a href="https://cinergie.unibo.it/">Cinergie</a>, <a href="http://www.revistaatalante.com/index.php?journal=atalante">Revista L'Atalante</a>, <span style="text-align: center;"><a href="http://www.16-9.dk/english/">16:9</a>, <a href="https://cinea.be/photogenie/">Photogénie</a></span><span style="text-align: center;"> </span></li>
<li style="text-align: left;">Pioneering Aussie ones:<a href="http://www.screeningthepast.com/"> Screening the Past</a> and <a href="http://www.screeningthepast.com/">Senses of Cinema</a></li>
<li style="text-align: left;">Beloved and brilliant labours of love: <a href="https://www.ejumpcut.org/home.html">Jump Cut: A Review of Contemporary Media</a> (thank you Julia Lesage, Chuck Kleinhans and John Hess!), <a href="http://www.thecine-files.com/">The Cine-Files</a><a href="http://www.thecine-files.com/">: Scholarly Journal of Cinema Studies</a>, <a href="http://offscreen.com/">Offscreen Journal</a>, <a href="http://www.rouge.com.au/">Rouge</a>, <a href="http://www.lolajournal.com/">Lola</a>, <a href="http://www.worldpicturejournal.com/">World Picture Journal</a></li>
<li style="text-align: left;">Innovative ones: <a href="http://peepholejournal.tv/">Peephole</a>, <a href="http://vectors.usc.edu/journal/index.php?page=Introduction">Vectors Journal</a>, <a href="http://kairos.technorhetoric.net/">Kairos Journal</a>, <a href="http://screenworks.org.uk/">Screenworks</a>, <a href="https://www.audiovisualthinking.org/">Audiovisual Thinking: Journal of Academic Videos</a>, <a href="http://journal.transformativeworks.org/index.php/twc/index">Transformative Works and Cultures</a></li>
<li style="text-align: left;">Intersectional feminist ones: <a href="http://www.anothergaze.com/">Another Gaze: A Feminist Film Journal</a>, <a href="http://cleojournal.com/">Cléo: A Journal of Film and Feminism</a>, <a href="http://maifeminism.com/issues/issue-1/">MAI: Feminism and Visual Culture</a><span style="color: #333333; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: x-small;"><span style="background-color: white;">,</span></span></li>
<li style="text-align: left;"><a href="https://necsus-ejms.org/">NECSUS: European Journal of Media Studies</a></li>
<li style="text-align: left;"><a href="https://warwick.ac.uk/fac/arts/film/movie/">MOVIE: A Journal of Film Criticism</a></li>
<li style="text-align: left;"><a href="https://www.filmcriticismjournal.org/">Film Criticism</a></li>
<li style="text-align: left;"><a href="http://www.alphavillejournal.com/">Alphaville: Journal of Film and Screen Media</a></li>
<li style="text-align: left;">[<a href="http://mediacommons.futureofthebook.org/intransition/">in]Transition; Journal of Videographic Film and Moving Image Studies </a></li>
</ul>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
For more see <a href="https://filmstudiesforfree.blogspot.com/p/fsff-online-film-media-studies-journals.html">HERE</a></div>
<div style="text-align: left;">
<br /></div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
9. TEN (SETS OF) OPEN ACCESS HEROES IN SCREEN STUDIES </div>
</div>
<div style="text-align: center;">
<ul>
<li style="text-align: left;">Daniel Frampton and David Sorfa (the legends behind<a href="https://www.euppublishing.com/loi/film"> Film-Philosophy</a> in its different incarnations)</li>
<li style="text-align: left;">Kathleen Fitzpatrick, Jason Mittell and Avi Santo, and all those behind <a href="http://mediacommons.futureofthebook.org/">MediaCommons</a> </li>
<li style="text-align: left;">Martin Eve and Caroline Edwards, for the amazing <a href="http://Open Library of Humanities">Open Library of Humanities</a>, a platform now graced by a new film and television studies journal called <a href="https://openscreensjournal.com/">Open Screens</a>! </li>
<li style="text-align: left;">Will Brooker and Chris Becker, for the brilliant open access developments directly connected to <i>Cinema Journal </i>(including: <a href="https://www.cmstudies.org/page/CJ_in_focus">In Focus</a>, <a href="http://www.aca-media.org/">Aca-Media Podcast</a>, <a href="https://www.cmstudies.org/page/CJ_Archival_News">Archival News</a>, <a href="https://www.cmstudies.org/page/CJ_afterthoughts">Afterthoughts and Postscripts</a>, and <a href="https://www.teachingmedia.org/">Teaching Media</a>)</li>
<li style="text-align: left;"><a href="http://www.filmcritic.com.au/">Adrian Martin</a>, for the personal example of his prolific sharing of his work online and for editing and producing numerous open access publishing ventures (including <a href="http://www.screeningthepast.com/">Screening the Past</a>, <i><a href="http://www.rouge.com.au/">Rouge</a></i>, and <i><a href="http://www.lolajournal.com/">Lola</a></i> [with Girish Shambu]). Check out his <a href="http://www.filmcritic.com.au/">phenomenal personal website</a>, supported by the open access legend that is <a href="http://www.pureshitauscinema.com/">Bill Mousoulis</a>.</li>
<li style="text-align: left;">Thomas Elsaesser, for the personal example of his prolific sharing of his work online and for editing and supporting numerous open access publishing ventures. Check out his phenomenal <a href="http://www.thomas-elsaesser.com/">personal website</a>. Thanks to him, also, for helping to pioneer the <a href="http://mediacommons.futureofthebook.org/intransition/2014/02/28/bergman-senses-thomas-elsaesser-anne-bachmann-and-jonas-moberg-2007">audiovisual essay form</a>.</li>
<li style="text-align: left;"><a href="https://twitter.com/jeroenson?lang=en">Jeroen Sondervan</a>, for all his work at Amsterdam University Press, and beyond, supporting open-access books and journals. Check out his latest great contribution, the <a href="http://oamediastudies.com/">Open Access Media Scholar</a> website.</li>
<li style="text-align: left;">The (fellow) co-editors, project managers, and peer reviewers at <a href="http://mediacommons.futureofthebook.org/intransition/">[in]Transition</a>, who work so very hard helping to promote the audiovisual essay as a scholarly form, including Chiara Grizzaffi, Christian Keathley, Drew Morton, Jason Mittell and Christine Becker</li>
<li style="text-align: left;"><a href="https://twitter.com/footage">Rick Prelinger</a>, for his contributions to audio-visual and other archiving at the <a href="http://www.archive.org/details/prelinger">Prelinger Archive</a> and the <a href="http://www.archive.org/">Internet Archive</a></li>
<li style="text-align: left;"><a href="https://twitter.com/charlottecrofts">Charlotte Crofts</a>, for her tireless work in publishing audiovisual forms of screen studies, including developing the brilliant <a href="http://screenworks.org.uk/">Screenworks</a> platform (see <a href="https://filmstudiesforfree.blogspot.com/2012/04/screen-heritage-goes-app-curzon.html">FSFF's earlier act of worship</a>)</li>
</ul>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<br /></div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
10. TEN FAVORITE ACADEMIC PUBLISHERS WITH DESERVED OPEN-ACCESS CREDENTIALS</div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
</div>
<ul>
<li style="text-align: left;"><a href="https://www.aup.nl/en/publish/open-access">Amsterdam University Press</a></li>
<li style="text-align: left;"><a href="https://www.openlibhums.org/">Open Library of Humanities</a></li>
<li style="text-align: left;"><a href="https://punctumbooks.com/">Punctum Books</a></li>
<li style="text-align: left;"><a href="https://www.ucpress.edu/search.php?q=open+access&submit=">University of California Press</a></li>
<li style="text-align: left;"><a href="https://www.kuleuven.be/english/research/scholcomm/openaccess/policy/policy">Leuven University Press</a></li>
<li style="text-align: left;"><a href="http://www.manchesteruniversitypress.co.uk/open-access/">Manchester University Press</a></li>
<li style="text-align: left;"><a href="https://openhumanitiespress.org/">Open Humanities Press</a></li>
<li style="text-align: left;"><a href="https://www.euppublishing.com/#">Edinburgh University Press</a></li>
<li style="text-align: left;"><a href="https://www.leverpress.org/">Lever Press</a></li>
<li style="text-align: left;"><a href="https://www.sup.org/digital/">Stanford University Press</a> for digital scholarship</li>
</ul>
<div>
And don't forget <a href="http://www.oapen.org/home">Oapen Books</a> - not a publisher but a library, where you can find vast quantities of film and screen studies research in book form.</div>
<div>
<br /></div>
</div>
<div style="text-align: center;">
<div style="text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOlT6e9LmvbWpgB-2svfv7RVrWqhLQo50H7qvO0POBc3jXPdOismG4BP06FCACs4ae-db2THvgd0kfwF40R6Z0auH_L2euckVeaCJ50ykG1VfnRu4-jbUKaSJ9p1qZkQpoutItVhHAhYQ/s1600/Screen+Shot+2018-08-20+at+14.08.09.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1050" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOlT6e9LmvbWpgB-2svfv7RVrWqhLQo50H7qvO0POBc3jXPdOismG4BP06FCACs4ae-db2THvgd0kfwF40R6Z0auH_L2euckVeaCJ50ykG1VfnRu4-jbUKaSJ9p1qZkQpoutItVhHAhYQ/s200/Screen+Shot+2018-08-20+at+14.08.09.png" width="200" /></a></div>
<div style="text-align: center;">
<i><br /></i></div>
<i><br /></i>
<br />
<div style="margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<span style="color: #454545; font-family: "times new roman" , serif;"><span style="caret-color: rgb(69, 69, 69);"><b><i>Post-scriptum</i>: TEN TINY TESTIMONIALS ON <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a> REACHING THE GRAND OLD DIGITAL AGE OF TEN [blushing]</b></span></span></div>
</div>
<div>
<div style="text-align: left;">
<br /></div>
</div>
<div style="text-align: left;">
I think I discovered <span style="color: #454545; font-family: "times new roman" , serif;">[</span><a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a><span style="color: #454545; font-family: "times new roman" , serif;">]</span> around 2010-2011. And I'm pretty sure it was through Catherine's video essay '<a href="https://filmanalytical.blogspot.com/2010/06/true-likeness-peeping-tom-and-code.html">True Likeness</a>', that we republished at <a href="http://cinentransit.com/el-fotografo-del-panico-codigo-desconocido/">Transit. Cine y otros desvíos</a> - (<a href="http://cinentransit.com/">cinentransit.com</a>). Lovely piece and long life to <a href="https://www.facebook.com/FilmStudiesForFree/?hc_location=ufi">Film Studies For Free</a>!!!</div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<b>Cristina Álvarez López</b>, <a href="https://cristinaalvarezlopez.wordpress.com/">film critic and audiovisual essayist</a>, Vilassar de Mar, Cataluña. <a href="https://twitter.com/LaughMotel">@laughmotel</a></div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<br /></div>
</div>
<div style="text-align: center;">
<div style="font-family: "Times New Roman", serif; font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<span style="color: #454545;">[W]ith thanks for such invaluable work and hearty congratulations on the anniversary.<o:p></o:p></span></div>
</div>
<div style="font-family: "Times New Roman", serif; font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<b><span style="color: #454545;">José Arroyo</span></b><span style="color: #454545;">, University of Warwick, UK.<span class="apple-converted-space"> </span><a href="http://t.co/5LwG5IqqBw" style="color: #954f72;"><span style="color: #e4af0a;">Blogger</span></a><span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span><a href="https://itunes.apple.com/us/podcast/eavesdropping-at-the-movies/id1329422486?mt=2" style="color: #954f72;"><span style="color: #e4af0a;">podcaster</span></a>.<span class="apple-converted-space"> </span><a href="https://twitter.com/JoseArroyo16" style="color: #954f72;"><b><span style="color: #e4af0a;">@</span></b><span style="color: #e4af0a;">JoseArroyo16</span></a></span></div>
</div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<br /></div>
<div style="font-family: "Times New Roman", serif; font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<span style="color: #454545;">I remember when I first discovered [</span><a href="https://filmstudiesforfree.blogspot.com/" style="font-family: -webkit-standard;">Film Studies For Free</a><span style="color: #454545;">]-- I think I just came across it via a film-related google search, but it was a revelation. It was as if someone had given me a gift... The site was relatively new, but already, one could get deliriously, delightfully lost in it for hours.<o:p></o:p></span></div>
</div>
<div style="font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<b style="font-family: "Times New Roman", serif;"><span style="color: #454545;">Tracy Cox-Stanton</span></b><span style="color: #454545; font-family: "times new roman" , serif;">, Savannah College of Art and Design and editor of <a href="http://www.thecine-files.com/">The Cine-Files:A Scholarly Journal of Cinema <o:p></o:p></a></span><span style="color: #454545; font-family: "times new roman" , serif;"><span style="caret-color: rgb(69, 69, 69);"><a href="http://www.thecine-files.com/">Studies</a></span></span></div>
</div>
<div style="font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<span style="color: #454545; font-family: "times new roman" , serif;"><br /></span></div>
</div>
<div style="font-family: "Times New Roman", serif; font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<span style="color: #454545;">Here’s my memory [...]. </span><span style="color: #454545;">[</span><a href="https://filmstudiesforfree.blogspot.com/" style="font-family: -webkit-standard;">Film Studies For Free</a><span style="color: #454545;">]</span><span style="color: #454545;"> was one of my first resources when I was getting into film, especially as I started university (a Filmmaking degree) and realized that I wasn’t going to have Film History as a subject. I was also really struggling with trying to be fluent in reading and writing in English. The complex language of some of the studies pushed me into studying more, finding new words, new thoughts and it also gave me the education that I was lacking at uni. I’ve always been thankful for the access provided and I’ll always have the memories of going through link after link, reading about films that I hadn’t seen yet, going back, watching more and more, and then reading. Can’t say it made me want to write those kind of studies (I wish I had that kind of mentality and verbosity). But it surely made me write more about film and eventually, down the line, jump in and start writing in this language. Thank you for everything, Catherine, and to the people who make these studies available.<o:p></o:p></span></div>
</div>
<div style="font-family: "Times New Roman", serif; font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<b><span style="color: #454545;">Jaime Grijalba</span></b><span style="color: #454545;">, film critic, Santiago de Chile<span class="apple-converted-space"> </span><a href="https://twitter.com/jaimegrijalba" style="color: #954f72;"><span style="color: #e4af0a;">@jaimegrijalba</span></a></span></div>
</div>
<div style="font-family: "Times New Roman", serif; font-stretch: normal; margin: 0cm 0cm 0.0001pt; min-height: 14px;">
<div style="text-align: left;">
<br /></div>
</div>
<div style="font-family: "Times New Roman", serif; font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<span style="color: #454545;">One of the best things about having good scholar-friends is when they say to you, ‘Have you read x?’, ‘Do you know about y?’, because they know you will be interested. With </span><a href="https://filmstudiesforfree.blogspot.com/" style="font-family: -webkit-standard;">Film Studies For Free</a><span style="color: #454545;"> [Catherine] Grant became everyone’s favorite scholar-friend, and the site became the platform for extraordinary generosity – which, it must be noted, is more than matched her intelligence and imagination.” <o:p></o:p></span></div>
</div>
<div style="font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<b style="color: #454545; font-family: "Times New Roman", serif;">Christian Keathley</b><span style="color: #454545; font-family: "times new roman" , serif;">, Middlebury College, co-editor of <a href="http://mediacommons.futureofthebook.org/intransition/">[in]Transition: Journal of Videographic Film and Moving <span style="caret-color: rgb(69, 69, 69);">Image</span> </a><span style="caret-color: rgb(69, 69, 69);"><a href="http://mediacommons.futureofthebook.org/intransition/">Studies</a>, and editor of the <a href="https://www.caboosebooks.net/kino-agora">Kino-Agora</a> series at <a href="https://www.caboosebooks.net/">caboose books</a>. </span></span></div>
</div>
<div style="font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<span style="color: #454545; font-family: "times new roman" , serif;"><span style="caret-color: rgb(69, 69, 69);"><br /></span></span></div>
</div>
<div style="text-align: left;">
<span style="color: #454545; font-family: "times new roman" , serif;">[</span><a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a><span style="color: #454545; font-family: "times new roman" , serif;">]</span> honestly helped put [the <a href="http://www.thecinephiliacs.net/">Cinephiliacs</a>] on the trajectory [it took], and I’m so excited for Catherine to celebrate this!!!</div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<b>Peter Labuza</b>, host of <a href="http://www.thecinephiliacs.net/">The Cinephiliacs</a> podcast. <a href="https://twitter.com/labuzamovies">@labuzamovies</a> & <a href="https://twitter.com/Cinephiliacs">@Cinephiliacs</a> </div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<br /></div>
</div>
Felicitaciones por este excelente trabajo, una fuente de recursos increíble para conocer el universo del ensayo audiovisual, por muchos años más!!<br />
<b>Patricio Sanz</b>, Buenos Aires-based PhD student and 'Cantautor, VJ y pugilista aficionado'. <a href="https://twitter.com/Patoriuss/">@patoriuss</a><br />
<div style="text-align: center;">
<div style="font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<span style="color: #454545; font-family: "times new roman" , serif;"><span style="caret-color: rgb(69, 69, 69);"><br /></span></span></div>
</div>
<div style="font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
What an absolutely invaluable and generous resource <span style="color: #454545; font-family: "times new roman" , serif;">[</span><a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a><span style="color: #454545; font-family: "times new roman" , serif;">]</span> has been for a decade. (A thousand thanks!) This morning I dug up my very first exchanges with [its author]--going back to the time when she founded FSFF--and (gulp) I found an email in which I urged her to join Facebook and friend me lol...which she kindly did. FSFF 4EVER!<span style="background-color: white; color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif;"> </span><span class="_5mfr _47e3" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; line-height: 0; margin: 0px 1px; vertical-align: middle;"><img alt="" class="img" height="16" role="presentation" src="https://static.xx.fbcdn.net/images/emoji.php/v9/f6c/1/16/2764.png" style="border: 0px; vertical-align: -3px;" width="16" /></span></div>
</div>
<div style="font-stretch: normal; margin: 0cm 0cm 0.0001pt;">
<div style="text-align: left;">
<span class="_5mfr _47e3" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; line-height: 0; margin: 0px 1px; vertical-align: middle;"><br /></span></div>
</div>
<div style="font-family: "Times New Roman", serif; font-stretch: normal; margin: 0cm 0cm 0.0001pt; min-height: 14px;">
<div style="text-align: left;">
<b>Girish Shambu</b>, Canisius College, <a href="http://girishshambu.blogspot.com/">blogger</a> and author of <i><a href="https://www.caboosebooks.net/the-new-cinephilia">The New Cinephilia</a></i></div>
</div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<br /></div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
The generosity of the endeavour of <span style="color: #454545; font-family: "times new roman" , serif;">[</span><a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a><span style="color: #454545; font-family: "times new roman" , serif;">]</span> in terms of the amount of scholarship it archives in topical and trending lists - and the invaluable resource it offers to film educators/researchers are what I <img alt="" class="img" height="16" role="presentation" src="https://static.xx.fbcdn.net/images/emoji.php/v9/f6c/1/16/2764.png" style="border: 0px; color: #1d2129; vertical-align: -3px;" width="16" /> most about it and what I love most about <a href="https://twitter.com/CageyRant">[</a>its author].</div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<b>Dolores Tierney</b>, University of Sussex, and co-editor of <i><a href="http://reframe.sussex.ac.uk/mediatico/">Mediático</a>. </i><a href="https://twitter.com/Dolorestierney">@Dolorestierney </a></div>
</div>
<div style="text-align: center;">
<div style="text-align: left;">
<br /></div>
</div>
<span style="color: #454545; font-family: "times new roman" , serif;">[</span><a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a><span style="color: #454545; font-family: "times new roman" , serif;">]</span> is my go-to resource for all things cinema studies. It's the best place online to find out what's happening in the world of academic film criticism.<br />
<div>
<b>Joseph Tompkins</b>, Allegheny College, editor of <a href="https://www.filmcriticismjournal.org/">Film Criticism</a>.</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-48763235414217954802018-05-20T20:59:00.001+01:002018-05-20T22:34:26.365+01:00A Merry May Round Up of Joyous Film Links: Bergman, MAI, Jump Cut, OFFSCREEN, WIDESCREEN and lots more!<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/257277668?title=0&portrait=0" webkitallowfullscreen="" width="640"></iframe>
</div>
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="https://vimeo.com/257277668">LESSON</a> on Ingmar Bergman's <i>Autumn Sonata</i> by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a>, one of a number of videos made to commemorate this year's centenary of the Swedish director's birth. Don't forget <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a>'s earlier entry on <a href="https://filmstudiesforfree.blogspot.co.uk/2011/06/ingmar-bergman-studies.html">Ingmar Bergman studies</a>. </span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Greetings -- it's been a while! Here's a speedy, northern-hemisphere, Spring round up from <a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a>. See below for some especially choice and unmissable items!! More will be added to the below in the coming days.<br />
<br />
Remember to follow <a href="https://twitter.com/filmstudiesff">@filmstudiesff on Twitter</a> and on <a href="https://www.facebook.com/FilmStudiesForFree/">Facebook</a> for your daily stream of great openly accessible items!<br />
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="border: 0px; margin-bottom: 15px; outline: 0px; padding: 0px; vertical-align: baseline;">
<div style="text-align: center;">
<b>1. <i>Jump Cut</i></b></div>
<br />
Check out the HUGE new issue of <a href="https://www.ejumpcut.org/currentissue/index.html">JUMP CUT (58, 2018)</a><br />
Tributes to Chuck Kleinhans. The future of <i>Jump Cut</i>. Special sections on experimental feature fiction, documentary strategies, international perspectives, U.S. slavery's legal and symbolic remains, radical activism, unruly women, porn again, and book reviews.<br />
<br />
See also this excellent SCMS video tribute to Kleinhans <b><a href="https://youtu.be/QxNdv3mZbNA">here</a></b><br />
<br />
<br />
<div style="text-align: center;">
<b>2. <i>MAI: Feminism and Visual Culture</i></b></div>
<br />
Exciting launch issue of the new open access journal <a href="http://maifeminism.com/issues/issue-1/">MAI: Feminism and Visual Culture</a>: "A non-hierarchical journal open to multivalent feminist expression, research & critique of visual culture", featuring:</div>
<ul>
<li><a href="http://maifeminism.com/mai-and-mai-a-reflection/"><span class="s2">MAI And Mai: A Reflection by Mariah Larsson</span></a></li>
<li><span class="s1"><a href="http://maifeminism.com/on-brilliance-making-light-of-womens-creative-labour/"><span class="s3">On Brilliance: Making Light Of Women’s Creative Labour</span></a></span><span class="s4"> </span><span class="s5">by Rebecca Harrison</span></li>
<li><span class="s1"><a href="http://maifeminism.com/the-lessons-we-have-learnt-how-sexism-in-american-politics-sparked-off-the-new-feminist-renaissance/"><span class="s3">The Lessons We Have Learnt: How Sexism In American Politics Sparked Off The New Feminist Renaissance</span></a></span><span class="s4"> </span><span class="s5">by Anna Misiak</span></li>
<li><span class="s1"><a href="http://maifeminism.com/lets-hear-it-for-the-girls-representations-of-diverse-girlhoods-feminism-intersectionality-and-activism-in-contemporary-graphic-novels-and-comics/"><span class="s3">Let’s Hear It For The Girls! Representations Of Diverse Girlhoods, Feminism, Intersectionality And Activism In Contemporary Graphic Novels And Comics</span></a></span><span class="s5"> by Mel Gibson</span></li>
<li><span class="s1"><a href="http://maifeminism.com/abandoning-happiness-for-life-mourning-and-futurity-in-maja-borgs-future-my-love-2012/"><span class="s3">Abandoning Happiness For Life: Mourning And Futurity In Maja Borg’s Future My Love (2012)</span></a></span><span class="s5"> by Anna Backman Rogers</span></li>
<li><span class="s1"><a href="http://maifeminism.com/disappearing-into-the-future-perfect-spaces-of-self-picturing-in-the-diaries-of-susan-sontag-and-alix-cleo-roubaud/"><span class="s3">Disappearing Into The Future Perfect: Spaces Of Self-Picturing In The Diaries Of Susan Sontag And Alix Cléo Roubaud</span></a></span><span class="s4"> </span><span class="s5">by Lauren Elkin</span></li>
<li><span class="s1"><a href="http://maifeminism.com/my-body-isnt-my-own-war-monsters-and-matriarchy-in-monstress-2015/"><span class="s3">‘My Body Isn’t My Own’: War, Monsters, And Matriarchy In Monstress (2015- )</span></a></span><span class="s5"> by Rebecca Jones</span></li>
<li><span class="s1"><a href="http://maifeminism.com/popular-feminism-pharmacopornography-and-media-strategies-some-initial-thoughts/"><span class="s3">‘Popular’ Feminism, Pharmacopornography And Media Strategies: Some Initial Thoughts</span></a></span><span class="s4"> </span><span class="s5">by Tina Krekels</span></li>
<li><span class="s1"><a href="http://maifeminism.com/how-the-light-gets-in-notes-on-the-female-gaze-and-selfie-culture/"><span class="s2">How the Light Gets In: Notes on the Female Gaze and Selfie Culture</span></a></span><span class="s5"> by Mary McGill</span></li>
<li><span class="s1"><a href="http://maifeminism.com/neither-the-one-nor-the-other-photographic-errors-subjectivity-subversion-and-the-in-between/"><span class="s2">Neither The One Nor The Other: Photographic Errors—Subjectivity, Subversion And The In-Between</span></a></span><span class="s5"> by Tracy Piper-Wright</span></li>
<li><span class="s1"><a href="http://maifeminism.com/mai-in-conversation-with-hope-dickson-leach/"><span class="s2">Mai In Conversation With Hope Dickson Leach</span></a></span><span class="s5"> by Neil Fox</span></li>
<li><span class="s1"><a href="http://maifeminism.com/ladies-case-almanack/"><span class="s2">Ladies Case Almanack</span></a></span><span class="s5"> by Mairead Case</span></li>
<li><span class="s1"><a href="http://maifeminism.com/exploring-self-identification-through-verbal-and-visual-dialogue/"><span class="s2">Exploring Self-Identification Through Verbal And Visual Dialogue </span></a></span><span class="s5">by Patricia Prieto Blanco</span></li>
<li><span class="s6"><a href="http://maifeminism.com/persona-non-grata-sonata/"><span class="s2">PERSONA NON GRATA SONATA</span></a></span> - A Video Essay on Ingmar Bergman's Persona and Autumn Sonata by Catherine Grant and Amber Jacobs</li>
<li><span class="s6"><a href="http://maifeminism.com/bete-noir/"><span class="s2">Bête Noir </span></a></span>by Rebecca Louise Tiernan</li>
<li><span class="s1"><a href="http://maifeminism.com/oksana-kazminas-the-wedding-in-docu_presence-a-project-by-composer-performer-solomiya-moroz/"><span class="s2">Oksana Kazmina’s The Wedding In Docu_Presence: A Project By Composer/Performer Solomiya Moroz </span></a></span><span class="s5">by Oksana Kazmina</span></li>
<li><span class="s1"><a href="http://maifeminism.com/blood-rhythms-jessica-tillings/"><span class="s2">Blood Rhythms – Jessica Tillings </span></a></span><span class="s5">by Jessica Tillings</span></li>
<li><span class="s6"><a href="http://maifeminism.com/future-feminism/"><span class="s2">Future Feminism </span></a></span>by Sophia Kier-Byfield</li>
<li><span class="s1"><a href="http://maifeminism.com/futurist-paratexts-of-the-infamous-butter-scene/"><span class="s2">Futurist Paratexts Of The ‘Infamous Butter Scene’</span></a></span><span class="s5"> by Jazmine Linklater</span></li>
<li><span class="s1"><a href="http://maifeminism.com/instant-triangle/"><span class="s2">Instant Triangle </span></a></span><span class="s5">by Nia Davies</span></li>
<li><span class="s1"><a href="http://maifeminism.com/the-funambulist-paulette-jonguitud-responds-to-iris-epsteins-pajaro-funambulo/"><span class="s2">The Funambulist – Paulette Jonguitud Responds To Iris Epstein’s ‘Pájaro Funámbulo’ </span></a></span><span class="s5">by Paulette Jonguitud</span></li>
<li><span class="s1"><a href="http://maifeminism.com/woman-jeanne-dielman/"><span class="s2">Woman/ Jeanne Dielman </span></a></span><span class="s5">by Gloria Dawson</span></li>
<li><span class="s1"><a href="http://maifeminism.com/women-with-erections/"><span class="s2">Women With Erections </span></a></span><span class="s5">by Amy McCauley</span></li>
<li><span class="s1"><a href="http://maifeminism.com/liberated-sex-firestone-on-love-and-sexuality/"><span class="s2">Liberated Sex: Firestone On Love And Sexuality </span></a></span><span class="s5">by Alva Gotby</span></li>
<li><span class="s1"><a href="http://maifeminism.com/intoxicated-feminisms-and-the-politics-of-the-visible-khairani-barokkas-indigenous-species/"><span class="s2">Intoxicated Feminisms And The Politics Of The Visible: Khairani Barokka’s Indigenous Species </span></a></span><span class="s5">by Kate Lewis Hood</span></li>
<li><span class="s1"><a href="http://maifeminism.com/reading-and-resistance-re-visiting-the-witchs-flight-the-cinematic-the-black-femme-and-the-image-of-common-sense-in-politically-turbulent-times/"><span class="s2">Reading And Resistance: Re-Visiting The Witch’s Flight: The Cinematic, The Black Femme, And The Image Of Common Sense In Politically Turbulent Times </span></a></span><span class="s5">by Ana Maria Sapountzi</span></li>
<li><span class="s1"><a href="http://maifeminism.com/digital-violence-a-symposium/"><span class="s2">Digital Violence: A Symposium </span></a></span><span class="s5">by Hannah Hamad</span></li>
<ul class="ul1">
</ul>
</ul>
Follow <a href="https://twitter.com/mai_journal">@MAI_journal </a>on Twitter <a href="https://twitter.com/mai_journal">here</a><br />
<div style="border: 0px; margin-bottom: 15px; outline: 0px; padding: 0px; vertical-align: baseline;">
</div>
<div>
<br />
<br /></div>
<div style="text-align: center;">
<b>3. CFP for <i>The Cine-Files</i> <span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;">Special issue on</span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"> Animals in Cinema</span></b></div>
<div style="text-align: center;">
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><br /></span></b></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Cine-Files</span>, Issue 14 (Fall 2018), <a href="http://www.thecine-files.com/submissions/" style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;">Call for Papers</a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;"> </span></span><span style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: green; font-family: inherit;"><span style="font-style: inherit;"> </span></span>[Download as <a href="http://www.thecine-files.com/wp-content/uploads/2018/03/Issue14_Animals_CFP.pdf">PDF</a>]<span style="color: green; font-family: inherit;"><span style="font-style: inherit;"> </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;">for a Special issue on</span></span><b style="font-family: Arial, Helvetica, sans-serif; font-size: 14px;"> Animals in Cinema. </b>Submission Deadline: July 30, 2018</div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.thecine-files.com/">The Cine-Files</a></span>, an online journal of cinema scholarship, is now accepting submissions for its Fall 2018 special issue on animals in the cinema that will be edited by Catherine Grant and Tracy Cox-Stanton.<span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> </span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
We seek submissions for scholarly essays (4000-6000 words) that explore the significance of non-human animals in moving image studies. These essays will comprise the peer-reviewed, “featured scholarship” portion of issue 14.</div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
Since John Berger’s 1991 essay “Why Look at Animals?” studies of animals in visual culture have steadily advanced, culminating in the 2015 anthology <span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Animal Life and the Moving Image</span> (BFI, Michael Lawrence and Laura McMahon, editors). In this work, scholars employ a diversity of theoretical frameworks to extend many of the insights of animal studies into the terrain of film and media studies. Issue 14 of <span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Cine-Files</span> seeks to build on that work, inviting scholars to contemplate the significance of animals in a variety of audiovisual media.</div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
Papers might consider, <u>but are not limited to</u>, the following questions:</div>
<ul style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; list-style: square outside none; margin: 0px 0px 10px; outline: 0px; padding: 0px 0px 10px 20px; text-align: justify; vertical-align: baseline;">
<li style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">How do particular films or videos convey or complicate recent scholarly work about the sentience of non-human animals? </span></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">What can we learn from an analysis of films that feature animal performers? How does the non-human animal performer complicate our views of film performance?</span></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">How might we understand the proliferation of online animal videos within the context of anthropogenic climate change and threats of “the sixth extinction”?</span></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">What role did animals play in early cinema’s era of “attractions,” and how can an understanding of that era help us contextualize contemporary representations?</span></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">How can we better understand and historicize “the colonialist trope of animalization” (identified in </span><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Unthinking Eurocentrism</span><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">)—aligning non-human animals with human “others” including racial and/or ethnic minorities, as well as women, LGBTQI and others?</span></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">How has CGI affected the cinematic figuration of animals? </span></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">How has the depiction of animals prompted particularly innovative uses of cinematic language?</span></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Is it possible to depict animals in a way that is not “anthropomorphic?” How have particular films challenged anthropomorphic representation?</span></li>
</ul>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
Please email your essay as a MS Word doc to the editors, removing your identifying information from the essay. On a separate page, include your name, essay title, brief biographical note, and email address. Consult the guidelines for submissions at<span style="border: 0px; color: green; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> <a href="http://www.thecine-files.com/submission-guidelines/" style="border: 0px; color: green; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">http://www.thecine-files.com/submission-guidelines/</a></span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; margin-bottom: 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
If you would like to submit a video essay for consideration, please contact the editors by email to discuss your idea in the first instance. July 30 will also be the date for submissions in this mode.</div>
<div style="border: 0px; margin-bottom: 15px; outline: 0px; padding: 0px; vertical-align: baseline;">
<div style="font-family: arial, helvetica, sans-serif; font-size: 14px;">
Catherine Grant, catherine.grant1@bbk.ac.uk and Tracy Cox-Stanton, editor@thecine-files.com</div>
<div style="font-family: arial, helvetica, sans-serif; font-size: 14px;">
<br /></div>
<div style="font-family: arial, helvetica, sans-serif; font-size: 14px;">
<br /></div>
<div style="font-family: arial, helvetica, sans-serif; font-size: 14px; text-align: center;">
<b>4. Some recent video essays!</b></div>
<div style="font-family: arial, helvetica, sans-serif; font-size: 14px; text-align: left;">
<br /></div>
<div style="font-family: arial, helvetica, sans-serif; font-size: 14px; text-align: left;">
<br />
At the new issue of <a href="http://offscreen.com/issues/view/volume-22-issue-4">OFFSCREEN on audiovisual essays</a> (22.4, 2018)<br />
<br />
At the latest issue of <a href="http://mediacommons.futureofthebook.org/intransition/">[in]Transition: Journal of Videographic Film and Moving Images</a> (<a href="http://mediacommons.futureofthebook.org/intransition/theme-week/2018/10/journal-videographic-film-moving-image-studies-51-2018">5.1, 2018</a>)</div>
<br />
<ul>
<li><a href="http://mediacommons.futureofthebook.org/intransition/2018/03/08/i-feel-therefore-i-can-be-free">I Feel, Therefore I Can Be Free</a> by <a href="http://mediacommons.futureofthebook.org/intransition/user/22508">Nzingha Kendall</a></li>
<li><a href="http://mediacommons.futureofthebook.org/intransition/2018/03/07/berlin-moves">Berlin Moves</a> by <a href="http://mediacommons.futureofthebook.org/intransition/users/evelyn-kreutzer">Evelyn Kreutzer</a></li>
<li><a href="http://mediacommons.futureofthebook.org/intransition/2018/03/07/remixing-rose-hobart">Remixing Rose Hobart</a> by <a href="http://mediacommons.futureofthebook.org/intransition/users/threepwood89">Derek Long</a></li>
<li><a href="http://mediacommons.futureofthebook.org/intransition/2018/03/08/cinders-la-invasion">Cinders of La Invasion</a> by <a href="http://mediacommons.futureofthebook.org/intransition/user/22509">Nike Nivar Ortiz</a></li>
<li><a href="http://mediacommons.futureofthebook.org/intransition/2018/03/08/follow-shot">The Follow Shot</a> by <a href="http://mediacommons.futureofthebook.org/intransition/user/22505">Jordan Schonig</a></li>
</ul>
<div>
At <a href="https://www.facebook.com/Audiovisualcy/">Audiovisualcy</a>:</div>
<div>
<ul>
<li><a href="https://vimeo.com/261768770">Cotton - The Fabric of Genocide</a> by Cydnii Harris</li>
<li><a href="https://vimeo.com/260108126">"Get Out" in the Overseas Marketplace</a> by Cydnii Harris</li>
<li><a href="https://vimeo.com/258340561">Women, Intimacy, and Sexual Violence in Hitchcock Films</a> by Emma Hampsten</li>
<li><a href="https://vimeo.com/261176238">Gunsmoke Rhythms - An Epigraphic Exploration</a> by Katie Bird</li>
<li><a href="https://vimeo.com/152498993">Actress Must Have No Mouth</a> (on Marilyn Monroe) by Lara Mubaydeen </li>
<li><a href="https://vimeo.com/268401167">The Colors of GRAVE OF THE FIREFLIES</a> by Oswald Iten</li>
<li><a href="https://vimeo.com/254632732">Beneath the Hollywood Style: Performance in the Cinema of John Cassavetes</a> by Ian Garwood</li>
<li><a href="https://vimeo.com/254333822">How Black Lives Matter in <i>The Wire</i></a> by Jason Mittell</li>
<li><a href="https://vimeo.com/258107902">The Shipping Forecast: the audiovisual poetics of Ken Loach</a> by Liz Greene</li>
<li><a href="https://vimeo.com/249018712">Winter's Secret</a> by Julia Kovalenko</li>
<li><a href="https://vimeo.com/155238097">Elephant: A Matter of Pace</a> by Tiago de Luca</li>
<li><a href="https://vimeo.com/155238097">Skirt (on <i>The Seven Year Itch</i>)</a> by Catherine Grant </li>
<li><a href="https://vimeo.com/259129841">The Thinking Machine 16: UP! </a>by Cristina Alvarez López and Adrian Martin for Filmkrant </li>
<li><a href="https://vimeo.com/259302371">Sweet Country Video Essay</a> by Tara Judah</li>
<li><a href="https://vimeo.com/227751622">Before the Revolution: Jean-Luc Godard's <i>La Chinoise</i></a> by Jonathan Bygraves</li>
<li><a href="https://vimeo.com/191203862">Mai Zetterling: Evolution of an Actress</a> by Clara Podlesnigg</li>
</ul>
<div>
Also:</div>
</div>
<div>
<ul>
<li><a href="https://filmschoolrejects.com/video-essay-guide-to-alfred-hitchcocks-vertigo/">A Video Essay Guide to Hitchcock's Vertigo at One Perfect Shot/Film School Rejects</a></li>
</ul>
</div>
<div style="text-align: center;">
<div style="font-family: arial, helvetica, sans-serif; font-size: 14px;">
<b><br /></b></div>
<div style="font-family: arial, helvetica, sans-serif; font-size: 14px;">
<b>5. Other stuff! (More to be added!)</b></div>
<div style="text-align: left;">
</div>
<ul>
<li style="text-align: left;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 14px;">The <a href="https://www.chantalakerman.foundation/">website of the Fondation Chantal Akerman is online</a>! </span></span></li>
<li style="text-align: left;"><a href="http://www.davidbordwell.net/blog/2018/05/17/barely-moving-pictures-kiarostamis-24-frames/">David Bordwell on Kiarostami's last film</a></li>
<li style="text-align: left;"><a href="https://www.youtube.com/watch?v=bIu2hQrd3bI">On reactions at the first film shows, here's film historian Prof Ian Christie’s survey from a Gresham College lecture</a>.</li>
<li style="text-align: left;">The latest issue of <a href="http://widescreenjournal.org/index.php/journal">WIDE SCREEN journal is OUT NOW! This is a special issue on the production of cinematic space and has been edited Kathryn Hardy.</a></li>
</ul>
<div class="separator" style="clear: both; text-align: center;">
<img border="0" data-original-height="545" data-original-width="1366" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAlc0PLMKECG4_pzWiA8vcvte0Ak7DWdMQgf-doVxoBON7mJpL71sIN2kccTcOEYH_OeHFLFFLlWVjRZVcquQURWKZvd9jFC9S0CEFZ4magioj0xicQ_U9jpKrnTmSjA5lPYvV7CRf7Fg/s640/Screen+Shot+2018-05-20+at+20.57.52.png" width="640" /><a href="https://vimeo.com/257277668">https://vimeo.com/257277668</a></div>
<div>
<br /></div>
</div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-18446390331288564142018-01-15T15:32:00.004+00:002018-01-17T16:22:00.675+00:00Links to Free Online Streaming Platforms for Films and Moving Image Work<div style="text-align: center;">
<span style="font-size: x-small;"><b>Last updated January 17, 2018</b></span>
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/151683578" webkitallowfullscreen="" width="640"></iframe>
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: x-small;"><i><a href="http://sinemateka.lt/#temperatura-ne-pagal-celsiju">Temperatūra ne pagal Celsijų</a></i> / <i>Off Gauge Temperature</i> (Almantas Grikevičius, 1973)</span></b></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Recommended by <a href="https://twitter.com/htshell">Herb Shellenberger.</a> Click on CC in the frame above to switch on English subtitles.</span></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Online at the <a href="http://sinemateka.lt/">Lithuanian documentary films website</a>, run by Meno Avilys: <a href="http://sinemateka.lt/">http://sinemateka.lt</a></span></div>
<div style="text-align: center;">
<div style="text-align: center;">
<span style="font-size: x-small;"><b>Note</b>: If the above video won't play because of privacy settings, <b><a href="https://filmstudiesforfree.blogspot.com/ncr/2018/01/links-to-free-online-streaming.html">please click this link to reload the page in a non-region-limited/no-country redirect version</a> (</b></span><span style="font-size: x-small;"><a href="https://filmstudiesforfree.blogspot.com/ncr/2018/01/links-to-free-online-streaming.html">https://filmstudiesforfree.blogspot.com/ncr/2018/01/links-to-free-online-streaming.html</a>)</span></div>
</div>
<br />
<a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> brings you an entry that has come about because of a piece of <a href="https://www.facebook.com/photo.php?fbid=10106013524640293&set=a.632466295393.2280627.8200143&type=3&theater">Facebook crowdsourcing</a> by film curator <i>extraordinaire </i><a href="https://twitter.com/htshell">Herb Shellenberger</a>. Shellenberger requested from his friends any links they had to free online streaming platforms for films and moving image work. He was especially interested in ones that are run by archives, and most interested in those outside the US/UK.<br />
<br />
A wonderful list of links was rapidly assembled to a wide variety of international platforms, only some of which <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a> has tweeted or blogged about before. So, courtesy of Shellenberger and his friends, below is the list (with acknowledgement given to the individual suggesting each link - thanks especially to Patrick Friel for his extensive contribution, along with Herb).<br />
<br />
<i>If you have any further suggestions to make for the list, please use the Comments thread below.</i><br />
<br />
<div>
<ul>
<li>The <b>American Indian Film Gallery</b> (AIFG) is an online collection of more than 450 historic films by and about Native peoples of the Americas, compiled and digitized by historian J. Fred MacDonald over many years. These films range in date from 1925-2010. <a href="https://aifg.arizona.edu/">https://aifg.arizona.edu</a> <i>(thanks to Patrick Friel)</i></li>
<li><b>Archive of Hungarian Public Television</b> <a href="https://nava.hu/">https://nava.hu/</a> <i>(thanks to Zsolt Gyenge)</i></li>
<li><b>Audiovisual Thinking - </b>a leading journal of academic videos about audiovisuality, communication, media and design<i><strong><span style="color: #252525; font-family: "open sans" , "arial" , sans-serif;"><span style="font-size: 12px; font-style: normal;">.</span></span></strong> </i><a href="http://www.audiovisualthinking.org/">http://www.audiovisualthinking.org</a></li>
<li><b>Austrian Film Museum</b> - a lot of material (still growing) among them Dziga Vertov's <i>Kinonedeljas</i> and soon his <i>Kinopravdas </i><a href="http://filmmuseum.at/en/collections/film_online">http://filmmuseum.at/en/collections/film_online</a></li>
<li><b>Béla Balázs Studio in Hungary</b>.. (a little harder to navigate but has plenty of gems <a href="http://bbsarchiv.hu/en">http://bbsarchiv.hu/en</a> <i>(thanks to HS)</i></li>
<li><b>Ben Model's 'Accidentally Preserved'</b> - YouTube channel of silent film accompanist/historian including his collection of rare or lost silent films from vintage 16mm prints <a href="https://www.youtube.com/channel/UC-lLg-Ljx6NZbIU8MIbY37w">https://www.youtube.com/channel/UC-lLg-Ljx6NZbIU8MIbY37w</a> <i>(thanks to Patrick Friel)</i></li>
<li><b>The British Council </b>An archive of 120 short documentary films made by the British Council during the 1940s <a href="http://film.britishcouncil.org/">http://film.britishcouncil.org/</a> <i>(thanks to Patrick Friel)</i></li>
<li>The <b>British Film Institute</b> YouTube channel, including a selection of <a href="https://www.youtube.com/playlist?list=PLXvkgGofjDzh0Fg5odZ9LNFNtWFJwBbUw">orphan films</a>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="false"
DefSemiHidden="false" DefQFormat="false" DefPriority="99"
LatentStyleCount="382">
<w:LsdException Locked="false" Priority="0" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Cambria",serif;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-ansi-language:EN-US;
mso-fareast-language:EN-US;}
</style>
<![endif]-->
<!--StartFragment-->
<a href="http://www.youtube.com/user/BFIfilms">http://www.youtube.com/user/BFIfilms</a>
<!--EndFragment--></li>
<li><b>Chicago Film Archives</b> - a regional film archive dedicated to identifying, collecting, preserving and providing access to films that represent the US Midwest <a href="http://www.chicagofilmarchives.org/">http://www.chicagofilmarchives.org</a><i> (Thanks to Lori Felker)</i></li>
<li><b>Cinemargentino</b> Argentine Film Institute (INCAA) platform <a href="https://play.cine.ar/bienvenida/#play">https://play.cine.ar/bienvenida/#play</a> <i>(thanks to Sarah Dockhorn)</i></li>
<li><b>Cineteca di Bologna</b> - YouTube Channel:<a href="https://www.youtube.com/user/CinetecaBologna"> https://www.youtube.com/user/CinetecaBologna </a><i>(thanks to Franco Consales)</i></li>
<li><b>Cineteta Nacional Online </b>Chilean films to be viewed online from the archive for free, grouped in: Archive collections & Specials, there are 245 movies available to watch online in streaming mode. <a href="http://www.ccplm.cl/sitio/secciones/cineteca-nacional/cineteca-online">http://www.ccplm.cl/sitio/secciones/cineteca-nacional/cineteca-online</a>/ <i>(thanks to Vlad Rosas)</i></li>
<li><b>Cineteca Virtual</b> - Virtual Cineteca of the University of Chile film archives <a href="http://www.cinetecavirtual.cl/">http://www.cinetecavirtual.cl/</a> <i>(thanks to George Clark)</i></li>
<li><span style="font-weight: bold;">Colonial Film: Moving Images of the British Empire <span style="font-weight: normal;">Over 150 films are available for viewing online, all </span></span>showing images of life in the British colonies <a href="http://www.colonialfilm.org.uk/">http://www.colonialfilm.org.uk</a> <i>(thanks to Patrick Friel)</i><!--EndFragment--></li>
<li><b>Daazo Shortfilms </b>European shortfilms and social media platform<b> </b><a href="http://www.daazo.com/">http://www.daazo.com</a> <i>(thanks to Zsolt Gyenge)</i></li>
<li><b>Distribution Centre for Finnish Media Art</b> - not a completely free platform but you can rent out presentation rights for research use and watch some free previews as well <a href="http://www.av-arkki.fi/">http://www.av-arkki.fi</a> <i>(thanks to Viika Sankila)</i></li>
<li><b>DIVA Station</b><i> </i>- a material and on-line archive of video and new-media art developed by Center for Contemporary Arts, SCCA-Ljubljana since 2005 <a href="http://www.e-arhiv.org/diva/index.php?lang_pref=en">http://www.e-arhiv.org/diva/index.php?lang_pref=en</a> <i>(thanks to Max Grau)</i></li>
<li><b>EU Screen</b><i> </i>- a consortium of European broadcasters and audiovisual archives, streaming lots of archive programmes from European broadcasters <a href="http://euscreen.eu/">http://euscreen.eu</a></li>
<li><b>EYE Filmmuseum Amsterdam </b>YouTube channel of the national museum for film in the Netherlands <a href="https://www.youtube.com/user/eyefilmNL/">https://www.youtube.com/user/eyefilmNL/</a></li>
<li><b>Filmsdivision</b><i> - </i>Quasi-dysfunctional (but incredible) online archive of Films Division - the Indian state-run production house of government propaganda designed to "maintain a cinematic record of Indian history." <a href="http://filmsdivision.org/category/archives">http://filmsdivision.org/category/archives</a> <i>(thanks to Ashim Ahluwalia)</i></li>
<li><b>Folkstreams</b> maintains a huge archive of (mostly) American (mostly) short documentaries that chronicle lesser-seen elements of American culture <a href="http://www.folkstreams.net/">http://www.folkstreams.net </a><i>(thanks to Alexander Lesher)</i></li>
<li><b>The History Club </b>channel on YouTube has an astonishing archive of Russian and Soviet film - <a href="https://www.youtube.com/channel/UCI8LB46N9tHfvF4qvKim90g">https://www.youtube.com/channel/UCI8LB46N9tHfvF4qvKim90g</a><i> (thanks to Juliet Jacques)</i></li>
<li><b>Hungarian National Film Archive (Magyar Nemzeti Filmarchívum)</b> - possibly temporary free Vimeo channel (catch it before January 22) <a href="https://vimeo.com/filmarchivum/">https://vimeo.com/filmarchivum/</a> <i>(thanks to Zsolt Gyenge)</i></li>
<li><b>Indiancine.ma - </b>an annotated online archive of Indian film. It is intended to serve as a shared resource for film scholars and enthusiasts in India and beyond. <a href="https://indiancine.ma/">https://indiancine.ma</a> <i>(thanks to Ashim Ahluwalia)</i></li>
<li><b>Internet Archive</b> - a non-profit library of millions of free books, movies, software, music, websites, and more. Moving Image Archive with hundreds of public domain films: <a href="https://archive.org/details/movies">https://archive.org/details/movies</a></li>
<li><b>[inTransition: Journal of Videographic Film and Moving Image Studies</b> found footage works made to generate new knowledge through their audio-visual form <a href="http://mediacommons.futureofthebook.org/intransition/">http://mediacommons.futureofthebook.org/intransition/</a></li>
<li><b>Japanese Animation Film Classics</b><i> </i><a href="http://animation.filmarchives.jp/index.html">http://animation.filmarchives.jp/index.html </a><i>(thanks to Черная Дыра)</i></li>
<li><b>Jeff Quitney (individual) </b>YouTube Page gathering dozens of digitally restored/cleaned-up educational, government, sponsored, and other public domain films and television items. 1940s-1980s, primarily <a href="https://www.youtube.com/user/webdev17/videos">https://www.youtube.com/user/webdev17/videos</a> <i>(thanks to Patrick Friel)</i></li>
<li><b>The Korean Film Archive</b> has a YouTube channel of free subtitled features from its collection. https://www.youtube.com/channel/UCvH6u_Qzn5RQdz9W198umDw <i>(thanks to Rufus L de Rham)</i></li>
<li><b>Library of Congress</b> Lots of items, in varying resolutions. Including the recent Selections from the National Film Registry has 66 titles, most in high-resolution. Most downloadable. <a href="https://www.loc.gov/collections/selections-from-the-national-film-registry/?sp=1">https://www.loc.gov/collections/selections-from-the-national-film-registry/?sp=1</a> (<i>thanks to Patrick Friel)</i></li>
<li><b>Lithuanian documentary films</b> 1950s-2000s, run by Meno Avilys: <a href="http://sinemateka.lt/">http://sinemateka.lt</a> <i>(thanks to HS)</i></li>
<li><b>LUX Online Exhibitions</b><i> </i>A series of online exhibitions of screenworks from the LUX Collection <a href="https://lux.org.uk/whats-on/online-exhibitions">https://lux.org.uk/whats-on/online-exhibitions</a> </li>
<li><b>Media Burn</b> preserving audiovisual records of history and culture and engaging audiences with their creative reuse <a href="http://mediaburn.org/">http://mediaburn.org/</a> <i>(Thanks to Lori Felker)</i></li>
<li><b>Mosfilm </b>Soviet Features with subtitles <a href="https://www.youtube.com/user/mosfilm/videos">https://www.youtube.com/user/mosfilm/videos</a> <i>(thanks to Alexandra Anikina)</i></li>
<li><b>The Museum of Modern Art in Warsaw</b> has some Polish avant-garde film and video art online <a href="https://www.facebook.com/MuzeumSztukiNowoczesnej/?hc_location=ufi">Muzeum Sztuki Nowoczesnej w Warszawie/ Museum of Modern Art in Warsaw</a> - <a href="https://artmuseum.pl/en/filmoteka/">https://artmuseum.pl/en/filmoteka/</a> <i>(thanks to HS)</i></li>
<li><b>National Film Archive in Poland</b> - animation and experimental films are free to stream <a href="http://repozytorium.fn.org.pl/?q=en">http://repozytorium.fn.org.pl/?q=en</a> <i>(thanks to HS)</i></li>
<li><b>National Film Board of Canada - </b>the NFB's award-winning online Screening Room, featuring over 3,000 productions<b> </b><a href="https://www.nfb.ca/">https://www.nfb.ca/</a></li>
<li><i><b><span style="font-style: normal;">National Film Preservation Foundation </span></b></i>“Screening Room”: <a href="https://www.filmpreservation.org/preserved-films/treasures-from-american-film-archives-online-edition">Treasures from American Film Archives</a>; <a href="https://www.filmpreservation.org/preserved-films/eye-project-screening-room">EYE Project</a>; <a href="https://www.filmpreservation.org/preserved-films/lost-and-found-mercury-theater-films">Lost and Found: Too Much Johnson</a>; <a href="https://www.filmpreservation.org/preserved-films/lost-and-found-new-zealand">Lost and Found: New Zealand</a>; <a href="https://www.filmpreservation.org/preserved-films/lost-and-found-australia">Lost and Found: Australia</a>; <a href="https://www.filmpreservation.org/preserved-films/saved-through-the-nfpf">Saved Through the NFPF</a>; PLUS: A resource directory to other preserved films online: <a href="https://www.filmpreservation.org/preserved-films/where-to-see-more-films-preserved-with-nfpf-support">https://www.filmpreservation.org/preserved-films/where-to-see-more-films-preserved-with-nfpf-support</a><i><b>
</b>(thanks to Patrick Friel)</i></li>
<li><b>National Film Preservation Foundation Online Guide to Sponsored Films </b><a href="https://www.filmpreservation.org/sponsored-films">https://www.filmpreservation.org/sponsored-films</a> <i>(thanks to Patrick Friel)</i></li>
<li><b>Net Film - The Russian Film Archive</b><span style="background-color: white; color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 13px;"> </span><a href="https://www.net-film.ru/en/">https://www.net-film.ru/en/</a> <i>(thanks to Vladimir Nadein)</i></li>
<li><b>New York Public Library Digital Collections: </b>Jerome Robbins Dance Division Audio And Moving Image Archive <a href="https://digitalcollections.nypl.org/danceaudiovideo">https://digitalcollections.nypl.org/danceaudiovideo</a> <i>(thanks to Patrick Friel)</i></li>
<li><b>OAR – Oxford Artistic and Practice Based Research Platform </b><i>- </i>some moving image work <a href="http://www.oarplatform.com/">http://www.oarplatform.com</a> </li>
<li><b>Peabody Awards Archive</b> - A resource for radio and television materials, its holdings include most of the submissions to the notable award since 1940. While not all material is digitized, the staff will take requests to digitize programs from researchers. <a href="http://www.libs.uga.edu/media/collections/peabody/pbdatabase/index.html">http://www.libs.uga.edu/media/collections/peabody/pbdatabase/index.html </a><i>(thanks to Jason Mittell)</i></li>
<li><b>Películas Mudas / Silent Cinema </b>- YouTube channel directed by Víctor Ramiro and Eduard José Gasulla <a href="https://www.youtube.com/channel/UC_tMkLTLLDNTbebWHKXJ6-Q/">https://www.youtube.com/channel/UC_tMkLTLLDNTbebWHKXJ6-Q/</a> <i>(thanks to Peter Bosma)</i></li>
<li><b>PLAT </b>- featuring the work of Spanish experimental/independent filmmakers <a href="http://plat.tv/">http://plat.tv/ </a><i>(thanks to Elena Duque)</i></li>
<li><b>The Public Domain Review Film Archive </b><i><span style="background-color: white; color: #404040; font-family: "alegreya" , serif; font-size: 17px; font-style: normal; text-align: justify;">- </span></i><span style="text-align: justify;">its focus is on works which have now fallen into the public domain</span><i> </i><a href="http://publicdomainreview.org/medium/film/">http://publicdomainreview.org/medium/film/ </a><i>(thanks to Patrick Friel)</i></li>
<li><b>Screenworks</b><i> </i>a forum for the dissemination and discussion of practice research (often including experimental films) that includes space for reflection on research contexts. <a href="http://screenworks.org.uk/">http://screenworks.org.uk</a></li>
<li><b>Svensk film archive</b> Swedish film archive website: <a href="http://www.filmarkivet.se/">http://www.filmarkivet.se</a></li>
<li><b>TATE Online</b> - video and audio material to stream <a href="http://www.tate.org.uk/search?q=film&type=media">http://www.tate.org.uk/search?q=film&type=media</a></li>
<li><b>Thanhouser Films Online</b> - free streaming video to all 56 films currently available on the Thanhouser DVD collection (those directed, produced and distributed by the Thanhouser Company, the pioneering American motion picture studio of New Rochelle, New York) <a href="https://www.thanhouser.org/videos-online.htm">https://www.thanhouser.org/videos-online.htm</a> <i>(thanks to Patrick Friel)</i></li>
<li><b>UbuWeb: Film & Video</b> avant-garde films & videos presented for educational and non-commercial use <a href="http://www.ubu.com/film/">http://www.ubu.com/film/</a> </li>
<li><b>UCLA Chicano Studies Research Center </b>YouTube account gathering 14 historic documentaries (1960s-70s), including the Farmersville films <a href="https://www.youtube.com/watch?v=oWT3h0f3iUI&list=PLRbWnGoy2ay-uxnVhCyFmewkpQu_oj4fG">https://www.youtube.com/watch?v=oWT3h0f3iUI&list=PLRbWnGoy2ay-uxnVhCyFmewkpQu_oj4fG</a> <i>(thanks to Patrick Friel)</i></li>
<li><b>Vectors Journal - </b>a forum for "works that need, for whatever reason, to exist in multimedia. In so doing, we aim to explore the immersive and experiential dimensions of emerging scholarly vernaculars across media platforms." <a href="http://vectors.usc.edu/journal/index.php">http://vectors.usc.edu/journal/index.php</a></li>
<li><b>VIDEOFREEX Pirate TV</b> (not completely free but, if not free, very cheap VOD of some rare films) <a href="https://videofreexpiratetv.vhx.tv/">https://videofreexpiratetv.vhx.tv</a> <i>(thanks to Liz Flintz)</i></li>
<li><b>Videonale </b>- online archive of one of the most important and renowned festivals of video art and time-based arts in Germany and Europe <a href="http://archiv.videonale.org/en/">http://archiv.videonale.org/en/</a> <i>(thanks to Maz Grau)</i></li>
<li><b>Western Front Society</b> Vimeo channel - maintains an extensive, digitized archive of experimental work created and presented over the past thirty years, and is committed to preserving the legacy of Canada’s artistic community. <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fvimeo.com%2Fwesternfrontsociety&h=ATNhmRR-NKFmvbuu0NRJday7GU7zv0MBJO-ASom6kHttGEpQe_Z55mzEASXHzQpAq_w_ffLyZbqPb22-s6HQl3lR2apYV4aVK1HbDmBxbq7NvabyotZzg1eNvRI6HI-PbC3ZgnZPgnZqdipH-SBjzNkI-Y_mWYE">https://vimeo.com/westernfrontsociety</a> <i>(Thanks to Pablo de Ocampo)</i></li>
<li><b>Wild Film History - </b>multi-media guide to the history and heritage of wildlife filmmaking with numerous streamable films and clips <a href="http://www.wildfilmhistory.org/">http://www.wildfilmhistory.org</a><i> (thanks to Patrick Friel)</i></li>
</ul>
<div>
<b>Note: </b><a href="http://openculture.com/">OpenCulture.com</a> also has a great <a href="http://www.openculture.com/freemoviesonline">list</a> of free online films, and currently links to at least two of the channels suggested by the crowdsourcing above). It sourced its list from the following collections: <a href="http://boingboing.net/2009/10/07/public-domain-collec.html">Public domain collection of film noir at Archive.org - Boing Boing</a>; <a href="http://www.wired.com/wired/archive/14.10/start.html?pg=6">The Best: Movies in the Public Domain - Wired</a>; <a href="http://en.wikipedia.org/wiki/List_of_films_in_the_public_domain_in_the_United_States">Films in the Public Domain - Wikipedia</a>; <a href="http://www.fimoculous.com/archive/post-4872.cfm">Fimoculous list of Hulu Movies</a>; <a href="http://worldfilm.about.com/od/downloadtheclassics/Download_the_Classics.htm">About.com: Download the Classics</a>; <a href="http://www.salon.com/ent/movies/btm/feature/2009/06/17/digital_dist/index.html">Salon: The Future is Almost Now</a>.<br />
<div class="separator" style="clear: both; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.199999809265137px; text-align: center;">
<img alt="" border="0" data-original-height="533" data-original-width="1366" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinvzE3Py7NLweZfmpcdtEZ5mtzyF2iZasMJaFxyzxhyphenhyphenAFuXCEUcraAQIMxp-H2yWEXk7ix9edsOFqJ22IG2VhHDInnP0d-4ybAmxz3sSnTwaeZ9ay3wjlUDf6fSnCbStSoIdz-5SzH-dg/s640/Screen+Shot+2018-01-14+at+13.37.15.png" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0980392) 1px 1px 5px; background-color: white; background-position: initial initial; background-repeat: initial initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.0980392) 1px 1px 5px; padding: 5px;" title="" width="640" /></div>
<div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.199999809265137px; text-align: center;">
<b><i><a href="http://sinemateka.lt/#temperatura-ne-pagal-celsiju" style="color: #888888; text-decoration: none;">Temperatūra ne pagal Celsijų</a></i> / <i>Off Gauge Temperature</i> (Almantas Grikevičius, 1973)</b></div>
<div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.199999809265137px; text-align: center;">
<span style="font-size: xx-small;">Recommended by <a href="https://twitter.com/htshell" style="color: #888888; text-decoration: none;">Herb Shellenberger.</a></span></div>
<div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.199999809265137px; text-align: center;">
<span style="font-size: xx-small;"><b>Online at the <a href="http://sinemateka.lt/" style="color: #888888; text-decoration: none;">Lithuanian documentary films website</a>, run by Meno Avilys: <a href="http://sinemateka.lt/" style="color: #888888; text-decoration: none;">http://sinemateka.lt</a> </b></span></div>
</div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com9tag:blogger.com,1999:blog-925395536023721138.post-72255627327936739642017-12-31T17:34:00.002+00:002018-01-02T08:50:03.626+00:0012 Favourite Online Film Studies Items from 2017, and Other Links of Note!<div style="text-align: center;">
<span style="font-size: xx-small;">Last updated January 2, 2018
</span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/249231488" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="https://vimeo.com/249231488">NE ME QUITTE PAS</a> - a new video assemblage focusing on <i>Brief Encounter</i> and <i>Carol </i>by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></span></div>
<div style="text-align: center;">
<br /></div>
<div>
To commemorate the somewhat sad and strange outgoing year -- and <i>very much</i> to welcome in 2018 --- <a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> has selected, below, twelve of its favourite online film studies items encountered (or re-encountered) in 2017 for your delectation and delight - in no particular order of category.<br />
<br />
Some of these involved poignant encounters, associated with terribly untimely passings of pathbreaking scholars (see no. 1). Some are amazing new resources from (already) the most generous of brilliant scholars (see no. 2). All come with associated links, and are well worth your time exploring.<br />
<br />
Wishing you a radically happy and active 2018!<br />
<br />
With openly accessible love (and a brand new video, above) from <a href="https://filmstudiesforfree.blogspot.com/">FSFF</a> xx<br />
<br />
<i>P.S. Remember to follow <a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> on <a href="https://twitter.com/filmstudiesff">Twitter</a> and <a href="https://www.facebook.com/FilmStudiesForFree/">Facebook</a> for frequent news and links.</i><br />
<br />
<br /></div>
<div>
<br />
<div style="text-align: left;">
<div style="text-align: center;">
1.<br />
<b>Favourite Online Lecture</b><br />
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3H-G9FK-4xukO3Owqa6EoBTl_uGgSm2wA2QsRJt3s8McKuteB9kHffHqBDn2sg-jfPifyEzGv9t1pIexoPYcUijb6EYayTz6E7S4t40USpSvP9HElhvFwdZ6Qdx56abxVQrwqeyAcbaM/s1600/Screen+Shot+2017-12-31+at+14.37.19.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="724" data-original-width="920" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3H-G9FK-4xukO3Owqa6EoBTl_uGgSm2wA2QsRJt3s8McKuteB9kHffHqBDn2sg-jfPifyEzGv9t1pIexoPYcUijb6EYayTz6E7S4t40USpSvP9HElhvFwdZ6Qdx56abxVQrwqeyAcbaM/s320/Screen+Shot+2017-12-31+at+14.37.19.png" width="320" /></a></div>
<div style="text-align: left;">
<div style="text-align: center;">
<br /></div>
<b><a href="https://uncw.edu/filmstudies/about/HannahFrank.html">Hannah Frank</a></b>'s brilliant illustrated <a href="https://vimeo.com/102292313">lecture</a> from 2014 "The Traces of Their Hands: Women’s Work at American Animation Studios, 1928-1961" at the <a href="https://www.womenandperformance.org/public-programs/living-labor/">Living Labor: Marxism and Performance Studies event</a>, Department of Performance Studies New York University April 11–13, 2014. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Dr. Frank tragically <a href="https://www.wiareport.com/2017/08/memoriam-hannah-frank-1984-2017/">died</a> on August 28, 2017, at the age of 33. She was one of the most original, accomplished and promising scholars of her generation. She will be hugely missed but much remembered.</div>
<div style="text-align: left;">
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/102292313" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/102292313">LIVING LABOR: TRACES</a> from <a href="https://vimeo.com/womenandperf">women and performance</a></div>
<br />
See <a href="https://vimeo.com/hannah">Hannah Frank's Vimeo account</a>; and <a href="https://scholar.google.com/citations?user=skxWS7cAAAAJ&hl=en">her Google Scholar citations</a>;<br />
<br />
Also see the following tributes to Dr. Frank:<br />
<ul>
<li><a href="https://www.facebook.com/SCMStudies/posts/1406092629466286:0">Remembering Hannah Frank by Tom Gunning</a></li>
<li><a href="https://intermittentmechanism.blog/2017/09/12/on-the-ones-and-zeroes-a-tribute-to-hannah-frank/">On Ones (and Zeroes): A Tribute to Hannah Frank by Ian Bryce Jones</a></li>
<li><a href="https://intermittentmechanism.blog/2017/08/28/videogame-cat-of-the-week-the-fabulous-screech/">Videogame Cat of the Week: The Fabulous Screech / Remembering Hannah Frank by Ian Bryce Jones</a></li>
</ul>
<div>
<br /></div>
<div style="text-align: center;">
2.<br />
<b>Favourite new website</b><br />
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.filmcritic.com.au/"><img border="0" data-original-height="611" data-original-width="1019" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCCp-_PQOxkg8VKwfKOSTg09Xd0KyKJ4PRreGDDD0qJNEEp7Njjsl5TIax8slmOcH4IvbLmFKRPPJ2CXGF3rrPpynZAgDiZ9Y1XFlHveQrOm98scNkkMtuPBFK1J47gM5VIXdSwyroxr0/s400/Screen+Shot+2017-06-14+at+12.31.56.png" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.filmcritic.com.au/"><b>http://www.filmcritic.com.au/</b></a></div>
<br />
<br />
"Long awaited" doesn't even get close to describing film critic and scholar extraordinaire <b>Adrian Martin</b>'s website project to gather much of his published film criticism work and offer it up for free! But it arrived in 2017, starting with over 2000 entries to amazing pieces of writing and thinking, which are being added to every week!<br />
<br />
Titled <a href="http://www.filmcritic.com.au/">FILM CRITIC: ADRIAN MARTIN</a>, the website also points to a connected 'Patreon' campaign to raise some funds to help keep it maintained and regularly updated. <a href="http://filmstudiesforfree.blogspot.com/">FSFF</a>'s author has signed up to do just that.<br />
<br />
It's not every day that one of the world's leading writers about film gives away quite so much of his lifetime's work to the public domain. Good on ya, and thank you, Adrian!<br />
<ul>
<li><span style="background-color: white; color: #1d2129; font-family: "san francisco" , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14.000000953674316px; letter-spacing: -0.23999999463558197px;"><b>FILM CRITIC: ADRIAN MARTIN</b> </span><b style="text-align: center;"><a href="http://www.filmcritic.com.au/" style="text-align: center;">http://www.filmcritic.com.au/</a></b></li>
</ul>
<div>
<br /></div>
<div style="text-align: center;">
3.<br />
<b>Favourite Film and Media Studies Podcast</b><br />
<br /></div>
<div style="text-align: left;">
Film and Media Studies podcasts continued to delight us in 2017. The following three (listed in alphabetical order) tied for their place as <a href="http://filmstudiesforfree.blogspot.com/" style="text-align: left;">FSFF</a><span style="text-align: left;">'s </span>favourite.</div>
<div class="separator" style="clear: both; text-align: center;">
<img border="0" data-original-height="275" data-original-width="794" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisa4Hi3nHhCjKxDYZWxfmGQ1wv3t7QKtEzXV8rypINcuRP92USZPYbbqf9QE97OjhlEF8k-NTErd6_LSLAO1MOMuHqNtx0O4cF1n7oGTwrDHzsmIIhl8G8_1bCjjbTMOB6dhjk5PLmO2g/s400/Screen+Shot+2017-12-31+at+15.20.06.png" width="400" /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="http://www.aca-media.org/">http://www.aca-media.org</a></b></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6XfLKeewxE0brdE9mFaUTRobTDK43l_wnYEntCFqO5B7R-RZPQ4x6NCQ9ECzJOHszuxKCZnspLM5L4-g39NGmqpGcIHcaC5y-lTyF92ImuFm8W4GjsdB3dBK8tihSS-vofiBOTZqI7SA/s320/ImageWithText.jpg" width="320" /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.cinematologists.com/"><b>http://www.cinematologists.com</b></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<img border="0" data-original-height="174" data-original-width="831" height="83" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHurMptylHCskjgmaj2xoiJ6byZZfEiLZvJQ7H24WeUVf_9MZksA75YsWNCY_mAOUn_Lk1H5gHGN7FdrmnpPLjYt9YDJr_-ad-RTfuhaK2qacq4gqoTso2u62AqE43A2-T6A-q2MJUQck/s400/Screen+Shot+2017-12-31+at+15.21.31.png" width="400" /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><b><a href="http://www.thecinephiliacs.net/">http://www.thecinephiliacs.net</a></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><i>Also, check out new podcast on the block:</i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><a href="https://soundcloud.com/eavesdroppingatthemovies"><b>Eavesdropping at the Movies by Jose Arroyo and Michael Glass</b></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;">4</span><span style="text-align: left;">.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><b>Favourite longstanding website</b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><b><br /></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuRzAgH4I17UKfq-hoYZeSizGLrGejlFp5JVymu2nzLtVVJvyNH_N_NwdsiX0Ri7GxX9E4GnoeIAwij3bpWfXTAlU4ZhSLipK7X92ewGe_ZSqSoliNgDYuJCAP5IfDezL732Tw0FKnf-c/s1600/Screen+Shot+2017-12-31+at+15.32.24.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="94" data-original-width="441" height="85" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuRzAgH4I17UKfq-hoYZeSizGLrGejlFp5JVymu2nzLtVVJvyNH_N_NwdsiX0Ri7GxX9E4GnoeIAwij3bpWfXTAlU4ZhSLipK7X92ewGe_ZSqSoliNgDYuJCAP5IfDezL732Tw0FKnf-c/s400/Screen+Shot+2017-12-31+at+15.32.24.png" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><a href="http://www.davidbordwell.net/blog/"><b>http://www.davidbordwell.net/blog/</b></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><b><br /></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><b>January 2017 entries:</b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><a href="http://www.davidbordwell.net/blog/2017/01/23/how-la-la-land-is-made/">How LA LA LAND is made</a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/01/16/my-girl-friday-and-his-and-yours/">My girl Friday, and his, and yours</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/01/02/fantasy-flashbacks-and-what-ifs-2016-pays-off-the-past/">Fantasy, flashbacks, and what-ifs: 2016 pays off the past</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>February 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/02/27/anybody-but-griffith/">Anybody but Griffith</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/02/20/oscars-siren-song-3-a-guest-post-by-jeff-smith/">Oscar’s Siren song 3: A guest post by Jeff Smith</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/02/11/la-la-land-singin-in-the-sun/">LA LA LAND: Singin’ in the sun</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/02/02/all-my-objections-to-trump-wont-fit-on-one-blog/">All my objections to Trump won’t fit on one blog</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>March 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/03/23/going-inside-by-staying-outside-lavventura-on-the-criterion-channel/">Going inside by staying outside: L’AVVENTURA on the Criterion Channel</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/03/15/my-cover-is-blown/">My cover is blown</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/03/07/the-oscars-best-picture-and-other-best-picture/">The Oscars’ Best Picture and other Best Picture</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/03/03/waldo-lydecker-james-schamus-and-1910s-movie-storytelling/">Waldo Lydecker, James Schamus, and 1910s movie storytelling</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>April 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/04/18/film-noir-a-hundred-years-ago/">Film noir, a hundred years ago</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/04/13/wisconsin-film-festival-cutting-to-the-chase-and-away-from-it/">Wisconsin Film Festival: Cutting to the chase, and away from it</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/04/09/wisconsin-fim-festival-an-unexpected-gem-a-zucchini-and-a-farewell/">Wisconsin Fim Festival: An unexpected gem, a Zucchini, and a farewell</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>May 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/05/27/three-women-of-cannes-a-guest-entry-by-kelley-conway/">Three women of Cannes: A guest entry by Kelley Conway</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/05/23/ladies-at-all-levels/">Ladies at all levels</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/05/17/wayward-ways-and-roads-not-taken/">Wayward ways and roads not taken</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/05/10/good-morning-from-ozuland/">Good morning from Ozuland</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>June 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/06/27/ritrovato-2017-drinking-from-the-firehose/">Ritrovato 2017: Drinking from the firehose</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/06/19/grand-motel/">Grand motel</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/06/17/james-agee-astonishing-excellence-a-guest-post-by-charles-maland/">James Agee: Astonishing excellence: A guest post by Charles Maland</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/06/06/filmstruck-and-criterion-now-roku-ready/">FilmStruck and Criterion: Now Roku-ready</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/06/03/thrill-me/">Thrill me!</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>July 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/07/28/monsieur-verdoux-lethal-lothario/">MONSIEUR VERDOUX: Lethal Lothario</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/07/22/books-not-so-briefly-noted/">Books not so briefly noted</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/07/10/we-do-film-dammit-charlie-keil-interviews-us/">We do film, dammit: Charlie Keil interviews us</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/07/05/ritrovato-2017-many-faces-many-places/">Ritrovato 2017: Many faces, many places</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/07/01/ritrovato-2017-an-embarrassment-of-riches/">Ritrovato 2017: An embarrassment of riches</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>August 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/08/31/venice-2017-early-days/">Venice 2017: Early days</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/08/26/fassbinders-figures-jeff-smith-on-ali-fear-eats-the-soul/">Fassbinder’s figures: Jeff Smith on ALI: FEAR EATS THE SOUL</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/08/21/is-there-a-blog-in-this-class-2017/">Is there a blog in this class? 2017</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/08/02/dunkirk-part-1-straight-to-the-good-stuff/">DUNKIRK Part 1: Straight to the good stuff</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/08/09/dunkirk-part-2-the-art-film-as-event-movie/">DUNKIRK Part 2: The art film as event movie</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>September 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/09/26/mmm-m-good/">Mmm, M good</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/09/24/lubitsch-redoes-lubitsch/">Lubitsch redoes Lubitsch</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/09/13/reinventing-hollywood-out-of-the-past/">REINVENTING HOLLYWOOD: Out of the past</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/09/12/venice-2017-crimes-no-misdemeanors/">Venice 2017: Crimes, no misdemeanors</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/09/09/venice-2017-martels-drama-of-expectations/">Venice 2017: Martel’s drama of expectations</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/09/07/venice-2017-college-days/">Venice 2017: College days</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/09/06/venice-2017-hunting-golden-lions/">Venice 2017: Hunting Golden Lions</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/09/03/venice-2017-sensory-saturday-or-what-puts-the-virtual-in-vr/">Venice 2017: Sensory Saturday; or, what puts the Virtual in VR?</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/09/01/venice-2017-lubitsch-and-pickford-finally-together-again/">Venice 2017: Lubitsch and Pickford, finally together again</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>October 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/10/27/biomechanics-goes-to-the-big-house-brute-force-on-the-criterion-channel/">Biomechanics goes to the Big House: BRUTE FORCE on the Criterion Channel</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/10/23/women-oscars-and-power/">Women, Oscars, and power</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/10/19/reinventing-hollywood-comes-to-astoria/">REINVENTING HOLLYWOOD comes to Astoria</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/10/12/one-last-big-job-how-heist-movies-tell-their-stories/">One last big job: How heist movies tell their stories</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/10/11/reinventing-hollywood-post-partum-downs-and-ups/">REINVENTING HOLLYWOOD: Post-partum downs and ups</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/10/02/the-lost-world-refound-piece-by-piece/">THE LOST WORLD refound, piece by piece</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>November 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/11/29/taika-waititi-the-very-model-of-a-modern-movie-maker/">Taika Waititi: The very model of a modern movie-maker</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/11/27/time-shifting-the-phantom-carriage-on-the-criterion-channel/">Time-shifting: THE PHANTOM CARRIAGE on the Criterion Channel</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/11/18/something-familiar-something-peculiar-something-for-everyone-the-1910s-tonight/">Something familiar, something peculiar, something for everyone: The 1910s tonight</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/11/15/the-fabulous-forties-once-more-reinventing-hollywood-spreads-out-on-the-net/">The Fabulous Forties once more: REINVENTING HOLLYWOOD spreads out on the Net</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/11/10/the-celestial-arthouse-filmstruck-and-criterion-channel-with-an-offer-hard-to-refuse/">The Celestial Arthouse: FilmStruck and Criterion Channel with an offer hard to refuse</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/11/07/bill-morrisons-lyrical-tale-of-loss-destruction-and-sometimes-recovery/">Bill Morrison’s lyrical tale of loss, destruction, and (sometimes) recovery</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/11/01/dreyer-and-more-in-houghton/">Dreyer, and more, in Houghton</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b>December 2017 entries:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/12/27/the-ten-best-films-of-1927/">The ten best films of … 1927</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/12/19/the-boys-life-harold-lloyds-girl-shy-on-the-criterion-channel/">The Boy’s life: Harold Lloyd’s GIRL SHY on the Criterion Channel</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.davidbordwell.net/blog/2017/12/10/patchwork-imagination-lee-kwangkuks-framed-and-frayed-stories/">Patchwork imagination: Lee Kwangkuk’s framed and frayed stories</a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
5.</div>
<div class="separator" style="clear: both; text-align: center;">
<b>Favourite Online Film Studies Journal</b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<img border="0" data-original-height="207" data-original-width="437" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKtLRrG_IMBF3PswMYSaPbS2IyMpCn8jI3QCapV4Wnc3WxK_oMiQO9hoFatki-shEe9KJgMgfbVzFQhUd3iiV0-DWHHyh2hKr7rlayrEvDbQXqByda5z_TQps4jHVLiIshK5sU9M6Xays/s400/Screen+Shot+2017-12-31+at+16.16.46.png" width="400" /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="http://www.thecine-files.com/">http://www.thecine-files.com</a></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<img border="0" data-original-height="699" data-original-width="992" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwsXwcAFTU6U8jxe5YonZDo5wZoUP9xbDyDhdo98eXQDittaXocds8yGHYI9HpgP15KlvqobGnCL1SVCOxDdRPWGl7f4YfHRisivkVjfIEgHRhi1phCs02A-679DsfnqAVv2bhDv3FIPk/s320/movie_cover.png" width="320" /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://warwick.ac.uk/fac/arts/film/movie/"><b>https://warwick.ac.uk/fac/arts/film/movie/</b></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
A tie this year between <b><a href="https://warwick.ac.uk/fac/arts/film/movie/videographiccriticism/">The Cine-Files</a></b>, which brings some truly wonderful material online, year after year, thanks largely to the amazing talents of Editor-in-Chief Tracy Cox-Stanton, and <b><a href="https://warwick.ac.uk/fac/arts/film/movie/">Movie: A Journal of Film Criticism</a></b>, similarly run by a passionate team of academics, which introduced a brilliant new <b><a href="https://warwick.ac.uk/fac/arts/film/movie/videographiccriticism/">audiovisual essay section</a></b>!</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i><b><a href="https://filmstudiesforfree.blogspot.com/p/fsff-online-film-media-studies-journals.html">Also see this list!</a></b></i></div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://filmstudiesforfree.blogspot.com/" style="text-align: start;">FSFF</a> is very much looking forward to the publication of a new <a href="https://www.ejumpcut.org/home.html">Jump Cut</a> issue in Spring 2018 following on from the very sad loss of one of its pioneering editors, <b><a href="https://filmstudiesforfree.blogspot.com/2017/12/rest-in-radical-power-in-warm-memory-of.html">Chuck Kleinhans</a></b>, to whom this blog dedicated <a href="https://filmstudiesforfree.blogspot.com/2017/12/rest-in-radical-power-in-warm-memory-of.html">its previous entry in tribute</a>. </div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
6.</div>
<div class="separator" style="clear: both; text-align: center;">
<b>Favourite Video Essay on a Film Studies Topic</b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://vimeo.com/user10822253">Chloé Galibert-Laîné</a>'s<b> desktop documentary </b><a href="https://vimeo.com/200317440">My crush was a superstar</a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/200317440" webkitallowfullscreen="" width="640"></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
This was at the the top of my top ten picks in the end of year <i>Sight and Sound</i> poll: "<a href="http://www.bfi.org.uk/news-opinion/sight-sound-magazine/polls-surveys/annual-round-ups/best-video-essays-2017"><b>The best video essays of 2017</b></a>" expertly and painstakingly gathered by Kevin B. Lee and David Verdeure.</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Also check out this <a href="https://filmschoolrejects.com/best-video-essays-2017/">top 17 list curated by Jacob Oller</a> for the ONE PERFECT SHOT (now FILM SCHOOL REJECTS) website. </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
7.</div>
<div class="separator" style="clear: both; text-align: center;">
<b>Favourite video essayist</b></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
A two-way tie between:</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://vimeo.com/regularlovers"><b>Cristina Alvarez López and Adrian Martin</b></a> for <a href="https://mubi.com/notebook/posts/author/254">MUBI</a>, <a href="https://vimeo.com/filmkrant">Filmkrant</a>, and <a href="https://vimeo.com/regularlovers">themselves</a> (see also this great <a href="https://vimeo.com/244750592">video interview with them</a> by Julia Vassilieva from Monash Film and Screen Studies);</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://vimeo.com/user41789151">Oswald Iten</a></b> of<a href="http://www.oswalditen.ch/"> FILMBULLETIN and other sites</a> </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/225106434" webkitallowfullscreen="" width="640"></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
8.</div>
<div class="separator" style="clear: both; text-align: center;">
<b>Favourite video essay publisher/curator</b></div>
<div class="separator" style="clear: both; text-align: center;">
(ahem...after <a href="http://mediacommons.futureofthebook.org/intransition/">[in]Transition</a> and <a href="https://twitter.com/audiovisualcy">Audiovisualcy</a>....)</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWyYgc_u5gySuXJCBB9W8Z1iltEZmd3DJsixEzz1Ji8yrrl_Dpy5-BD3dpWcHYiI19AbFTJiVYO2RVT-VkPG8X7WqZCBs7RZNro3e6vjlVyNb5JBlF0UosRAvS8qn3GkaTZ93g4neb4X0/s1600/Screen+Shot+2017-12-31+at+16.33.08.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="78" data-original-width="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWyYgc_u5gySuXJCBB9W8Z1iltEZmd3DJsixEzz1Ji8yrrl_Dpy5-BD3dpWcHYiI19AbFTJiVYO2RVT-VkPG8X7WqZCBs7RZNro3e6vjlVyNb5JBlF0UosRAvS8qn3GkaTZ93g4neb4X0/s1600/Screen+Shot+2017-12-31+at+16.33.08.png" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://twitter.com/filmscalpel">Filmscalpel</a> </b><span style="text-align: left;"><b><a href="http://www.filmscalpel.com/">http://www.filmscalpel.com</a></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYZSN5TYpEZTvQbXGOCdW0qJ46KPUjSLxZdaZeQ_Wv9KmV0GOQAffC8zIyZ11qeo0whfATlyCRqtn91-QoFBieBb5SS6N1TNTeV-Ry0kCF_uNEw-QQ9HCA14NykqtSJ0m_tA0nGLbxJA/s1600/Screen+Shot+2017-12-31+at+16.37.32.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="337" data-original-width="588" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYZSN5TYpEZTvQbXGOCdW0qJ46KPUjSLxZdaZeQ_Wv9KmV0GOQAffC8zIyZ11qeo0whfATlyCRqtn91-QoFBieBb5SS6N1TNTeV-Ry0kCF_uNEw-QQ9HCA14NykqtSJ0m_tA0nGLbxJA/s400/Screen+Shot+2017-12-31+at+16.37.32.png" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
9.</div>
<div class="separator" style="clear: both; text-align: center;">
<b>Best online scholarly collaboration between a filmmaker and a film scholar (who is also a filmmaker!)</b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
<b><a href="https://www.youtube.com/watch?v=f4yiwQakF7c&app=desktop">How Action Movies are Spectacular… and Boring</a></b><br />
Science of Editing Series, <b><a href="https://www.youtube.com/channel/UCcPuBEAwuF6XWXkcXJXJwsg">This Guy Edits/Sven Pape</a></b> and <b><a href="http://www.karenpearlman.net/">Dr Karen Pearlman</a></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allow="encrypted-media" allowfullscreen="" frameborder="0" gesture="media" height="315" src="https://www.youtube.com/embed/f4yiwQakF7c" width="560"></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b>10.</b></div>
<div class="separator" style="clear: both; text-align: center;">
<b>Best open access eBook appearing online in 2017</b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
Two-way split between:</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPpLUDSQmXcyc3NFQulriwIfu2YGO9tkL4DTcLIdInrdXYEDud1r0RkAHijOipBZaeX_nb_4zohyY8bHcdkITd_aZRmogsu51RFF88s6gqE_fiRetMNENieGt2tazMBPqCnxq7uymLeNE/s1600/611670_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="333" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPpLUDSQmXcyc3NFQulriwIfu2YGO9tkL4DTcLIdInrdXYEDud1r0RkAHijOipBZaeX_nb_4zohyY8bHcdkITd_aZRmogsu51RFF88s6gqE_fiRetMNENieGt2tazMBPqCnxq7uymLeNE/s320/611670_cover.jpg" width="213" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.oapen.org/search?identifier=611670"><b><i>Farocki/Godard. Film as Theory</i> </b>by<b> Volker </b><b>Pantenburg</b></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
and</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUC-HTdqnxXvdrmiaD0UBSTbkArca18S6yi529unWVwT-kdZu0Yw-wP1k7OTIGeBYTpGKaLKj4dyur84SoMg2qyIJTQ02sNZ1IXtUGDKI7xPoavCbMmfEA_enlIzhqzI82g0YhFvTL1hk/s1600/607771_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="333" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUC-HTdqnxXvdrmiaD0UBSTbkArca18S6yi529unWVwT-kdZu0Yw-wP1k7OTIGeBYTpGKaLKj4dyur84SoMg2qyIJTQ02sNZ1IXtUGDKI7xPoavCbMmfEA_enlIzhqzI82g0YhFvTL1hk/s320/607771_cover.jpg" width="213" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="http://www.oapen.org/search?identifier=607771"><i>Feminisms: Diversity, Difference and Multiplicity in Contemporary Film Cultures</i> </a></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.oapen.org/search?identifier=607771">edited by <b>Laura </b><b>Mulvey and Anna Backman Rogers</b></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
11.</div>
<div class="separator" style="clear: both; text-align: center;">
<b>Favourite online article:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZzjk6cdft96eeJCc5NnvrCVTIptkSHpC0kHHaN2o-ODaRIt0N8UQ_HMzFIbQJNHm1w-23RP5szWjuMpiM5eCU2NaIfgjoKm9OU5ILYlgcjFSo1Owt3h1gzUh-194nOmlpA8q-q3nnjHI/s1600/Screen+Shot+2017-12-31+at+17.17.05.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="1026" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZzjk6cdft96eeJCc5NnvrCVTIptkSHpC0kHHaN2o-ODaRIt0N8UQ_HMzFIbQJNHm1w-23RP5szWjuMpiM5eCU2NaIfgjoKm9OU5ILYlgcjFSo1Owt3h1gzUh-194nOmlpA8q-q3nnjHI/s320/Screen+Shot+2017-12-31+at+17.17.05.png" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b>Nina Menkes</b>’s article "<a href="http://filmmakermagazine.com/103801-the-visual-language-of-oppression-harvey-wasnt-working-in-a-vacuum/">The Visual Language of Oppression: Harvey Wasn’t Working in a Vacuum</a>," FILMMAKER Magazine’s most popular post in 2017. Menkes' brilliantly uses the work of Laura Mulvey. <a href="http://filmmakermagazine.com/103801-the-visual-language-of-oppression-harvey-wasnt-working-in-a-vacuum/">http://filmmakermagazine.com/103801-the-visual-language-of-oppression-harvey-wasnt-working-in-a-vacuum/</a></div>
<div>
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
12.</div>
<div class="separator" style="clear: both; text-align: center;">
<b>Favourite Film Studies Related Instagram Account:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3gMXlZj6tgHNFMUiNy7aRjEXj3LeC9g8eHB7pqucuyIQg3lXHU_XmY6XzaeaM3lNmT1eDe00m1RVfb8IB5DvfciVKSp5_WoQXO8Tk5LuYjvL9W4HhrqdMuUFvzQ96spZAAwMbp-zZA4o/s1600/Screen+Shot+2017-12-31+at+17.18.09.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="631" data-original-width="1021" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3gMXlZj6tgHNFMUiNy7aRjEXj3LeC9g8eHB7pqucuyIQg3lXHU_XmY6XzaeaM3lNmT1eDe00m1RVfb8IB5DvfciVKSp5_WoQXO8Tk5LuYjvL9W4HhrqdMuUFvzQ96spZAAwMbp-zZA4o/s400/Screen+Shot+2017-12-31+at+17.18.09.png" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://www.instagram.com/fictitiousinteriors/">Fictitious Interiors</a></b> Curated by <a href="https://vimeo.com/daviderapp">Davide Rapp</a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.instagram.com/fictitiousinteriors/">https://www.instagram.com/fictitiousinteriors/</a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b>And finally...</b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b>Some very very very honourable mentions</b></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both;">
</div>
<ul>
<li><a href="http://www.oapen.org/search?sort=reverse-year&title=film&smode=advanced">Lots of other Film Studies open access eBooks at Oapen appearing in 2017</a> and <a href="http://www.oapen.org/search?sort=reverse-year&title=cinema&smode=advanced">here also</a></li>
</ul>
<ul>
<li>David Hudson, formerly at Fandor, is now producing the brilliant <b><a href="https://www.criterion.com/current/posts?category=The+Daily">Criterion Daily website</a></b> and <a href="https://twitter.com/criteriondaily">Twitter feed</a> for essential film links and roundups</li>
</ul>
<ul>
<li>Best Facebook page for Film and Media Studies in 2017: <a href="https://www.facebook.com/groups/498911690127714/">Teaching Media</a> </li>
</ul>
<ul>
<li><a href="https://eastmancolor.info/">Website for the AHRC-funded project THE EASTMANCOLOR REVOLUTION AND BRITISH CINEMA, 1955-85</a></li>
</ul>
<ul>
<li><a href="http://fairdealing.jarmanlab.org/film/">Charlie Lyne's discussion of Fair Use and Fair Dealing in Found Footage work</a> with a film/TV analytical purpose (and the film he is talking about: <i><a href="https://vimeo.com/242563913">Missing Episode</a></i>)</li>
</ul>
<ul>
<li>Best Digital Humanities work in Film Studies: <a href="https://vimeo.com/jmittell">Jason Mittell</a> and <a href="https://vimeo.com/kevinlferguson">Kevin L. Ferguson</a>'s <b>Deformin' in the Rain</b> work on <i>Singin' in the Rain</i> for <a href="http://www.cmstudies.org/?page=upcoming_conference">SCMS 17</a>. See <a href="https://videographicsandbox.wordpress.com/2017/03/27/deformin-in-the-rain/">here</a> and <a href="https://vimeo.com/208869731">here</a>, for example.</li>
<li><br /></li>
<li>For its continued brilliance: <a href="http://zauberklang.ch/filmcolors/">Timeline of Historical Film Colors</a></li>
</ul>
<ul>
<li>For its continued brilliance: <a href="https://blog.animationstudies.org/">animationstudies 2.0 blog</a></li>
</ul>
<ul>
<li>For its continued brilliance: <a href="http://mediacommons.futureofthebook.org/imr/">In Media Res, a mediaCommons project</a></li>
</ul>
<ul>
<li>For its continued brilliance and generosity: Shane Denson's <a href="https://medieninitiative.wordpress.com/">medieninitiative</a> website</li>
</ul>
<ul>
<li>Most unmissable film/TV-studies and film/TV-criticism related Twitter accounts: <a href="https://twitter.com/tr0ublemayer">So Mayer/</a><a href="https://twitter.com/tr0ublemayer">@tr0ublemayer</a>, <a href="https://twitter.com/kristenwarner">Kristen Warner/@kristenwarner</a><a class="ProfileHeaderCard-screennameLink u-linkComplex js-nav" href="https://twitter.com/kristenwarner" style="color: #657786; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 14px; font-weight: bold; text-decoration: none !important;"> </a>and <a href="https://twitter.com/shaviro">Steven Shaviro/@shaviro</a></li>
</ul>
<ul>
<li>Best historiographical video essay series: The <a href="https://vimeo.com/227892120">Per una controstoria del cinema italiano</a>/Towards a Counter History of Italian Cinema project organised by Filmidée and Chiara Grizzaffi with multiple videos and authors. Watch the trailer <a href="https://vimeo.com/227892120">here</a>.</li>
</ul>
<ul>
<li>Silent film accompanist and composer Neil Brand's new website about silent cinema music:<span style="color: #454545; font-family: "helvetica neue"; font-size: 12px;"> </span><a href="http://originals.neilbrand.com/">http://originals.neilbrand.com/</a></li>
</ul>
<ul>
<li>And...<a href="https://vimeo.com/230277546">John Gibbs' interview with FSFF's author about audiovisual essays!</a></li>
</ul>
<div>
<i>More to follow as FSFF remembers further 2017 links of great note!</i><br />
<i><br /></i>
<b>UPDATES:</b><br />
<br />
<ul>
<li><a href="http://girishshambu.blogspot.co.uk/2018/01/2017-personal-round-up.html">Check out Girish Shambu's '2017: A Personal Round-Up' at his blog for further great links!</a></li>
</ul>
</div>
</div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-75239682709333317512017-12-17T16:57:00.003+00:002017-12-31T20:40:27.672+00:00Rest in RADICAL POWER! In Warm Memory of Chuck Kleinhans, film and media scholar and activist extraordinaire <div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: xx-small;">Last updated December 31, 2017</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEgYVelh4W7Z9cRydB02mdXXw3GJCixf12xhOi5EwHCG1m4VPYXTigcVBaVQ0wjGifKqi0aliaEJU_Ya3bXAPw-c1zXevOSnNv81tHLA-nvKEcBoowd6dAqKILeaJ0iK4wX1MMgo8uEO4/s1600/Screen+Shot+2017-12-17+at+16.24.31.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1025" data-original-width="1600" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEgYVelh4W7Z9cRydB02mdXXw3GJCixf12xhOi5EwHCG1m4VPYXTigcVBaVQ0wjGifKqi0aliaEJU_Ya3bXAPw-c1zXevOSnNv81tHLA-nvKEcBoowd6dAqKILeaJ0iK4wX1MMgo8uEO4/s640/Screen+Shot+2017-12-17+at+16.24.31.png" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><a href="http://www.workersunitefilmfestival.org/radical-film-network-nyc-a-global-gathering-may-3rd-to-may-5th-2017/?rq=kleinhans">Chuck Kleinhans giving the keynote at the Radical Film Network NYC: A Global Gathering on May 3rd, 2017</a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">(screenshot from <a href="https://vimeo.com/217835400">video embedded below</a>)</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
Yesterday, the terribly sad news reached <a href="https://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> that radical film and media scholar <a href="http://www.ejumpcut.org/gatewaypages/kleinhansfolder/kleinhans.html">Chuck Kleinhans</a> had died. Along with his wonderful partner in life and work Julia Lesage, Chuck has been a monumentally good friend to this blog over the years, mostly in his capacity as co-founding co-editor of the brilliant journal <a href="http://www.ejumpcut.org/">JUMP CUT</a>, and as a phenomenal advocate for open access and "small gauge" scholarly and activist publishing. </div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
Alongside his own foundational work in cinema and media scholarship, Chuck was a remarkable and hugely influential mentor to many very important scholars in our field. If you should need a sense of what he gave us, please just watch the opening five minutes of the first video embedded below in which his friend (and fellow inspiring scholar and activist) Alexandra Juhasz does a great job of conveying his wonderful contributions.</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
In this blog's humble view, we are losing Chuck just at the very moment when we need great champions of and participants in radical action like him the most. Let us continue his work as best we can, inspired by all that he did, to keep his memory much alive.</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<a href="https://filmstudiesforfree.blogspot.com/">FSFF</a> wishes to mark Chuck's passing in its customary way by this entry of links to his work (already amply available online), including to some as yet relatively uncirculated videos of two of his lectures (below) and eventually to online tributes as these appear. Please feel encouraged to leave your own tributes to him (or links to these) via the comments' thread below.</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<i><a href="https://filmstudiesforfree.blogspot.com/">FSFF</a> sends its condolences and warmest wishes to Julia, and Chuck's family and friends. </i></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/217835400?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="640"></iframe></div>
<div style="text-align: center;">
<div style="text-align: center;">
<a href="https://vimeo.com/217835400">Keynote presentation</a>: ‘Imagining Change: a short history of radical film in the USA’,</div>
<div style="text-align: center;">
Chuck Kleinhans (Co-editor, JUMP CUT: A review of contemporary media).</div>
<div style="text-align: center;">
Chair: Alexandra Juhasz (CUNY). Filmed by Mike Wayne for <a href="https://vimeo.com/user36496983">Brunel FilmandTV</a></div>
<br /></div>
<div style="text-align: center;">
<iframe allow="encrypted-media" allowfullscreen="" frameborder="0" gesture="media" height="315" src="https://www.youtube.com/embed/1Rz9KXj2WD8" width="560"></iframe></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="https://youtu.be/1Rz9KXj2WD8">During the 2008 Embarrass Valley Film Festival (EVFF) at Eastern Illinois University, speaker Chuck Kleinhans talks about Washington, women, Joan Allen and the Whitehouse</a></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<br />
CHUCK KLEINHANS' PUBLICATIONS<br />
<ul>
<li>LINKED TO AT JUMP CUT <a href="http://www.ejumpcut.org/gatewaypages/kleinhansfolder/2/editing.html">Editing</a> ; <a href="http://www.ejumpcut.org/gatewaypages/kleinhansfolder/2/antholog.html">Anthologies</a>; <a href="http://www.ejumpcut.org/gatewaypages/kleinhansfolder/2/articlesNotJC.html">Articles (other than Jump Cut)</a>; <a href="http://www.ejumpcut.org/gatewaypages/kleinhansfolder/2/JCarticles.html">Articles in Jump Cut</a>; <a href="http://www.ejumpcut.org/gatewaypages/kleinhansfolder/2/onlinePubns.html">Online publication</a>; <a href="http://www.ejumpcut.org/gatewaypages/kleinhansfolder/2/reviewsColumns.html">Reviews, columns</a>; <a href="http://www.ejumpcut.org/gatewaypages/kleinhansfolder/2/reportIntervIntros.html">Reportage, introductions, interviews, responses</a></li>
<li>LINKED TO CHUCK'S <a href="https://northwestern.academia.edu/ChuckKleinhans/Papers">Academia.edu</a> page (more than 40 publicly available pieces by him, including many difficult to locate pieces).</li>
</ul>
ONLINE TRIBUTES<br />
<div>
<ul>
<li><a href="http://www.legacy.com/obituaries/registerguard/obituary.aspx?pid=187629959">Charles Nelson Kleinhans (1942 - 2017) Obituary, The Register-Guard, December 26, 2017</a></li>
<li><a href="https://www.criterion.com/current/posts/5231-the-daily-remembering-kleinhans-doan-and-more">David Hudson's tribute entry at the criterion Daily website</a>, December 27, 2017</li>
<li><a href="https://www.criterion.com/current/posts/5238-the-daily-remembering-those-we-lost-in-2017">David Hudson's 'Remembering Those We Lost in 2017' entry at The Criterion Daily website, December 30, 2017</a></li>
<li><a href="https://twitter.com/scmswomen/status/941901918506401792/photo/1">Thomas Waugh writes on the passing of Chuck Kleinhans</a> —via SCMSWomen (@scmswomen) <a href="https://twitter.com/scmswomen/status/941901918506401792?ref_src=twsrc%5Etfw">December 16, 2017</a></li>
</ul>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://twitter.com/scmswomen/status/941901918506401792/photo/1"><img border="0" data-original-height="1058" data-original-width="994" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMZGy7Jq3meSkKugFpfM859g2Ml8RmvnC1Jtn8-Qp0mYZZ9-s60Kd1fNDRdkMfj3D_ovTU_O-8jv_cphrGyOpBlN-5HM9YLP0njVnLbGHDP-lSooJids05yXNX_c8HKngwSx6-Fn-orA0/s640/DRJOlGdU8AAPR4V.jpg" width="601" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<ul>
<li><a href="https://filmstudiesforfree.blogspot.com/2017/12/rest-in-radical-power-in-warm-memory-of.html?showComment=1514746625441#c7491258657359000950">Richard Dyer's tribute</a></li>
</ul>
<ul>
</ul>
<div>
</div>
</div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7_Y9ywcbZ5UFmijbUS1K-YyKKKhzombDTDX_-aiLxX6EL2tc17vniLKDEH9jQXHMjv2Um2loEjGJ2BPYbghtz1MrCU5mLAI0PnvK4lHQjuj95aq_3koEHGyKHfuPk2JAig5EwH-ljLZc/s1600/Screen+Shot+2017-12-31+at+20.38.49.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="157" data-original-width="732" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7_Y9ywcbZ5UFmijbUS1K-YyKKKhzombDTDX_-aiLxX6EL2tc17vniLKDEH9jQXHMjv2Um2loEjGJ2BPYbghtz1MrCU5mLAI0PnvK4lHQjuj95aq_3koEHGyKHfuPk2JAig5EwH-ljLZc/s640/Screen+Shot+2017-12-31+at+20.38.49.png" width="640" /></a></div>
<br /></div>
<div>
<i>More Links to Tributes to Follow</i></div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com2tag:blogger.com,1999:blog-925395536023721138.post-44384419401773581132017-06-10T12:17:00.000+01:002017-06-12T12:29:26.434+01:00Richly Resourceful! On B.Ruby Rich's Work, plus A Roundup of Recent Open Access Screen Studies Items<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/218972604" webkitallowfullscreen="" width="640"></iframe> <span style="font-size: x-small;"><a href="https://vimeo.com/218972604">The SENSES of an ENDING</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></span></div>
<div style="text-align: left;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLhGBoGtA5thPBnXSjqvZpx6P9GM336y_srBLHudJKwtbBq43F8SVbHB_ZJ1EQPeMM4lgD81wwcMZWnn40Sf57u-z_gHzvPTnWtTdGtBr0jiYqj6CQw2qu5pv1oVDLPyduBuL8t-V1teg/s1600/Screen+Shot+2017-06-10+at+11.45.45.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="604" data-original-width="396" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLhGBoGtA5thPBnXSjqvZpx6P9GM336y_srBLHudJKwtbBq43F8SVbHB_ZJ1EQPeMM4lgD81wwcMZWnn40Sf57u-z_gHzvPTnWtTdGtBr0jiYqj6CQw2qu5pv1oVDLPyduBuL8t-V1teg/s320/Screen+Shot+2017-06-10+at+11.45.45.png" width="209" /></a></div>
<blockquote class="tr_bq">
<div style="text-align: center;">
<span style="font-size: x-small;">The above video treats the ending of Lucrecia Martel's <i>La niña santa / The Holy Girl </i>(2004), using insights about the film from Deborah Martin's book <i>The Cinema of Lucrecia Martel </i>(Manchester University Press, 2016) and Sophie Mayer's chapter 'Gutta cavat lapidem: The sonorous politics of Lucrecia Martel's swimming pools', in <i>The Cinema of The Swimming Pool</i>, eds. Christopher Brown and Pam Hirsch (Peter Lang, 2014). </span><i><span style="font-size: x-small;">For Study Purposes Only - No Significant Spoilers.</span></i></div>
</blockquote>
<blockquote class="tr_bq">
<div style="text-align: center;">
<span style="font-size: x-small;">The video is dedicated to pioneering queer and feminist film curator and critic <b><a href="http://www.brubyrich.com/who.html">B. Ruby Rich</a></b>, one of the foremost advocates of the work of <i>La niña santa</i>'s director, and much other queer New Argentine, and Latin American Cinema. </span></div>
</blockquote>
<blockquote class="tr_bq">
<div style="text-align: center;">
<span style="font-size: x-small;">Rich's career is justly being celebrated at <a href="https://www.barbican.org.uk/film/series.asp?id=1752">a screening and discussion event </a>taking place between June 21-25, 2017, at the Barbican Cinema (and other London venues) as part of its 2017 Film in Focus season. The event is entitled ‘<a href="https://www.barbican.org.uk/film/series.asp?id=1752"><b>Being Ruby Rich</b></a>’ and is co-sponsored by Film London and co-curated by <a href="http://www.clubdesfemmes.com/">Club des Femmes</a>, the queer-feminist film curating collective. </span><span style="font-size: x-small;"><i>La niña santa </i>(</span><span style="font-size: x-small;">a film championed by Rich, alongside Martel's other films) will be screened with an introduction by Sophie Mayer at the Barbican Cinema on Sunday, June 25, at 6pm. </span></div>
</blockquote>
<blockquote class="tr_bq">
<div style="text-align: center;">
<span style="font-size: x-small;">For further information about these events, <b><a href="http://www.clubdesfemmes.com/portfolio-item/ruby-rich-22-25-june-2017-save-date/">see here</a>.</b> </span></div>
</blockquote>
<br />
Today, <a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> celebrates the much-awaited visit to London of <a href="http://www.brubyrich.com/who.html">B. Ruby Rich</a> (foundational film critic, festival programmer, cultural theorist, and chronicler of social trends on screen and off), on the occasion of a <a href="https://www.barbican.org.uk/film/series.asp?id=1752">magnificently merited celebration of her career</a> at the <a href="https://www.barbican.org.uk/film/series.asp?id=1752">Barbican</a> and <a href="http://www.bbk.ac.uk/events-calendar/being-ruby-rich-film-curation-as-advocacy-and-activism">other venues</a>, organised by <a href="http://www.clubdesfemmes.com/">Club des Femmes</a>, the queer-feminist film curating collective (check out their interview about their work <a href="http://www.independentcinemaoffice.org.uk/blog/clubdesfemmesanniversary">here</a>).<br />
<br />
The entry celebrates, as usual, in film studies links, beginning with a new video resource (above) on one of the films to be screened in this celebratory programme, and then lots of other rich Rich-related resources (below), followed by a roundup of recent Open Access Screen Studies Items, including numerous new journal issues online.<br />
<br />
<a href="http://filmstudiesforfree.blogspot.com/">FSFF</a> also wanted to share the great news that, from September 1, 2017, <a href="https://catherinegrant.org/2017/04/11/new-post-at-birkbeck/">its author </a>will be taking up the <a href="https://catherinegrant.org/2017/04/11/new-post-at-birkbeck/">post of Professor of Digital Media and Screen Studies</a> at <a href="http://www.bbk.ac.uk/culture/">Birkbeck, University of London</a>, an institution with a longstanding and wonderful record of supporting open access publishing and widening educational access, in part through film curating study and practice! <a href="http://www.bbk.ac.uk/arts/research/birkbeck-institute-for-the-moving-image">Birkbeck Institute for the Moving Image</a> is also co-host of <a href="http://www.bbk.ac.uk/events-calendar/being-ruby-rich-film-curation-as-advocacy-and-activism">one of the free events celebrating Ruby Rich's work</a>, taking place on June 21, 2017.<br />
<b><br /></b>
<b>By (or Featuring) B. Ruby Rich:</b><br />
<b><br /></b>
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/151940615?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="http://arts.ucsc.edu/works_and_ideas/social-movements-and-social-moments-b-ruby-rich-activist-film">B. Ruby Rich on researching the intersection between film and social movements</a> from <a href="https://vimeo.com/user35038476">Arts UCSC</a></div>
<ul>
<li>'<a href="http://heresiesfilmproject.org/archive/">In the Name of Feminist Film Criticism', <i>Heresies</i>, 3.1, 9, 1980</a> <a href="http://heresiesfilmproject.org/archive/">Index page</a> / <a href="http://heresiesfilmproject.org/wp-content/uploads/2011/09/heresies9.pdf">Large PDF</a></li>
<li><a href="http://www.indiewire.com/2013/06/read-the-first-chapter-of-b-ruby-richs-new-queer-cinema-the-directors-cut-a-must-read-for-anyone-even-remotely-interested-in-lgbt-cinema-37457/">The first chapter of B. Ruby Rich’s book <i>New Queer Cinema: The Director’s Cut</i>, (Duke University Press, 2013)</a></li>
<li><a href="http://www.brubyrich.com/chickflicks/excerpts.html">Excerpts from <i>Chick Flicks: Theories and Memories of the Feminist Film Movement</i> (Duke, 1998)</a></li>
<li><a href="https://www.ejumpcut.org/archive/onlinessays/JC24-25folder/MaedchenUniform.html"><i>'Maedchen in Uniform</i>: From repressive tolerance to erotic liberation', <i>Jump Cut</i>, no. 24-25, March 1981, pp. 44-50</a></li>
<li><a href="https://www.vice.com/en_uk/article/ten-years-after-brokeback-mountain-where-is-gay-cinema-at-111">Interview with VICE Magazine: ''Brokeback Mountain' Ushered in a New Era of Gay Cinema', VICE, December 13, 2015</a></li>
<li><a href="https://filmquarterly.org/2017/02/28/when-history-makes-the-cut/">'When History Makes the Cut', <i>Film Quarterly</i>, Spring 2017, Volume 70, Number 3</a></li>
<li>'<a href="https://filmquarterly.org/2014/03/18/film-sic/">Film [sic]', <i>Film Quarterly</i>, Winter 2013, Vol. 67, No. 2</a></li>
<li><a href="https://filmquarterly.org/2017/02/24/film-media-in-a-time-of-repression-practices-aesthetics-of-resistance/">Film and Media in a Time of Repression: Practices & Aesthetics of Resistance, Film Quarterly, February 24, 2014</a></li>
<li><a href="https://filmquarterly.org/2017/01/10/film-criticism-in-the-era-of-algorithms/">'Film Criticism in the Era of Algorithms', <i>Film Quarterly</i>, Winter 2016, Volume 70, Number 2</a></li>
<li><a href="https://filmquarterly.org/2016/09/16/what-is-at-stake-gender-race-media-or-how-to-brexit-hollywood/">'What Is at Stake: Gender, Race, Media, or How to Brexit Hollywood', <i>Film Quarterly</i>, Fall 2016, Volume 70, Number 1</a></li>
<li><a href="https://filmquarterly.org/2016/06/15/a-vocation-in-film/">'A Vocation in Film', <i>Film Quarterly</i>, Summer 2016, Volume 69, Number 4</a></li>
<li><a href="https://filmquarterly.org/2016/03/03/academy-categories-movie-theater-revivals-always-and-forever-coutinho/">'Academy Categories, Movie Theater Revivals & Always and Forever, Coutinho', <i>Film Quarterly,</i> Spring 2016, Volume 69, Number 3</a></li>
<li><a href="https://filmquarterly.org/2016/01/20/evidence-of-visibility/">'Evidence of Visibility', <i>Film Quarterly</i>, Winter 2015, Volume 69, Number 2</a></li>
<li>'<a href="https://filmquarterly.org/2015/09/23/new-visions-old-crises/">New Visions, Old Crises', <i>Film Quarterly</i>, Fall 2015, Volume 69, Number 1</a></li>
<li><a href="https://filmquarterly.org/2015/06/29/looking-back-looking-ahead-whats-at-stake/">'Looking Back, Looking Ahead: What’s at Stake', <i>Film Quarterly</i>, Summer 2015, Volume 68, Number 4</a></li>
<li><a href="https://filmquarterly.org/2015/03/20/on-screen-off-screen/">'On Screen, Off Screen', <i>Film Quarterly</i>, Spring 2015, Volume 68, Number 3</a></li>
<li><a href="https://filmquarterly.org/2015/01/09/chance-meetings-and-metrics-with-more-to-come/">'Chance Meetings and Metrics, with More to Come', <i>Film Quarterly</i>, Winter 2014, Volume 68, Number 2</a></li>
<li><a href="https://filmquarterly.org/2014/10/22/film-digitality-and-cultural-divides/">'Film, Digitality, and Cultural Divides', <i>Film Quarterly</i>, Fall 2014, Volume 68, Number 1</a></li>
<li><a href="https://filmquarterly.org/2014/09/23/thinking-about-triggers-thumbs-sex-and-death/">'Thinking about Triggers, Thumbs, Sex, and Death', <i>Film Quarterly</i>, Summer 2014, Volume 67, Number 4</a></li>
<li>'<a href="https://filmquarterly.org/2014/06/24/thinking-back-thinking-ahead/">Thinking Back, Thinking Ahead', <i>Film Quarterly</i>, Spring 2014, Volume 67, Number 3</a></li>
<li><a href="https://filmquarterly.org/2014/02/13/notes-on-arrival/">'Notes on Arrival', <i>Film Quarterly</i>, Fall 2013, Vol. 67, No. 1</a></li>
<li>Three <i>Film Quarterly</i> Reports on the Sundance Film Festival: '<a href="https://filmquarterly.org/2011/03/08/park-city-remix/">Park City Remix</a>', '<a href="https://filmquarterly.org/2012/03/26/frontlines/">Frontlines</a>', '<a href="https://filmquarterly.org/2013/03/21/sundance-report-b-ruby-rich/">Sundance Film Festival</a>'.</li>
<li><a href="http://www.spiegel.de/kultur/kino/b-ruby-rich-ueber-25-jahre-new-queer-cinema-lesbisch-schwule-filmtage-a-996488.html">In German: An excerpt from B. Ruby Rich's Keynote speech at the "Queer Film Culture" conference, Hamburg, October 15, 2014 (thanks to Skadi Loist and Dagmar Brunow)</a></li>
</ul>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/Hx6fN2If5Sc" width="640"></iframe></div>
<div style="text-align: center;">
<a href="http://www.dailyxtra.com/canada/arts-and-entertainment/b-ruby-rich-tiff-helped-coin-the-term-new-queer-cinema-68455?market=210">B. Ruby Rich on TIFF's influence in coining the phrase New Queer Cinema</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/Ff7wLKKpIkE" width="640"></iframe></div>
<div style="text-align: center;">
<a href="https://youtu.be/Ff7wLKKpIkE">Mellon Visiting Artists and Thinkers Program | Conversation:Foundational Moments of New Queer Cinema with B. Ruby Rich, October 8, 2013</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/Z8_zyV5dn6Q" width="640"></iframe><br />
<a href="https://youtu.be/Z8_zyV5dn6Q">The Story of Queer Cinema: Edit (Anger/Warhol)</a></div>
<br />
<b>On Rich's work:</b><br />
<ul>
<li><a href="http://www.indiewire.com/2014/02/profiles-in-criticism-b-ruby-rich-126884/">Emma Myers, 'Profiles in Criticism: B. Ruby Rich', Indiewire, February 2014</a></li>
<li><a href="http://works.swarthmore.edu/fac-film-media/14">Patricia White, "Review Of "New Queer Cinema: The Director's Cut" By B.R. Rich". Film Quarterly. Volume 67, 2013, Issue 1. 89-91</a></li>
</ul>
<br />
<b><br /></b>
<b>Other news and recent open access screen studies links:</b><br />
<ol>
<li>Cinephile aggregator <i>extraordinaire</i> David Hudson has taken his expertly unmissable daily round-ups of cinephile links, news and events (formerly of Keyframe Daily) to the <a href="https://www.criterion.com/current/posts?category=The+Daily">Criterion Collection "Daily" website</a>: <a href="https://www.criterion.com/current/posts?category=The+Daily">https://www.criterion.com/current/posts?category=The+Daily</a>.</li>
<li><a href="https://tiagobaptista.wordpress.com/">Tiago Baptista</a>'s open-access PhD thesis on the digital audiovisual essay (supervised by Laura Mulvey and externally examined by Adrian Martin)! <a href="http://bbktheses.da.ulcc.ac.uk/215/">http://bbktheses.da.ulcc.ac.uk/215/</a>.</li>
<li>Rob King's great new book <i><a href="http://www.ucpress.edu/book.php?isbn=9780520288119">Hokum! The Early Sound Slapstick Short and Depression-Era Mass Cultur</a></i>e is available in open access formats at Luminosoa here: <a href="http://www.ucpress.edu/book.php?isbn=9780520288119">http://www.ucpress.edu/book.php?isbn=9780520288119</a>.</li>
<li>Nicholas Mirzoeff's new free e-book <i><a href="http://namepublications.org/item/2017/the-appearance-of-black-lives-matter/">The Appearance of Black Lives Matter</a> (</i>NAME Publications) is available here: <a href="http://namepublications.org/item/2017/the-appearance-of-black-lives-matter/">http://namepublications.org/item/2017/the-appearance-of-black-lives-matter/</a>.</li>
<li>Out now: <a href="https://www.salisbury.edu/lfq/index.html">Issue 45.2</a> of <i><a href="https://www.salisbury.edu/lfq/">Film/Literature Quarterly</a></i>, a highly esteemed and long-established journal now available in an online open access version!! <a href="https://www.salisbury.edu/lfq/">https://www.salisbury.edu/lfq/</a>.</li>
<li>Just out: Issue 7 of <a href="http://www2.warwick.ac.uk/fac/arts/film/movie/">MOVIE: Journal of Film Criticism</a>, with new features on Opening Shots and audiovisual essays: <a href="http://www2.warwick.ac.uk/fac/arts/film/movie/">http://www2.warwick.ac.uk/fac/arts/film/movie/</a>.</li>
<li>Just out: Issue 12 of <a href="http://www.thecine-files.com/"><i>The Cine-File</i>s</a>: a special commemorative i<a href="http://www.thecine-files.com/dossier-rivette-marker/">ssue on Chris Marker and Jacques Rivette</a>, featuring so many delightful and insightful pieces... including an essay by Rivette himself! <a href="http://www.thecine-files.com/">http://www.thecine-files.com</a> and <a href="http://www.thecine-files.com/dossier-rivette-marker/">http://www.thecine-files.com/dossier-rivette-marker/</a>.</li>
<li>Issue 11 of <a href="http://framescinemajournal.com/">FRAMES Cinema Journal</a> - The Future of Horror is now available online at <a href="http://framescinemajournal.com/">http://framescinemajournal.com/</a>.</li>
<li>A NEW issue of #openaccess journal <i><a href="http://www.necsus-ejms.org/portfolio/spring-2017_true/">NECSUS</a></i> on #TRUE! with a great new AV essay section curated by Kevin B. Lee! <a href="http://www.necsus-ejms.org/portfolio/spring-2017_true/">http://www.necsus-ejms.org/portfolio/spring-2017_true/</a>.</li>
<li>Three new contributions to "Ghetto Films and their Afterlife", in the <a href="https://www.facebook.com/hashtag/openaccess?source=feed_text&story_id=1454585737897137">#openaccess</a> journal <i>APPARATUS</i>: <a href="http://www.apparatusjournal.net/index.php/apparatus/issue/view/3">http://www.apparatusjournal.net/index.php/apparatus/issue/view/3</a>.</li>
<li>New issue of <i>Film-Philosophy</i> (21, 2, 2017) now published and fully open access: <a href="http://www.euppublishing.com/toc/film/21/2">http://www.euppublishing.com/toc/film/21/2</a>. ARTICLES: Memories of the Unlived Body: Jean-Louis Schefer, Georges Bataille and Gilles Delouse by Patrick ffrench; A Body Without a Face: The Disorientation of Trauma in Phoenix (2014) and New Holocaust Cinema by Olivia Landry; Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema by Rødje Kjetl; Fearsome Acts of Interpretation: Audiovisual Historiography, Film Theory and Gangs of New York by Mike Meneghett.</li>
<li>New issue of <i><a href="http://www.mediaindustriesjournal.org/">Media Industries</a></i> (Vol. 4, No. 1) now available. It features articles by Nora Draper, Darrell Davis and Emilie Yueh-yu Yeh, Patryk Galuszka and Katarzyna Wyrzykowska, and Justin Wyatt. The issue also contains a Special Section curated by Annette Hill and Jeanette Steemers that focuses on Media Industries and Engagement, featuring a dialogue between industry and academic researchers: <a href="http://www.mediaindustriesjournal.org/">http://www.mediaindustriesjournal.org/</a>.</li>
<li>A new international peer-reviewed open access journal of J<i>ames Bond Studies</i>, shaken not stirred: <a href="http://jamesbondstudies.roehampton.ac.uk/">http://jamesbondstudies.roehampton.ac.uk</a>.</li>
<li>New issue of INTENSITIES: A JOURNAL OF CULT MEDIA: <a href="https://intensitiescultmedia.com/issue-9-spring-2017/">https://intensitiescultmedia.com/issue-9-spring-2017/</a>.</li>
<li>New issue of the <i><a href="https://jls.apsa.us/index.php/jls/issue/view/23">Journal of Lusophone Studies</a></i> features a special dossier on Portuguese Cinema: <a href="https://jls.apsa.us/index.php/jls/issue/view/23">https://jls.apsa.us/index.php/jls/issue/view/23</a>.</li>
<li>A great new #openaccess practice-research publication: O A R Platform! Check out Issue 1: "Sites of Research" here: <a href="http://www.oarplatform.com/issue/issue-1/">http://www.oarplatform.com/issue/issue-1/</a>.</li>
<li>On David Lynch: a new virtual special issue of the esteemed journal <i>Screen</i> freely accessible until end August 2017: <a href="https://academic.oup.com/screen/pages/david_lynch_virtual_issue">https://academic.oup.com/screen/pages/david_lynch_virtual_issue</a>.</li>
<li>Laura Ivins' great video and text on Maya Deren's Film-Philosophy: <a href="http://blogs.iu.edu/aplaceforfilm/2017/05/23/maya-derens-film-philosophy/">http://blogs.iu.edu/aplaceforfilm/2017/05/23/maya-derens-film-philosophy/</a>.</li>
<li>New essay by Adrian, Martin for <i>Photogénie</i>, on 'play' in American screen comedy from the early sound era to the 50s and beyond: <a href="ttps://cinea.be/game-space-and-play-time-a-partial-history-american-screen-comedy/?language=en">thttps://cinea.be/game-space-and-play-time-a-partial-history-american-screen-comedy/?language=en</a>.</li>
<li>Peter Labuza of the Cinephiliacs podcast interviews cinephile par excellence Girish Shambu: <a href="http://www.thecinephiliacs.net/">http://www.thecinephiliacs.net</a>.</li>
<li>Further great, recent, scholarly-related cinema podcasts available at The Cinematologists: <a href="http://www.cinematologists.com/">http://www.cinematologists.com</a>.</li>
<li>Check out 'Edit shots' - a free for personal use (or pay what you want) resource: <a href="http://learnaboutfilm.com/editshots/">http://learnaboutfilm.com/editshots/</a>.</li>
<li>Check out Professor Ian Christie's new research blog on cinema pioneer Robert Paul, the "undersung hero of early British filmmaking": <a href="https://paulsanimatographworks.wordpress.com/">https://paulsanimatographworks.wordpress.com</a>.</li>
<li>Attention Hitchcock Fans: there will be a free online, interactive course with multi-media course material, games and more from Ball State University. It is in conjunction with TCM running one of Hitchcock's greatest films every Wednesday and Friday night in July. You can enroll here:<a href="https://www.canvas.net/browse/bsu/tcm3/courses/hitchcock50"> https://www.canvas.net/browse/bsu/tcm3/courses/hitchcock50</a>.</li>
<li>Great interview with Laura Mulvey at <a href="http://www.fourbythreemagazine.com/film/">Issue 8</a> of <a href="http://www.fourbythreemagazine.com/">Four by Three Magazine</a>, part of an amazing issue of the magazine on DEATH, with other contributions by luminaries on a wide range of essential specific topics.</li>
<li>The international, Arts and Humanities Research Council-funded <a href="http://filmmakingresearch.net/"><b>Filmmaking Research Network</b></a> has designed a survey to gather data about filmmaking research. The aim of this survey is to compare and contrast examples of filmmaking research through producing case studies and a register of films as research outputs. It is also intended to build capacity through networking members via research themes, curating content from the film register for international dissemination and creating a Phd examiner list. Though the survey is primarily aimed at UK and Australian academics we welcome contributions from colleagues in other countries particularly those who have films to register. Please participate by completing the online survey at: <a href="https://www.surveymonkey.co.uk/r/filmmakingresearch">https://www.surveymonkey.co.uk/r/filmmakingresearch</a>. For further information about the network and to join the e-list visit: <a href="http://filmmakingresearch.net/">http://filmmakingresearch.net</a>.</li>
<li>Martin Scorsese on standing up for cinema in the <i>Times Literary Supplement</i>: <a href="http://www.the-tls.co.uk/articles/public/film-making-martin-scorsese/">http://www.the-tls.co.uk/articles/public/film-making-martin-scorsese/</a>.</li>
<li>Great interview with Laura Mulvey at <i>Four by Three</i> Magazine: <a href="http://www.fourbythreemagazine.com/issue/death/laura-mulvey-interview">http://www.fourbythreemagazine.com/issue/death/laura-mulvey-interview</a>.</li>
<li>The latest issue of Learning on Screen/BUFVC journal VIEWFINDER has published a conversation between Catherine Grant, Amber Jacobs and Ian Magor about the use of audiovisual essay in film and moving image studies.</li>
</ol>
<img border="0" data-original-height="1147" data-original-width="1600" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiHbotxZkSG9ugY6MoUagg59fN-c76Q-v7VEyAM7P19h-2NtvXS45uhOua35sfJ9Dgn5jHMPZatSK5oBB-8f9JyEXxAYdxwAEPhQAgZ4ws1AB2iN8I1rh9u36m40Sx13Boh1Nlxvx1LrY/s640/18836650_1470788386276872_3684978108556982154_o.jpg" width="640" /><a href="http://bufvc.ac.uk/publications/viewfinder-archive">http://bufvc.ac.uk/publications/viewfinder-archive</a><br />
<br /></div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-31190788345989412512017-06-06T15:34:00.001+01:002017-06-06T16:16:49.619+01:00A Sweet Life in Italian Cinema: In Memory of Peter Bondanella (1943-2017) <div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="361" mozallowfullscreen="" src="https://player.vimeo.com/video/162281409" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/162281409">Dan Schneider Video Interview with Peter Bondanella and Frank Burke, recorded on October 4, 2016 #78- On Federico Fellini</a> from <a href="https://vimeo.com/user36938996">Dan Schneider</a> </div>
<blockquote class="tr_bq" style="text-align: right;">
<i>'The most exciting aspect of Bondanella’s work is, in fact, his inextinguishable faith in the power of reason and systematization which reminds us in a nostalgic way of methods and choices inspired by respect and harmony.’ <a href="https://acis.org.au/2017/06/05/addio-a-peter-bondanella-1943-2017/"><b>Federico Fellini</b> </a></i></blockquote>
<br />
Sad news has reached<a href="http://filmstudiesforfree.blogspot.com/"> Film Studies For Free</a> of the death of Italian cinema and culture scholar Peter Bondanella on May 28th. Bondanella was Distinguished Professor Emeritus of Comparative Literature, Film Studies and Italian at Indiana University. He made many essential contributions to his fields during a career that spanned over four decades, most notably for our discipline, perhaps, his foundational volume <i><a href="https://books.google.co.uk/books/about/Italian_Cinema.html?id=JaxaAAAAMAAJ&redir_esc=y">Italian Cinema: From Neorealism to the Present</a></i>, first published in 1983, and his later reworked version of that book <i><a href="https://books.google.co.uk/books/about/A_History_of_Italian_Cinema.html?id=HgOl4LWswLQC">A History of Italian Cinema</a></i> (2010).<br />
<br />
<a href="http://filmstudiesforfree.blogspot.com/">FSFF</a> marks Bondanella's brilliant career as well as his passing by rounding up some links to online works about him (including Gino Moliterno's wonderful <a href="https://acis.org.au/2017/06/05/addio-a-peter-bondanella-1943-2017/">obituary</a>), as well as by him (including his magnificent recent contribution to the above embedded conversation about Fellini - who earlier had very nice things to say about Bondanella's own work, unsurprisingly).<br />
<br />
As further tributes to Bondanella go online, these will be added below.<br />
<br />
<br />
<div>
<b>By Peter Bondanella</b></div>
<div>
<ul>
<li><a href="http://catdir.loc.gov/catdir/samples/cam031/2001035147.pdf">'Federico Fellini: A Life in Cinema' - excerpt, The Films of Federico Fellini (Cambridge: Cambridge University Press, 2002)</a></li>
<li><a href="https://www.criterion.com/current/posts/18-amarcord">'Amacord', The Criterion Collection: Notes, November 22, 1999</a></li>
<li><a href="http://assets.cambridge.org/97805214/42008/excerpt/9780521442008_excerpt.pdf">Excerpt from <i>Umberto Eco and the Open Text: Semiotics, Fiction, Popular Culture</i> (Cambridge University Press, 2005) </a></li>
</ul>
</div>
<b><br /></b>
<b>About Peter Bondanella</b><br />
<ul>
<li><a href="https://acis.org.au/2017/06/05/addio-a-peter-bondanella-1943-2017/">Gino Moliterno, 'Addio A Peter Bondanella (1943-2017)', ACIS: Australasian Centre for Italian Studies website, June 5, 2017</a></li>
<li><a href="http://www.indiana.edu/~rcapub/v23n1/p06.html">Nick Riddle, 'Renaissance Man', Indiana University Research and Creative Activity, April 2000 Volume XXIII Number 1</a></li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/313/233">Vincent Tocce, 'Respecting Rossellini: On Peter Bondanella, <i>The Films of Roberto Rossellini</i>', Film-Philosophy, 2.1, 1998</a></li>
<li><a href="http://blogs.lse.ac.uk/lsereviewofbooks/2014/05/10/book-review-the-italian-cinema-book-edited-by-peter-bondanella/">Niall Flynn, 'The Italian Cinema Book edited by Peter Bondanella', LSE Review of Books, 2013</a></li>
<li><a href="http://www.kinema.uwaterloo.ca/article.php?id=565&feature">Giacomo Boitani, 'Neorealist Cinema and Post-Neorealist Cinema', KINEMA, </a></li>
</ul>
<br />
<b>Other tributes</b><br />
<div>
<ul>
<li><a href="https://acis.org.au/2017/06/05/addio-a-peter-bondanella-1943-2017/">Gino Moliterno, 'Addio A Peter Bondanella (1943-2017)', ACIS: Australasian Centre for Italian Studies website, June 5, 2017</a></li>
<li><a href="http://filmstarpostcards.blogspot.co.uk/2017/05/peter-bondanella-1943-2017.html">Peter Bondanella (1943-2017)', European Film StarPostcards website, May 31, 2017</a></li>
</ul>
<div>
<div>
<div>
<b><br /></b></div>
<div>
<b>Also see:</b></div>
<div>
<ul>
<li><a href="https://filmstudiesforfree.blogspot.co.uk/2011/03/federico-fellini-studies.html">'Fellini Studies' Film Studies For Free, March 20, 2011</a></li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2011/11/between-past-and-future-rome-open-city.html">"Between Past and Future": ROME, OPEN CITY Studies', Film Studies For Free, November 19, 2011</a></li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/search/label/Italian%20Cinema"><i>Further Italian Cinema entries at FSFF</i></a></li>
</ul>
</div>
</div>
</div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-24614270320975088862017-03-08T16:41:00.002+00:002018-01-14T13:13:37.709+00:00Videographic screen media criticism by female critics, scholars and artists #InternationalWomensDay<div style="text-align: center;">
<span style="font-size: x-small;"><b>Latest update January 14, 2018</b></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="http://mediacommons.futureofthebook.org/intransition/2014/03/04/intransition-editors-introduction"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyZhKmYcxhjX94CFEATPIBiHlbxtQVNjhH_5GmiCBKmP5eoolyfuYBhfLynOfWAAq1tgpWGZMogoT1YwtkUAac1c_HUcXIoTLn3_Ug_9Io4eZ0l_PbkNLWS2itfKYs90JKnOxN-MbT6Mg/s640/Screen+Shot+2017-03-08+at+13.20.39.png" width="640" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://mediacommons.futureofthebook.org/intransition/2014/03/04/intransition-editors-introduction">GENTLEMEN PREFER BLONDES (remix remixed 2013) by Laura Mulvey</a></td></tr>
</tbody></table>
<br />
<b>Happy International Women's Day</b>! Two of the questions <a href="http://filmstudiesforfree.blogsot.com/">Film Studies For Free</a>'s author gets asked <i>a lot—</i>as a female <a href="https://vimeo.com/filmstudiesff">video essayist</a>, <a href="https://vimeo.com/groups/audiovisualcy">curator</a> and <a href="http://mediacommons.futureofthebook.org/intransition/">editor/publisher</a>—are:<br />
<br />
<ol>
<li><i>"Why are there so few female video essayists working on film and screen media topics?"</i></li>
<li><i>And: "Can you please recommend some female video essayists?" </i></li>
</ol>
The answer to the first question is that there aren't "<i>so few</i>": there are <b>loads</b>! And some of the very first video essayists in this field were <i>foundational women film scholars</i> (<i>HINT: look above</i>!)! Their numbers are ever-increasing, and they're a very international bunch! And the answer to the second question is <i>YES</i>!<br />
<br />
Indeed, the answer to both questions is: please take a look at the below list - to which <a href="http://filmstudiesforfree.blogsot.com/">FSFF</a> will keep adding as further names (and sample works) come to light or are recommended. If you would like to recommend a video or a video maker to add to the list, please leave a comment below. Thank you!<br />
<div>
<br /></div>
<div>
If you enjoy cultural interventions of the "<i>there have always been many more than you think!</i>" variety, here's a great one for International Women's Day, also listed below: Kelly Gallagher's <a href="https://vimeo.com/16838597">The Herstory of the Female Filmmaker</a>. Also, please, please, please check out <a href="http://www.anothergaze.com/in-conversation-with-laura-mulvey/">Another Gaze</a>'s totally brilliant and beautiful <a href="http://www.anothergaze.com/in-conversation-with-laura-mulvey/">interview with Laura Mulvey</a>, with some of the most amazing insights about her work.<br />
<br />
<b>UPDATE </b>(March 27, 2017): At the<a href="http://mediacommons.futureofthebook.org/intransition/theme-week/2017/10/journal-videographic-film-moving-image-studies-41-2017"> latest issue</a> of<i> <a href="http://mediacommons.futureofthebook.org/intransition/">[in]Transition: Journal of Videographic Film and Moving Image Studies</a></i>, see the related new piece by <a href="http://filmstudiesforfree.blogsot.com/">FSFF</a>'s author: “<a href="http://mediacommons.futureofthebook.org/intransition/2017/03/12/looking-be-looked-ness-feminist-videographic-criticism">Looking at To-Be-Looked-at-ness: Feminist Videographic Criticism</a>."</div>
<div>
<br />
<br />
<br />
<b>Female Video Essayists of Note in Alphabetical order by surname</b><br />
<ul>
<li><a href="https://vimeo.com/elifakcali">Elif Akçalı</a></li>
<ul>
<ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2015/08/05/ceylans-women-looking-being-looked">Ceylan's Women: Looking | Being Looked At</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/cristinaalvarezlopez">Cristina Álvarez López</a> </li>
<ul>
<ul>
<li>Sample work: <a href="http://cinentransit.com/analisis-final/#ingl%C3%A9s">Primal Analysis</a> (also <a href="http://framescinemajournal.com/article/double-lives-second-chances/">Double Lives, Second Chances</a>; <a href="https://vimeo.com/103506522">Small Gestures</a> and, with Adrian Martin, <a href="https://mubi.com/notebook/posts/video-essay-almost-singing-almost-dancing-chantal-akerman-s-tomorrow-we-move">Almost Singing, Almost Dancing: Chantal Akerman's "Tomorrow We Move"</a>)</li>
</ul>
</ul>
<li><a href="http://www.tft.ucla.edu/2011/09/faculty-janet-bergstrom/">Janet Bergstrom</a></li>
<ul>
<ul>
<li>Sample work: <a href="https://youtu.be/bSAwKSvRehc">Murnau's 4 Devils: Traces of a Lost Film</a> (also see this <a href="http://framescinemajournal.com/article/film-studies-with-high-production-values/">interview</a> and this <a href="https://ucla.academia.edu/JanetBergstrom">list of work</a>)</li>
</ul>
</ul>
<li><a href="http://www.indiewire.com/t/arielle-bernstein/">Arielle Bernstein</a></li>
<ul><ul>
<li>Sample work (with Serena Bramble): <a href="http://www.indiewire.com/2014/09/video-essay-electric-sheep-how-female-power-is-limited-by-consumer-culture-133325/">Electric Sheep: How Female Power Is Limited By Consumer Culture</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/terebosch">Teresa Bosch</a></li>
<ul><ul>
<li>Sample work: <a href="http://www.thecine-files.com/breaking-bad-issue11/">Pop Culture and Philosophy, Heisenberg & Heidegger</a> [on <i>Breaking Bad</i>]</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user3866744">Serena Bramble</a>:</li>
<ul>
<ul>
<li>Sample work: <a href="https://vimeo.com/38946362">The Endless Night: A Valentine to Film Noir</a> (and <a href="https://vimeo.com/33191447">Magic and Light: The Films of Steven Spielberg</a> and <a href="https://vimeo.com/84724492">It’s a Bitter Little World</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/ivanabrehas">Ivana Brehas</a></li>
<ul>
<ul>
<li>Sample work: <a href="https://vimeo.com/194215274">Consent in Cinema</a></li>
</ul>
</ul>
<li><a href="http://www.univ-paris3.fr/m-brenez-nicole-86791.kjsp">Nicole Brenez</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/43724206">Nicole Brenez on <i>La Hora de los Hornos / The Hour of the Furnaces</i></a> and <a href="https://www.alsolikelife.com/shooting/2008/11/video-essay-for-929-70-u-samogo-sinyego-morya-by-the-bluest-of-seas-1936-boris-barnet"><i>U samogo sinyego morya</i> / <i>By the Bluest of Seas</i> (1936, Boris Barnet</a>, both with Kevin B. Lee</li>
</ul>
</ul>
<li><a href="https://vimeo.com/127804178">Ava Burke</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/127804178">“I Want You To See”: The Ontology of Stan Breakage</a> (also <a href="https://vimeo.com/125763800">The Screaming Point: Sound, Anxiety, and Suspense in Film</a>)</li>
</ul>
</ul>
<li><a href="http://scalar.usc.edu/works/videographic-essay/vicki-callahan?path=credits-and-resources">Vicki Callahan</a></li>
<ul>
<ul>
<li>Sample work: <a href="http://www.thecine-files.com/the-just-war-issue11/">The Just War</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/elainecastillo">Elaine Castillo</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/22334794">Envoi [on two Wong Kar-wai films]</a> (also <a href="https://vimeo.com/21692640">Non, je ne crois pas qu’elle va se reproduire</a> [A non-reproduction of a 1959 Emmanuelle Riva interview])</li>
</ul>
</ul>
<li><a href="https://vimeo.com/annacatley">Anna Catley</a></li>
<ul>
<ul>
<li>Sample work: <a href="https://vimeo.com/92652144">Walden Connection: The Thoreauvian Agenda in <i>Upstream Color</i></a> (also <a href="https://vimeo.com/175252476">The Winkie’s Diner Scene in Mulholland Dr. [Video Essay]</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/anitach">Anita Castillo-Halvorssen</a></li>
<ul>
<ul>
<li>Sample work: <a href="https://vimeo.com/125911351">Time on My Side</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user6230120">Pam Cook</a></li>
<ul><ul>
<li>Sample work: <a href="http://Reading Mildred Pierce as Maternal Melodrama">Reading <i>Mildred Pierce</i> as Maternal Melodrama</a></li>
</ul>
</ul>
<li><a href="https://www.scad.edu/academics/faculty/tracy-cox-stanton">Tracy Cox-Stanton</a>:</li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/151590269">BELLE DE JOUR PechaKucha</a> (also <a href="http://scalar.usc.edu/works/videographic-essay/belle-de-jour-alternative-trailer-1">Belle de Jour Alternative Trailer</a> and <a href="http://scalar.usc.edu/works/videographic-essay/belle-de-jour-voiceover-story">Belle de Jour Voiceover Story</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user21768201">Sarah Culhan</a>e </li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/126015474">Sophia Loren and the Italian-American Songbook</a> (also <a href="https://vimeo.com/181644106">Street cries and street fights: Anna Magnani, Sophia Loren and the popolana</a> and <a href="https://vimeo.com/120490749">Archetypes of Italian female stardom: Magnani, Lollobrigida, Loren</a>)</li>
</ul>
</ul>
<li><a href="http://mediacommons.futureofthebook.org/intransition/users/manohla-dargis-and-dawn-fratini-and-jen-moorman">Manohla Dargis</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2015/03/23/busting-out">Busting Out: Caged Heat and the Women-in-Prison Film</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/mondelgado">Monica Delgado</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/195720638">Videofilia: The guilt after pleasure. A video essay</a> (also <a href="https://vimeo.com/164052691">The camera: matter and presence. On The Silver Globe and Hard to be a God</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/reallydim">Candice Drouet</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/168904004"><i>Fargo</i> : A VideoEssay</a> (also <a href="http://Wes Anderson’s References">Wes Anderson's References</a>, <a href="http://To The Right">To the Right </a>and <a href="https://vimeo.com/137706004">Diary Of A Taxi Driver</a>) </li>
</ul>
</ul>
<li><a href="https://t.co/8bfLswuOdj">Lindsay Ellis</a></li>
<ul><ul>
<li>Sample work: <a href="https://www.youtube.com/watch?v=srk-tPbQVcs">Auteur Theory vs. Michael Bay | The Whole Plate - Episode Two</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user33782190">Gwendolyn Audrey Foster</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/194036467">Dreaming of Monica Vitti</a></li>
</ul>
</ul>
<li><a href="http://mediacommons.futureofthebook.org/intransition/users/manohla-dargis-and-dawn-fratini-and-jen-moorman">Dawn Fratini</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2015/03/23/busting-out">Busting Out: Caged Heat and the Women-in-Prison Film</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user10055681">Allison de Fren</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2015/12/28/fembot-red-dress">Fembot in a Red Dress</a> (Also: <a href="https://vimeo.com/203960047">Ex Machina: Questioning the Human Machine</a> and <a href="https://vimeo.com/ondemand/themechanicalbride/184285395">The Mechanical Bride</a> <i>ON DEMAND</i>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/miseenscenerevista">Julia C. de la Fuente</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/168930636">Visiones de lo táctil: un ensayo sobre piel y alma en el cine de Claire Denis </a> (also <a href="https://vimeo.com/167783699">Blink in a mirror - A videoessay on female sexual desire in cinema</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user10822253">Chloé Galibert-Laîné</a> </li>
<ul>
<ul>
<li>Sample work: <a href="https://vimeo.com/206054710">Why Framing Matters</a> (also <a href="https://vimeo.com/206042968">Peeping Ruth</a>, <a href="https://vimeo.com/159110252">Brazil and the Red Light 1968</a> and <a href="https://vimeo.com/206048543">The Human, the Machine and Spike Jonze</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/kellygallagher">Kelly Gallagher</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/16838597">The Herstory of the Female Filmmaker</a> </li>
</ul>
</ul>
<li><a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></li>
<ul><ul>
<li>Sample work: <a href="http://hdl.handle.net/2027/spo.13761232.0040.113">Un/Contained: A Video Essay on Andrea Arnold's <i>Fish Tank</i></a> (and <a href="https://www.caboosebooks.net/node/150">Dissolves of Passion</a> and <a href="http://www.lolajournal.com/6/interplay.html">Interplay</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user5964895">Liz Greene</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/131802926">Velvet Elephant</a> and <a href="https://vimeo.com/123452796">The sound of middle aged nostalgia</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user23623777">Chiara Grizzaffi</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/165696248">Male Cinematic Fantasies</a>, <a href="https://vimeo.com/101643349">(Un)Mask</a> and <a href="https://vimeo.com/98536906">A Crowded Apartment </a>(also <a href="http://mediacommons.futureofthebook.org/intransition/2014/06/20/intersection-catherine-grant-chiara-grizzaffi-denise-liege-2014">Intersection</a>, with Catherine Grant and Denise Liege)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user1860270">Kristy Guevara-Flanagan</a></li>
<ul><ul>
<li>Sample work: <a href="https://iffr.com/en/2017/films/What-Happened-to-Her">What Happened to Her</a> (not online) </li>
</ul>
</ul>
<li><a href="https://vimeo.com/irenegustafson">Irene Gustafson</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2016/03/14/facing-subject-observation">Facing the Subject (On Observation) </a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user10453504">Stella Holt</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/132043372">Limbs</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user37358814">Hui Huang</a></li>
<ul><ul>
<li>Sample work: <a href="http://www.thecine-files.com/once_issue11/">Once</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/oktopusfilms">Amber Jacobs</a></li>
<ul><ul>
<li>Sample work (with Catherine Grant): <a href="https://vimeo.com/67203493">White [Mater]ia]: A video essay on Todd Haynes's 1995 film [SAFE]</a> </li>
</ul>
</ul>
<li><a href="http://www.thecine-files.com/water-journeys-issue11/">Ennuri Jo</a></li>
<ul><ul>
<li>Sample work: <a href="http://www.thecine-files.com/water-journeys-issue11/">Water Journeys</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user48530181">Anne Marie Kelly</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/164261603">Restoration and Authenticity: Questions of Definition</a></li>
</ul>
</ul>
<li><a href="https://melanieeskohnen.com/portfolio/videographic-criticism/">Melanie E.S. Kohnen</a></li>
<ul>
<ul>
<li>Sample work: <a href="https://melanieeskohnen.com/portfolio/videographic-criticism/">Murder Husbands: Queerness, Violence & Cinematic History</a></li>
</ul>
</ul>
<li><a href="http://virginiakuhn.net/">Virginia Kuhn</a></li>
<ul><ul>
<li>Sample work:<a href="http://www.thecine-files.com/images-in-of-and-time_issue11/"> Images in/of/and Time</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/covadonga">Covadonga G. Lahera</a></li>
<ul><ul>
<li>Sample work: <a href="http://reframe.sussex.ac.uk/audiovisualessay/reflections/reflections-on-av-essays/covadonga-g-lahera-on-inflames-2009/">Inflames</a></li>
</ul>
</ul>
<li><a href="http://com.miami.edu/profile/christina-lane">Christina Lane</a></li>
<ul>
<ul>
<li>Sample work: <a href="http://www.thecine-files.com/carole-lombard/">Carole Lombard and What Remains</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/screentakes">Jennine Laouette</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/134982681">The Mother of All Action Heroines: Rose Sayer</a> (also <a href="https://vimeo.com/78314966">Who Has the Power? [on <i>Mona Lisa</i>]</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/vlasmana">Viola Lasmana</a></li>
<ul><ul>
<li>Sample work: <a href="http://www.thecine-files.com/archival-emanations-issue11/">Archival Emanations: A Video Remix in the Contrapuntal</a></li>
</ul>
</ul>
<li><a href="https://t.co/wCMvxUuwR1">Grace Lee</a></li>
<ul><ul>
<li>Sample work: <a href="https://www.youtube.com/watch?v=di12l0Bjafc">12 Cabins 12 Vacancies: The Haunted Hotel In Cinema</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/margaridaleitao">Margarida Leitão</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/160356609">Gestos do Realismo/Gestures of Realism</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/alleyesallears">Hannah Leiss</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/185537830">L'eclisse | Lines</a> (and <a href="https://vimeo.com/201195963">Xiao Wu | Leitmotif</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user15899749">Denise Liege</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2014/06/20/intersection-catherine-grant-chiara-grizzaffi-denise-liege-2014">Intersection</a>, with Catherine Grant and Chiara Grizzaffi</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user41012156">Dana Linssen</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/167781320">Elegy for a Lost Film</a> (with Jan Pieter Ekker and Menno Kooistra)</li>
</ul>
</ul>
<li><a href="https://www.youtube.com/channel/UCRJb25KrANk_O4LdKYoYccA">Luiza Liz (aka Art Regard)</a></li>
<ul><ul>
<li>Sample work: <a href="https://youtu.be/szmBC5rYEU8">Alfred Hitchcock and The Art of Pure Cinema</a> (also <a href="https://youtu.be/6rrlab5BRuE">Wong Kar Wai and Selfhood</a>) </li>
</ul>
</ul>
<li><a href="http://www.susanamedina.net/SUSANA_MEDINA.html">Susana Medina</a></li>
<ul><ul>
<li>Sample work: <a href="https://archive.org/details/BuuelsPhilosophicalToys#">Buñuel's Philosophical Toys</a></li>
</ul>
</ul>
<li><a href="http://www.thecine-files.com/touki-dollars-issue11/">Darline Morales</a></li>
<ul><ul>
<li>Sample work: <a href="http://www.thecine-files.com/touki-dollars-issue11/">Touki Dollars</a></li>
</ul>
</ul>
<li><a href="http://sunsetgun.typepad.com/">Kim Morgan</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/29935143">Life’s Work: The Films of Roman Polanski Chapter 5: Repulsion, The Dark Art of Desire (with Matt Zoller Seitz)</a></li>
</ul>
</ul>
<li><a href="https://lorimorimoto.org/">Lori Morimoto</a></li>
<ul>
<ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2016/10/06/hannibal-fanvid">Hannibal: A Fanvid</a> (also <a href="https://lorimorimoto.org/video-criticism/">Leslie Cheung, Blamefully Beautiful</a> and <a href="https://lorimorimoto.org/video-criticism/">Empathy for the Devil: Revisioning the Monster Through Gothic Romance</a>)</li>
</ul>
</ul>
<li><a href="http://mediacommons.futureofthebook.org/intransition/users/manohla-dargis-and-dawn-fratini-and-jen-moorman">Jen Moorman</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2015/03/23/busting-out">Busting Out: Caged Heat and the Women-in-Prison Film</a></li>
</ul>
</ul>
<li><a href="http://mediacommons.futureofthebook.org/intransition/2014/03/04/intransition-editors-introduction">Laura Mulvey</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2014/03/04/intransition-editors-introduction"><i>Gentlemen Prefer Blondes</i> (remix remixed 2013)</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/jmcgoff">Jessica McGoff</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/118152112">Bronson: A Subversion of the Conventions of the Prison Film</a> (and <a href="https://vimeo.com/202777948">Feminist and Misogynist Discourse in AUDITION</a> and <a href="https://vimeo.com/205099901">Kelly Reichardt: Going Nowhere</a> and <a href="https://vimeo.com/179961614">Andrea Arnold’s Women in Landscapes</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user3865858">Jennifer O'Meara</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/99354565">Hyperacousia: haunting her with sound</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user10234638">Philana Payton</a></li>
<ul><ul>
<li>Sample work: <a href="http://www.thecine-files.com/remix-issue11/">Remix: A Litany for Survival</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user4388579">Marina Pérez Trigueros</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/200195163">A Male Eye: John Berger</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user31631747">Patricia Pisters</a></li>
<ul>
<ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2015/03/10/emoticons">Emoticons</a> </li>
</ul>
</ul>
<li><a href="https://vimeo.com/sarapreciado">Sara Preciado</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/200550228"><i>La La Land</i> - Movie References</a></li>
</ul>
</ul>
<li><a href="http://cargo.jenniferproctor.com/">Jennifer Proctor</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2014/06/28/compilation-and-found-footage-traditions">A Movie</a> (also <a href="https://vimeo.com/155594408"><i>A Movie</i> x 2</a>, <a href="http://cargo.jenniferproctor.com/Nothing-a-Little-Soap-and-Water-Can-t-Fix">Nothing a Little Soap and Water Can't Fix</a> preview online, and <a href="http://mediacommons.futureofthebook.org/intransition/2015/05/25/sos-nephew-remes-thanx-michael-snow-jorrie-penn-croft">So's Nephew by Remes (thank to Michael Snow) by Jorrie Penn Croft</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/11820989">Kartina Richardson</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/11820989">Badlands</a> (also <a href="https://vimeo.com/11861581">Race in Film: <i>Paisá</i></a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user29121270">Miriam Ross</a>:</li>
<ul>
<ul>
<li>Sample work: <a href="https://vimeo.com/99499627">Vertical Framing</a> (And <a href="http://mediacommons.futureofthebook.org/intransition/stereotowns">Stereotowns</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user17834983">Marta Ruggeri</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/135066639"><i>Barry Lyndon</i> (1975) - The Use of the Zoom Shot</a> (also <a href="https://vimeo.com/163141426"><i>Rope</i> (1948) - Exercise in Mastering Suspense</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/carolinerumley">Caroline Rumley</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2016/12/20/give-me-smile">Give Me a Smile</a> (Also <a href="https://vimeo.com/191093697">Es sind nicht alle lustig, die tanzen</a> and <a href="https://vimeo.com/201482768">Nevertheless, she persisted</a>)</li>
</ul>
</ul>
<li><a href="https://vimeo.com/sarahsalovaara">Sarah Salovaara</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/103444329">Implicating the Audience in Michael Haneke’s <i>Funny Games</i></a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/sorayaselene">Soraya Sélène</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/20659515">Decoding Wong Kar-wai</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user4775498">Sophia Serrano</a></li>
<ul><ul>
<li>Sample work: <a href="http://www.thecine-files.com/repetition-issue11/">Repetition in the Mirrors of Reason</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/lesremix">Louisa Stein</a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/195053484">Lulu's Descent</a> (Also <a href="https://vimeo.com/194856779">You: A <i>Gle</i>e/Multivid</a>)</li>
</ul>
</ul>
<li><a href="http://www.davidbordwell.net/blog/2006/09/05/about/">Kristin Thompson</a></li>
<ul><ul>
<li>Sample work: <a href="https://youtu.be/Xwp5aos5FXY">Elliptical Editing in <i>Vagabond</i></a> (also <a href="https://youtu.be/O58GMFjwqd4">Kristin Thompson on La roue </a>and <a href="https://youtu.be/X4Tov1vgoVI">Kristin Thompson on Variety (1925, dir. E.A. Dupont)</a>, both with Kevin B. Lee)</li>
</ul>
</ul>
<li><a href="http://www.frenchanditalian.northwestern.edu/people/faculty/tenure/torlasco-domietta.html">Domietta Torlasco</a></li>
<ul><ul>
<li>Sample work: <a href="http://worldpicturejournal.com/WP_11/Torlasco_11.html">Philosophy in the Kitchen</a> and <a href="http://www.necsus-ejms.org/house-arrest/">House Arrest</a></li>
</ul>
</ul>
<li><a href="https://vimeo.com/user7256899">María Vélez-Serna</a></li>
<ul><ul>
<li>Sample work: <a href="http://mediacommons.futureofthebook.org/intransition/2015/07/29/joining-scotland-cinema-and-first-world-war">Joining Up: Scotland, Cinema and the First World War</a>, with David Archibald</li>
</ul>
</ul>
<li><a href="https://vimeo.com/user46568586">Elsie Walker </a></li>
<ul><ul>
<li>Sample work: <a href="https://vimeo.com/168580489">Taking Time to Hear: Accented rests in Michael Haneke's cinema</a>, with Jacob T. Swinney)</li>
</ul>
</ul>
<li><a href="https://cis.ua.edu/cis-theme-staff/dr-kristin-warner/">Kristen Warner</a></li>
<ul><ul>
<li>Sample work: <a href="http://scalar.usc.edu/works/videographic-essay/imitation-of-life-voiceover-story"><i>Imitation of Life</i> Voiceover Story</a></li>
</ul>
</ul>
</ul>
<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXVm3Ng5ZY_J7bsrMruKMbcfgUDdenV6JUiv3lpmpH-bw10PuEZdvE6jDNAf-d_IwLorU6kBzNMoHbwI1T2qkHNC6t0EkEJubqkeThgglZ0jP9bkQ82oQpz30xpRB4D9jry3y8EPDKKfk/s400/Screen+Shot+2017-03-07+at+17.44.38.png" width="400" /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://scalar.usc.edu/works/videographic-essay/imitation-of-life-voiceover-story">http://scalar.usc.edu/works/videographic-essay/imitation-of-life-voiceover-story</a></div>
<br />
<i><a href="http://filmstudiesforfree.blogspot.com/">FSFF </a>also strongly recommends the following essay (including a great video) which pays great attention to the work of a good proportion of the above by <a href="http://www.necsus-ejms.org/the-place-of-voiceover-in-audiovisual-film-and-television-criticism/">Ian Garwood, "The Place of Voiceover in Academic Audiovisual Film and Television Criticism," NECSUS: European Journal of Media Studies, Autumn 2016</a>. Thanks also to Allison de Fren, Tami Williams, Gabrielle Kelly, Marit Norway, Jason Mittell, H. Perry Horton, Adrian Martin, Adrian Garvey, Glenn Stillar, Michael Mirasol, Steve Elworth, Pablo Useros, Mark Rappaport, Deane Williams and José Sarmiento Hinojosa for their great suggestions.</i></div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com1tag:blogger.com,1999:blog-925395536023721138.post-19500471936357694652017-03-07T16:46:00.000+00:002017-03-07T16:47:19.587+00:00New ALPHAVILLE on The New Old: Archaisms and Anachronisms across Media!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXxnrCMGsqASnTZ_avmyXCABrTYm-XeOKdMqbuRGWn4G5i3OL_2mkERAUelxipZ8oG2gUlY_1GHvbJSAqhovXDEXZEeuRn1xYJB2uv1RUFZ8bCyGGJKSyXlklqesnX6AH30Lpb-FHPjEo/s1600/This_Is_England_86_Lol.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXxnrCMGsqASnTZ_avmyXCABrTYm-XeOKdMqbuRGWn4G5i3OL_2mkERAUelxipZ8oG2gUlY_1GHvbJSAqhovXDEXZEeuRn1xYJB2uv1RUFZ8bCyGGJKSyXlklqesnX6AH30Lpb-FHPjEo/s640/This_Is_England_86_Lol.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://en.wikipedia.org/wiki/Vicky_McClure">Vicky McClure</a> as Lol in <i><a href="https://en.wikipedia.org/wiki/This_Is_England_%2786">This Is England 86</a></i> (Shane Meadows <i>et al</i>, 2009) as discussed by Louis Bayman in his article "<a href="http://www.alphavillejournal.com/Issue12/ArticleBayman.pdf">Retro Quality and Historical Consciousness in Contemporary European Television</a>"<br />
<div class="page" title="Page 1">
<div class="layoutArea">
<div class="column">
<br /></div>
</div>
</div>
</td></tr>
</tbody></table>
<div>
<br /></div>
<a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> today links to another recent issue of a sterling open access screen media studies journal: <a href="http://www.alphavillejournal.com/Issue12.html">ALPHAVILLE</a>, Issue 12, guest edited by Stefano Baschiera and Elena Caoduro. It is devoted<br />
<div>
<blockquote class="tr_bq">
to the presence of archaisms and anachronisms in the contemporary mediascape and contributes to the current interdisciplinary debates around the nostalgia phenomena. Over the past decade, the digitalisation of culture has revolutionised the way we experience and consume the arts and the mass media, deeply affecting how these are perceived in their materiality. The tangibility of cultural objects, now caught in a constant process of remediation, has slightly waned: books, photographs, films, comic books, music, maps etc. are increasingly present in our life in their digital form. At the same time, the digital disruption of media industries has contributed to the emergence of a postmodern “nostalgia for the analogue” with the rapid increase of faux-vintage and retro phenomena in different aspects of media culture. [<a href="http://www.alphavillejournal.com/Issue12/Editorial.pdf">Baschiera and Caoduro</a>]</blockquote>
<i><br /></i>
<div>
<i>Articles</i><br />
<ul>
<li><a href="http://www.alphavillejournal.com/Issue12/Editorial.pdf">The New Old: Archaisms and Anachronisms across Media</a> <a href="http://www.alphavillejournal.com/Issue12/Editorial.pdf">Editorial</a> by Stefano Baschiera, Queen’s University Belfast, and Elena Caoduro, University of Bedfordshire (Issue Editors)</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ArticleTheophanidisThibault.pdf">01 Media Hysteresis: Persistence Through Change</a> by Philippe Theophanidis, York University, and Ghislain Thibault, Université de Montréal</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ArticleKesting.pdf">02 Performing History/ies with Obsolete Media: The Example of a South African Photo-Film</a> by Marietta Kesting, University of Applied Arts, Vienna, and Academy of Fine Arts, Munich</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ArticleRozenkratz.pdf">03 Analogue Video in the Age of Retrospectacle: Aesthetics, Technology, Subculture</a> by Jonathan Rozenkrantz, Stockholm University</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ArticleWilliams.pdf">04 The Wonder Years: Nostalgia, Memory and Pastness in Television Credits</a> by Kathleen Williams, University of Tasmania</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ArticleBayman.pdf">05 Retro Quality and Historical Consciousness in Contemporary European Television</a> by Louis Bayman, University of Southampton</li>
</ul>
<i>Reviews</i><br />
<ul>
<li><a href="http://www.alphavillejournal.com/Issue12/ReviewDavis.pdf">Darren Aronofsky’s Films and the Fragility of Hope, by Jadranka Skorin-Kapov</a> Reviewer: Logan Davis, National University</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ReviewDriscoll.pdf">Psychoanalytic Film Theory and The Rules of the Game, by Todd McGowan</a> Reviewer: James Driscoll, DePaul University </li>
<li><a href="http://www.alphavillejournal.com/Issue12/ReviewGyenge.pdf">Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media, by Adam Lowenstein</a> Reviewer: Zsolt Gyenge, Moholy-Nagy University of Art and Design, Budapest</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ReviewKozlovic.pdf">Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era, edited by Murray Leeder</a> Reviewer: Anton Karl Kozlovic, Flinders University and Deakin University</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ReviewCaoduro.pdf">Cinematic Terror: A Global History of Terrorism on Film, by Tony Shaw</a> Reviewer: Elena Caoduro, University of Bedfordshire</li>
</ul>
<div style="text-align: right;">
<i>Book Reviews Editor: Loretta Goff</i></div>
<br />
<i>Report</i>s<br />
<ul>
<li><a href="http://www.alphavillejournal.com/Issue12/ReportAmottAlvarez.pdf">Screening Rights Film Festival Birmingham, UK, 15–18 September 2016 </a> Reporters: Will Amott, University of Birmingham, and Pablo Alvarez, University of Birmingham</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ReportAtkinsonKennedy.pdf">Live Cinema Conference King’s College London, 27 May 2016 </a> Reporters: Sarah Atkinson, King’s College London, and Helen W. Kennedy, University of Brighton</li>
<li><a href="http://www.alphavillejournal.com/Issue12/ReportVelez-Serna.pdf">Scalarama UK, 1–30 September 2016 </a> Reporter: Maria A. Velez-Serna, University of Stirling</li>
</ul>
<div style="text-align: right;">
<i>Reports Editor: Caroline Schroeter</i></div>
</div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-25164806939546833842017-03-07T16:10:00.002+00:002017-03-07T16:11:48.804+00:00New FILM-PHILOSOPHY!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNYpvlxDlgwuW6udzBw2KVPxjDtTZ5J82qlIkEi4gC6SJtiNCXuc_Y9ff24_KvymdUhz8RW_MTDYcvm98JyUyyqooWCGECHDjHHuGlm422Ow-740USf5byjZm8Bk-b0uOrNSTeufUymc8/s1600/tumblr_md2xxr9pro1qmemvwo1_1280.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNYpvlxDlgwuW6udzBw2KVPxjDtTZ5J82qlIkEi4gC6SJtiNCXuc_Y9ff24_KvymdUhz8RW_MTDYcvm98JyUyyqooWCGECHDjHHuGlm422Ow-740USf5byjZm8Bk-b0uOrNSTeufUymc8/s640/tumblr_md2xxr9pro1qmemvwo1_1280.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Screenshot from <a href="https://en.wikipedia.org/wiki/Three_Colours:_Red"><i>Trois Couleurs: Rouge/</i><i>Three Colors: Red</i></a> (<a href="https://en.wikipedia.org/wiki/Krzysztof_Kie%C5%9Blowski">Krzysztof Kieślowski</a>, 1994) a film discussed by Eddy Troy in his article "<a href="http://www.euppublishing.com/doi/full/10.3366/film.2017.0030">Deleuze and Kieślowski: On the Cinema of Exhaustion</a>"</td></tr>
</tbody></table>
<br />
<a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> returns to bring you glad tidings! There is a new issue of the excellent open-access journal <a href="http://www.euppublishing.com/toc/film/21/1"> <b>Film-Philosophy</b></a> out now!! More soon from<a href="http://filmstudiesforfree.blogspt.com/"> FSFF</a>!<br />
<br />
<b><a href="http://www.euppublishing.com/toc/film/21/1">FILM-PHILOSOPHY, Vol 21, Issue 1 [2017]</a></b><br />
<br />
FULL LINKED TABLE OF CONTENTS <b><a href="http://www.euppublishing.com/toc/film/21/1">HERE</a></b><br />
<br />
ARTICLES<br />
<br />
<ul>
<li>Cartesianism and Intersubjectivity in <i>Paranormal Activit</i>y and the Philosophy of Mind by Steve Jones</li>
<li>‘Do I feel lucky?’: Moral Luck, Bluffing and the Ethics of Eastwood's Outlaw-Lawman in <i>Coogan's Bluff</i> and the <i>Dirty Harry</i> Films by Joel Deshaye</li>
<li>Deleuze and Kieślowski: On the Cinema of Exhaustion by Eddy Troy</li>
<li>A World in the Making: Contingency and Time in James Benning's <i>BNSF</i> by Samuel Adelaar</li>
<li>Thrilling Objects: The Scales of Corruption in Political Thrillers by Brian Daniel Willems</li>
<li>Nietzsche on Film by Mark Steven</li>
<li>Stanley Cavell on the Magic of the Movies by Daniel Shaw</li>
</ul>
<br />
<br />
BOOK REVIEWS<br />
<br />
<ul>
<li>John Ó Maoilearca (2015) <i>All Thoughts Are Equal: Laruelle and Nonhuman Philosophy</i>, review by William Brown</li>
<li>Daniel Varndell (2014) <i>Hollywood Remakes, Deleuze and the Grandfather Paradox</i>, review by María Victoria Gomez Vila</li>
<li>Patricia White (2015) W<i>omen's Cinema, World Cinema: Projecting Contemporary Feminisms</i>, review by Judith Rifeser</li>
<li>Victor Fan (2015) Cinema Approaching Reality: Locating Chinese Film Theory, review by David H. Fleming</li>
<li>Daniel Yacavone (2015) <i>Film Worlds: A Philosophical Aesthetics of Cinema</i>, review by Seagate Chakravorty</li>
<li>Response to Review of <i>Film Worlds: A Philosophical Aesthetics of Cinema</i> by Seagate Chakravorty, by Daniel Yacavone</li>
</ul>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-82801517695260175732016-12-31T10:42:00.000+00:002017-03-06T09:42:45.291+00:00We'll Tak' a Cup o' Kindness Yet: Awesome Open Access Film Studies Links to See Out 2016!<div class="separator tr_bq" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="http://reframe.sussex.ac.uk/post-cinema/"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7S0MecFnp0nHEtaiPujfc42nVvTlSRiZPWOUkIn1IUS6G7KGDMD1OVbBc44dSBZGhveUayrd_E3KPDyg1FxqtfU0tmEclWj5LDSidnMR8eBABX8I2OUQL_-m5tK1u8my-Nm2H6MyHYZw/s640/POST_CINEMA_FRAMEBOOKS-1000x500.jpg" width="640" /></a></span></td></tr>
<tr><td class="tr-caption"> A major open access eBook: <a href="http://reframe.sussex.ac.uk/post-cinema/"><b>Post-Cinema: Theorizing 21st-Century Film</b></a><br />
Edited by <b>Shane Denson</b> and<b> Julia Leyda</b> (Falmer: REFRAME Books, 2016).</td></tr>
</tbody></table>
<div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
In this end of year post, <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">Film Studies For Free</a> reflects on and links to some of its very favourite 2016 open access resources selected from the ones that this blog's author had a hand in producing, contributing to, or publishing. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
It has been a (deadly) funny old year, to be sure, one that began with <a href="http://filmstudiesforfree.blogspot.co.uk/2016/01/for-starman-who-fell-to-earth-in-memory.html" target="_blank">tributes</a> aplenty to David Bowie and has concluded with ones to <a href="https://vimeo.com/197298799" target="_blank">Carrie Fisher </a>and <a href="https://vimeo.com/197391049" target="_blank">Debbie Reynolds</a> (see also <a href="https://www.fandor.com/keyframe/daily-david-bowie-1947-2016" target="_blank">here</a>, <a href="https://www.fandor.com/keyframe/carrie-fisher-1956-2016" target="_blank">here</a> and <a href="https://www.fandor.com/keyframe/debbie-reynolds-1932-2016" target="_blank">here</a>). David Hudson rounds up some of the cinematic losses <a href="https://www.fandor.com/keyframe/a-year-of-loss" target="_blank">here</a>. And some of <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a>'s own tributes are linked to below, alongside blog entries, amazing free ebooks, and wonderful journal issue contents.<br />
<br />
<a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a> wishes all its readers and supporters a happy, healthy 2017. And it looks forward to producing and purveying plenty more open access film studies resources in the year ahead.<br />
<br />
<style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 20.0px 'Trebuchet MS'; color: #666666; -webkit-text-stroke: #666666}
span.s1 {font-kerning: none}
</style>
<br />
<div style="text-align: left;">
<br /></div>
<ul>
<li><b><a href="http://filmstudiesforfree.blogspot.com/" target="_blank">Film Studies For Free</a> 2016 entries x 10:</b></li>
</ul>
<ul>
<ul>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2016/01/the-film-plays-thing-rip-jacques.html" target="_blank">The Film-Play's the Thing: RIP Jacques Rivette 1928-2016</a> </li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2016/01/new-film-criticism-film-philosophy-12.html">New FILM CRITICISM, FILM-PHILOSOPHY, 12 new film and media open access eBooks, Mulvey and Dyer interviews, and lots of other links!,</a></li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2016/01/for-starman-who-fell-to-earth-in-memory.html">For the Starman Who Fell to Earth - In Memory of David Bowie</a> </li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2016/01/new-lola-intransition-movie-film.html">New LOLA, [in]TRANSITION, MOVIE, Film-Philosophy, MOVIE, Film-Philosophy, Senses of Cinema plus a video essay on Todd Haynes' CAROL, and more!</a></li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2016_06_01_archive.html" target="_blank">The Persistence of Vision: Videos on the Work of Film Theorists and Scholars</a></li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2016_07_01_archive.html" target="_blank">For all to see, and to see the sense of: In Memory of V. F. Perkins (1936-2016)</a></li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2016_08_01_archive.html" target="_blank">Almodovar Studies For Free</a></li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2016_12_01_archive.html" target="_blank">My Year’s Work in Audiovisual Essays and Videographic Film Studies</a></li>
<li><a href="http://filmstudiesforfree.blogspot.co.uk/2016/12/well-tak-cup-o-kindness-yet-awesome.html">We'll Tak' a Cup o' Kindness Yet: Awesome Open Access Film Studies Links to See Out 2016!</a></li>
</ul>
</ul>
<blockquote class="tr_bq">
<ul>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul>
</ul>
<ul>
</ul>
<ul>
</ul>
<ul>
</ul>
<ul>
</ul>
<ul>
</ul>
</blockquote>
<br />
<ul>
<li><b><a href="http://filmstudiesforfree.blogspot.com/" target="_blank">Film Studies For Free</a> Videographic Tributes Bookending the Year x 3</b></li>
</ul>
</div>
</div>
<div>
<div style="text-align: center;">
<br /></div>
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/197298799" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/197298799">SIMULACRUM (For Carrie Fisher)</a> by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="480" mozallowfullscreen="" src="https://player.vimeo.com/video/197391049" webkitallowfullscreen="" width="640"></iframe> <a href="https://vimeo.com/197391049"><b>M</b>OVIE MOTHER (For Debbie Reynolds and Carrie Fisher)</a> by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<br />
<div style="text-align: center;">
<span style="font-style: italic; font-weight: bold;"><br /></span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/151541761?title=0&portrait=0" webkitallowfullscreen="" width="640"></iframe> <a href="https://vimeo.com/151541761">LOS OLVIDADOS / LAZARUS</a> (Bowie meets Buñuel) by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
<br /></div>
<b>
</b>
<br />
<div>
<b><br /></b></div>
<ul>
<li><b><a href="https://www.fandor.com/keyframe/best-video-essays-2016">The Best Video Essays of 2016 - Fandor's End of Year Poll</a></b></li>
</ul>
<blockquote class="tr_bq">
As last year, <a href="https://www.fandor.com/keyframe/best-video-essays-2016">Kevin B. Lee polled</a> "esteemed video essay creators, scholars, programmers, and devoted followers of the form to highlight the best video essays of the year. Each year it becomes more necessary to crowdsource this task, for in the words of notable video essayist David Verdeure / Filmscalpel, 'It has become impossible to keep up with all video essays that are made, with the form proliferating in both academic and film fan circles.' These poll results might offer some help in sorting out the standouts of the genre. Videos mentioned most frequently in this poll are embedded below, along with the individual lists."</blockquote>
<br />
<ul>
<li><b><b>Open Access Film Studies eBooks x 2!</b></b></li>
</ul>
<blockquote class="tr_bq">
<ul>
<li><b><i><b><a href="http://reframe.sussex.ac.uk/post-cinema/" target="_blank">POST-CINEMA: THEORIZING 21ST-CENTURY FILM</a></b></i></b></li>
</ul>
A <a href="http://reframe.sussex.ac.uk/post-cinema">major scholarly collection</a> edited by Shane Denson and Julia Leyda, and published by <a href="http://reframe.sussex.ac.uk/reframebooks/">REFRAME’s open access ebook imprint</a>. </blockquote>
<blockquote class="tr_bq">
If cinema and television, as the dominant media of the 20th century, shaped and reflected our cultural sensibilities, how do new digital media in the 21st century help to shape and reflect new forms of sensibility? In this collection, Denson and Leyda have gathered a range of essays that approach this question by way of a critical engagement with the notion of “post-cinema.” Contributors explore key experiential, technological, political, historical, and ecological aspects of the transition from a cinematic to a post-cinematic media regime and articulate both continuities and disjunctures between film’s first and second centuries.</blockquote>
<blockquote class="tr_bq">
<b>Download: </b><a href="http://reframe.sussex.ac.uk/wp-content/uploads/2016/09/POST-CINEMA_Theorizing-21st-Century-Film-PDF-13mb-Shane-Denson-Julia-Leyda-eds.pdf" style="border-bottom-color: rgb(51, 51, 51); border-bottom-style: solid; border-width: 0px 0px 1px; box-sizing: inherit; color: #333333; font-family: 'Noto Serif', ', serif'; font-size: 16px; margin: 0px; outline: 0px; padding: 0px; text-align: right; text-decoration: none; vertical-align: baseline;">PDF 13mb</a> and <a href="http://reframe.sussex.ac.uk/wp-content/uploads/2016/09/POST-CINEMA_Theorizing-21st-Century-Film-PDF-9mb-Shane-Denson-Julia-Leyda-eds.pdf" style="border-bottom-color: rgb(51, 51, 51); border-bottom-style: solid; border-width: 0px 0px 1px; box-sizing: inherit; color: #333333; font-family: 'Noto Serif', ', serif'; font-size: 16px; margin: 0px; outline: 0px; padding: 0px; text-align: right; text-decoration: none; vertical-align: baseline;">PDF 9mb</a></blockquote>
<blockquote class="tr_bq">
CONTENTS AND LINKS TO WEB CHAPTERS</blockquote>
<blockquote class="tr_bq">
<strong><a href="http://reframe.sussex.ac.uk/post-cinema/introduction/">Perspectives on Post-Cinema: An Introduction</a></strong> – <em>Shane Denson and Julia Leyda</em></blockquote>
<blockquote class="tr_bq">
<strong>1. Parameters for Post-Cinema</strong>
1.1 <a href="http://reframe.sussex.ac.uk/post-cinema/1-1-manovich/">What is Digital Cinema?</a> – <em>Lev Manovich
</em>1.2 <a href="http://reframe.sussex.ac.uk/post-cinema/1-2-shaviro/">Post-Continuity: An Introduction</a> – <em>Steven Shaviro
</em>1.3 <a href="http://reframe.sussex.ac.uk/post-cinema/1-3-grusin/">DVDs, Video Games, and the Cinema of Interactions</a> – <em>Richard Grusin</em></blockquote>
<blockquote class="tr_bq">
<strong>2. Experiences of Post-Cinema</strong>
2.1 <a href="http://reframe.sussex.ac.uk/post-cinema/2-1-sobchack/">The Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic “Presence”</a> – <em>Vivian Sobchack
</em>2.2 <a href="http://reframe.sussex.ac.uk/post-cinema/2-2-shaviro/" target="_blank">Post-Cinematic Affect</a> – <em>Steven Shaviro
</em>2.3 <a href="http://reframe.sussex.ac.uk/post-cinema/2-3-pisters/">Flash-Forward: The Future is Now</a> – <em>Patricia Pisters
</em>2.4 <a href="http://reframe.sussex.ac.uk/post-cinema/2-4-sanchez/">Towards a Non-Time Image: Notes on Deleuze in the Digital Era</a> – <em>Sergi Sánchez
</em>2.5 <a href="http://reframe.sussex.ac.uk/post-cinema/2-5-denson/">Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect</a> – <em>Shane Denson
</em>2.6 <a href="http://reframe.sussex.ac.uk/post-cinema/2-6-rambo/">The Error-Image: On the Technics of Memory</a> – <em>David Rambo</em></blockquote>
<blockquote class="tr_bq">
<strong>3. Techniques and Technologies of Post-Cinema</strong>
3.1 <a href="http://reframe.sussex.ac.uk/post-cinema/3-1-gurevitch/">Cinema Designed: Visual Effects Software and the Emergence of the Engineered Spectacle</a> – <em>Leon Gurevitch
</em>3.2 <a href="http://reframe.sussex.ac.uk/post-cinema/3-2-sudmann/">Bullet Time and the Mediation of Post-Cinematic Temporality</a> – <em>Andreas Sudmann
</em>3.3 <a href="http://reframe.sussex.ac.uk/post-cinema/3-3-benson-allott/">The <em>Chora</em> Line: RealD Incorporated</a> – <em>Caetlin Benson-Allott
</em>3.4 <a href="http://reframe.sussex.ac.uk/post-cinema/3-4-shaviro/">Splitting the Atom: Post-Cinematic Articulations of Sound and Vision</a> – <em>Steven Shaviro</em></blockquote>
<blockquote class="tr_bq">
<strong>4. Politics of Post-Cinema</strong>
4.1 <a href="http://reframe.sussex.ac.uk/post-cinema/4-1-julia-leyda/">Demon Debt: <em>Paranormal Activity</em> as Recessionary Post-Cinematic Allegory</a> – <em>Julia Leyda
</em>4.2 <a href="http://reframe.sussex.ac.uk/post-cinema/4-2-brinker/">On the Political Economy of the Contemporary (Superhero) Blockbuster Series</a> – <em>Felix Brinker
</em>4.3 <a href="http://reframe.sussex.ac.uk/post-cinema/4-3-isaacs/">Reality Effects: The Ideology of the Long Take in the Cinema of Alfonso Cuarón</a> – <em>Bruce Isaacs
</em>4.4 <a href="http://reframe.sussex.ac.uk/post-cinema/4-4-christiansen/">Metamorphosis and Modulation: Darren Aronofsky’s <em>Black Swan</em></a> – <em>Steen Christiansen
</em>4.5 <a href="http://reframe.sussex.ac.uk/post-cinema/4-5-del-rio/">Biopolitical Violence and Affective Force: Michael Haneke’s <em>Code Unknown</em></a> – <em>Elena del Río</em></blockquote>
<blockquote class="tr_bq">
<strong>5. Archaeologies of Post-Cinema</strong>
5.1 <a href="http://reframe.sussex.ac.uk/post-cinema/5-1-casetti/">The Relocation of Cinema</a> – <em>Francesco Casetti
</em>5.2 <a href="http://reframe.sussex.ac.uk/post-cinema/5-2-mayer/">Early/Post-Cinema: The Short Form, 1900/2000</a> – <em>Ruth Mayer
</em>5.3 <a href="http://reframe.sussex.ac.uk/post-cinema/5-3-grusin/">Post-Cinematic Atavism</a> – <em>Richard Grusin
</em>5.4 <a href="http://reframe.sussex.ac.uk/post-cinema/5-4-siegel/">Ride into the Danger Zone: <em>Top Gun </em>(1986) and the Emergence of the Post-Cinematic</a> – <em>Michael Loren Siegel
</em>5.5 <a href="http://reframe.sussex.ac.uk/post-cinema/5-5-raengo/">Life in Those Shadows! Kara Walker’s Post-Cinematic Silhouettes</a> – <em>Alessandra Raengo</em></blockquote>
<blockquote class="tr_bq">
<strong>6. Ecologies of Post-Cinema</strong>
6.1 <a href="http://reframe.sussex.ac.uk/post-cinema/6-1-ivakhiv/">The Art of Morphogenesis: Cinema in and beyond the Capitalocene</a> – <em>Adrian Ivakhiv
</em>6.2 <a href="http://reframe.sussex.ac.uk/post-cinema/6-2-kara/">Anthropocenema: Cinema in the Age of Mass Extinctions</a> – <em>Selmin Kara
</em>6.3 <a href="http://reframe.sussex.ac.uk/post-cinema/6-3-hansen/">Algorithmic Sensibility: Reflections on the Post-Perceptual Image</a> – <em>Mark B. N. Hansen
</em>6.4 <a href="http://reframe.sussex.ac.uk/post-cinema/6-4-stevenson/">The Post-Cinematic Venue: Towards an Infrastructuralist Poetics</a> – <em>Billy Stevenson</em></blockquote>
<blockquote class="tr_bq">
<strong>7. Dialogues on Post-Cinema</strong>
7.1 <a href="http://reframe.sussex.ac.uk/post-cinema/7-1-grisham-leyda-rombes-shaviro/">The Post-Cinematic in <em>Paranormal Activity </em>and <em>Paranormal Activity 2</em></a> –<em> Therese Grisham, Julia Leyda, Nicholas Rombes, and Steven Shaviro
</em>7.2 <a href="http://reframe.sussex.ac.uk/post-cinema/7-2-bowman-et-al/">Post-Cinematic Affect: A Conversation in Five Parts</a> – <em>Paul Bowman, Kristopher L. Cannon, Elena del Río, Shane Denson, Adrian Ivakhiv, Patricia MacCormack, Michael O’Rourke, Karin Sellberg, and Steven Shaviro
</em>7.3 <a href="http://reframe.sussex.ac.uk/post-cinema/7-3-denson-grisham-leyda/">Post-Continuity, the Irrational Camera, Thoughts on 3D</a> – <em>Shane Denson, Therese Grisham, and Julia Leyda
</em>7.4 <a href="http://reframe.sussex.ac.uk/post-cinema/6-4-leyda-galt-jarrett/">Post-Cinema, Digitality, Politics</a> –<em> Julia Leyda, Rosalind Galt, and Kylie </em><i>Jarrett</i></blockquote>
<br />
<ul>
<li><b><a href="http://reframe.sussex.ac.uk/reframebooks/archive2016/the-arclight-guidebook-to-media-history-and-the-digital-humanities/">The Arclight Guidebook to Media History and the Digital Humanities</a></b></li>
<div class="p2">
<span class="s2"></span></div>
In June 2016, <a href="http://reframe.sussex.ac.uk/reframebooks/">REFRAME Books</a> published <a href="http://reframe.sussex.ac.uk/reframebooks/archive2016/the-arclight-guidebook-to-media-history-and-the-digital-humanities/">The Arclight Guidebook to Media History and the Digital Humanities</a>, edited by Charles R. Acland and Eric Hoyt – a cutting edge collection of work both surveying what media historians are doing with digital tools and charting a course for how the field of media history might move forward in an ongoing dialogue with the digital humanities. <b>Online at: <a href="http://projectarclight.org/book/">http://projectarclight.org/book/</a></b></ul>
<blockquote>
CONTENTS:<br />
<br />
“A Guide to the Arclight Guidebook” by Eric Hoyt, Kit Hughes, and Charles R. Acland<br />
<br />
<b>PART I: Searching and Mapping</b> 1) “The Quick Search and Slow Scholarship: Researching Film Formats” by Haidee Wasson; 2) “Search and Re-search: Digital Print Archives and the History of Multi-sited Cinema” by Gregory A. Waller; 3) “Using Digital Maps to Investigate Cinema History” by Laura Horak; 4) “Field Sketches with Arclight: Mapping the Industrial Film Sector” by Kit Hughes<br />
<br />
<b>PART II: Approaching the Database</b> 5) “Low-Tech Digital” by Charles R. Acland; 6) “Excavating Film History with Metadata Analysis: Building and Searching the ECHO Early Cinema Credits Database” by Derek Long; 7) “Show Me the History! Big Data Goes to the Movies” by Deb Verhoeven; 8) “How Is a Digital Project Like a Film?” by Miriam Posner<br />
<br />
<b>PART III: Analyzing Images, Sounds, Words</b> 9) “Coding and Visualizing the Beauty in Hating Michelle Phan: Exploratory Experiments with YouTube, Images, and Discussion Boards” by Tony Tran; 10) “Looking for Bachelors in American Silent Film: Experiments with Digital Methods” by Lisa Spiro; 11) “Terminological Traffic in the Movie Business” by Charles R. Acland & Fenwick McKelvey; 12) “Digital Tools for Film Analysis: Small Data” by Lea Jacobs & Kaitlin Fyfe; 13) “The Slices of Cinema: Digital Surrealism as Research Strategy” by Kevin L. Ferguson<br />
<br />
<b>PART IV: Process, Product, and Publics</b> 14) “Digital Tools for Television Historiography: Researching and Writing the History of US Daytime Soap Opera” by Elana H. Levine; 15) “When Worlds Collide: Sharing Historical Advertising Research on Tumblr” by Cynthia B. Meyers; 16) “Networking Moving Image History: Archives, Scholars, and the Media Ecology Project” by Mark Williams; 17) “Curating, Coding, Writing: Expanded Forms of Scholarly Production” by Eric Hoyt; “Keywords and Online Resources” by Robert Hunt and Tony Tran</blockquote>
<ul>
</ul>
<br />
<br />
<ul>
<li><b>Open Access Film and Media Studies Journal Issues x 4: </b></li>
</ul>
<blockquote class="tr_bq">
<b><a href="http://www.necsus-ejms.org/portfolio/autumn-2016_home/">NECSUS: European Journal of Media Studies, Autumn 2016_#Home</a></b></blockquote>
<ul><ul>
<li><a href="http://www.necsus-ejms.org/editorial-necsus-home/">Editorial Necsus</a></li>
</ul>
</ul>
<ul><ul>
<li><b>Features: </b></li>
<li><a href="http://www.necsus-ejms.org/even-today-there-are-people-who-think-these-harmless-little-books-are-dangerous-an-interview-with-david-bordwell/">Even today there are people who think these harmless little books are dangerous: An interview with David Bordwell</a> by Malte Hagener </li>
<li><a href="http://www.necsus-ejms.org/from-single-male-guest-worker-to-muslim-an-archaeology-of-iterating-archival-footage-on-dutch-television/">From single male guest worker to Muslim: An archaeology of iterating archival footage on Dutch television</a> by Andrea Meuzelaar </li>
<li><a href="http://www.necsus-ejms.org/politics-spatiality-experimental-nonfiction-cinema-jonathan-perels-toponimia/">The politics of spatiality in experimental nonfiction cinema: Jonathan Perel’s ‘Toponimia’</a> by Patrick Brian Smith </li>
<li><a href="http://www.necsus-ejms.org/for-here-there-is-no-place-that-does-not-see-you-minority-report-and-art-as-delegitimisation/">For here there is no place that does not see you: ‘Minority Report’ and art as de/legitimisation</a> by Josef Früchtl </li>
</ul>
</ul>
<ul><ul>
<li><b>Special section: #Home </b></li>
<li><a href="http://www.necsus-ejms.org/calais-jungle-mediations-home/">The Calais Jungle: Mediations of home</a> by Mireille Rosello </li>
<li><a href="http://www.necsus-ejms.org/from-the-bedroom-to-la-revisiting-the-settings-of-early-video-blogs-on-youtube/">From the bedroom to LA: Revisiting the settings of early video blogs on YouTube</a> by Rainer Hillrichs </li>
<li><a href="http://www.necsus-ejms.org/the-filmic-representation-of-home-in-transnational-families-the-case-of-i-for-india/">The filmic representation of home in transnational families: The case of ‘I for India’ </a> by Efrén Cuevas </li>
<li><a href="http://www.necsus-ejms.org/the-home-screen-as-an-anchor-point-for-mobile-media-use-technologies-practices-identities/">The home screen as an anchor point for mobile media use: Technologies, practices, identities</a> by Stefan Werning </li>
<li><a href="http://www.necsus-ejms.org/songs-home-away-ethnically-coded-diegetic-music-multidirectional-nostalgia-fiction-films-polish-migrants/">Songs of home (and away): Ethnically-coded diegetic music and multidirectional nostalgia in fiction films about Polish migrants</a> by Kris Van Heuckelom and Iwona Guść </li>
</ul>
</ul>
<ul><ul>
<li><b>Festival reviews: edited by Marijke de Valck and Skadi Loist (Film Festival Research Network) </b></li>
<li><a href="http://www.necsus-ejms.org/how-do-film-festivals-work-a-conversation-with-joshua-oppenheimer/">How do film festivals work?: A conversation with Joshua Oppenheimer</a> by Greg de Cuir Jr </li>
<li><a href="http://www.necsus-ejms.org/virtual-futures-and-cinematic-pasts-at-the-65th-melbourne-international-film-festival/">Virtual futures and cinematic pasts at the 65th Melbourne International Film Festival</a> by Kirsten Stevens </li>
<li><a href="http://www.necsus-ejms.org/films-from-asia-attention-around-the-world-18th-far-east-film-festival-udine/">Films from Asia, attention around the world: 18th Far East Film Festival, Udine</a> by Jinuo Diao </li>
</ul>
</ul>
<ul><ul>
<li><b>Exhibition reviews: </b>edited by Miriam De Rosa and Malin Wahlberg (NECS Publication Committee) </li>
<li><a href="http://www.necsus-ejms.org/pierdom-by-simon-roberts/">Pierdom by Simon Roberts</a> by Lavinia Brydon and Olu Jenzen </li>
<li><a href="http://www.necsus-ejms.org/a-place-between-desire-and-experience-afterthoughts-on-carolee-schneemann-kinetic-painting/">A place between desire and experience: Afterthoughts on Carolee Schneemann: Kinetic Painting</a> by Carlos Kong </li>
</ul>
</ul>
<ul><ul>
<li><b>Book reviews: edited by Lavinia Brydon and Alena Strohmaier (NECS Publication Committee) </b></li>
<li><a href="http://www.necsus-ejms.org/dreaming-cinemaslow-cinema/">Dreaming of Cinema / Slow Cinema</a> by James Newton </li>
<li><a href="http://www.necsus-ejms.org/a-geography-of-resistance-locating-us-underground-film-and-tv-cultures/">A geography of resistance: Locating US underground film and TV cultures</a> by Andrea Mariani </li>
</ul>
</ul>
<ul><ul>
<li><b>Audiovisual essays: guest edited by Catherine Grant </b></li>
<li><a href="http://www.necsus-ejms.org/the-audiovisual-essay-as-performative-research/">The audiovisual essay as performative research</a> by Catherine Grant </li>
<li><a href="http://www.necsus-ejms.org/house-arrest/">House Arrest</a> by Domietta Torlasco </li>
<li><a href="http://www.necsus-ejms.org/the-place-of-voiceover-in-audiovisual-film-and-television-criticism/">The Place of Voiceover in Academic Audiovisual Film and Television Criticism</a> by Ian Garwood </li>
<li><a href="http://www.necsus-ejms.org/being-bowie/">Being Bowie</a> by Will Brooker and Rebecca Hughes</li>
</ul>
</ul>
<blockquote class="tr_bq">
<br />
<b><a href="http://www.necsus-ejms.org/portfolio/spring-2016_small-data/">NECSUS: European Journal of Media Studies, Spring 2016_’Small data’</a></b><br />
<ul><ul>
<li><a href="http://www.necsus-ejms.org/editorial-necsus-spring2016/">Editorial Necsus</a> </li>
</ul>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul><ul>
<li><b>Features</b></li>
<li><a href="http://www.necsus-ejms.org/philosophy-weaving-web-interview-media-theorist-sebastian-giessmann/">A philosophy of weaving the web: An interview with media theorist Sebastian Giessmann</a> by Geert Lovink</li>
<li><a href="http://www.necsus-ejms.org/remake-chantal-akerman-john-smiths-plays-reality/">Remake: Chantal Akerman’s and John Smith’s plays on reality</a> by Clara Miranda Scherffig</li>
<li><a href="http://www.necsus-ejms.org/videographic-film-studies-and-the-analysis-of-camera-movement/">Videographic film studies and the analysis of camera movement</a> by Volker Pantenburg</li>
<li><a href="http://www.necsus-ejms.org/photobiographies-derrida-documentaries-film-philosophy/">Photobiographies: The Derrida documentaries as film-philosophy</a> by Robert Sinnerbrink</li>
<li><a href="http://www.necsus-ejms.org/the-right-stuff-from-western-to-melodrama-and-comedy/">‘The Right Stuff’: From Western to melodrama and comedy</a> by Wim Staat</li>
<li><a href="http://www.necsus-ejms.org/pleasure-obvious-queer-conversation-richard-dyer/">Pleasure | Obvious | Queer: A conversation with Richard Dyer</a> by Catherine Grant and Jaap Kooijman </li>
</ul>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul><ul>
<li><b>Special section: Small data</b></li>
<li><a href="http://www.necsus-ejms.org/forms-binding-data-not-fitting/">Forms of binding: On data and not ‘fitting in’</a> by Anirban Gupta-Nigam</li>
<li><a href="http://www.necsus-ejms.org/compact-cinematics/">Compact cinematics</a> by Pepita Hesselberth and Maria Poulaki</li>
<li><a href="http://www.necsus-ejms.org/saul-bass-participatory-culture-opening-title-sequences-contemporary-tv-series/">From Saul Bass to participatory culture: Opening title sequences in contemporary television series</a> by Valentina Re</li>
<li><a href="http://www.necsus-ejms.org/korsakow-documentaries/">Database aesthetics, modular storytelling, and the intimate small worlds of Korsakow documentaries</a> by Anna Wiehl</li>
<li><a href="http://www.necsus-ejms.org/towards-minor-data-manifesto/">Towards a minor data manifesto</a> by Jacek Smolicki and Alberto Frigo </li>
</ul>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul><ul>
<li><b>Exhibition reviews: edited by Miriam De Rosa and Malin Wahlberg (NECS Publication Committee)</b></li>
<li><a href="http://www.necsus-ejms.org/ryoji-ikeda-zkm/">Ryoji Ikeda at ZKM</a> by Joo Yun Lee</li>
<li><a href="http://www.necsus-ejms.org/re-enacting-preexisting-image-collections-akram-zaataris-unfolding/">Re-enacting pre-existing image collections in Akram Zaatari’s ‘Unfolding’</a> by Olivia Eriksson</li>
<li><a href="http://www.necsus-ejms.org/milieu-poetry-yuri-ans-unharvested-sea-sailing-words/">The milieu of poetry: Yuri An’s ‘The Unharvested Sea’ and ‘Sailing Words’</a> by Adeena Mey</li>
<li>Festival reviews: edited by Marijke de Valck and Skadi Loist (Film Festival Research Network)</li>
<li><a href="http://www.necsus-ejms.org/calendars-industries-idfa-cphdox/">Of calendars and industries: IDFA and CPH:DOX</a> by Aida Vallejo</li>
<li><a href="http://www.necsus-ejms.org/human-rights-film-social-change-screening-rights-film-festival-birmingham-centre-film-studies/">Human rights, film, and social change: Screening Rights Film Festival, Birmingham Centre for Film Studies</a> by Sonia Tascón</li>
<li><a href="http://www.necsus-ejms.org/rediscovering-frantz-fanon-scotlands-africa-motion-film-festival/">Rediscovering Frantz Fanon at Scotland’s Africa in Motion film festival</a> by Prince Bubacarr Aminata Sankanu </li>
</ul>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul><ul>
<li><b>Book reviews: edited by Lavinia Brydon and Alena Strohmaier (NECS Publication Committee)</b></li>
<li><a href="http://www.necsus-ejms.org/complex-series-struggling-cable-guys/">Complex series and struggling cable guys</a> by Anne Gre Wabeke</li>
<li><a href="http://www.necsus-ejms.org/new-media-configurations-socio-cultural-dynamics-asia-arab-world/">New media configurations and socio-cultural dynamics in Asia and the Arab world</a> by Najmeh Moradiyan Rizi </li>
</ul>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul><ul>
<li><b>Audiovisual essays: guest edited by Dana Linssen</b></li>
<li><a href="http://www.necsus-ejms.org/whose-cinema-video-essay-big-screen-international-film-festival-rotterdam/">Whose Cinema: The video-essay on the big screen of the International Film Festival Rotterdam</a> by Dana Linssen</li>
<li><a href="http://www.necsus-ejms.org/live-streaming-us/">Live Streaming US</a> by Paula Albuquerque</li>
<li><a href="http://www.necsus-ejms.org/re_making/">re_making</a> by Juan Daniel Molero</li>
<li><a href="http://www.necsus-ejms.org/warped-reflections/">Warped Reflections: The Cinematic Identity of Helmut Berger</a> by Hugo Emmerzael</li>
</ul>
</ul>
</blockquote>
<br />
<div>
<blockquote class="tr_bq">
<ul><b>
<li><b><a href="http://reframe.sussex.ac.uk/sequence3/archive/sequence-3-1/">SEQUENCE</a> (<a href="http://reframe.sussex.ac.uk/sequence4/archive/sequence-4-1/">4.1 [2016]</a>)</b> — <a href="http://reframe.sussex.ac.uk/sequence/presenting-sequence-four-analogue-digital/">‘THINKING WITH DIGITS: Cinema and the Digital-Analogue Opposition’</a> by Paul Atkinson</li>
</b></ul>
<ul><b>
<li><a href="http://reframe.sussex.ac.uk/sequence5/archive/sequence-5-1/">SEQUENCE (5.1 [2016])</a><a href="http://reframe.sussex.ac.uk/sequence5/archive/sequence-5-1/" target="_blank"> — 'Silence' </a>by Liz Greene</li>
</b></ul>
</blockquote>
<ul><br /></ul>
</div>
<ul>
<li><b>New website:</b></li>
</ul>
<ul><ul>
<li>AHRC-funded <a href="http://reframe.sussex.ac.uk/chinesefilmfeststudies/"><b>CHINESE FILM FESTIVAL STUDIES NETWORK</b></a> edited by Chris Berry and Luke Robinson. This research network brings together scholars in the UK, China, other parts of Asia, Europe and the USA who are working on film festivals in Chinese-language territories and cultures (including the People’s Republic, Taiwan, Hong Kong, and elsewhere): <a href="http://reframe.sussex.ac.uk/chinesefilmfeststudies/">http://reframe.sussex.ac.uk/chinesefilmfeststudies/</a></li>
</ul>
</ul>
<blockquote class="tr_bq">
The website collects materials relevant to Chinese Film Festival Studies, including reports on network events, bibliographies, lists of and reports on film festivals, and much more.</blockquote>
<br />
<br />
<ul>
<li><b>Other Open Access Resources </b></li>
</ul>
<blockquote class="tr_bq">
<ul>
<li><b><a href="http://reframe.sussex.ac.uk/conversations/talksmfm/">TALKS@MFM </a>– <a href="http://reframe.sussex.ac.uk/">REFRAME</a> </b>continues with its series of video and audio recordings of research presentations and masterclasses held at the <a href="http://www.sussex.ac.uk/mfm/">School of Media, Film and Music, University of Sussex</a>: </li>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul><ul>
<li><a href="https://youtu.be/UtmMYld2o9Q">Professor Laura Rascaroli on “Framing: The Essay Film as Theoretical Practice”</a></li>
</ul>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul><ul>
<li><a href="https://youtu.be/ElVbJFvNYvI">Dr Rarchel Moseley on "Child’s Play? Stop-Frame Television Animation for Children in the Sixties and Seventies</a>”</li>
</ul>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul><ul>
<li><a href="https://youtu.be/CLpxusv_xf0">Jerry Rothwell on "HOW TO CHANGE THE WORLD (2015): Production, Engagement and Distribution in Documentary</a>”</li>
</ul>
</ul>
</blockquote>
<br />
<div>
<iframe allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/UtmMYld2o9Q" width="640"></iframe><br /></div>
<style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 20.0px 'Trebuchet MS'; color: #666666; -webkit-text-stroke: #666666}
span.s1 {font-kerning: none}
</style><br />
<style type="text/css">
p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 15.0px 'Helvetica Neue Light'; color: #383838; -webkit-text-stroke: #383838; min-height: 18.0px}
p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; font: 15.0px 'Helvetica Neue Light'; color: #383838; -webkit-text-stroke: #383838}
li.li1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 15.0px 'Helvetica Neue'; color: #1982d1; -webkit-text-stroke: #1982d1}
span.s1 {-webkit-text-stroke: 0px #000000}
span.s2 {font-kerning: none}
span.s3 {font: 15.0px 'Helvetica Neue'; font-kerning: none}
ol.ol1 {list-style-type: decimal}
</style><style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 15.0px 'Helvetica Neue'; color: #1982d1; -webkit-text-stroke: #1982d1}
span.s1 {font-kerning: none; color: #383838; -webkit-text-stroke: 0px #383838}
span.s2 {font-kerning: none; color: #1982d1; -webkit-text-stroke: 0px #1982d1}
</style><style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 15.0px 'Helvetica Neue Light'; color: #383838; -webkit-text-stroke: #383838}
span.s1 {font-kerning: none}
</style><style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 15.0px 'Helvetica Neue Light'; color: #383838; -webkit-text-stroke: #383838}
span.s1 {font-kerning: none}
span.s2 {font: 15.0px 'Helvetica Neue'; font-kerning: none; color: #1982d1; -webkit-text-stroke: 0px #1982d1}
span.s3 {font-kerning: none; color: #1982d1; -webkit-text-stroke: 0px #1982d1}
</style><style type="text/css">
li.li1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 15.0px 'Helvetica Neue'; color: #1982d1; -webkit-text-stroke: #1982d1}
span.s1 {font: 15.0px 'Helvetica Neue Light'; color: #383838; -webkit-text-stroke: 0px #000000}
span.s2 {font: 15.0px 'Helvetica Neue Light'; font-kerning: none; color: #383838; -webkit-text-stroke: 0px #383838}
span.s3 {font: 15.0px 'Helvetica Neue'; font-kerning: none; color: #1982d1; -webkit-text-stroke: 0px #1982d1}
span.s4 {font-kerning: none; color: #383838; -webkit-text-stroke: 0px #383838}
span.s5 {font: 15.0px 'Helvetica Neue Light'; color: #383838; -webkit-text-stroke: 0px #383838}
ul.ul1 {list-style-type: disc}
</style><style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 18.0px 'Helvetica Neue'; color: #232323; -webkit-text-stroke: #232323}
span.s1 {font-kerning: none}
</style><style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 20.0px 'Helvetica Neue'; color: #232323; -webkit-text-stroke: #232323}
p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px Georgia; color: #232323; -webkit-text-stroke: #232323}
p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px Georgia; color: #555555; -webkit-text-stroke: #555555}
span.s1 {font-kerning: none}
span.s2 {font: 13.0px Georgia; font-kerning: none}
span.s3 {font-kerning: none; color: #555555; -webkit-text-stroke: 0px #555555}
span.s4 {font: 11.0px Georgia; font-kerning: none}
span.s5 {font-kerning: none; color: #232323; -webkit-text-stroke: 0px #232323}
</style><style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 15.0px 'Helvetica Neue'; color: #1982d1; -webkit-text-stroke: #1982d1}
p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 15.0px 'Helvetica Neue Light'; color: #383838; -webkit-text-stroke: #383838}
span.s1 {font-kerning: none}
</style>Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-81441179850840157302016-12-13T10:01:00.001+00:002016-12-31T09:52:26.438+00:00My Year’s Work in Audiovisual Essays and Videographic Film Studies<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEd6K7lkSZ6oz-T_2DQgcrtOsYU3tp4ZGEaHSsljYs_51_ccg-NnVmll5jwXDv1cL2D1xf6H7iKjG0py7KYCcUF6eKDVjKDITgIsSupxTV6EkLH48Ze4W7QQQcCWVM6e7nZrZ47cTN3g/s1600/Screen+Shot+2016-12-13+at+09.40.01.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEd6K7lkSZ6oz-T_2DQgcrtOsYU3tp4ZGEaHSsljYs_51_ccg-NnVmll5jwXDv1cL2D1xf6H7iKjG0py7KYCcUF6eKDVjKDITgIsSupxTV6EkLH48Ze4W7QQQcCWVM6e7nZrZ47cTN3g/s400/Screen+Shot+2016-12-13+at+09.40.01.png" width="400" /></a></div>
<br />
There is a bumper entry still to come here at <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">Film Studies For Free</a> before the global <i><a href="https://en.wikipedia.org/wiki/Annus_horribilis" target="_blank">annus horribilis</a></i> of 2016 is out, you mark this blog's words.<br />
<br />
But in the meantime, below is a handy list of links to the thirteen <a href="https://vimeopro.com/filmstudiesff/audiovisual-film-studies-for-free" target="_blank">free film-studies videos</a> its <a href="https://catherinegrant.org/" target="_blank">author</a> has made <i>and </i>formally published in the last twelve months (see <a href="http://filmanalytical.blogspot.co.uk/2016/12/my-years-work-in-audiovisual-essays-and.html" target="_blank">here</a> for more information). There are a few unlisted ones that were also made this year and await publication, including yet another videographic work on <i>Brief Encounter... </i>These should see the light of online day in the next calendar year.<br />
<br />
<ul>
<li><a href="https://vimeo.com/145070069">DISSOLVES OF PASSION</a>: This video on <i>Brief Encounter</i> formed an integral part of Catherine Grant’s contribution to <i>The Videographic Essay: Criticism in Sound and Image,</i> a collection of work edited by Christian Keathley and Jason Mittell (Caboose Books, 2016; <a href="http://caboosebooks.net/the-videographic-essay">http://caboosebooks.net/the-videographic-essay</a> and <a href="http://caboosebooks.net/node/150">http://caboosebooks.net/node/150</a>)</li>
</ul>
<ul>
<li><a href="http://lolajournal.com/6/interplay.html">INTERPLAY</a>: A tribute to the work (on psychoanalytic object relations and the cinema) of film scholar Annette Kuhn, featuring excerpts from <i>Mandy</i> (1952), <i>My Ain Folk</i> (Bill Douglas, 1973), <i>Ratcatcher</i> (Lynne Ramsay, 1999), <i>Distant Voices, Still Lives </i>(Terence Davies, 1988) and <i>Where Is the Friend’s Home?</i> (Abbas Kiarostami, 1987) This video was published, with a short accompanying text, here: <a href="http://interplay.html/" target="_blank">'INTERPLAY: (Re)Finding and (Re)Framing Cinematic Experience, Film Space, and the Child’s World', LOLA, 6, 2015</a>. Online at: <a href="http://lolajournal.com/6/interplay.html">http://lolajournal.com/6/interplay.html</a> </li>
</ul>
<ul>
<li><a href="https://vimeo.com/93840128" target="_blank">UN/CONTAINED</a>: On Andrea Arnold's <i>Fish Tank</i>: Published as part of ‘Beyond tautology? Audiovisual Film Criticism’, <i>Film Criticism</i>, Vol. 40, No.1, 2016. Online at: <a href="http://hdl.handle.net/2027/spo.13761232.0040.113">http://hdl.handle.net/2027/spo.13761232.0040.113</a></li>
</ul>
<ul>
<li><a href="https://vimeo.com/149791810">THERESE and CAROL and ALEC & LAURA</a> (A Brief Encounter): Todd Haynes’ <i>Carol</i> meets <i>Brief Encounter</i> <a href="https://vimeo.com/149791810">https://vimeo.com/149791810</a></li>
</ul>
<ul>
<li><a href="https://vimeo.com/151541761">LOS OLVIDADOS / LAZARUS</a>: Buñuel meets Bowie. Made on the awful day we heard of David Bowie’s untimely death: <a href="https://vimeo.com/151541761">https://vimeo.com/151541761</a></li>
</ul>
<ul>
<li><a href="https://vimeo.com/157653540">SPARKLE</a>: A tiny video-remix comparison of some glimmering audio/visual moments from <i>Picnic at Hanging Rock </i>(Peter Weir, 1975), <i>The Virgin Suicides</i> (Sofia Coppola, 1999) and <i>The Falling</i> (Carol Morley, 2014). <a href="https://vimeo.com/157653540">https://vimeo.com/157653540</a></li>
</ul>
<ul>
<li><a href="http://filmanalytical.blogspot.co.uk/2016/04/side-by-side-up-and-down-comparative.html">SIDE-BY-SIDE | UP-AND-DOWN</a>: Comparative Videographic Approaches to Transnational Cinema Studies: On split screen techniques of audiovisual comparison as a sensuous film critical methodology in transnational cinema studies. <a href="http://filmanalytical.blogspot.co.uk/2016/04/side-by-side-up-and-down-comparative.html">http://filmanalytical.blogspot.co.uk/2016/04/side-by-side-up-and-down-comparative.html</a></li>
</ul>
<ul>
<li><a href="https://vimeo.com/168220320">THE ARCADES VARIATIONS</a> A collaborative video experiment using film images from <i>De Stad In Spiegelbeeld </i>Amsterdam, J.P. Smits Filmdistribution, 1925 (From BITS and PIECES Collection - BP300 EYE Film Instituut Nederland) by Catherine Grant and Stanislaw Liguziński <a href="https://vimeo.com/168220320">https://vimeo.com/168220320</a>. See project documentation here: <a href="https://vimeo.com/filmarcades">https://vimeo.com/filmarcades</a>.</li>
</ul>
<ul>
<li><a href="https://vimeo.com/169120246">THE PERSISTENCE OF VISION</a>: A video tribute to the work of film scholar Elizabeth Cowie, featuring <i>Morocco, Now, Voyager </i>and<i> Let There Be Light, </i>as well as the voices and choices of Andrew Klevan, Christine Evans, Coral Houtman and Sarah Wood <a href="https://vimeo.com/169120246">https://vimeo.com/169120246</a></li>
</ul>
<ul>
<li><a href="https://vimeo.com/175573896">DÉCORUMS</a> A video on Renoir’s <i>Le Règle du Jeu/Rules of the Games.</i> Made as a tribute to the work and life of film scholar V.F. Perkins <a href="https://vimeo.com/175573896">https://vimeo.com/175573896</a></li>
</ul>
<ul>
<li><a href="https://vimeo.com/178181337">MATCHES </a>- featuring <i>Johnny Guitar </i>(Nicholas Ray, 1954) <i>Mujeres al borde de un ataque de nervios / Women on the Verge of a Nervous Breakdown (</i>Pedro Almodóvar, 1988) <a href="https://vimeo.com/178181337">https://vimeo.com/178181337</a></li>
</ul>
<ul>
<li><a href="https://vimeo.com/184217966">REAR WINDOW Syncopated</a>. What the title says.... <a href="https://vimeo.com/184217966">https://vimeo.com/184217966</a></li>
</ul>
<ul>
<li><a href="https://vimeo.com/192340183">A GIRL LIKE I | An Unruly Duet</a> - on <i>Gentlemen Prefer Blondes </i><a href="https://vimeo.com/192340183">https://vimeo.com/192340183</a></li>
</ul>
<br />
<div>
<br /></div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-47998219635534442642016-08-24T09:00:00.000+01:002016-08-25T09:43:39.698+01:00Almodóvar Studies for Free<div style="text-align: center;">
<span style="color: blue; font-size: x-small;"><i>Last updated with more links August 25</i></span><iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/178181337?title=0&portrait=0" webkitallowfullscreen="" width="640"></iframe></div>
<div style="text-align: center;">
<br />
<span style="font-size: x-small;"><b><a href="https://vimeo.com/178181337">MATCHES</a> - On similarly flammable moments in Ray and Almodóvar</b></span><br />
<span style="font-size: x-small;">(Intertextual ignition by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a>)</span></div>
<div style="text-align: right;">
<br /></div>
<div style="text-align: right;">
<br /></div>
<div style="text-align: right;">
<i><span style="font-size: x-small;"><b>Experience has taught me that the more honest and personal my work is,</b></span></i></div>
<div style="text-align: right;">
<i><span style="font-size: x-small;"><b>the more successful I am.</b></span></i></div>
<div style="text-align: right;">
<span style="font-size: x-small;">(Pedro Almodóvar)</span></div>
<div style="text-align: right;">
<span style="font-size: x-small;"><br /></span></div>
<div style="text-align: right;">
<span style="font-size: x-small;"><br /></span></div>
<div style="text-align: right;">
<i><span style="font-size: x-small;"><b>It costs a lot to be authentic, ma’am.</b></span></i></div>
<div style="text-align: right;">
<span style="font-size: x-small;">('Agrado' in <i><a href="https://en.wikipedia.org/wiki/All_About_My_Mother" target="_blank">All About My Mother</a></i>)</span></div>
<div style="text-align: right;">
<br /></div>
<br />
<a href="http://filmstudiesforfree.blogspot.com/" target="_blank">Film Studies For Free</a> is delighted to celebrate its eighth birthday with a tiny new video essay (above) and a whole entry (below) devoted to a wide-ranging collection of links to online and open access studies of the work of one of its favourite filmmakers of all time: <a href="https://en.wikipedia.org/wiki/Pedro_Almod%C3%B3var" target="_blank">Pedro Almodóvar</a>.<br />
<br />
Thanks so much to all <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a>'s readers for being (t)here over the years! It's been a 'fount of pleasure' (as<a href="https://notesonfilm1.com/2013/10/19/a-fount-of-pleasure-and-a-matrix-of-meaning-notes-arising-from-a-viewing-of-women-on-the-verge-of-a-nervous-breakdown/" target="_blank"> José Arroyo writes</a> of Almodóvar's films), and an <i>authentic</i> joy.<br />
<br />
<br />
<b>Online written studies of Almodóvar's work</b><br />
<ul>
<li><a href="https://notesonfilm1.com/2016/02/24/johnny-guitar-women-on-the-verge-a-cinephile-moment-at-the-cinemateca-portuguesa/" target="_blank">José Arroyo, '<i>Johnny Guitar</i>/ <i>Women on the Verge</i>: A Cinephile Moment at the Cinemateca Portuguesa', <i>Notes on Film</i>, Feburary 24, 2016</a></li>
<li><a href="https://notesonfilm1.com/2015/10/24/one-of-the-times-i-interviewed-almodovar/" target="_blank">José Arroyo, 'One of the times I interviewed Almodóvar', <i>Notes on Film</i>, October 24, 2015</a></li>
<li><a href="https://notesonfilm1.com/2013/10/19/a-fount-of-pleasure-and-a-matrix-of-meaning-notes-arising-from-a-viewing-of-women-on-the-verge-of-a-nervous-breakdown/" target="_blank">José Arroyo, 'A Fount of Pleasure and a Matrix of Meaning: Notes Arising from a Viewing of <i>Women on the Verge of a Nervous Breakdown</i>’, <i>Notes on Film</i>, April 18, 2014</a></li>
<li><a href="https://notesonfilm1.com/2013/11/28/autobiography-and-bad-education-pedro-almodovar-spain-2004/" target="_blank">José Arroyo, 'Autobiography and <i>Bad Education</i> (Pedro Almodóvar, Spain, 2004)', Notes on Film, November 28, 2013</a></li>
<li><a href="http://digitalcommons.unomaha.edu/cgi/viewcontent.cgi?article=1033&context=jrf" target="_blank">Jeremy Biles, '<i>The Skin I Live In</i>,'<i> Journal of Religion and Film,</i> Vol. 16: 1, 2012. </a></li>
<li><a href="https://ida.mtholyoke.edu/xmlui/handle/10166/726" target="_blank">Diana Bilbao, '<i>Volver</i>' in Female Subjectivity and Feminist Aesthetics in Revisions of the Maternal Melodrama, PhD thesis, Mount Holyoke College, 2011</a> large <a href="https://ida.mtholyoke.edu/xmlui/bitstream/handle/10166/726/412.pdf?sequence=1" target="_blank">PDF</a></li>
<li><a href="http://www.clas.ufl.edu/ipsa/2005/proc/blake.pdf" target="_blank">Nancy Blake, '<em>Che vuoi</em>? Enjoying the perverse symptom in the cinema of Pedro Almodóvar'. Paper at The 22nd International Literature and Psychology Conference, 2005</a></li>
<li><a href="http://lef-e.org/yahoo_site_admin/assets/docs/Burke_December_2012.348140510.pdf" target="_blank">Jessica Burke, 'Body, Performance, and Control in Pedro Almodóvar’s <i>Hable con ella</i>', <i>L’Érudit franco-espagnol</i> 2, 2012</a></li>
<li><a href="http://www.filmstudies.ca/journal/pdf/cjfs-21-1-conrod-early-fillms-pedro-almodovar.pdf" target="_blank">Frédéric Conrod, ‘Castrating The Body of the Police: Portraits of an Impotent Institution in The Early Films of Pedro Almodóvar’, <i>Canadian Journal of Film Studies/Revue Canadienne D’études Cinématographiques</i>, 21:1, Spring/Printemps, 2012</a></li>
<li><a href="http://www.moviesin203.org/2011/01/pedro-almodovars-renegotiation-of-the-spanish-identity/" target="_blank">Kelly Dafne, 'Pedro Almodovar's Renegotiation of the Spanish Identity', <i>Movies in 203</i>, 2011</a></li>
<li><a href="http://eial.tau.ac.il/index.php/eial/article/view/324" target="_blank">Marvin D'Lugo, 'Almodóvar, El Deseo and the co-Production of Latin American Space', <i>Estudios Interdisciplinarios de América Latina y el Caribe</i>, 24.1, 2013</a></li>
<li><a href="http://acumen.lib.ua.edu/content/u0015/0000001/0001233/u0015_0000001_0001233.pdf" target="_blank">Brett Jessie Drummond, The Recycling of Filth: Transcultural Discourses in the Films of Pedro Almodóvar and John Waters, PhD thesis, University of Alabama, 2013</a></li>
<li><a href="http://publishing.cdlib.org/ucpressebooks/view?docId=ft1j49n6d3&chunk.id=d0e7381&toc.depth=1&toc.id=d0e7381&brand=ucpress" target="_blank">Lucy Fischer, 'Modernity and postmaternity: <i>High heels</i> and <i>Imitation of life</i>', in: <i>Play it again, Sam : retakes on remakes</i>, edited by Andrew Horton and Stuart Y. McDougal (Berkeley : University of California Press, 1998)</a></li>
<li><a href="https://www.academia.edu/22202473/_Questioning_Two_Canonical_Concepts_of_Self_and_Authenticity_in_Pedro_Almod%C3%B3var_s_Film_All_about_My_Mother._" target="_blank">Cătălina-Florina Florescu, ‘Questioning Two Canonical Concepts of ‘Self’ and ‘Authenticity’ in Pedro Almodóvar’s Film <i>All about My Mother</i>’, <i>University of Bucharest Review</i> Vol. X, no. 1, 2008</a></li>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/ebooks" target="_blank">John Gibbs, 'Looking, talking and understanding: subjectivity and point of view in <i>Talk to Her </i>(2002)', in <i>Filmmakers' Choices</i> (“Close-Up 01/MOVIE eBooks, 2006/2015),</a> downloadable here: <a href="http://www2.warwick.ac.uk/fac/arts/film/movie/ebooks">http://www2.warwick.ac.uk/fac/arts/film/movie/ebooks</a></li>
<li><a href="https://www.academia.edu/5289228/Backdrops_and_Miniatures_The_Other_Madrid_Built_by_Pedro_Almod%C3%B3var" target="_blank">Jorge Gorostiza, 'Backdrops and Miniatures: The Other Madrid Built by Pedro Almodóvar', <i>Cine y....</i>, vol. 1, nº 2, 2008</a></li>
<li><a href="http://scan.net.au/scan/journal/display.php?journal_id=96" target="_blank">Fiona Jenkins, 'Grief’s Testimony: On Almodóvar’s <i>All About My Mother</i>', SCAN, 4.2, 2007</a></li>
<li><a href="http://scholarship.kentlaw.iit.edu/cgi/viewcontent.cgi?article=3218&context=cklawreview" target="_blank">Orit Kamir, 'Feminist Law and Film: Imagining Judges and Justice', <i>Chicago-Kent Law Review</i>, 75:3, Symposium on Unfinished Feminist Business, June 2000 [a close reading of Pedro Almodóvar's <i>High Heels</i>]</a><span style="font-family: "garamond"; font-size: 14pt; font-weight: 700;"> </span></li>
<li><a href="http://hub.hku.hk/bitstream/10722/31287/15/FullText.pdf?accept=1" target="_blank">Lam, Sze-man, 'All about sexuality: gender studies in Pedro Almodovar's films', <i>The HKU Scholars' Hub</i>, 2004</a></li>
<li><a href="http://alsolikelife.com/shooting/2008/11/937-78-la-ley-del-deseo-law-of-desire-1987-pedro-almodovar/" target="_blank">Kevin B. Lee, '937 (78). <i>La Ley del deseo / Law of Desire</i> (1987, Pedro Almodovar)', Shooting Down Pictures, November 30, 2008</a></li>
<li><a href="https://www.academia.edu/12175419/Fags_Hags_and_Queer_Sisters">Stephen Maddison, 'Pedro Almodóvar and <i>Women on the Verge of a Nervous Breakdown</i>: the Heterosocial Spectator and Misogyny', Chapter 4 of <i>Fags, hags, and queer sisters : gender dissent and heterosocial bonds in gay culture</i> (New York : St. Martin's, 2000)</a></li>
<li><a href="https://www.academia.edu/12175418/All_about_women_Pedro_Almod%C3%B3var_and_the_heterosocial_dynamic">Stephen Maddison, 'All about women: Pedro Almodóvar and the heterosocial dynamic', <i>Textual Practice</i>, 2000</a></li>
<li><a href="http://sensesofcinema.com/2005/cteq/flower_of_my_secret/" target="_blank">Carla Marcantonio, '<i>The Flower of My Secret'</i>, <i>Senses of Cinema</i>, 35, 2005</a></li>
<li><a href="https://www.academia.edu/20987547/The_transvestite_figure_and_film_noir_Pedro_Almod%C3%B3vars_transnational_imaginary" target="_blank">Carla Marcantonio, 'The transvestite figure and film noir: Pedro Almodóvar's transnational imaginary', <i>Contemporary Spanish Cinema and Genre</i>, 2008</a></li>
<li><a href="https://www.academia.edu/22258074/Cinema_Transgenesis_and_History_in_The_Skin_I_Live_In" target="_blank">Carla Marcantonio, 'Cinema, Transgenesis, and History in <i>The Skin I Live In</i>,' <i>Social Text</i>, 2015</a></li>
<li><a href="http://sensesofcinema.com/2006/great-directors/almodovar/">Steven Marsh, 'Pedro Almodóvar', <i>Senses of Cinema</i>, July 2006</a></li>
<li><a href="http://cocolog-yoshi.cocolog-nifty.com/blog/files/NYREV0703Almodovar.pdf">Daniel Mendelsohn, 'The Women of Pedro Almodóvar', <i>The New York Review of Books</i>, 54: 3, March 1, 2007</a></li>
<li><a href="http://offscreen.com/view/the-skin-i-live-in-pedro-almodovar" target="_blank">Felix Monguilot, '<i>The Skin I Live In</i>: Sexual Identity and Captivity in a Film by Pedro Almodóvar', <i>Offscreen</i>, 9.9, 2015</a></li>
<li><a href="https://www.academia.edu/526827/Whose_Talk_Is_It_Almod%C3%B3var_and_the_Fairy_Tale_in_Talk_to_Her" target="_blank">Adriana Novoa, 'Whose Talk Is It? Almodóvar and the Fairy Tale in <i>Talk to Her',</i> <i>Marvels & Tales </i>19.2 (2005)</a></li>
<li><a href="http://dare.uva.nl/cgi/arno/show.cgi?fid=143726" target="_blank">Kamila Oleksiak, Intertextuality in the cinema of Pedro Almodóvar, Masters Thesis, University of Amsterdam, 2009</a> </li>
<li><a href="http://digitalcommons.trinity.edu/cgi/viewcontent.cgi?article=1029&context=class_faculty" target="_blank">Corinne Pache, 'Almodóvar's Female Odyssey'. <i>Classical Outlook</i>, 87(2), 2010</a></li>
<li><a href="http://socialscience.nl/wp-content/uploads/2013/04/Volume-1-Issue-2-Article-6.pdf" target="_blank">Marie Piganiol, ‘Transgenderism and Transsexuality in Almodovar’s Movies’, <i>Amsterdam Social Science</i>, Vol. 1(2), 2009</a></li>
<li><a href="https://www.academia.edu/5439439/Almod%C3%B3var_Cyberfandom_and_Participatory_Culture" target="_blank">Vicente Rodríguez Ortega, 'Almodóvar, Cyberfandom, and Participatory Culture', Academia.edu, 2013</a></li>
<li><a href="https://www.academia.edu/5439525/Trailing_the_Spanish_Auteur_Amen%C3%A1bar_Almod%C3%B3var_and_de_la_Iglesias_generic_routes_in_the_US_market" target="_blank">Vicente Rodríguez Ortega, 'Trailing the Spanish Auteur: Amenábar, Almodóvar and de la Iglesia's generic routes in the US market', Academia.edu, 2008</a></li>
<li><a href="https://buleria.unileon.es/bitstream/handle/10612/1417/2008ROX%20BARASOAIN,%20MAR%25CDA.pdf?sequence=1" target="_blank">María Rox Barasoain, The Films of Pedro Almodóvar: Translation and Reception in the United States, PhD thesis, University of León, 2008</a></li>
<li><a href="https://repository.library.georgetown.edu/bitstream/handle/10822/551614/etd_vs67.pdf?sequence=2&sa=U&ei=csppU4DnEs_28QHTgYH4Bg&ved=0CEYQFjAJ&usg=AFQjCNFIFxwnl2urpm0xFoatVr1qx_KJFA" target="_blank">Vanna Sann, Authorship in Transnational Cinema: Pedro Almodovar, Wong Kar-wai, and the Star-Auteur, PhD thesis, Faculty of theGraduate School of Arts and Sciences of Georgetown University, 2007</a></li>
<li><div class="page" title="Page 2">
<div class="layoutArea">
<div class="column">
<a href="https://www.academia.edu/23251481/The_Other_Body_Psychiatric_Disability_and_Pedro_Almod%C3%B3var" target="_blank">Candace Skibba, 'The Other Body: Psychiatric Disability and Pedro Almodóvar', Academia.edu, 2016</a></div>
</div>
</div>
</li>
<li><span style="color: blue; font-size: x-small;">Added</span> <a href="http://www.filmquarterly.org/2013/11/pedro-almodovars-los-amantes-pasajeros-im-so-excited/" target="_blank">Paul Julian Smith, Pedro Almodóvar’s <i>Los Amantes Pasajeros</i> (<i>I’m So Excited</i>), <i>Film Quarterly</i>, Spring 2013, Vol. 66, No. 3</a></li>
<li><span style="color: blue; font-size: x-small;">Added</span> <a href="http://www.filmquarterly.org/2011/10/escape-artistry-debating-the-skin-i-live-in/" target="_blank">Paul Julian Smith, 'Escape Artistry: Debating <i>The Skin I Live In</i>', <i>Film Quarterly</i>, 2011</a></li>
<li><span style="color: blue; font-size: x-small;">Added</span> <a href="http://old.bfi.org.uk/sightandsound/feature/74" target="_blank">Paul Julian Smith, 'Only Connect: On <i>Hable con ella', Sight and Sound, </i>July 2002</a></li>
<li><span style="color: blue; font-size: x-small;">Added </span><a href="http://old.bfi.org.uk/sightandsound/feature/183" target="_blank">Paul Julian Smith, 'Silicone and Sentiment: <i>All About My Mother</i>', <i>Sight and Sound</i>, 1999</a></li>
<li><span style="color: blue; font-size: x-small;">Added</span> <a href="https://sites.google.com/site/pauljuliansmithfilmreviews/Home/la-piel-que-habito-the-skin-i-live-in" target="_blank">Paul Julian Smith, '<i>La piel que habito</i>/<i>The Skin I live In</i>', <i>Film Quarterly</i>, September 2011</a></li>
<li><a href="http://www.blackstudies.ucsb.edu/sites/secure.lsit.ucsb.edu.blks.d7/files/sitefiles/people/strongman/el_bolereo.pdf" target="_blank"><i>Roberto Strongman, 'The Latin American Queer Aesthetic</i>s of <i>El Bolereo</i>', <i>Canadian Journal of Latin American and Caribbean Studies</i>, Vol. 32, No. 64, 2007</a></li>
<li><a href="http://ncefbsc.com/Week%2012%20reading%20-%20%20Authentic%20careers.pdf">Silviya Svejenova, 'The Path with the Heart’: Creating the Authentic Career', <i>Journal of Management Studies</i>, 42.5, 2005</a> [a management studies approach to Almodóvar's career]</li>
<li><a href="http://www.historia-actual.org/Publicaciones/index.php/haol/article/viewFile/239/227" target="_blank">Karl J. Trybus, ‘Recasting the Post-Fascist Male Body: The Films of Germany’s Fassbinder and Spain’s Almodóvar’, <i>Historia Actual Online</i>,15, Winter 2008</a></li>
<li><a href="http://www.stonybrook.edu/commcms/hispanic/people/kathleen.html" target="_blank">Kathleen M. Vernon, 'Almodóvar’s Global Musical Marketplace,' <i>A Companion to Pedro Almodóvar</i>. Eds. Marvin D’Lugo and Kathleen M. Vernon. London: Wiley-Blackwell Publishing, 2013,</a></li>
<li><a href="http://www.lse.ac.uk/genderInstitute/pdf/soniamaluf.pdf" target="_blank">Sônia Weidner Maluf, ‘Embodiment and Desire: <i>All About my Mother</i> and Gender at the Margins’, <i>LSE Gender Institute: New Working Paper Series,</i> Issue 14, May 2005</a></li>
<li><a href="http://s3.amazonaws.com/academia.edu.documents/4862271/voces_hispanas_06_web_1_.pdf?AWSAccessKeyId=AKIAJ56TQJRTWSMTNPEA&Expires=1471528741&Signature=ZMNx6wDxPnbCTuiONzL4Ab7wUvk%3D&response-content-disposition=inline%3B%20filename%3DEl_aprendizaje_en_el_contexto_de_la_ense.pdf#page=8" target="_blank">Barrie Wharton, 'All About Almodóvar; a revisionist assessment of the cultural revolution in post-transition Spain'. <i>Voces Hispanas: Australian Journal Of Hispanic Studies</i>, 6 (1), 2011</a></li>
<li><a href="http://digitalcommons.butler.edu/cgi/viewcontent.cgi?article=1224&context=facsch_papers" target="_blank">Linda M. Willem, 'Almodóvar on the Verge of Cocteau's <i>La Voix humaine</i>,' <i>Literature/Film Quarterly</i> 26 (1998)</a></li>
<li><a href="http://digitalcommons.butler.edu/cgi/viewcontent.cgi?article=1225&context=facsch_papers" target="_blank">Linda M. Willem, 'Rewriting Rendell: Pedro Almodovar's <i>Carne trémula</i>', <i>Literature/Film Quarterly</i> 30 (2002)</a></li>
</ul>
<ul>
<li><a href="http://www.lib.berkeley.edu/MRC/almodovar.html" target="_blank">Pedro Almodóvar: A Bibliography of Materials in the UC Berkeley Library</a></li>
</ul>
<br />
<br />
<div style="text-align: center;">
<div style="text-align: left;">
<span style="color: blue; font-size: x-small;">Added </span><b>Online audio about </b><b>Almodóvar's work</b><br />
<ul>
<li><a href="http://www.cinematologists.com/podcastarchive/2016/8/24/episode-29b-broken-embraces" target="_blank">The Cinematologists on Broken Embraces, Episode 29b, August 2016</a></li>
</ul>
<br />
<b><br /></b>
<b>Online videos about Almodóvar's work</b></div>
<br />
<iframe allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/i9uM7KFd6yI" width="640"></iframe><br />
<b>Full length BAFTA interview with Almodóvar online here </b>(50 minutes): <a href="http://bcove.me/vprjzlwm">http://bcove.me/vprjzlwm</a><br />
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="480" mozallowfullscreen="" src="https://player.vimeo.com/video/57806556" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/57806556">The Portrayal of Illness in the Oeuvre of Pedro Almodovar: Blindness and the Voyeur - Candace Skibba, Carnegie Mellon University</a> by <a href="https://vimeo.com/user15950099">Candace Skibba</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/jdX-YLBguMk" width="640"></iframe></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/125684575" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/125684575">The Colour Red in Pedro Almodóvar's Cinema</a> from <a href="https://vimeo.com/filmstudiesatucc">UCC Film and Screen Media</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/167873646" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/167873646">Pedro Almodóvar's Obsessions (I): Red Color</a> by <a href="https://vimeo.com/jorgeluengoruiz">Jorge Luengo Ruiz</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/170452349" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/170452349">Pedro Almodóvar’s Obsessions (II): Circles</a> by <a href="https://vimeo.com/jorgeluengoruiz">Jorge Luengo Ruiz</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/175205257" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/175205257">Pedro Almodóvar’s Obsessions (III): Art</a> by <a href="https://vimeo.com/jorgeluengoruiz">Jorge Luengo Ruiz</a>.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/167873662" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/167873662">VIDEO ESSAY - BOOKS IN ALMODÓVAR FILMS.</a> by <a href="https://vimeo.com/user51520511">Jessica Cabrera Marín</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/45141662" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/45141662">Modernismo y Postmodernismo en el cine</a> from <a href="https://vimeo.com/user12389821">Trailer Book Factory</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="480" mozallowfullscreen="" src="https://player.vimeo.com/video/87828079" webkitallowfullscreen="" width="640"></iframe><br />
<a href="https://vimeo.com/87828079">Que he hecho yo para merecer esto video essay</a> from <a href="https://vimeo.com/user3004525">Cristina A.Matamoros</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="370" mozallowfullscreen="" src="https://player.vimeo.com/video/114518689" webkitallowfullscreen="" width="640"></iframe><br />
<a href="https://vimeo.com/114518689">Alms of Almodóvar: Money and Gender Roles in¿Qué he hecho yo para merecer esto!</a> from <a href="https://vimeo.com/user35489553">Matt Bateman</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="480" mozallowfullscreen="" src="https://player.vimeo.com/video/4065957" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/4065957">ALMODOVAR REMIX</a> by <a href="https://vimeo.com/user372251">mia makela</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/153510015" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/153510015">El mundo compartido de Hopper y Almodóvar</a> by <a href="https://vimeo.com/guillermobraga">Guillermo Braga</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="469" mozallowfullscreen="" src="https://player.vimeo.com/video/123375672" webkitallowfullscreen="" width="640"></iframe></div>
<div style="text-align: center;">
<a href="https://vimeo.com/123375672">Touch</a> from <a href="https://vimeo.com/user31196648">Ava Burke</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/162750306" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/162750306">Cinema as Skin—Body and Touch</a> by <a href="https://vimeo.com/user32085195">Lili Bravi</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
vvv</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/18725027" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/18725027">Pedro Almodóvar: Reverse Shot Talkies #6</a> from <a href="https://vimeo.com/reverseshot">Reverse Shot</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>In Spanish/Unsubtitled</i></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="478" mozallowfullscreen="" src="https://player.vimeo.com/video/86129247" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/86129247">Por más iconos Pedro Almodóvar parte II</a> from <a href="https://vimeo.com/alealelab">alealelab</a></div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-82333680293742379142016-07-22T12:10:00.002+01:002021-03-23T11:24:56.045+00:00For all to see, and to see the sense of: In Memory of V. F. Perkins (1936-2016)<div style="text-align: center;">
<span style="color: purple; font-size: x-small;">Last updated on December 31, 2016</span></div>
<div style="text-align: center;">
<span style="color: purple; font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhnyoXU0ImHLhFFUshnPMm_X9BtOVShxV1iVPvZB8wfyjgDkuzViKBAZTBXkFX2UEGZqL29ZQHpZnPMDyvqRukB26Mlu3ph-xjxgdeWTeZSoHALTL5I6A8QZZ9ahB_DqdCYbk6Gjnixek/s1600/vlcsnap-2011-09-15-12h37m44s62.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhnyoXU0ImHLhFFUshnPMm_X9BtOVShxV1iVPvZB8wfyjgDkuzViKBAZTBXkFX2UEGZqL29ZQHpZnPMDyvqRukB26Mlu3ph-xjxgdeWTeZSoHALTL5I6A8QZZ9ahB_DqdCYbk6Gjnixek/s640/vlcsnap-2011-09-15-12h37m44s62.png" width="640" /></a></div>
<div style="text-align: right;">
<br /></div>
<div style="text-align: right;">
<span face=", , sans-serif" style="background-color: #f5f4ed; color: #222222; text-align: left;"><span style="font-size: x-small;"><br /></span></span></div>
<div style="text-align: right;">
<i>[S]election by the camera [...] asserts significance. The image is displayed not only to relay information but to claim that it matters and to guide us towards the ways in which it matters...</i></div>
<div style="text-align: right;">
<i><br /></i></div>
<div style="text-align: right;">
<i>[A] film’s form and method are incomprehensible outside of a recognition that its story takes place, and its images are both made and found, in a world...</i></div>
<div style="text-align: right;">
<i><br /></i></div>
<div style="text-align: right;">
<i>Movies always take us into the middle of things because the film and its story begin, but the world does not...</i></div>
<div style="text-align: right;">
<i><span style="font-size: x-small;"><br /></span></i></div>
<div style="text-align: right;">
<span style="font-size: x-small;">V. F. Perkins, ‘Where is the world? The horizon of events in movie fiction’</span></div>
<div style="text-align: right;">
<span style="font-size: x-small;">in Gibbs and Pye (eds.), </span><span style="font-size: x-small;"><i>Style and Meaning... </i></span><span style="font-size: x-small;">(MUP, 2005); 22-25. </span></div>
<div style="text-align: right;">
<i><br /></i></div>
<div style="text-align: right;">
<i><br /></i></div>
<div style="text-align: right;">
<i>I suggest that a prime task of interpretation is to articulate in the medium of prose some aspects of what artists have made perfectly and precisely clear in the medium of film. The meanings I have discussed in the </i>Caught<i> fragment are neither stated nor in any special sense implied. They are filmed. Whatever else that means (which it is a purpose of criticism and theory to explore) it means that they are not hidden in or behind the movie, and that my interpretation is not an attempt to clarify what the picture has obscured. I have written about things that I believe to be in the film </i><i>for all to see, and to see the sense of</i><i>.</i></div>
<span style="font-size: x-small;"></span><br />
<div style="text-align: right;">
<span style="font-size: x-small;">V.F. Perkins, 'Must We Say What We Mean?', <i>Movie</i> 34/35, Winter 1990</span></div>
<span style="font-size: x-small;">
</span>
<br />
<div style="text-align: right;">
<i><br /></i></div>
<br />
It is with very great sadness that <a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> brings you its latest entry: a commemoration of the life, film criticism, theory and scholarship of <a href="http://www2.warwick.ac.uk/fac/arts/film/staff/perkins/" target="_blank">Victor Perkins</a> who <a href="https://twitter.com/tobyperkinsmp/status/754226403793592320" target="_blank">died a week ago today</a>.<br />
<br />
<a href="https://en.wikipedia.org/wiki/V.F._Perkins">V. F. Perkins</a> was a founding editor of the hugely influential film critical publication <i>MOVIE</i>. He was also the author of <i>Film as Film</i> (Penguin, 1972), one of the most inspiring of the foundational texts in film studies, and of two thrilling monographs on individual films for the BFI Film Classics series: <i>The Magnificent Ambersons</i> (1999); and <i>La Règle du jeu</i> (2012). After beginning to teach on cinema in a number of institutional settings from the 1960s (including at Bulmershe College of Education), he lectured on that subject at <a href="http://www2.warwick.ac.uk/fac/arts/film/staff/perkins/">Warwick University</a> (in the remarkable department he co-founded) from 1978 and was Honorary Professor in Film Studies.<br />
<br />
Although Victor had been ill for several years, his passing was quite sudden and thus shocking to his family, friends and <a href="http://www2.warwick.ac.uk/fac/arts/film/news/?newsItem=094d434555a719d70155fd690e495d8b" target="_blank">colleagues</a>. He is, without doubt, someone who will be greatly missed by all those blessed by his personal and professional acquaintance (by all accounts, he was a truly wonderful colleague, teacher and research supervisor), as well as by the many, many thousands of people around the world who have loved and learned from his writing on the cinema.<br />
<br />
<a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a>'s author had the very great pleasure of knowing Victor a little, and spent some very enjoyable (and inspiring) times with him over the last two decades. He was an enthusiastic supporter of this website and its ethos from <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a>'s earliest days back in 2008, and was a most welcome correspondent on the topic of online film resources. He was a passionate advocate for, and practical supporter of, open-access publishing and multimedia film studies, as his key role in the relaunch as an <a href="http://www2.warwick.ac.uk/fac/arts/film/movie/">online journal</a> of <i><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/">MOVIE: A Journal of Film Criticism</a></i> testifies. Victor always wondered if he'd go on to make video essays, a form in which he had a very keen interest. <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a> had always fervently hoped that he would....<br />
<br />
There will undoubtedly be many tributes to his work from those who are much better qualified to write these than <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a>'s author. So the aim of what follows is confined mostly to the significant task of updating existing entries at this website on Perkins' online work, and in collecting together links to online interviews with him, and writings about him.<br />
<br />
But <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a> also offers up, below, four videos about Victor's work - three of these newly commissioned and produced <i>in memoriam</i> since Victor's death - by Christian Keathley, Hoi Lun Law and Catherine Grant (the fourth is by film scholar Patrick Keating). <span style="background-color: #d5a6bd;">Update:</span> Alex Clayton's tribute "<a href="https://vimeo.com/527743671" target="_blank">Spin the Wheel</a>" was added on July 27 and Ian Garwood's "<a href="https://vimeo.com/176805318" target="_blank">Choice Moments</a>" on July 30.<br />
<i><b><br /></b></i>
<i><b>Furthermore, it warmly invites its readers to produce and submit </b><b>their own online tribute videos and texts </b>(please </i><i>send links to these via the comments function below, or by <a href="mailto:filmstudiesff@gmail.com">email,</a><b> </b></i><i>and also please send on links to any relevant work or resources not yet listed below. Thank you). </i><br />
<br />
In the meantime, <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a>'s author offers her deepest condolences to Victor's family (especially his daughter and son), and to his close friends and colleagues at this very sad time.<br />
<br />
<br />
<div style="text-align: center;">
<b>Tributes #forvictor <a href="https://twitter.com/hashtag/vfperkins?src=hash">#vfperkins</a></b></div>
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="480" mozallowfullscreen="" src="https://player.vimeo.com/video/175397927" webkitallowfullscreen="" width="640"></iframe></div>
<div style="text-align: center;">
<a href="https://vimeo.com/175397927">for Victor Perkins</a> by <a href="https://vimeo.com/user6973764">Christian Keathley</a></div>
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/175633069" webkitallowfullscreen="" width="640"></iframe><br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/175633069">Absorbing the Unobserved - a tribute to V.F. Perkins</a> by <a href="https://vimeo.com/user9985300">Hoi Lun Law</a></div>
<br />
<br />
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="480" mozallowfullscreen="" src="https://player.vimeo.com/video/175573896" webkitallowfullscreen="" width="640"></iframe></div>
<div style="text-align: center;">
<a href="https://vimeo.com/175573896">DÉCORUMS - For V.F. Perkins</a> by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
<i>'A video tribute about delicate moments of (decorous) choice that reworks a much loved paragraph from the truly remarkable writing of film critic and scholar V.F. Perkins (1936-July 15, 2016). Warm thanks go to my friend <a href="http://www.english.ox.ac.uk/about-faculty/faculty-members/film-and-media/klevan-dr-andrew.html" target="_blank">Andrew Klevan</a> who introduced me to Victor's reading of this sequence from Renoir's </i>La Règle du jeu<i> back in 1998'</i><br />
<i><br /></i>
<iframe src="https://player.vimeo.com/video/527743671" width="640" height="360" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe>
<div style="clear: both; text-align: center;">
<a href="https://vimeo.com/527743671" target="_blank">Spin the Wheel - For Victor</a> by Alex Clayton<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/176805318" webkitallowfullscreen="" width="640"></iframe><br />
<span style="background-color: #d5a6bd;"><span style="font-size: x-small;">NEW</span></span> <a href="https://vimeo.com/176805318">Choice Moments</a> by <a href="https://vimeo.com/user18948906">Ian Garwood</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/197554761" webkitallowfullscreen="" width="640"></iframe><br />
<span style="background-color: #d5a6bd; font-size: x-small;">NEW</span> <a href="https://vimeo.com/197554761">"Ridiculous Old Fanny"</a> from <a href="https://vimeo.com/user41519424">Corey Creekmur</a></div>
<br /></div>
<div style="text-align: center;">
<br />
<iframe allowfullscreen="" frameborder="0" height="490" mozallowfullscreen="" src="https://player.vimeo.com/video/132819323" webkitallowfullscreen="" width="640"></iframe><br />
<a href="https://vimeo.com/132819323">[V.F. Perkins] Epigraph Exercise: Trouble in Paradise</a> by <a href="https://vimeo.com/user41751682">Patrick Keating</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>Online writing by V.F. Perkins</b></div>
<div style="text-align: center;">
<ul style="text-align: left;">
<li><a href="http://www.rouge.com.au/9/moments_choice.html">V.F. Perkins, 'Moments of Choice', originally published in <i>The Movie</i>, ch. 58, 1981, reprinted in Ann Lloyd (ed.), <i>Movie Book of the Fifties</i>, Orbis, 1982; Republished online by <i>Rouge, </i>9, 2006)</a></li>
<li><a href="http://www.16-9.dk/2003-09/side11_inenglish.htm"><span style="font-size: 16px;">V.F. Perkins, </span>'Same Tune Again! Repetition and Framing in <i>Letter from an Unknown Woman'</i> (originally published in <i>CineAction!</i> no. 52), 16:9, September 2003</a> </li>
<li style="text-align: -webkit-left;"><a href="http://www.rouge.com.au/5/perkins.html" style="text-align: center;" target="_blank">V.F. Perkins, [On the Klosterkirche<span style="font-family: "courier new" , "courier" , "mono"; font-size: x-small;"><span style="background-color: white;"> </span></span>Chandelier], <i>Rouge</i>, 5, 2004</a></li>
<li><a href="http://wrap.warwick.ac.uk/2387/1/WRAP_Perkins_Le_Plaisir.pdf">V.F. Perkins, '</a><a href="http://wrap.warwick.ac.uk/2387/1/WRAP_Perkins_Le_Plaisir.pdf">Reconsideration: <span style="font-style: italic;">Le Plaisir</span>: "The Mask" and "The Model"', <i>Film Quarterly</i></a> <a href="http://caliber.ucpress.net/doi/pdfplus/10.1525/FQ.2009.63.1.15">(Vol. 63, No. 1, Fall 2009)</a> <span style="text-align: center;"> (<a href="http://wrap.warwick.ac.uk/2387/1/WRAP_Perkins_Le_Plaisir.pdf" target="_blank">Warwick repository version</a>)</span></li>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/ian_cameron_-_a_tribute.pdf">V.F. Perkins, </a><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/ian_cameron_-_a_tribute.pdf">'Ian Cameron: a Tribute</a><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/ian_cameron_-_a_tribute.pdf">', <i>MOVIE: A Journal of Film Criticism</i>, Issue 1, 2010</a></li>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/you_only_live_once_final_3.pdf">V.F. Perkins, <span class="person_name">'</span><i>You only live once', MOVIE: A Journal of Film Criticism</i>, 3, 2011</a></li>
<li><a href="https://he.palgrave.com/resources/sample-chapters/9780851709659_sample.pdf" target="_blank">V.F. Perkins, 'Making Unmaking Remaking', (free sample chapter from), <span style="text-align: center;"><i>La Règle du jeu </i></span>(BFI Film Classics, Palgrave 2012)</a></li>
<li><a href="http://www.thecine-files.com/current-issue-2/guest-scholars/v-f-perkins/" target="_blank">V.F. Perkins, 'Acting on Objects [1. <i>Stella Dallas</i> (King Vidor, USA, 1937): Stella and the Bow Tie; 2. <i>Johnny Guitar</i> (Nicholas Ray, USA, 1954): Emma and the Chandelier], The Cine-Files: A Scholarly Journal of Cinema Studies, 4, 2013</a></li>
</ul>
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: center;">
<b>Online Interviews with V.F. Perkins</b></div>
<br />
<div style="text-align: left;">
<a href="http://www2.warwick.ac.uk/newsandevents/podcasts/upload/stephen_merchant.mp4" target="_blank">Victor Perkins interviews Stephen Merchant, actor, filmmaker and Warwick Film & TV Studies alumnus [VIDEO] </a><br />
<br />
<br />
A two-part interview excerpt with V.F. Perkins by <a href="http://www2.warwick.ac.uk/fac/arts/film/staff/wallace/" target="_blank">Dr Richard Wallace</a> (Department of Film and Television Studies, University of Warwick), Part of a larger interview conducted by Wallace for the <a href="http://www2.warwick.ac.uk/fac/cross_fac/ias/activities/ohp/">'Voices of the University: Memories of Warwick, 1965-2015' oral history project</a>:</div>
<div style="text-align: left;">
</div>
<ul>
<li style="text-align: left;"><a href="https://soundcloud.com/user-8765327/vfp-movie" target="_blank">On his early career, the</a><a href="https://soundcloud.com/user-8765327/vfp-movie" target="_blank"> origin of <i>Movie</i> and<i> Film as Film</i> and getting a job at the education department at the British Film Institute</a>;</li>
<li style="text-align: left;"><a href="https://soundcloud.com/user-8765327/vfp-pope-photograph" target="_blank">On VFP's reasons for using a particular photograph in his teaching.</a></li>
</ul>
<br />
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
The below embedded videos are the twelve constituent parts of a truly fascinating interview with V.F. Perkins which took place at the <a href="http://www.kinoachteinhalb.de/"><i><span class="st">Kino <i>8</i> 1/2</span></i></a> in Saarbrücken, Germany, and was filmed by <a class="l" href="http://vimeo.com/hbksaar">Media Art and Design Studiengang</a>. In the interview, Perkins engagingly discusses his approach to film studies and, in particular, talks about the trajectory of his foundational 1972 book <a href="http://books.google.com/books/about/Film_as_film.html?id=oUI9dCovUBYC"><i>Film as Film</i></a>, and about his research on Jean Renoir's1939 film <i><a href="https://en.wikipedia.org/wiki/The_Rules_of_the_Game" target="_blank">Le Régle du jeu</a></i> about which he had written a <a href="https://he.palgrave.com/page/detail/la-regle-du-jeu-/?sf1=barcode&st1=9780851709659" target="_blank">2012 book for the BFI Film Classics series</a> (excerpt <a href="https://he.palgrave.com/resources/sample-chapters/9780851709659_sample.pdf" target="_blank">here</a>).</div>
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="225" src="https://player.vimeo.com/video/28931039?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br /></div>
<div style="text-align: center;">
<a href="http://vimeo.com/28931039">Technology and Technique</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="225" src="https://player.vimeo.com/video/28977240?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br /></div>
<div style="text-align: center;">
<a href="http://vimeo.com/28977240">Film as Film </a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="225" src="https://player.vimeo.com/video/28978680?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br /></div>
<div style="text-align: center;">
<a href="http://vimeo.com/28978680">Urgency of Articulation</a> </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="225" src="https://player.vimeo.com/video/28979261?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br /></div>
<div style="text-align: center;">
<a href="http://vimeo.com/28979261"> Loss and Cinema </a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="225" src="https://player.vimeo.com/video/28979836?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe> </div>
<div style="text-align: center;">
<a href="http://vimeo.com/28979836">Film Criticism</a> </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="225" src="https://player.vimeo.com/video/28980295?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br /></div>
<div style="text-align: center;">
<a href="http://vimeo.com/28980295">The Rules of the Game</a> </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="225" src="https://player.vimeo.com/video/29036999?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br /></div>
<div style="text-align: center;">
<a href="http://vimeo.com/29036999">Octave</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="https://player.vimeo.com/video/29337648" webkitallowfullscreen="" width="400"></iframe><br />
<a href="https://vimeo.com/29337648">Death</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="https://player.vimeo.com/video/29336107" webkitallowfullscreen="" width="400"></iframe><br />
<a href="https://vimeo.com/29336107">Casting</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="https://player.vimeo.com/video/29318110" webkitallowfullscreen="" width="400"></iframe><br />
<a href="https://vimeo.com/29318110">Max Ophüls</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="https://player.vimeo.com/video/29339845" webkitallowfullscreen="" width="400"></iframe><br />
<a href="https://vimeo.com/29339845">Classicism</a><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="https://player.vimeo.com/video/29342070" webkitallowfullscreen="" width="400"></iframe><br />
<a href="https://vimeo.com/29342070">Orson Welles</a><br />
<br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<b>Online writing about V.F. Perkins</b></div>
<div style="text-align: center;">
<div style="text-align: left;">
</div>
<ul>
<li style="text-align: left;"><a href="http://21ca.com/flickhead/1_14_Renoir_txt.html" target="_blank">Richard Armstrong on Perkins' La Règle du jeu (BFI Film Classics, 2012)</a></li>
<li style="text-align: left;"><a href="http://davidbordwell.com/articles/Bordwell_Velvet%20Light%20Trap_no21_summer1985_118.pdf">David Bordwell, 'Widescreen Aesthetics and Mise en Scene Criticism', <i>The Velvet Light Trap</i>, no. 21, Summer 1985</a></li>
<li style="text-align: left;"><span style="text-align: center;"><span style="background-color: #c27ba0; font-size: x-small;">NEW</span><a href="http://fredrikonfilm.blogspot.co.uk/2016/07/theory-readings-3-film-as-film-by.html" target="_blank"> Fredrik Gustafsson</a></span><span style="text-align: center;"><a href="http://fredrikonfilm.blogspot.co.uk/2016/07/theory-readings-3-film-as-film-by.html" target="_blank">, '<i>Film as Film</i> by Victor Perkins', Fredrik on Film, July 29, 2016</a></span></li>
<li style="text-align: left;"><a href="https://www.academia.edu/14334996/Surface_Meanings_Irony_and_Film_Interpretation" target="_blank"><span style="text-align: center;">James MacDowell, </span><span style="text-align: center;">'‘Surface Meanings, Irony, and Film Interpretation’, Conference paper delivered at the Film-Philosophy Conference, University of Oxford, 2015</span></a></li>
<li style="text-align: left;"><a href="http://www.jonathanrosenbaum.net/1973/07/review-of-film-as-film-tk/" target="_blank">Jonathan Rosenbaum, 'Film as Film: Understanding and Judging Movies', From <i>Sight and Sound</i> (Summer 1973)</a></li>
<li style="text-align: left;"><a href="https://www.academia.edu/14637838/Appreciation_and_Achievement_in_V.F._Perkins" target="_blank">David Sorfa, ‘Achievement and Appreciation in V.F. Perkins, or, The Thing We See on the Screen, or, Film as Film as Film as Film-Philosophy’ [DRAFT], Conference paper delivered at the Film-Philosophy Conference, University of Oxford, 2015</a></li>
<li style="text-align: left;"><span style="text-align: center;"><a href="https://theseventhart.info/2009/05/29/book-nook-film-as-film/" target="_blank">Srikanth Srinivasan on <i>Film as Film</i>, May 29, 2009</a></span></li>
<li style="text-align: left;"><a href="https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxhc211dHN8Z3g6NWE1OTdhZWRiZDBjZWQwMQ">Aaron Smuts, 'V. F. Perkins' Functional Credibility and the Problem of Imaginative Resistance', <i>Film and Philosophy</i> 10 (2006): 85-99</a></li>
<li style="text-align: left;"><span style="text-align: center;"><a href="http://offscreen.com/view/there_will_be_blood" target="_blank">Alireza Vahdani, '<i>There Will Be Blood</i>: A Study in Mise en Scène', Offscreen, 15.8, 2011</a></span></li>
<li style="text-align: left;"><a href="http://offscreen.com/view/trouble_paradise">Richard Wallace, 'Understanding the ‘Lubitsch Touch’:</a> <a href="http://offscreen.com/view/trouble_paradise">Does it Increase Our Appreciation of Trouble in Paradise?',</a> <a href="http://offscreen.com/view/trouble_paradise"><i>Offscreen</i>, 12.3, 2008</a></li>
</ul>
</div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com7tag:blogger.com,1999:blog-925395536023721138.post-41463861285909513432016-06-06T09:00:00.000+01:002016-06-08T09:41:39.848+01:00The Persistence of Vision: Videos on the Work of Film Theorists and Scholars <div>
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/169120246?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://vimeo.com/169120246">THE PERSISTENCE OF VISION</a> by <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
A New Video Tribute to the Work of Film Scholar <b>Elizabeth Cowie</b>.</div>
<div>
<br /></div>
<a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a>'s <a href="http://filmanalytical.blogspot.co.uk/2016/06/the-persistence-of-vision.html">author has just published</a> her latest <a href="https://vimeo.com/album/3980912">video tribute to a film theorist</a>! The above, quite heartfelt work (with key contributions from <a href="http://www.english.ox.ac.uk/about-faculty/faculty-members/film-and-media/klevan-dr-andrew.html" target="_blank">Andrew Klevan</a>, <a href="http://theatrefilm.ubc.ca/persons/christine-evans/" target="_blank">Christine Evans</a>, <a href="http://coralhoutman.co.uk/" target="_blank">Coral Houtman</a> and <a href="http://www.sarahwoodworld.com/" target="_blank">Sarah Wood</a>) celebrates the writing of <a href="http://reframe.sussex.ac.uk/repsychoanalysis/about/elizabeth-cowie/" target="_blank">Professor Emeritus Elizabeth Cowie</a>, a pioneer in psychoanalytic and feminist approaches to cinema studies and author of two important books in our field (<i>Representing the Woman: Cinema and Psychoanalysis</i>, 1997, and <i>Recording Reality, Desiring the Real</i>, 2011). She has also published the below, wonderful essays online:</div>
<ul>
<li><a href="http://www.kinoeye.org/02/13/cowie13.php" target="_blank"><span style="font-size: x-small;">Elizabeth Cowie, 'Anxiety, ethics and horror: Georges Franju's <i>Les Yeux sans visage</i> (Eyes Without a Face, 1959)', Kinoeye, Vol 2, Issue 13, Sept 2002</span></a></li>
<li><span style="font-size: x-small;"><a href="http://mediafieldsjournal.squarespace.com/documentary-space-place-and-la/2011/7/18/documentary-space-place-and-landscape.html">Elizabeth Cowie, 'Documentary Space, Place, and Landscape',</a><a href="http://www.blogger.com/goog_2010756296"> <i>Media Fields Journal</i>, Issue 3, 2011</a></span></li>
<li><a href="http://www.yidff.jp/docbox/10/box10-1-e.html" target="_blank"><span style="font-size: x-small;">Elizabeth Cowie, 'The Spectacle of Reality and Documentary Film,' <i>Documentary Box</i>, #10 (Yamagata International Documentary Film Festival) (1997)</span></a></li>
</ul>
<div>
The publication of the above video prompted <a href="http://filmstudiesforfree.blogspot.com/" target="_blank">FSFF</a> to assemble and embed its now numerous celebratory video works on the writings (and films) of individual (to date, mostly anglophone) film theorists and scholars. So, below, you can watch video works on writings by:<br />
<blockquote class="tr_bq">
<i>Pam Cook; Elizabeth Cowie; Alexander Doty; Richard Dyer; Amber Jacobs; Andrew Klevan; Annette Kuhn; Mathieu Macherey; Laura Marks; D.A. Miller; Laura Mulvey; Vivian Sobchack; Lesley Stern; Gaylyn Studlar; Dai Vaughan; and Patricia White. </i></blockquote>
Enjoy!</div>
<div>
<br />
<div style="text-align: center;">
<b><br /></b></div>
<b><br /></b>
<br />
<div style="text-align: center;">
<b>Pam Cook</b><br />
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/78831044?color=ff9933&title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/78831044">JOAN WEBSTER SHARES A SMOKE</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<b><br /></b>
<br />
<div style="text-align: center;">
<b><br /></b>
<b>Alexander Doty</b><br />
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/47245082?color=ba4314&title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/47245082">The Beautiful Wickedness of Queer Reading</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<br />
<b><br /></b>
<br />
<div style="text-align: center;">
<b>Richard Dyer (and Elizabeth Cowie and Adrienne McLean)</b><br />
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="458" mozallowfullscreen="" src="https://player.vimeo.com/video/20199444?color=ba4314&title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/20199444">Refashioning the Femme Fatale? Gilda in Motion</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a><br />
Read more about this video <a href="http://mediacommons.futureofthebook.org/imr/2014/12/01/scholarly-striptease-or-unintended-consequences-film-studies-free" target="_blank">here</a>.</div>
<br />
<div style="text-align: center;">
<b><br /></b>
<b>Richard Dyer and Pam Cook</b><br />
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/78526414?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/78526414">All That Pastiche Allows REDUX</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a><br />
Also see <a href="https://vimeo.com/40242698" target="_blank">All That Pastiche Allows (original version)</a><br />
<br /></div>
<br />
<div style="text-align: center;">
<b><br /></b>
<b>Amber Jacobs </b><br />
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/67203493?color=ff9933&title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/67203493">WHITE [MATER]IAL</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
Read more about this video essay <a href="http://filmanalytical.blogspot.co.uk/2013/06/uncontained-on-todd-hayness-safe.html" target="_blank">here</a>.</div>
<div style="text-align: center;">
<br /></div>
<br />
<div style="text-align: center;">
<b>Andrew Klevan</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/76970307?color=db0497&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/76970307">MAGNIFYING MIRROR</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
Read more about this video <a href="http://filmstudiesforfree.blogspot.com/2013/11/magnifying-mirror-on-barbara-stanwyck.html" target="_blank">here</a>.</div>
<br />
<b><br /></b>
<br />
<div style="text-align: center;">
<b><b>Annette Kuhn</b></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/133572645?portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/133572645">INTERPLAY</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
Read more about this video here:<a href="http://www.lolajournal.com/6/interplay.html" target="_blank"> 'INTERPLAY: (Re)Finding and (Re)Framing Cinematic Experience, Film Space, and the Child’s World', LOLA, 6, 2015.</a></div>
<br />
<br />
<div style="text-align: center;">
<b>Mathieu Macherey</b><br />
<b><br /></b>
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/86428511?title=0&portrait=0" webkitallowfullscreen="" width="640"></iframe><br />
<a href="https://vimeo.com/86428511">Mechanised Flights: Memories of HEIDI</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a><br />
Read more about this video <a href="http://filmireland.net/2014/02/12/video-essay-mechanised-flights-memories-of-heidi/" target="_blank">here</a>.<br />
<br />
<br />
<b>Laura Marks</b></div>
<div style="text-align: center;">
<span style="font-weight: bold;"><br /></span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/28201216?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></div>
<br />
<div style="text-align: center;">
<a href="https://vimeo.com/28201216">TOUCHING THE FILM OBJECT?</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a><br />
Also see <a href="http://filmanalytical.blogspot.com/2011/08/touching-film-object-notes-on-haptic-in.html" target="_blank">here</a>.<br />
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/44566069?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/44566069">Touching The Film Object with AUDIO COMMENTARY</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
Also see <a href="http://filmanalytical.blogspot.com/2011/08/touching-film-object-notes-on-haptic-in.html" target="_blank">here</a>.</div>
<br />
<br />
<div style="text-align: center;">
<b>D.A. Miller</b><br />
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/41195578?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></div>
<div style="text-align: center;">
<a href="https://vimeo.com/41195578">Skipping ROPE</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a><br />
Also see <a href="http://filmanalytical.blogspot.co.uk/2012/05/on-hitchcocks-rope-and-blackmail-or.html" target="_blank">here</a>.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/44572446?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></div>
<div style="text-align: center;">
<a href="https://vimeo.com/44572446">Skipping ROPE with AUDIO COMMENTARY</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
Also see <a href="http://filmanalytical.blogspot.co.uk/2012/05/on-hitchcocks-rope-and-blackmail-or.html" target="_blank">here</a>.</div>
<br />
<b><br /></b>
<br />
<div style="text-align: center;">
<b>Laura Mulvey</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/75600309?color=ba4314&byline=0" webkitallowfullscreen="" width="610"></iframe></div>
<div style="text-align: center;">
<a href="https://vimeo.com/75600309">Laura Mulvey on RIDDLES OF THE SPHINX (Mulvey and Wollen, 1977)</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<br />
<br />
<div style="text-align: center;">
<b>Vivian Sobchack</b></div>
<div style="text-align: center;">
<span style="font-weight: bold;"><br /></span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/119051190?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></div>
<br />
<div style="text-align: center;">
<a href="https://vimeo.com/119051190">CARNAL LOCOMOTIVE</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
Published in<i> NECSUS: European Journal of Media Studies</i>, Spring, 2015. Online at: <a href="http://www.necsus-ejms.org/film-studies-in-the-groove-rhythmising-perception-in-carnal-locomotive/">necsus-ejms.org/film-studies-in-the-groove-rhythmising-perception-in-carnal-locomotive/</a>, where you can also read the accompanying text: "<a href="http://www.necsus-ejms.org/film-studies-in-the-groove-rhythmising-perception-in-carnal-locomotive/" target="_blank">Film studies in the groove? Rhythmising perception in Carnal Locomotive</a>."</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>Lesley Stern</b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/79798400?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></div>
<div style="text-align: center;">
<a href="https://vimeo.com/79798400">REPLICANT</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
"A GESTURE EXPANDS INTO GYMNASTICS,<br />
RAGE IS EXPRESSED THROUGH A SOMERSAULT" </div>
<div style="text-align: center;">
[Eisenstein]</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
An experimental response to (or adaptive working through of) the following written essay:</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.australianhumanitiesreview.org/archive/Issue-November-1997/stern2.html" target="_blank">LESLEY STERN, "I THINK, SEBASTIAN, THEREFORE ... I SOMERSAULT: Film and the Uncanny", Australian Humanities Review, November 1997. </a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
This video by CATHERINE GRANT was presented at THE AUDIOVISUAL ESSAY Conference, Deutsches Filminstitut/Goethe Universität, Frankfurt am Main, November 23-4, 2013</div>
<br />
<br />
<div style="text-align: center;">
<b>Gaylyn Studlar</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="458" mozallowfullscreen="" src="https://player.vimeo.com/video/21991510?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/21991510">Framing Incandescence: Elizabeth Taylor in JANE EYRE</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<br />
<br />
<div style="text-align: center;">
<b>Dai Vaughan</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/46295112?color=ba4314&portrait=0" webkitallowfullscreen="" width="610"></iframe></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/46295112">On Cinematic Spontaneity</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a><br />
Also see <a href="http://filmstudiesforfree.blogspot.co.uk/2012/07/for-documentary-remembering-dai-vaughan.html" target="_blank">here</a>.</div>
<br />
<br />
<div style="text-align: center;">
<div style="text-align: center;">
<span style="text-align: start;"><b>Patricia White</b></span></div>
<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/117537182?color=ba4314&title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></div>
<br />
<div style="text-align: center;">
<a href="https://vimeo.com/117537182">Women's Wash Room</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<blockquote class="tr_bq">
"In the earlier film version of <i>Stella Dallas </i>[Henry King, 1925], the overwrought Stella takes refuge in the ladies’ waiting room at the train station directly after her visit to Helen [the woman to whom she has just entrusted her daughter]. She’s watched very closely by a woman whose flashy dress indicates her similarity to Stella in class status, if not in her dubious profession. The stranger offers the apparently inconsolable Stella a cigarette, and Stella puts it in her mouth and lights it end to end with the cigarette in the other woman’s mouth. A fade to black gives the gesture—which resembles a kiss—an elliptical significance, though nothing else is made of this scene. The shot echoes with Stella’s connection to Helen in the previous scene. But the silent version of <i>Stella Dallas </i> suggests that such sympathy, and women’s motives, need not be reduced to shared maternal feeling. The washroom “pick-up” scene doesn’t occur in the [original 1922 source novel <i>Stella Dallas </i> by Olive Higgins Prouty].<br />
QUOTATION: Patricia White, <i>Uninvited: Classical Hollywood Cinema and Lesbian Representability </i>(Bloomington and Indianapolis: Indiana University Press, 1999), pp. 107-8.</blockquote>
<b><br /></b>
<br />
<div style="text-align: center;">
<b><b>Patricia White (and Tania Modleski)</b></b></div>
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/82092389?color=389c79&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/82092389">RITES OF PASSAGE</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.thecine-files.com/grant/" target="_blank">Also see: See "The Remix That Knew Too Much? On REBECCA, Retrospectatorship and the Making Of RITES OF PASSAGE", THE CINE-FILES, 7, Fall 2014.</a><br />
<br />
<br />
<div style="text-align: center;">
<b>Various theorists (Stanley Cavell, Linda Williams, William Rothman, and Christian Viviani)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/95910530?color=ba4314&title=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/95910530">The Marriages of LAUREL DALLAS</a> from <a href="https://vimeo.com/filmstudiesff">Catherine Grant</a></div>
<div style="text-align: start;">
<br /></div>
<div style="text-align: start;">
Read the related multimedia essay <a href="http://www.tft.ucla.edu/mediascape/Fall2014_MarriagesMelodrama.html" target="_blank">"The Marriages of Laurel Dallas: Or, The Maternal Melodrama of the Unknown Feminist Film Spectator", MEDIASCAPE, Fall 2014</a>. (this essay has been translated into Spanish by Cristina Álvarez López and published <a href="http://cinentransit.com/las-bodas-de-laurel-dallas/" target="_blank">here</a>)</div>
</div>
<br /></div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-75784330817674769752016-01-29T13:18:00.002+00:002016-01-29T15:38:44.051+00:00The Film-Play's the Thing: RIP Jacques Rivette 1928-2016<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPti-UHCL8NB4gpNsUplmy-TxkIbHmI6fawLpC8g3EJenFwdcGYK-snfaDeyFTY_k3GWx57oZkV49_Yp318skILXjh0j7V6VL6aWmAVGyjttPaBpFk4jDxUuBuqSthLLprq7sqUUFoUzY/s1600/Screen+Shot+2016-01-29+at+12.38.21.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPti-UHCL8NB4gpNsUplmy-TxkIbHmI6fawLpC8g3EJenFwdcGYK-snfaDeyFTY_k3GWx57oZkV49_Yp318skILXjh0j7V6VL6aWmAVGyjttPaBpFk4jDxUuBuqSthLLprq7sqUUFoUzY/s640/Screen+Shot+2016-01-29+at+12.38.21.png" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<i><b>The best place to go today: <a href="http://www.jacques-rivette.com/" target="_blank">http://www.jacques-rivette.com </a></b></i></div>
<span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px;"><br /></span>
<br />
<blockquote class="tr_bq">
"Every Rivette film has its Eisenstein/Lang/Hitchcock side—an impulse to design and plot, dominate and control—and its Renoir/Hawks/Rossellini side: an impulse to 'let things go', open one's self up to the play and power of other personalities, and watch what happens". [Jonathan Rosenbaum]</blockquote>
<br />
<a href="http://filmstudiesforfree.blogpot.com/" target="_blank">Film Studies For Fre</a>e was very sad to <a href="http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/obituaries/french-new-wave-director-jacques-rivette-dies" target="_blank">hear of the death</a> of <a href="https://en.wikipedia.org/wiki/Jacques_Rivette" target="_blank">Jacques Rivette</a> at the age of 87. In warm memory of and tribute to his work, it has gathered together in one place (below) quite a few links to video- and written essays by others (and by him) on his films, mostly ones that it has shared before.<br />
<br />
But as the remarkable (somewhat frozen in time) website <a href="http://www.jacques-rivette.com/" target="_blank">Order of the Exile</a> has been honouring and exploring his work since 2007, that is most definitely the best to go for remembrance and reflection. Then there is also the wonderful, <a href="https://www.fandor.com/keyframe/daily-jacques-rivette-1928-2016" target="_blank">customary tribute being maintained by David Hudson at Keyframe | Fandor</a>.<br />
<br />
<br />
<b>Film about Rivette:</b><br />
<br />
<a href="http://filmbo.blogspot.com/2009/05/rivette-on-his-cahiers-days.html" target="_blank">Excerpts</a> from Claire Denis's 1988 film for television <i><a href="http://www.imdb.com/title/tt0126972/" target="_blank">Jacques Rivette, Le veilleur/The Watchman</a></i> in which of Serge Daney interviews Rivette on his early interest in filmmaking, his days with Cahiers du cinéma, and his first meetings with Jean-Luc Godard, François Truffaut, and Eric Rohmer. <b></b><br />
<div>
<b><b><br /></b></b></div>
<b>
</b>
<br />
<div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YeApgdz1BuQ" width="420"></iframe></div>
</div>
<b>
</b>
<br />
<div>
<div style="text-align: center;">
<b><br /></b></div>
</div>
<b>
</b>
<br />
<div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1CPB6dp6aBA" width="420"></iframe></div>
</div>
<b>
</b>
<br />
<div>
<b><b><br /></b></b></div>
<b>
Video essays about Rivette's films:</b><br />
<div>
<span style="background-color: white;"><b><br /></b></span>
<br />
<div style="text-align: center;">
<span style="background-color: white; color: #333333; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13px;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/noEgHcgPm3Y" width="560"></iframe></span><br /></div>
<span style="font-size: x-small;"></span><br />
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="https://mubi.com/notebook/posts/video-essay-the-language-of-birds-out-1-noli-me-tangere" target="_blank">An audiovisual essay by Joel Bocko and Covadonga G. Lahera</a>. Part 5 (the latest) in an ongoing series (more are embedded below). Commissioned by Chris Luscri to mark the ongoing set of screenings, activities and new criticism centred around the new 2K restoration of Rivette's 1971 magnum opus OUT 1 - NOLI ME TANGERE.</span></div>
<span style="font-size: x-small;">
</span>
<br />
<div style="text-align: center;">
<span style="font-size: x-small;">Read the accompanying text at MUBI here: <a href="https://mubi.com/notebook/posts/video-essay-the-language-of-birds-out-1-noli-me-tangere" target="_blank">https://mubi.com/notebook/posts/video-essay-the-language-of-birds-out-1-noli-me-tangere </a></span></div>
<span style="font-size: x-small;">
</span><span style="background-color: white; color: #333333; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13px;"><br /></span>
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ePrSAmCn4QY?list=UUNFKSysHgOEBv76PeQmh-6g" style="font-family: arial, tahoma, helvetica, freesans, sans-serif;" width="560"></iframe></div>
<span style="background-color: white; color: #333333; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13px;"></span><br />
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="https://mubi.com/notebook/posts/paratheatre-plays-without-stages">Paratheatre: Plays Without Stages</a> by Cristina Alvarez López and Adrian Martin. See text at MUBI <a href="https://mubi.com/notebook/posts/paratheatre-plays-without-stages">here</a></span><br />
<br /></div>
<span style="background-color: white; color: #333333; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13px;"><br /></span>
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="https://player.vimeo.com/video/105206202?title=0&portrait=0" style="background-color: transparent;" webkitallowfullscreen="" width="500"></iframe></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><span style="background-color: white; color: #333333; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif;"></span><br /></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="https://vimeo.com/105206202">Jacques Rivette: Out 1 Solitaire</a> by </span><span style="font-size: x-small;"><a href="https://mubi.com/notebook/posts/author/298">Jonathan Rosenbaum and Kevin B. Lee</a> for MUBI <a href="https://mubi.com/notebook/posts/out-1-solitaire" target="_blank">here </a></span></div>
<b><br /></b>
<b>Also watch:</b><span style="background-color: white; color: #333333; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13px;"></span><br />
<ul style="line-height: 1.4; margin: 0.5em 0px; padding: 0px 2.5em;">
<li><a href="https://mubi.com/notebook/posts/paratheatre-plays-without-stages-from-v-to-viii">Paratheatre: Plays Without Stages - From V to VIII</a> <a href="https://mubi.com/notebook/posts/author/269">Cristina Álvarez López and Adrian Martin</a></li>
<li><a href="https://mubi.com/notebook/posts/out-1-video-essay-project">Out 1 Video Essay Project</a> <a href="https://mubi.com/notebook/posts/author/44">Notebook</a></li>
<li><a href="https://mubi.com/notebook/posts/out-1-from-conspiracy-to-conspiracy">Out 1 - From Conspiracy to Conspiracy</a> <a href="https://mubi.com/notebook/posts/author/302">Chris Luscri</a></li>
</ul>
<div>
<br /></div>
<b>Other links:</b><br />
<ul>
<li><a href="http://www.dvdbeaver.com/rivette/OK/abjection.html">Jacques Rivette, 'On abjection', Order of the Exile/Jacques-Rivette.com, Originally appeared in Cahiers du cinema 120 (June 1961): p. 54-55. Translated by David Phelps with the assistance of Jeremy Szaniawski</a> </li>
<li><a href="https://www.academia.edu/8316618/Rivette_Texts_and_Interviews_1977_" target="_blank">Jonathan Rosenbaum, <i>Rivette: Texts and Interviews </i>(BFI, 1977)</a>*</li>
</ul>
<ul>
<li><a href="http://sensesofcinema.com/2001/french-cinema-present-and-past/rivette-2/" target="_blank">Frédéric Bonnard, 'The Captive Lover – An Interview with Jacques Rivette', Senses of Cinema, 16, 2001</a>*</li>
<li><a href="http://sensesofcinema.com/2002/feature-articles/va_savoir/" target="_blank">Laleene Jayamanne, 'Va Savoir! (Who Knows!, 2001, Jacques Rivette)', Senses of Cinema, 20, 2002</a></li>
<li><a href="http://sensesofcinema.com/2007/cteq/jacques-rivette-veilleur/" target="_blank">Paul Grant, 'Jacques Rivette - Le veilleur', Senses of Cinema, No. 42, 2007</a>*</li>
<li><a href="http://www.rouge.com.au/4/hughes.html" target="_blank">John Hughes/Jonathan Rosenbaum, 'John Hughes On (and With) Jacques Rivette', Rouge, 4, 2011</a>*</li>
<li><a href="http://www.thehousenextdooronline.com/2007/04/rewriting-documentary-claire-denis.html">Travis Mackenzie Hoover, 'Rewriting Documentary: Claire Denis's Jacques Rivette, le veilleur', The House Next Door Online, April 3, 2007</a> </li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/227" target="_blank">Douglas Morrey, 'To Describe a Labyrinth: Dialectics in Jacques Rivette’s Film Theory and Film Practice', Film-Philosophy, 16.1, 2012</a></li>
<li><a href="http://www.lolajournal.com/1/think.html" target="_blank">David Phelps, 'Think But This ... 36 vues du Pic St-Loup', Lola, 1, 2011</a></li>
<li><a href="http://www.screeningthepast.com/2014/12/jacques-rivette-va-savoir/" target="_blank">Sam Rohdie, 'Jacques Rivette: Va savoir', Screening the Past, 2007</a></li>
<li><a href="http://www.jonathanrosenbaum.net/2007/02/jacques-rivette-babel-and-the-void/" target="_blank">Jonathan Rosenbaum, 'Jacques Rivette: Babel and the Void', 2012</a></li>
<li><a href="http://www.jonathanrosenbaum.net/2015/03/rivette-the-long-and-short-of-it/" target="_blank">Jonathan Rosenbaum, 'Rivette, The Long and Short of It,' 2015</a></li>
<li><a href="http://www.jonathanrosenbaum.net/1983/06/jacques-rivette-chapter-from-film-the-front-line-1983-tk/" target="_blank">Jonathan Rosenbaum</a><a href="http://www.jonathanrosenbaum.net/1983/06/jacques-rivette-chapter-from-film-the-front-line-1983-tk/" target="_blank">, 'Jacques Rivette [chapter from FILM: THE FRONT LINE 1983]', 1983</a></li>
<li><a href="http://www.jonathanrosenbaum.net/1977/07/introduction-to-rivette-texts-interviews/" target="_blank">Jonathan Rosenbaum, 'Introduction to Rivette: Texts and Interviews (1977)' 1977</a></li>
<li><a href="http://www.jonathanrosenbaum.net/2012/06/reflections-on-rivette-in-context/">Jonathan Rosenbaum, 'Reflections on “Rivette in Context”', 2012</a></li>
<li><a href="http://www.jonathanrosenbaum.net/1975/10/les-filles-du-feu-rivette-x4/">Jonathan Rosenbaum, 'LES FILLES DU FEU: Rivette x 4 (with Gilbert Adair and Michael Graham), part one', 1977</a></li>
<li><a href="http://www.jonathanrosenbaum.net/1977/01/noroit-197677-review/">Jonathan Rosenbaum, 'Noroît (1976/77 review), 1977'</a></li>
<li><a href="http://www.jonathanrosenbaum.net/1989/04/rotterdam-magic-from-rivette-and-ivens-tk/">Jonathan Rosenbaum, 'Rotterdam ’89: Magic from Rivette and Ivens', 1989</a></li>
<li><a href="http://www.jonathanrosenbaum.net/2002/10/jacques-rivette-le-veilleur/">Jonathan Rosenbaum, Jacques Rivette, le veilleur, 2002</a></li>
<li><a href="http://www.thecine-files.com/wilesrivette/" target="_blank">Mary Wiles, author of Jacques Rivette (University of Illinois Press, 2012), discusses Rivette's place in the New Wave, The Cine-Files, Issue 2, 2012</a></li>
</ul>
<div>
* <i><span style="font-size: x-small;">Thanks to Girish Shambu for flagging up these essential links (added a few hours after the original post was published).</span></i></div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com1tag:blogger.com,1999:blog-925395536023721138.post-6246408728317964802016-01-28T10:17:00.001+00:002016-12-31T08:51:13.559+00:00New FILM CRITICISM, FILM-PHILOSOPHY, 12 new film and media open access eBooks, Mulvey and Dyer interviews, and lots of other links!<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/93840128?byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<span style="font-family: inherit;"></span><br />
<div style="text-align: center;">
<span style="font-size: x-small;">"[A] dense yet concise study (and experience) of the intricate poetic-cinematic patterning of Andrea Arnold’s 2009 film <i>Fish Tank...</i>"<span style="background-color: white; color: #231f20; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif;"><b> </b>, p</span><span style="font-family: inherit;">ublished as part of the article: </span><span style="font-family: inherit;"><a href="https://www.blogger.com/goog_366971557">“Beyond tautology? Audiovisual Film Criticism”, <i>FILM CRITICISM</i>, Vol. 40, No.1, 2016</a></span><span style="font-family: inherit;"><a href="http://./">.</a> For a full list of Grant's online publications on audiovisual film studies to date, </span><a href="http://filmanalytical.blogspot.co.uk/2016/01/uncontained-video-essay-on-andrea.html" style="font-family: inherit;">click here</a><span style="font-family: inherit;">.</span></span></div>
<br />
<a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a>'s latest entry is replete with openly accessible scholarly goodies. So what's new? Lots of things!<br />
<br />
First off, two major journals in our field have moved to new (public) houses! <b><a href="http://filmcriticism.allegheny.edu/"><span style="font-style: italic;">Film Criticism</span><span style="font-style: italic;"> </span></a></b>celebrates its fortieth anniversary issue with a move to an open access format, under the expert new editorship of Joseph Tompkins, who, to mark this welcome shift, commissioned lots of scholars to meditate on the ever mutating space of film criticism. Meanwhile, <i><b><a href="http://www.film-philosophy.com/index.php/f-p" target="_blank">Film-Philosophy</a></b></i>, a very long-standing, always fully open access academic journal dedicated to the engagement between film studies and philosophy, is now published by <a href="http://www.euppublishing.com/journal/film" target="_blank">Edinburgh University Press</a> and remains completely open access. A good job by its excellent editor David Sorfa. The new issues of both journals are set out and linked to below, followed by a lovingly compiled list of nine new open access ebooks sourced at Oapen, and a whole host of further delectable items of openly accessible film (and TV) scholarly interest (including three further OA ebooks).<br />
<br />
Embedded immediately below, though, are two of the latest instalments in the <b><a href="http://www.cmstudies.org/default.asp?page=fieldnotes" target="_blank">Fieldnotes</a></b> series of interviews, with <a href="https://vimeo.com/151814726" target="_blank">Laura Mulvey</a> and <a href="https://vimeo.com/145394630" target="_blank">Richard Dyer</a>. <a href="http://www.cmstudies.org/default.asp?page=fieldnotes" target="_blank">Fieldnotes</a> is a Society for Cinema and Media Studies project to conduct, circulate and archive interviews with pioneers of film and media studies. In addition to recognizing the contributions of key scholars, the project also aims to foster knowledge of and interest in the diverse and dynamic developments that have shaped -- and continue to shape -- our expanding field. <a href="http://www.cmstudies.org/default.asp?page=fieldnotes" target="_blank">Fieldnotes</a> is currently led by Haidee Wasson, with the help of a committee comprised of Patrice Petro and Barbara Klinger. It is sponsored both by SCMS and by ARTHEMIS, a Concordia University based research team investigating the history and epistemology of moving image studies.<br />
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="141" mozallowfullscreen="" src="https://player.vimeo.com/video/151814726?portrait=0" webkitallowfullscreen="" width="250"></iframe><br /></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="https://vimeo.com/151814726">Laura Mulvey interviewed by Catherine Grant</a> </span></div>
<br />
<div style="text-align: center;">
<span style="font-style: italic;"><br /></span></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="141" mozallowfullscreen="" src="https://player.vimeo.com/video/145394630?portrait=0" webkitallowfullscreen="" width="250"></iframe></div>
<br />
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="https://vimeo.com/145394630">Richard Dyer interviewed by Barbara Klinger</a> </span></div>
<i><br /></i>
<i>The full list of <a href="http://www.cmstudies.org/default.asp?page=fieldnotes" target="_blank">Fieldnotes</a> interviewees, to date, is given below - all interviews are accessible <a href="http://www.cmstudies.org/default.asp?page=fieldnotes" target="_blank">here</a>: </i><br />
<blockquote class="tr_bq">
<a href="http://www.cmstudies.org/default.asp?page=fieldnotes" target="_blank"><span style="font-size: x-small;"><b>Francesco Cassetti</b> interviewed by Luca Caminati; </span><span style="font-size: x-small;"><b>John Caughie</b> interviewed by Haidee Wasson; </span><span style="font-size: x-small;"><b>Mary Ann Doane </b>interviewed by Patrice Petro; </span><span style="font-size: x-small;"><b>Richard Dyer</b> interviewed by Barbara Klinger; </span><span style="font-size: x-small;"><b>Thomas Elsaesser </b>interviewed by Patrice Petro; </span><span style="font-size: x-small;"><b>Lucy Fischer</b> interviewed by Paula Massud; </span><span style="font-size: x-small;"><b>Tom Gunning</b> interviewed by Scott Curtis</span><span style="white-space: pre;">; </span><span style="font-size: x-small;"><b>Gertrud Koch</b> interviewed by Robin Curtis; </span><span style="font-size: x-small;"><b>Scott MacDonald</b> interviewed by Joan Hawkins; </span><span style="font-size: x-small;"><b>Laura Mulvey</b> interviewed by Catherine Grant; </span><span style="font-size: x-small;"><b>James Naremore</b> interviewed by Jake Smith; </span><span style="font-size: x-small;"><b>Ted Perry</b> interviewed by Christian Keathley; </span><span style="font-size: x-small;"><b>Janet Staiger</b> interviewed by Charles Acland; </span><span style="font-size: x-small;"><b>Linda Williams</b> interviewed by Tom Waugh.</span></a></blockquote>
<span style="font-size: x-small;"><br /></span><b><i>
Film Criticism</i>, 40.1, 2016. </b><br />
Now OPEN ACCESS and online at: <a href="http://filmcriticism.allegheny.edu/">http://quod.lib.umich.edu/f/fc?page=home</a> (will shortly be accessible also at its existing URL: <a href="http://filmcriticism.allegheny.edu/">http://filmcriticism.allegheny.edu</a>)<br />
<ul>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.100/--editor-s-note-film-criticismthe-reboot?rgn=main;view=fulltext">Editor's Note: Film Criticism—The Reboot</a> Tompkins, Joe </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.101/--ethics-and-digital-film?rgn=main;view=fulltext">Ethics and Digital Film</a> Aaron, Michele </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.102/--representations-of-arabs-muslims-and-iranians-in-an-era?rgn=main;view=fulltext">Representations of Arabs, Muslims, and Iranians in an Era of Complex Characters and Storylines</a> Alsultany, Evelyn </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.103/--untitled-black-sounds-and-music-video-as-an-object-of-study?rgn=main;view=fulltext">“Untitled”: Black Sounds and Music Video as an Object of Study</a> Ball, Kevin D. </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.104/--case-for-close-analysis?rgn=main;view=fulltext">A Case for Close Analysis</a> Belton, John </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.105/--confessions-of-a-platform-agnostic-or-film-criticism-after?rgn=main;view=fulltext">Confessions of a Platform Agnostic, or Film Criticism after Film</a> Benson-Allott, Caitlin </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.106/--film-critic-between-theory-and-practice-or-what-every-film?rgn=main;view=fulltext">The Film Critic Between Theory and Practice; (Or: What Every Film Critic Needs to Know)</a> Buckland, Warren </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.107/--feminist-film-criticism-in-the-21st-century?rgn=main;view=fulltext">Feminist Film Criticism in the 21st Century</a> Cobb, Shelley; Tasker, Yvonne </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.108/--glare-of-images-and-the-question-of-value?rgn=main;view=fulltext">The Glare of Images, and the Question of Value</a> Corrigan, Timothy </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.109/--dysfunction-of-criticism-at-the-present-time?rgn=main;view=fulltext">The Dysfunction of Criticism at the Present Time</a> Flaxman, Gregory </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.110/--ideology-critique-and-film-criticism-in-the-new-media?rgn=main;view=fulltext">Ideology Critique and Film Criticism in the New Media Ecology</a> Flisfeder, Matthew </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.111/--netflix-crit-in-the-twenty-first-century?rgn=main;view=fulltext">Netflix Crit in the Twenty-First Century</a> Frey, Mattias </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.112/--on-not-running-in-place?rgn=main;view=fulltext">On Not Running in Place</a> Ganguly, Keya </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.113/--beyond-tautology-audio-visual-film-criticism?rgn=main;view=fulltext">Beyond Tautology? Audio-Visual Film Criticism</a> Grant, Catherine </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.114/--what-will-students-ever-do-with-that?rgn=main;view=fulltext">“‘What Will Students Ever Do with That?’”</a> Griffin, Hollis </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.115/--film-criticism-the-challenge-of-the-specific?rgn=main;view=fulltext">Film Criticism: the Challenge of the Specific</a> Gunning, Tom </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.116/--digital-auteurism-in-film-criticism?rgn=main;view=fulltext">Digital Auteurism in Film Criticism</a> Jeong, Seung-hoon </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.117/--academic-film-blog-2000-2015-a-eulogy?rgn=main;view=fulltext">The Academic Film Blog (2000-2015), A Eulogy</a> Klein, Amanda Ann </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.118/--what-is-evaluative-criticism?rgn=main;view=fulltext">What is Evaluative Criticism?</a> Klevan, Andrew </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.119/--on-the-couch?rgn=main;view=fulltext">On the Couch</a> Martin, Adrian </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.120/--binge-reviews-the-shifting-temporalities-of-contemporary-tv?rgn=main;view=fulltext">Binge-Reviews? The Shifting Temporalities of Contemporary TV Criticism</a> McNutt, Myles </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.121/--there-s-something-rotten-in-film-criticism-and-his-name-is?rgn=main;view=fulltext">“There’s Something Rotten in Film Criticism, and His Name is, Regrettably, Not Johnny”</a> Metz, Walter </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.122/--witness-worker-mercenary-race-and-labor-in-the-new-culture?rgn=main;view=fulltext">“Witness, Worker, Mercenary: Race and Labor in the New Culture Industries”</a> Mukherjee, Roopali </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.123/--gifs-the-attainable-text?rgn=main;view=fulltext">GIFs: The Attainable Text</a> Newman, Michael Z. </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.124/--task-of-the-film-critic-in-times-of-streaming-video?rgn=main;view=fulltext">The Task of the Film Critic in Times of Streaming Video</a> Niessen, Niels </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.125/--futures-market-for-film-criticism?rgn=main;view=fulltext">The Futures-Market for Film Criticism</a> Polan, Dana </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.126/--power-of-black-film-criticism?rgn=main;view=fulltext">The Power of Black Film Criticism</a> Reich, Elizabeth </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.127/--in-this-world-not-above-it?rgn=main;view=fulltext">In This World, Not Above It</a> Rushton, Richard </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.128/--third-cinema-now?rgn=main;view=fulltext">Third Cinema Now</a> Saljoughi, Sara </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.129/--matter-of-informed-taste?rgn=main;view=fulltext">A Matter of (Informed) Taste</a> Sayad, Cecilia </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.130/--audiovisual-futures?rgn=main;view=fulltext">Audiovisual Futures</a> Shaviro, Steven </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.131/--art-and-realism-in-a-digital-age?rgn=main;view=fulltext">Art and Realism in a Digital Age</a> Sperling, Joshua </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.132/--more-the-change-the-more-the-same?rgn=main;view=fulltext">The More the Change, the More the Same</a> Staiger, Janet </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.133/--subject-of-film-studies?rgn=main;view=fulltext">The Subject of Film Studies</a> Stoddard, Matthew </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.134/--cinematic-return?rgn=main;view=fulltext">The Cinematic Return</a> Verevis, Constantine </li>
<li><a href="http://quod.lib.umich.edu/f/fc/13761232.0040.135/--figures-for-figuring-out?rgn=main;view=fulltext">Figures for Figuring Out</a> Yu, Chang-Min </li>
</ul>
<b><br /></b>
<b><i>Film-Philosophy</i>, Vol. 20, No. 1, February, 2016:</b><br />
<ul>
<li><a href="http://www.euppublishing.com/doi/full/10.3366/film.2016.0001" target="_blank">What is Film-Philosophy? </a>David Sorfa</li>
</ul>
<i>Special Section: Film-Philosophy and a World of Cinemas </i><br />
<ul>
<li><a href="http://www.euppublishing.com/doi/abs/10.3366/film.2016.0002" target="_blank">Introduction: Film-Philosophy and a World of Cinemas</a> by David Martin-Jones</li>
<li><a href="http://www.euppublishing.com/doi/abs/10.3366/film.2016.0003" target="_blank">Real Images Flow: Mullā Sadrā Meets Film-Philosophy</a> by Laura U. Marks </li>
<li><a href="http://www.euppublishing.com/doi/abs/10.3366/film.2016.0004" target="_blank">Islam, Consciousness and Early Cinema: Said Nursî and the Cinema of God</a> by Canan Balan </li>
<li><a href="http://www.euppublishing.com/doi/abs/10.3366/film.2016.0005" target="_blank">Trolls, Tigers and Transmodern Ecological Encounters: Enrique Dussel and a Cine-ethics for the Anthropocene</a> by David Martin-Jones</li>
<li><a href="http://www.euppublishing.com/doi/abs/10.3366/film.2016.0006" target="_blank">Non-Cinema: Digital, Ethics, Multitude</a> by William Brown</li>
<li><a href="http://www.euppublishing.com/doi/abs/10.3366/film.2016.0007" target="_blank">Non-Cinema, or The Location of Politics in Film</a> by Lúcia Nagib</li>
<li><a href="http://www.euppublishing.com/doi/abs/10.3366/film.2016.0008" target="_blank">The Filmmaker as Metallurgist: Political Cinema and World Memory</a> by Patricia Pisters </li>
<li><a href="http://www.euppublishing.com/doi/abs/10.3366/film.2016.0009" target="_blank">Sympathy for the Other: Female Solidarity and Postcolonial Subjectivity in Francophone Cinema</a> by Kathleen Scott and Stefanie Van de Peer</li>
</ul>
<br />
<b>9 Open Access eBOOKS sourced at <a href="http://www.oapen.org/home" target="_blank">Oapen</a>! (3 more OA ebooks in the list after this!)</b><br />
<div>
<ul>
<li>Marianne van den Boomen, Sybille Lammes, Ann-Sophie Lehmann, Joost Raessens, Mirko Tobias Schäfer (eds), <a href="http://www.oapen.org/search?identifier=340034" target="_blank">Digital Material: Tracing New Media in Everyday Life and Technology</a></li>
<li>Sean Cubitt, Dabiel Palmer and Nathaniel Tkacz (eds), <a href="http://www.oapen.org/search?identifier=548050" target="_blank">Digital Light</a></li>
<li>Joy Damousi and Desley Deacon, <a href="http://www.oapen.org/search?identifier=459756" target="_blank">Talking and Listening edited : Essays on the history of sound</a></li>
<li>Mireille van Eechoud, <a href="http://www.oapen.org/search?identifier=503030" target="_blank">The Work of Authorship</a></li>
<li>Natalie Edwards, Ben McCann and Peter Poiana (eds), <a href="http://www.oapen.org/search?identifier=577016" target="_blank">Framing French Culture</a></li>
<li>Mattias Frey, <a href="http://www.oapen.org/search?identifier=576930" target="_blank">The Permanent Crisis of Film Criticism. The Anxiety of Authority</a></li>
<li>Ilona Hongisto, <a href="http://www.oapen.org/search?identifier=579464" target="_blank">Soul of the Documentary. Framing, Expression, Ethics</a></li>
<li>Maaike Lauwaert, <a href="http://www.oapen.org/search?identifier=341443" target="_blank">The Place of Play: Toys and Digital Cultures</a></li>
<li>Sheldon H. Lu and Jiayan Mi (eds), <a href="http://www.oapen.org/search?identifier=448559" target="_blank">Chinese Ecocinema: In the Age of Environmental Challenge</a></li>
</ul>
</div>
<div>
<b><br /></b>
<b>Assorted links</b></div>
<ul>
<li><a href="http://blogs.indiewire.com/womenandhollywood/book-excerpt-the-future-of-feminist-film-20160122" target="_blank">An excellent excerpt from Sophie Mayer's important new book <i>Political Animals: The New Feminist Cinema</i> (I.B. Tauris, 2015)</a></li>
<li><a href="http://www.petersutoris.com/streaming-films" target="_blank">A new book by Peter Sutoris on the history of documentary film in India is supported by this website with dozens of films!</a> (Thanks to Anupama Kapse, Rachel Dwyer and Corey Creekmur for alerting us to this amazing resource.)</li>
<li>Alisa Lebow's magnificent metadocumentary project <a href="http://www.filmingrevolution.org/" target="_blank">Filming Revolution</a> features in the <a href="http://www.warscapes.com/art/filming-revolution" target="_blank">online journal <i>Warscapes</i></a></li>
<li>Film scholar Kelley Conway's magnificent lecture on Agnès Varda's LES PLAGES D’AGNÈS/THE BEACHES OF AGNES <a href="https://t.co/ay60AQHpfC">https://youtu.be/jC7hoJWL2vc</a> and David Bordwell's introduction to her book on the French filmmaker: <a href="http://www.davidbordwell.net/blog/2015/11/23/still-agnes/" target="_blank">http://www.davidbordwell.net/blog/2015/11/23/still-agnes/ </a></li>
<li>Further fabulous recent entries at Observations on Film Art:</li>
<ul>
<li><a href="http://www.davidbordwell.net/blog/2016/01/09/pick-your-protagonists/">Pick your protagonist(s)</a></li>
<li><a href="http://www.davidbordwell.net/blog/2016/01/11/open-secrets-of-classical-storytelling-narrative-analysis-101/" target="_blank">Open secrets of classical storytelling: Narrative analysis 101</a></li>
<li><a href="http://www.davidbordwell.net/blog/2016/01/17/they-see-dead-people/" target="_blank">They See Dead People [on how ghosts and other unworldly beings are figured in the movies]</a></li>
<li><a href="http://www.davidbordwell.net/blog/2016/01/24/living-in-the-spotlight-and-the-shadows-jeff-smith-on-trumbo/" target="_blank">Living in the spotlight and the shadows: Jeff Smith on TRUMBO</a></li>
</ul>
<li>SERIES Journal, a new open access publication devoted to the study of international TV serials. Two issues are up here: <a href="http://series.unibo.it/search/titles">http://series.unibo.it/search/titles</a></li>
<li><a href="http://www.bfi.org.uk/news-opinion/news-bfi/lists/10-best-film-colour-systems" target="_blank">BFI article: "Colour in Film: the 10 best film colour systems"</a></li>
<li><a href="https://www.washingtonpost.com/news/wonk/wp/2016/01/25/researchers-have-discovered-a-major-problem-with-the-little-mermaid-and-other-disney-movies/" target="_blank">The Problem with Disney Movies......</a></li>
<li><a href="http://filmkrant.nl/world_wide_angle" target="_blank">Adrian Martin's latest FILMKRANT column, on CAROL and SAINT LAURENT</a></li>
<li><a href="http://vanabbemuseum.nl/fileadmin/files/Collectie%20en%20tentoonstellingen/2014/Hito_Steyerl/HS_TOO_MUCH_WORLD.pdf" target="_blank">Free download (PDF) of Nick Aikens's edited collection on the work of artist Hito Steyerl: TOO MUCH WORLD (thanks to Vinzenz Hediger for the link).</a></li>
<li><a href="https://newrepublic.com/article/128158/wonder-hand-painted-early-cinema" target="_blank">Max Nelson's book review on "<span style="background-color: white; font-family: inherit; font-size: inherit; font-style: inherit; font-variant: inherit; letter-spacing: -0.005em;">The Wonder of Hand-Painted Early Cinema" (via Thomas Groh)</span></a></li>
<li>New video essay by Shane Denson: hijab.key (<a href="http://wp.me/p1xJM8-O7">http://wp.me/p1xJM8-O7</a>): "In part, it's about suture and ideology in Michael Bay's <i>Benghazi </i>movie. But it's also a formal experiment: the video is made completely in Keynote -- but completely automated, no clicking on my part."</li>
<li><i>Geoblocking and Global Video Culture</i>, an open-access edited collection on the politics of region control and circumvention in digital medi<a href="http://flavorwire.com/556553/50-films-by-women-you-can-watch-online-right-now?platform=hootsuite" target="_blank">http://flavorwire.com/556553/50-films-by-women-you-can-watch-online-right-now?platform=hootsuite</a>a. Eds. Ramon Lobato and James Meese, Amsterdam: Institute of Network Cultures, 2016. To download the PDF, visit <a href="http://networkcultures.org/blog/publication/no-18-geoblocking-and-global-video-culture/" target="_blank">this website</a>.</li>
<li><a href="http://greatwomenanimators.com/" target="_blank">Website devoted to women animators from the late 1800s to the present. (Via Isabel Stevens and Girish Shambu)</a></li>
<li><a href="https://olh.openlibhums.org/articles/10.16995/olh.14/" target="_blank">'An Intimate Encounter: Negotiating Subtitled Cinema' by Niall Flynn, at Open Library of Humanities</a></li>
<li><a href="http://www.screensoundjournal.org/previous-issues/" target="_blank">Via Adrian Martin comes news of the archive of the Australia/New Zealand-focused SCREEN SOUND journal, which has its whole archives (annual issues since 2010) downloadable online.</a></li>
<li><a href="http://johnpilger.com/filmography" target="_blank">All of documentarist John Pilger's films are online!</a></li>
<li><a href="https://vimeo.com/149620670" target="_blank">A video essay on Andrea Arnold's adaptation of WUTHERING HEIGHTS</a> by Luis Rocha Antunes. Also see a written articulation of this research by him here: <a href="http://journals.sfu.ca/vict/index.php/vict/article/view/157/81">http://journals.sfu.ca/vict/index.php/vict/article/view/157/81</a></li>
<li><a href="http://fuckyeahfeministcinema.tumblr.com/post/137576295007/so-joy-some-thoughts-on-room-white-female" target="_blank">Really interesting piece on recent cinema and screen culture, including ROOM, by Sophie Mayer.</a></li>
<li><a href="http://filmanalytical.blogspot.co.uk/2016/01/interplay-audiovisual-or-videographic.html" target="_blank">Interplay: Audiovisual or Videographic Film Studies Research Publications by Catherine Grant, 2012-2015 - all online and open access.</a></li>
<li><a href="https://filmglossary.ccnmtl.columbia.edu/term/" target="_blank">COLUMBIA FILM LANGUAGE GLOSSARY - Rather useful online resource. (Via Anupama Kapse)</a></li>
<li>New <i>Cinema Journal </i>Teaching Dossier at <a href="http://teachingmedia.org/">http://TeachingMedia.org</a>! This one is edited by Leah Shafer and Melanie E.S. Kohnen and focuses on Digital Humanities and Media Studies pedagogical crossovers.</li>
<li><a href="https://lareviewofbooks.org/interview/the-evanescent-moment-a-conversation-with-girish-shambu-about-the-new-cinephilia" target="_blank">Jordan Cronk with a wonderful interview with Girish Shambu on the new cinephilia and THE NEW CINEPHILIA.</a></li>
<li>Great video playlist for the Q&A sessions of the Institute for Contemporary Art's recent "Onwards and Outwards" programme of films made by British women filmmakers. <a href="https://www.facebook.com/l.php?u=https%3A%2F%2Fwww.ica.org.uk%2Foff-site%2Fica-cinema%2Fonwards-outwards&h=WAQFZi1drAQH8nGB_cV2WbYEEGxZifeZSZxsxYQd7FC-4IA&enc=AZNO0PYvVvfD_66E4xpoTuziYS2q4vA8M4UuQgtujqK7S3ps4AOdCAUVEzVXBJpsYunKdLouWs_LBjvAs6m4wu2RkMuQpeB1EVN0IV-R5NG82EwYZcsQ6TDRPWFl90Qfie-v_hxBjJ-SPmSYhOsKe47ub0U_VVBLxd75syKK7BvDjJRcQkj42GF77wqh4_otzOdmsflLX5qVoxRAdotXudz9&s=1">https://www.ica.org.uk/off-site/ica-cinema/onwards-outwards</a></li>
<li><a href="http://flavorwire.com/556553/50-films-by-women-you-can-watch-online-right-now?platform=hootsuite" target="_blank">50 Films by Women You Can Watch Online Right Now</a></li>
<li><a href="https://justtv.wordpress.com/2016/01/12/videographic-deformations-pechakuchas/" target="_blank">Some interesting videographic experiments introduced and discussed by Jason Mittell.</a></li>
<li><a href="https://vimeo.com/152882411" target="_blank">Watch Miklós Kiss's latest audiovisual essay: "Denarration in Michael Haneke's funny FUNNY games GAMES"</a></li>
<li><a href="http://www.sabzian.be/article/letter-to-harmony-korine" target="_blank">'Letter to Harmony Korine' </a>from Gerard-Jan Claes and Anton Jaeger at the marvellous <a href="http://www.sabzian.be/" target="_blank">Sabzian website, which has lots of items of interest</a> (HT Ruben Demasure)</li>
</ul>
<a href="https://vimeo.com/152882411"></a>Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-57931718581064281682016-01-11T14:41:00.000+00:002016-01-27T16:57:26.437+00:00For the Starman Who Fell to Earth - In Memory of David Bowie (January 8, 1947-January 10, 2016)<div style="text-align: center;">
<span style="font-size: x-small;"><i>Last updated January 27th, 2016</i></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6WFnCzu_088LOawCSJ7lq-Z84w7aj3ySdfEibK_X-CJL_IXzV9ySEvEOt1DhivGWuEMhNjDogEVefQrJkHEXl06uScon_9QW4jm6pO_nszZLrtlOXsI30z9qlW4bH1yGLSN3Xs6HLaM8/s1600/12540605_10206500465122851_8351537039551036290_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6WFnCzu_088LOawCSJ7lq-Z84w7aj3ySdfEibK_X-CJL_IXzV9ySEvEOt1DhivGWuEMhNjDogEVefQrJkHEXl06uScon_9QW4jm6pO_nszZLrtlOXsI30z9qlW4bH1yGLSN3Xs6HLaM8/s640/12540605_10206500465122851_8351537039551036290_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><blockquote class="tr_bq">
<a href="https://youtu.be/kszLwBaC4Sw">Screenshot from the music video for David Bowie's "Blackstar" (2016</a>, directed by <a href="https://en.wikipedia.org/wiki/Bo_Johan_Renck">Johan Renck</a>)</blockquote>
</td></tr>
</tbody></table>
<br />
<a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> was shocked and saddened by the sudden news, today, of the death of David Bowie at the age of 69.<br />
<div>
<br /></div>
<div>
Hence, this <a href="http://filmstudiesforfree.blogspot.com/">FSFF</a> tribute entry, prepared largely courtesy of Drew Morton (<a href="https://twitter.com/thecinemadoctor">@thecinemadoctor</a>) who specially wrote a text to accompany his great compilation video (both <a href="https://vimeo.com/92554823">below</a>) about Bowie as a film actor. Thanks so much to Drew. </div>
<div>
<br /></div>
<div>
Another unmissable tribute is <a href="https://www.fandor.com/keyframe/daily-david-bowie-1947-2016">David Hudson's for Keyframe Daily | Fandor,</a> linked to <a href="https://www.fandor.com/keyframe/daily-david-bowie-1947-2016">here</a>. There could also hardly be a better, <i>concise</i> eulogy than <a href="https://www.facebook.com/tim.lucas.374/posts/10153916063084679">this public one at Facebook</a> by Tim Lucas.</div>
<div>
<br /></div>
<div>
And there are some more online, scholarly Bowie links, assembled by <a href="http://filmstudiesforfree.blogspot.com/">FSFF</a>, immediately below/</div>
<div>
<br /></div>
<div>
<i>RIP Starman.</i><br />
<i><br /></i>
<i><br /></i>
<b>Online articles and videos of scholarly note</b><br />
<div>
<ul>
<li><a href="https://mubi.com/notebook/posts/short-circuit-a-twin-peaks-system">Cristina Álvarez López and Adrian Martin, 'Short-Circuit: A "Twin Peaks" System', MUBI.COM, May 12, 2015</a></li>
<li><a href="http://www.filmcomment.com/blog/video-essay-the-soundtracks-of-the-man-who-fell-to-earth/">Sean Doyle, The Sonic Landscapes of The Man Who Fell to Earth,<i> Film Comment</i>, 2015</a></li>
<li><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf">Gavin Friday, 'Foreword', <i>David Bowie: Critical Perspectives </i>eds </a><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf">Eoin Devereux, Aileen Dillane and Martin J. Power</a><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf"> (Routledge, 2015)</a></li>
<li><span style="color: red; font-size: x-small;">Added </span><a href="http://www.salon.com/2016/01/13/david_bowies_magic_dance_his_explosive_cinematic_sexuality_from_the_goblin_king_to_merry_christmas_mr_lawrence/" target="_blank">Rosalind Galt, 'David Bowie’s magic dance: His explosive cinematic sexuality, from the Goblin King to “Merry Christmas Mr. Lawrence”, Salon.com, January 13, 2016</a></li>
<li><span style="color: red; font-size: x-small;">Added </span><a href="http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/pictures/david-bowie-film" target="_blank">Janes Giles, 'David Bowie on Film', Sight and Sound, January 16, 2016</a></li>
<li><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf">Kathryn Johnson, 'David Bowie is', </a><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf"><i>David Bowie: Critical Perspectives </i>eds </a><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf">Eoin Devereux, Aileen Dillane and Martin J. Power</a><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf"> (Routledge, 2015)</a></li>
<li><a href="http://www.lrb.co.uk/v34/n07/thomas-jones/so-ordinary-so-glamorous">Thomas Jones, 'So ordinary, so glamorous: Eternal Bowie', London Review of Books, 34.7, April 2012</a></li>
<li><span style="color: red; font-size: x-small;">Added</span> <a href="http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/obituaries/video-on-david-bowie" target="_blank">Frances Morgan, 'Video on: the cinema in David Bowie', Sight and Sound, January 17, 2016 </a></li>
<li><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf">Martin J. Power, Eoin Devereux and Aileen Dillane, 'Preface', </a><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf"><i>David Bowie: Critical Perspectives </i>eds </a><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf">Eoin Devereux, Aileen Dillane and Martin J. Power</a><a href="http://samples.sainsburysebooks.co.uk/9781317754497_sample_1050698.pdf"> (Routledge, 2015)</a></li>
<li><a href="http://www.jonathanrosenbaum.net/2016/01/the-man-who-fell-to-earth-1976-review/">Jonathan Rosenbaum, '<span style="color: #222222; font-family: freight-display-pro;">The Man Who Fell to Earth (1976 revie</span>w)', From <i>Monthly Film Bulletin</i> No. 507, April 1976.</a></li>
<li><a href="http://framescinemajournal.com/article/david-bowie-critical-perspectives/">Eileen Rositzka, 'On <i>David Bowie: Critical Perspectives</i>', Frames, 8, 2015</a></li>
<li><a href="http://sensesofcinema.com/2003/cinema-and-music/bowie_postmodern_auteur/">Adam Trainor, '“Well, I Wouldn’t Buy the Merchandise”: David Bowie as Postmodern Auteur', <i>Senses of Cinema</i>, 28, 2003</a></li>
<li><a href="http://iaspm-us.net/a-strange-fascination-a-symposium-on-david-bowie-conference-report-by-julie-lobalzo-wright/">Julie Lobalzo Wright, 'A Strange Fascination?: A Symposium on David Bowie: Conference Report', IASPMUS, December 2012</a></li>
</ul>
</div>
</div>
<div>
<i><br /></i>
<b>By Drew Morton</b></div>
<div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/92554823?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
A short compilation produced by <a href="https://tamut.academia.edu/DrewMorton">Drew Morton</a> (Texas A&M University-Texarkana) focusing on David Bowie's filmography. Features clips from THE PRESTIGE, THE MAN WHO FELL TO EARTH, LABYRINTH, INTO THE NIGHT, ZOOLANDER, THE HUNGER, and many more.</div>
<div style="text-align: center;">
<br /></div>
<blockquote class="tr_bq">
<br />
I have a feeling that many of us are going to be emotionally processing the death of pop star and cultural icon David Bowie for quite some time. Part of this is no doubt because he had turned 69 years old and released his 27th album - BLACKSTAR - just three days ago. However, I would also posit that a great deal of the shock - this unbelievable unreality - lies in Bowie’s persona: an outsider, an alien, an eccentric who could not possibly be from this world. </blockquote>
<blockquote class="tr_bq">
While this 'impossible' quality no doubt stems from his ever evolving musical persona - from the gender bending rockstar of ZIGGY STARDUST and DIAMOND DOGS to the Aryan Thin White Duke of STATION TO STATION - it was also underscored and amplified by Bowie’s screen presence. While he tells us in the lyrics to his new single “Blackstar” that he’s “not a film star,” the influential rocker appeared in nearly twenty films and brought his unique brand of abnormal to such notable historical figures as Nikola Tesla in Christopher Nolan’s THE PRESTIGE and Andy Warhol in Julian Schnabel’s BASQUIAT. Bowie’s performance as both characters is incredibly quiet, as if his presence on screen is so large that he needs to compensate for it. Yet, when the worlds of the films veered towards fantasy or surreal horror, Bowie was there to give it his all. </blockquote>
<blockquote class="tr_bq">
His performance as Jareth the Goblin King in LABYRINTH has become a cult favorite, partially thanks to the iconic tights that showoff his physique (and everything you can include under that umbrella - and I do mean everything) but also thanks to his especially chilling performance in a children’s film. LABYRINTH is also unique because it is one of the few Bowie films in which he performs musically at length (the musical ABSOLUTE BEGINNERS would be another example). Thus, the bulk of Bowie’s appearances rely on the strangeness of his presence rather than the talents he was typically famous for. </blockquote>
<blockquote class="tr_bq">
Take, for instance, his performances as Philip Jeffries in David Lynch’s TWIN PEAKS: FIRE WALK WITH ME and John Blaylock in Tony Scott’s THE HUNGER. In the former, Bowie is featured in one scene in which he plays an FBI agent displaced in time and space. When he returns to warn his fellow colleagues that “we live inside a dream,” Lynch amplifies his disconnect with cross-fades to loud television static and shots of Bowie desperately trying to explain himself before he disappears again. In the latter, Bowie begins the film with a persona not terribly far removed from his early 80s rocker as he frequents a punk dance club with his girlfriend (played by Catherine Deneuve - which makes this probably the most attractive on screen couple ever). It soon becomes apparent that they are both vampires and have been together for centuries. Yet, Bowie’s character is aging at an accelerated rate, which means the film asks him to play a character in his thirties that ages into his seventies over the course of an afternoon. Because it’s Bowie, this unreality feels all the more real. </blockquote>
<blockquote class="tr_bq">
Of course, there are many other Bowie performances to distill. His starring role in MERRY CHRISTMAS, MR. LAWRENCE to his role as a hit man in John Landis’s INTO THE NIGHT are two others that come to mind. Yet, his first role, that of the alien Thomas Jerome Newton in Nicolas Roeg’s THE MAN WHO FELL TO EARTH, took his star persona literally and made great use of it through his calculated gestures and androgynous features. It also serves as a partial prequel to the second single on Bowie’s latest - and now final album - “Lazarus,” which are as fitting last words for Bowie himself: “This way or no way/You know, I’ll be free/Just like that bluebird/Now ain’t that just like me.”</blockquote>
<blockquote class="tr_bq">
© Drew Morton, 2016</blockquote>
<br />
<b>Also see: </b><br />
<br />
<ul>
<li><span style="color: red; font-size: x-small;">Added </span><a href="https://www.washingtonpost.com/news/grade-point/wp/2016/01/11/what-i-learned-about-myself-while-living-like-david-bowie-for-a-year/">Will Brooker, What I learned about myself while living like David Bowie over the past year', <i>Washington Post</i>, January 11, 2016</a></li>
</ul>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-50948251888354000032016-01-04T17:37:00.000+00:002016-01-06T17:12:19.653+00:00New LOLA, [in]TRANSITION, MOVIE, Film-Philosophy, Senses of Cinema plus a video essay on Todd Haynes' CAROL, and more!<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/149791810?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<div style="text-align: center;">
<span style="font-size: x-small;">An obvious side-by-side comparison by Catherine Grant, using images from BRIEF ENCOUNTER (David Lean, 1945) and CAROL (Todd Haynes, 2015), and the sound from the official trailer for CAROL, featuring the song ‘My Foolish Heart’ (music by Victor Young/lyrics by Ned Washington, sung by Margaret Whiting, 1950). For another recent video essay on BRIEF ENCOUNTER please visit <a href="https://www.caboosebooks.net/node/150">https://www.caboosebooks.net/node/150</a>. For further video essays on films by Todd Haynes, see (on SAFE): <a href="https://vimeo.com/67203493">vimeo.com/67203493</a>; and on FAR FROM HEAVEN: <a href="https://vimeo.com/78526414">vimeo.com/78526414</a>.</span></div>
<br />
<span style="font-family: inherit;"><br /></span>
<a href="http://filmstudiesforfree.blogspot.com/" style="font-family: inherit;">Film Studies For Free</a><span style="font-family: inherit;"> wishes its readers a very happy new year! It celebrates the beginning of the year with an auspicious round up of publications that went online <span style="font-family: inherit;">e</span>ither in the last few days of 2015, or in the first days of 2016.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b><u>NEW JOURNAL ISSUES</u></b></span><br />
<div>
<br /></div>
<span style="font-family: inherit;"><a href="http://www.lolajournal.com/6/index.html"><b><i>LOLA</i>, 6. 2015, on "Distances</b>," edited by Adrian Martin and Girish Shambu</a> </span><br />
<br />
<ul>
<li><a href="http://www.lolajournal.com/6/program.html">To Program is to Write Film History</a> by Peter von Bagh</li>
<li><a href="http://www.lolajournal.com/6/davis.html">Bette Davis: None But the Lonely Heart</a> by Murielle Joudet</li>
<li><a href="http://www.lolajournal.com/6/ophuls.html">Bits of Business: The American Films of Max Ophüls</a> by Joe McElhaney</li>
<li><a href="http://www.lolajournal.com/6/black.html">Black Skin, White Light</a> by James Harvey-Davitt</li>
<li><a href="http://www.lolajournal.com/6/distance.html">Montage-at-a-Distance, or: A Theory of Distance</a> by Artavazd Pelechian</li>
<li><a href="http://www.lolajournal.com/6/lauwaert.html">Fragments of Dirk Lauwaert</a></li>
<li><a href="http://www.lolajournal.com/6/knight.html">‘The Child That I Was’: <i>Knight of Cups</i></a> by Pierre Berthomieu</li>
<li><a href="http://www.lolajournal.com/6/wang.html">Wang Bing’s ‘Til Madness Do Us Part: An Apprenticeship in Seeing </a> by Joseph Mai</li>
<li><a href="http://www.lolajournal.com/6/interplay.html">Interplay: (Re)Finding and (Re)Framing Cinematic Experience, Film Space, and the Child’s World</a> by Catherine Grant</li>
<li><a href="http://www.lolajournal.com/6/manifesto_intro.html">Introduction to ‘Nouvelle Vague Manifesto’</a> by Aaron Gerow</li>
<li><a href="http://www.lolajournal.com/6/manifesto.html">Nouvelle Vague Manifesto; or, How I Became a Disciple of Philippe Garrel</a> by Toyama Shinji</li>
</ul>
<br />
This issue of <i>LOLA</i> will be rolled out in two stages. Soon to come: articles on <i>The Smell of Us</i>, <i>Eden</i>, <i>Youth</i> (Shoval), recent Spanish cinema, film criticism, and Alexandre Astruc/Bernard Stiegler …<br />
<br />
<span style="font-family: inherit;"><br /></span>
<a href="http://mediacommons.futureofthebook.org/intransition/issue-2-4"><i><b>[in]Transition: Journal of Videographic Film and Moving Image Studies</b></i>, 2.4, 2015</a><br />
A special peer-reviewed issue co-edited by Christian Keathley and Jason Mittell, featuring five of the videos that emerged from the June 2015 workshop <a href="http://go.middlebury.edu/videographic">Scholarship in Sound & Image</a>, hosted at Middleburg College, U.S.A., and generously funded by the U.S. <a href="http://www.neh.gov/divisions/odh">National Endowment for the Humanities Office of Digital Humanities</a>.<br />
<ul>
<li><a href="http://mediacommons.futureofthebook.org/intransition/2015/12/28/fembot-red-dress">Fembot in a Red Dress</a> [on the cultural trope of the “lady in red” as it evolved from the genre of film noir to science fiction and from the human to the artificial female] by <a href="http://mediacommons.futureofthebook.org/intransition/users/adefren">Allison de Fren</a> with reviews by Kevin B. Lee and Elana Levine.</li>
<li><a href="http://mediacommons.futureofthebook.org/intransition/sight-and-sound-conspire">Sight and Sound Conspire: Monstrous Audio-Vision in James Whale’s<i> Frankenstein</i></a> by <a href="http://mediacommons.futureofthebook.org/intransition/user/4703">Shane Denson</a> with reviews by Steven Shaviro and Drew Morton</li>
<li><a href="http://mediacommons.futureofthebook.org/intransition/homeless-ghost">A Homeless Ghost: The Moving Camera and its Analogies</a> by <a href="http://mediacommons.futureofthebook.org/intransition/users/patrick-keating">Patrick Keating</a> with reviews by Kristin Thompson and Matt Zoller Seitz</li>
<li><a href="http://mediacommons.futureofthebook.org/intransition/success">Success</a> [on Diana Ross and Beyoncé] by <a href="http://mediacommons.futureofthebook.org/intransition/users/jaap-kooijman">Jaap Kooijman</a> with reviews by Richard Dyer and Chiara Grizzaffi</li>
<li><a href="http://mediacommons.futureofthebook.org/intransition/encounters">Encounters</a> [on New Argentine Cinema] by <a href="http://mediacommons.futureofthebook.org/intransition/users/michael-talbott">Michael Talbott</a> with reviews by Austin Fisher and Michael Koresky</li>
</ul>
<br />
<ul>
</ul>
<b>New issue of <i><a href="http://www2.warwick.ac.uk/fac/arts/film/movie">MOVIE: A Journal of Film Criticism</a></i>, 6, 2015</b><br />
<blockquote class="tr_bq">
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/martin_use_no_hooks.pdf">Use No Hooks: Maurice Pialat / Manny Farber </a>Adrian Martin</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/deyo_only_in_dreams.pdf">Only in Dreams: The Big Sleep and Hollywood Fantasy</a> Nathaniel Deyo</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/christiansen_textures_of_time.pdf">Déjà Vu: Textures of Time</a> Steen Ledet Christiansen</li>
</ul>
<br />
<i><b>Moments of Texture</b></i><br />
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/moments_of_texture_introduction.pdf">Introduction</a> Lucy Fife Donaldson</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/obrien_a_toast.pdf"><i>Brokeback Mountain</i>: A Toast</a> Adam O'Brien</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/banks_death_line.pdf">Surfaces, Textures and the Long Take in <i>Death Line</i></a> Ian Banks</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/donaldson_reading_space.pdf">Reading Space in <i>Cracker</i></a> Lucy Fife Donaldson</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/zborowski_frances_ha.pdf">Passing Time in <i>Frances Ha</i></a> James Zborowski</li>
</ul>
<br />
<b><i>The Best Years of Our Lives</i>: A Dossier</b><br />
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/best_years_of_our_lives_dossier.pdf">Introduction</a> James MacDowell</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/pillai_among_my_souvenirs.pdf">Among My Souvenirs: Couples, Conventions and the America to Come in <i>The Best Years of Our Lives</i></a> Nicolas Pillai</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/thomas_performance_and_style.pdf">Performance and Style in <i>The Best Years of Our Lives</i></a> Sarah Thomas</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/neale_black_extras.pdf">Black Extras in <i>The Best Years of Our Lives</i></a> Steve Neale</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/gallafent_viewing_the_world.pdf">Viewing the World in<i> Till the End of Time</i></a> Edward Gallafent</li>
</ul>
<br />
<b>Book Reviews</b><br />
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/morrey_book_review.pdf"><i>A Companion to Jean-Luc Godard</i> (Tom Conley, T. Jefferson Kline, eds)</a> Douglas Morrey</li>
</ul>
<ul>
<li><a href="http://www2.warwick.ac.uk/fac/arts/film/movie/contents/pye_book_review.pdf"><i>Découpage </i>(Timothy Barnard)</a> Douglas Pye</li>
</ul>
</blockquote>
<div>
<b><br /></b></div>
<blockquote class="tr_bq">
<b>Also at MOVIE</b>, new entries in its series of <a href="http://www2.warwick.ac.uk/fac/arts/film/movie/ebooks">open access ebooks</a> - monographs which originally appeared in the series <i>Close-Up</i> (Wallflower Press, 2006-09). These are free to download, and are available in epub and mobi formats.</blockquote>
<div data-mce-style="padding-left: 30px;" style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px; margin-bottom: 1em; padding: 0px 0px 0px 30px;">
<b><i>Filmmakers' Choices</i> - John Gibbs</b></div>
<blockquote class="tr_bq">
<i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Filmmakers’ Choices</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">explores different areas of decision-making within filmmaking, focusing on each in the analysis of a film. The discussion of</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Talk to Her</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">(Pedro Almodóvar, 2002) examines the detailed construction of point of view; the account of</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Lured</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">(Douglas Sirk, 1947) reflects on narrative structure and the creative possibilities of coincidence. Other films under investigation include</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Candyman</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">(Bernard Rose, 1992),</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">The Reckless Moment</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">(Max Ophuls, 1949) and</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Unforgiven</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">(Clint Eastwood, 1992).</span></blockquote>
<ul>
</ul>
<div data-mce-style="padding-left: 30px;" style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px; margin-bottom: 1em; padding: 0px 0px 0px 30px;">
<b><i>Movies and Tone</i> - Douglas Pye </b></div>
<blockquote class="tr_bq">
<span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">The concept of tone gestures towards some of the most crucial issues for film analysis – the relationships of a movie to its material, its traditions and its spectator – and yet tone has had a very limited place in film theory and criticism. This study asks how tonal qualities within a film can be identified, exploring the decisions which lead to our grasp of tone as a dimension of meaning that is both informing and subject to moment-by-moment modulation. Discussion centres on</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">The Deer Hunter</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">,</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Desperately Seeking Susan</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">,</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Strangers on a Train</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">,</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Distant Voices, Still Lives</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">and</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Some Came Running</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">.</span> </blockquote>
<div data-mce-style="padding-left: 30px;" style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px; margin-bottom: 1em; padding: 0px 0px 0px 30px;">
<b><i>The Police Series</i> - Jonathan Bignell </b></div>
<blockquote class="tr_bq">
<span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">This study focuses on television style in the US police series. Chapters closely analyse the mise-en-scène of programmes in the 1980-2003 period including</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Hill Street Blues</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">,</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Miami Vice</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">,</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">NYPD Blue</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">,</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Homicide: Life on the Street</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">and</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">CSI.</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Through the detailed investigation of changing aesthetics in the police series, Bignell addresses critical issues around style and ideology, ‘quality’, genre, programme brands and authorship in US television.</span> </blockquote>
<div data-mce-style="padding-left: 30px;" style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px; margin-bottom: 1em; padding: 0px 0px 0px 30px;">
<b><i>Reading Buffy</i> - Deborah Thomas </b></div>
<blockquote class="tr_bq">
<span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">In this book Joss Whedon’s acclaimed television series,</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Buffy the Vampire Slayer</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">, is seen not just to create a richly detailed and satisfying fictional world, but to be an abundant source of complex meanings. Several aspects of</span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><i style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">Buffy</i><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;"> </span><span style="font-family: Calibri, 'Bitstream Vera Sans', 'Trebuchet MS', Trebuchet, sans-serif; font-size: 14px;">are examined: its visual intelligence, the playful sophistication of its narrative strategies, and the interest the series takes in its relationship with its many fans.</span> </blockquote>
<div>
<span style="background-color: white; color: #505050; font-family: ff-meta-web-pro, sans-serif; font-size: 14px;"><br /></span></div>
<div>
<span style="background-color: white; color: #505050; font-family: ff-meta-web-pro, sans-serif; font-size: 14px;"><br /></span></div>
<div>
<b>Further new articles now online at <a href="http://www.film-philosophy.com/index.php/f-p/issue/view/89"><i>Film-Philosophy</i>, Vol 19 (2015)</a></b><br />
<div>
<ul>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/962">Voiding Cinema: Subjectivity Beside Itself, or Unbecoming Cinema in <i>Enter the Void</i></a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/962/951">PDF</a> William Brown, David H. Fleming</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/976">A Blueprint for (Im)possible Places: Narrative Crisis in Antonioni's <i>L'Eclisse</i> (1962)</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/976/952">PDF</a> Dennis Lo</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/982">Love's Old Song Will Be New: Deleuze, Busby Berkeley and Becoming-Music</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/982/953">PDF</a> Steven Pustay</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/984">The Battle for Moral Supremacy in <i>There Will Be Blood</i> and <i>Unforgiven</i></a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/984/954">PDF</a> Elena Woolley</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/986">A Phenomenological Approach to <i>Donnie Darko</i></a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/986/955">PDF</a> Alex E. Blazer</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/992">Monstrosity and the Not-Yet: <i>Edward Scissorhands</i> via Ernst Bloch and Georg Simmel</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/992/956">PDF</a> Craig Hammond</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/1004">Consumerism, Aristotle and <i>Fantastic Mr. Fox</i></a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/1004/957">PDF</a></li>
<li>Matt Duncan</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/1010">Representative Men: Moral Perfectionism, Masculinity and Psychoanalysis in<i> Good Will Hunting</i></a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/1010/958">PDF</a> Anna Cooper</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/1011">'Let me see her face when he kisses her, please': Mediating Emotion and Locating the Melodramatic Mode in <i>Stella Dallas</i></a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/1011/959">PDF</a> Ilka Brasch</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/1015">Derridean Blackmail in <i>The Big Slee</i>p: Allegorizing the Unfixable Mirages of Photography, Film and Criticism</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/1015/960">PDF</a> Christopher D. Morris</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/1016">The Image of a Mind-Skull: Samuel Beckett’s<i> ...but the clouds</i>... and Television-Philosophy</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/1016/961">PDF</a> Atene Mendelyte</li>
</ul>
<b></b><br />
<div>
<b><b><br /></b></b></div>
<b>
</b>
<br />
<div>
<b><b>Issue 77 of <a href="http://sensesofcinema.com/issues/issue-77/">Senses of Cinema</a></b></b></div>
<b>
</b>
<br />
<div>
Including: a dossier entitled<a href="http://sensesofcinema.com/category/chantal-akerman/"> CHANTAL AKERMAN: LA PASSION DE L’INTIME / AN INTIMATE PASSION</a>; a dossier entitled<a href="http://sensesofcinema.com/category/pier-paolo-pasolini/"> THE LEGACY OF PIER PAOLO PASOLINI</a>; a dossier entitled <a href="http://sensesofcinema.com/category/australian-film-history/">AUSTRALIAN FILM HISTORY</a>; and the following feature articles:</div>
<ul>
<li><a href="http://sensesofcinema.com/2015/feature-articles/apichatpong-weerasethakul-interview/">A Homeland Swansong: Apichatpong Weerasethakul on <i>Cemetery of Splendour</i></a> by <a href="http://sensesofcinema.com/author/amir-ganjavie/">Amir Ganjavie</a></li>
<li><a href="http://sensesofcinema.com/2015/feature-articles/luciano-tovoli-suspiria/">The Poetry of Light and Dark: Luciano Tovoli and Dario Argento’s <i>Suspiria</i> (1977)</a> by <a href="http://sensesofcinema.com/author/alexandra-heller-nicholas/">Alexandra Heller-Nicholas</a></li>
<li><a href="http://sensesofcinema.com/2015/feature-articles/imitation-of-life-adaptations/">Obsessions, Imitations & Subversions, Part Two – on <i>Imitation of Life</i></a> by <a href="http://sensesofcinema.com/author/tom-ryan/">Tom Ryan</a></li>
<li><a href="http://sensesofcinema.com/2015/feature-articles/a-nos-amours-and-suzanne/">A Tale of Two Suzannes: <i>À nos amours</i> (1983) and <i>Suzanne</i> (2013)</a> by <a href="http://sensesofcinema.com/author/maria-san-filippo/">Maria San Filippo</a></li>
<li><a href="http://sensesofcinema.com/2015/feature-articles/henner-winckler-and-the-berlin-school/">Filming without Predetermined Results: Henner Winckler and the Berlin School</a> by <a href="http://sensesofcinema.com/author/marco-abel/">Marco Abel</a></li>
</ul>
<b></b><br />
<div>
<b><b><i><br /></i></b></b></div>
<b>
</b>
<br />
<div>
<b><b>New <a href="http://offscreen.com/issues/view/volume-19-issue-8"><i>OFFSCREEN</i>, 19.8, 2015 on Japanese Cinema</a></b></b></div>
<b>
</b>
<br />
<ul>
<li><a href="http://offscreen.com/view/heinosuke-goshos-the-neighbours-wife">Musical Peace-Pact: Sound and Music in Heinosuke Gosho’s The Neighbour’s Wife and Mine (1931)</a> by Ramin S. Khanjani</li>
<li><a href="http://offscreen.com/view/japanese-cinema-through-the-lens-of-bazinian-realism">An Inn in Tokyo and Mr. Thank You Seen through the Lens of Bazinian Realism</a> by David Hanley</li>
<li><a href="http://offscreen.com/view/individualism-in-the-land-of-the-rising-sun">Individualism in the Land of the Rising Sun: Youth and Rebellion on the Cusp of the Japanese New Wave </a> by Frédéric St-Hilaire</li>
<li><a href="http://offscreen.com/view/the-tragic-hero-as-drifter-in-yoji-yamadas-films">The Tragic Hero as Drifter in Yoji Yamada’s Films</a> by Hiranmoy Lahiri</li>
<li><a href="http://offscreen.com/view/tetsuo-the-iron-man">Anxiety in a Technological World: Tetsuo: the Iron Man</a> by Robert Fuoco</li>
</ul>
</div>
<div>
<br /></div>
<div>
<b>New<a href="http://www.lafuriaumana.it/"> LA FURIA UMANA, 26, 2015 </a></b></div>
<br />
<blockquote class="tr_bq">
<a href="http://www.lafuriaumana.it/?id=446">TONI D'ANGELA / No theory, just movies: le dehors</a><br />
<br />
BRUCE BAILLIE / PAUL SHARITS <br />
<ul>
<li><a href="http://www.lafuriaumana.it/?id=443">YANN BEAUVAIS / Baillie/Sharits: Mind the Gap, it is not were it appears to be</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=444">PATRÍCIA MOURÃO / Baillie's Ballad</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/index.php/59-lfu-26/428-toni-d-angela-un-cinema-che-in-canta-bruce-baillie">TONI D'ANGELA / Un cinema che in-canta: Bruce Baillie</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=453">DENAH A. JOHNSTON /</a><a href="http://www.lafuriaumana.it/?id=453"> Bruce Baillie & Canyon Cinema</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=427">TONI D'ANGELA /</a><a href="http://www.lafuriaumana.it/?id=427"> Paul Sharits: il medium e l'espansione sensoriale</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=445">BENJAMIN LÉON /</a><a href="http://www.lafuriaumana.it/?id=445"> L'image rayée ou le médium ouvert : cadre absorbant et cadre projectif (Barnett Newman, Paul Sharits, Mona Hatoum)</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=449">ENRICO CAMPORESI /</a><a href="http://www.lafuriaumana.it/?id=449"> La lacune et le trait. Sur quelques films et dessins de Paul Sharits</a></li>
</ul>
<br />
PAUL THOMAS ANDERSON<br />
<ul>
<li><a href="http://www.lafuriaumana.it/?id=429">TONI D'ANGELA / Paul Thomas Anderson, o il vizio di forma</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=417">SOFIA ESTEVE /</a><a href="http://www.lafuriaumana.it/?id=417"> Hard Eight</a><a href="http://www.lafuriaumana.it/?id=417">: Coexistencia entre memoria y presente</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=418">MIREIA INIESTA / Boogie Nights. La gloria prostituida</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=413">KIM NICOLINI / Magnolia: Wise Up</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=415">EIRIK FRISVOLD HANSSEN / Punch-Drunk Love: Harmonium mundi</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=416">VICTOR GUIMARAES / Punch Drunk Love. Confusion say... ou a orquestração do caos </a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=414">CARLOS NATALIO / There Will Be Blood: a arquitetura da extração como metáfora do capitalismo</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=412">SIGISMONDO DOMENICO SCIORTINO / The Master, il cinema del ritratto</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=431">ADRIEN CLERC / Inherent Vice: dans les yeux du rêveur</a></li>
</ul>
<br />
prima linea<br />
<ul>
<li><a href="http://www.lafuriaumana.it/?id=442">TONI D'ANGELA / The Walk (Robert Zemeckis). La sublime architecture de l'air</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=439">FREDRIK GUSTAFSSON / The Walk</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=450">MIREIA INIESTA / The Assassin (Hsiao-Hsien Hou)</a><a href="http://www.lafuriaumana.it/?id=450">: la melancolía de la guerrera</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=454">MARIANA FREIJOMIL / Cemetery of Splendour (Apichatpong Weerasethakul): tránsito a otro espacio </a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=435">TONI D'ANGELA / The Visit (M. Night Shyamalan). Un racconto di formazione</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/index.php/59-lfu-26/456-raquel-schefer-occidente-ana-vaz">RAQUEL SCHEFER / Occidente (Ana Vaz)</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=434">TONI D'ANGELA / The Thoughts That Once We Had (Thom Andersen). Un pensiero per immagini</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=440">ALESSANDRO CAPPABIANCA / Tutto può accadere a Broadway (Peter Bogdanovich)</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=441">TONI D'ANGELA / Hwajang (Im Kwon-taek). Un certo riguardo per lo sguardo</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=430">NATASHA EVES & MANUEL RAMOS-MARTINEZ, ANDREA FRANCO, TONI D'ANGELA / Psychic Drving (William E. Jones), Sound of a Million Insects, Light of a Thousand Stars (Tomonari Nishikawa) / Vivir para Vivir (Laida Lertxundi) / Circumstantial Pleasure (Lewis Klahr) / Scales in the Spectrum of Space (Fern Silva)</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=448">TONI D'ANGELA / The Exquisite Corpus (Peter Tscherkassky, 2015). Un corpo “mostruoso”</a></li>
</ul>
<br />
l'occhio che uccide<br />
<ul>
<li><a href="http://www.lafuriaumana.it/?id=420">MANUEL RAMOS-MARTINEZ / Names in Dispute. What Titles Can Do in the Films of Straub and Huillet</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=426">MELINDA TOEN / Cinéma, langue et histoire dans le cinéma de Pier Paolo Pasolini: le rêve d’une chose</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=433">ANDREA FRANCO / El Espectador Caníbal</a></li>
</ul>
<br />
flaming creatures<br />
<ul>
<li><a href="http://www.lafuriaumana.it/?id=438">NATHANIEL DORSKY, DANIEL A. SWARTHNAS AND MARTIN GRENNBERGER / A Conversation</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=436">BIDHAN JACOBS / Jacques Perconte : voies et formes de la libération du signal</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=447">JULIA KOVALENKO & MAXIM SELEZNYOV / Letters for Shin’ichi Miyakawa</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=422">TONI D'ANGELA / Lo splendore del mondo, o la politica della bellezza</a></li>
</ul>
<ul>
<li><a href="http://www.lafuriaumana.it/?id=432">EMMANUEL HERBULOT / Art et cinéma: de transgressions en frontières. Avec quelques mots de John Baldessari</a></li>
</ul>
</blockquote>
</div>
<div>
<br />
<div>
<br />
<b><u> ASSORTED OTHER LINKS</u></b><br />
<ul>
<li>In <i>Artforum</i>, a wonderfully informative articles <a href="https://artforum.com/inprint/issue=201601&id=56695">by Babette Mangolte</a>, Chantal Akerman's cinematographer and collaborator, and <a href="https://artforum.com/inprint/issue=201601&id=56693">by Kathy Halbreich</a>, associate director of the Museum of Modern Art in New York.</li>
<li><a href="https://youtu.be/_dVc1GsyOZI">Chantal Akerman's <i>Jeanne Dielman</i>... Is a True Action Movie, a video essay by Adam Cook</a></li>
RIP Vilmos Zsigmond, legendarily brilliant cinematographer (including for <i>McCabe & Mrs. Miller</i>, <i>The Long Goodbye</i>, <i>Deliverance</i>, <i>The Sugarland Express </i>and <i>Close Encounters of the Third Kind</i>. He also worked on <i>Obsession</i>, <i>Blow Out</i>, <i>The Bonfire of the Vanities</i>, <i>The Black Dahlia</i>, <i>The Deer Hunter</i>, <i>Heaven's Gate</i>, and many more films besides). Here is a 70 minute long masterclass with Zsigmond at the 2014 Toronto International Film Festival:</ul>
<ul><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Q8zHGcTUQrw" width="560"></iframe><br /></ul>
<ul>
<li>David Hudson's brilliant round up of the <a href="https://www.fandor.com/keyframe/daily-highlights-of-2015">highlights of 2015</a> for Keyframe Daily, Fandor.</li>
<li><i><a href="http://www.cinematologists.com/podcastarchive/2015/12/22/episode-17-interview-with-dr-catherine-grant">The Cinematologists</a></i> podcast (Dario Llinares and Neil Fix), <a href="http://www.cinematologists.com/podcastarchive/2015/12/22/episode-17-interview-with-dr-catherine-grant">Episode 17: Interview with Catherine Grant</a></li>
<li>Tony Zhou's latest <a href="https://www.youtube.com/watch?v=v4seDVfgwOg">video essay on Bong Joon-ho's 2003 film MEMORIES OF MURDER, and the craft of ensemble staging</a>.</li>
<li>Excellent essay by<a href="http://www.publicbooks.org/blog/a-lesbian-carol-for-christmas"> Patricia White on on Todd Haynes' CAROL</a></li>
<li><a href="http://www.filmnoirfoundation.org/noircitymag/Patricia-Highsmith.pdf">Monica Nolan, 'The Films of Patricia Highsmith: Everyone is Guilty' PDF</a></li>
<a href="https://vimeo.com/76383856?ref=fb-share">Projection: 85 Years of the Projection Booth in Movies</a> - a video essay
<li><a href="http://reframe.sussex.ac.uk/repsychoanalysis/2015/12/21/a-trauma-montage/">An introduction to the psychoanalytic-film theory based video essay work of Ian Magor</a></li>
<li><a href="https://vimeo.com/148955244">Quentin Tarantino's Visual References</a>, a video essay by Jacob T. Swinney</li>
<li><a href="https://vimeo.com/groups/audiovisualcy/videos/149223291"><i>Psycho</i> - And Cut</a>, an intriguing video essay by Jop Leuven.</li>
<li>Interesting video essay work at this <a href="https://www.youtube.com/channel/UCBWR-fJ-Xxfl-Z22hvGLBXw/videos?spfreload=10">YouTube channel from VIDEOSTORE REVIEW: "A series of retro movie reviews from the video store era."</a></li>
<li><span style="border: 0px; box-sizing: inherit; font-family: 'Playfair Display', serif; font-size: 16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">'<a href="https://sondermag.wordpress.com/2016/01/02/satirising-genre-the-graduate-as-a-rom-com-dan-norman/">Satirising genre: <i>The Graduate</i> as a rom-com'</a> by Dan Norman at <a href="https://sondermag.wordpress.com/">Sonder Magazine</a></span></li>
<li>Kevin B. Lee's guide to "77 Video Essays (and 30 Standouts) of 2015" <a href="https://twitter.com/Fandor">@Fandor</a> <a href="https://t.co/qJWRfIeQ8B">http://fan.do/r/3da</a></li>
</ul>
</div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-72339612073236612432015-12-20T15:01:00.001+00:002015-12-20T15:18:01.952+00:00Big December Round Up! Favourite Film and Media Studies Gifts of 2015 Galore!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcaJG76gHFSAKlz6iKz0f3UxmKrR_9-WGk29DHmt7kYqjcxXZOl5r24On6dEkEUg8UAH_sxrcODsm2Ce_Kleq9nu7wcFR5SUhcjFjYQMihz0hnu9639QHUhcQNOqF0HobjOjpwpdsPDQ/s1600/Dissolves-for-FSFF.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcaJG76gHFSAKlz6iKz0f3UxmKrR_9-WGk29DHmt7kYqjcxXZOl5r24On6dEkEUg8UAH_sxrcODsm2Ce_Kleq9nu7wcFR5SUhcjFjYQMihz0hnu9639QHUhcQNOqF0HobjOjpwpdsPDQ/s640/Dissolves-for-FSFF.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: center;">
<span style="font-family: inherit; font-size: x-small;"><a href="https://www.caboosebooks.net/the-videographic-essay">A new online video essay</a> on <i>BRIEF ENCOUNTER </i>(David Lean, 1945), <span style="background-color: white; text-align: start;">which forms an integral part of <a href="https://www.caboosebooks.net/the-videographic-essay">Catherine Grant</a>’s contribution to </span><cite style="text-align: start;"><b><a href="http://www.caboosebooks.net/the-videographic-essay" style="text-align: start;">The Videographic Essay: Criticism in Sound and Image</a>, </b><span style="background-color: white;"><span style="font-style: normal;">edited by Christian Keathley and Jason Mittell, forthcoming from <a href="https://www.caboosebooks.net/the-videographic-essay">CABOOSE BOOKS</a> in 2016: </span></span></cite></span><a href="https://www.caboosebooks.net/the-videographic-essay">https://www.caboosebooks.net/the-videographic-essay</a><br />
<div style="text-align: left;">
<blockquote class="tr_bq">
<span style="font-size: xx-small;"><span style="background-color: white; font-family: "georgia" , serif;">Focusing
on a number of videographic explorations of matters of film editing,
including her study of the dissolves in David Lean’s 1945 </span><cite style="font-family: Georgia, serif;">Brief Encounter</cite><span style="background-color: white; font-family: "georgia" , serif;">,
Grant explores what such practical and audiovisual modes of research
and presentation—ones which themselves evidently turn on editing—can add
to the study of a feature that (with a number of key exceptions) has
not received much sustained attention to date in written film
scholarship. [<a href="https://www.caboosebooks.net/the-videographic-essay" style="font-style: italic; font-weight: bold;">Dissolves of Passion</a>]</span></span></blockquote>
</div>
</div>
</td></tr>
</tbody></table>
<br />
Well, 'tis the season to be jolly, and <a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free </a>is indeed quite jolly as the holidays approach. It hasn't been an especially busy year, entry-wise, at this here <a href="http://filmstudiesforfree.blogspot.com/">blog</a>. But it has certainly been a lucky, busy and bountiful one for its author's film-studies-related activities away from it (including at <a href="http://filmstudiesforfree.blogspot.com/">FSFF</a>'s <a href="https://twitter.com/filmstudiesff">Twitter</a> and <a href="https://www.facebook.com/FilmStudiesForFree/">Facebook </a>versions).<br />
<br />
What customarily follows, to celebrate and give thanks for that fortune, are some links (including some choice ones not shared very much on any platform before) to openly accessible items of scholarly and critical interest.<br />
<br />
<a href="http://filmstudiesforfree.blogspot.com/">FSFF </a>hopes (as ever) to be back here with an update <i>very, very soon</i>. But in the meantime, it would like to wish its faithful, patient and much appreciated readers very happy holidays if they are having them, and to send its warmest seasonal greetings to all!<br />
<br />
<ul>
<li><a href="https://mubi.com/notebook/posts/video-essay-two-takes-on-strategy-in-johnnie-to-s-election">Latest video essay</a> (on Johnnie To's classic film <i>Election</i>) by <a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a>'s favourite <i>and best</i> video essayists of the year (and, with Kevin B Lee, favourite <i>and best of all time</i>): <b><a href="https://vimeo.com/regularlovers">Cristina Alvarez López and Adrian Martin</a></b>: <a href="https://mubi.com/notebook/posts/video-essay-two-takes-on-strategy-in-johnnie-to-s-election">https://mubi.com/notebook/posts/video-essay-two-takes-on-strategy-in-johnnie-to-s-election</a>. Also see CAL and AM's <a href="https://www.fandor.com/keyframe/author/susiem-923232">Fandor byline videos</a> and essays. And, <a href="https://www.youtube.com/playlist?list=PLVXvS0k8-NHRutjBUlDd7LkZkeXcqoABj">below</a>, watch Cristina's three marvellous <a href="https://www.youtube.com/playlist?list=PLVXvS0k8-NHRutjBUlDd7LkZkeXcqoABj">videos</a> commissioned for the recent <a href="https://www.ica.org.uk/blog/surreal-frames">Luis Buñuel season at the ICA</a> (read her essay about them <b><a href="https://www.ica.org.uk/blog/surreal-frames">here</a></b>). Also see their r<b><a href="http://framescinemajournal.com/article/analyse-and-invent-a-reflection-on-making-audiovisual-essays/">ecent essay</a></b> on making audiovisual essays in the <a href="http://framescinemajournal.com/">new issue of <i>Frames Cinema Journal</i></a>: <a href="http://framescinemajournal.com/article/analyse-and-invent-a-reflection-on-making-audiovisual-essays/">http://framescinemajournal.com/article/analyse-and-invent-a-reflection-on-making-audiovisual-essays/</a> (and links to two earlier essays they wrote on the same or similar subjects at <i>Frames</i>: <b><a href="http://framescinemajournal.com/article/double-lives-second-chances/">hers</a></b> and <b><a href="http://framescinemajournal.com/article/in-so-many-words/">his</a></b>)</li>
</ul>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/videoseries?list=PLVXvS0k8-NHRutjBUlDd7LkZkeXcqoABj" width="560"></iframe></div>
<br />
<br />
<ul>
<li><b>"EXTREME STATES: Remixing Cinema, Visual Art and Music in Godard’s PUISSANCE DE LA PAROLE"</b> at <b>SEQUENCE Three</b> by Albertine Fox. Online at: <a href="http://reframe.sussex.ac.uk/sequence3/archive/sequence-3-1/">http://reframe.sussex.ac.uk/sequence3/archive/sequence-3-1/</a></li>
</ul>
<b></b><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWdGJmg28FFkQOCtlMJnheEG-K9sTuarc2zoOlbcdWdpVbztDWdk8p2RM3Offxzc1NbjCDcindsDRppUxsnUT7ZtiIx7dA9cnO8R30FnU_nlJ4PUv6L_OKvuItPs33u2iaJJhd3Eb1fQ/s1600/SLIDER_SEQUENCE_THREE.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWdGJmg28FFkQOCtlMJnheEG-K9sTuarc2zoOlbcdWdpVbztDWdk8p2RM3Offxzc1NbjCDcindsDRppUxsnUT7ZtiIx7dA9cnO8R30FnU_nlJ4PUv6L_OKvuItPs33u2iaJJhd3Eb1fQ/s640/SLIDER_SEQUENCE_THREE.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Online at: <a href="http://reframe.sussex.ac.uk/sequence3/archive/sequence-3-1/">http://reframe.sussex.ac.uk/sequence3/archive/sequence-3-1/</a></td></tr>
</tbody></table>
<ul>
<li><b>A panel discussion on late late Godard </b>with Miriam Ross from Wellington’s Victoria University, Julian Murphet, director for the centre for Modernism Studies at the University of New South Wales, filmmaker and Deakin University film scholar Dirk de Bruyn and Alex Gawronski, artist and scholar from the Sydney College of the Arts.<b> Online at: </b><a href="http://www.abc.net.au/radionational/programs/finalcut/a-panel-discussion-on-late,-late-godard/7018070">http://www.abc.net.au/radionational/programs/finalcut/a-panel-discussion-on-late,-late-godard/7018070</a><b><br /></b></li>
</ul>
<ul>
<li><b><a href="https://www.fandor.com/keyframe/poll-the-best-video-essays-of-2015" target="_blank">Kevin B. Lee</a>'s</b> colossal collection of <b>favourite 2015 video essays</b> of film critics and assorted scholars: <a href="https://www.fandor.com/keyframe/poll-the-best-video-essays-of-2015">https://www.fandor.com/keyframe/poll-the-best-video-essays-of-2015</a></li>
</ul>
<ul>
<li><a href="http://mediacommons.futureofthebook.org/imr/theme-week/2015/51/star-wars-december-14-18-2015" target="_blank"><b>In Media Res</b></a> presents <b>Star Wars: A Media Studies Primer</b> (edited by Lauren M. Cramer). Online at: <a href="http://mediacommons.futureofthebook.org/imr/theme-week/2015/51/star-wars-december-14-18-2015">http://mediacommons.futureofthebook.org/imr/theme-week/2015/51/star-wars-december-14-18-2015</a> </li>
</ul>
<blockquote class="tr_bq">
<ul>
<li><span style="font-size: x-small;">Daniel Reynolds (Emory University) presents: Execute Minute 47: on Star Wars Wars</span></li>
<li><span style="font-size: x-small;">Joseph Moss (Georgia State University) presents: Wait, Where is the New Star Wars Trailer Premiering?</span></li>
<li><span style="font-size: x-small;">Garret Castleberry (Oklahoma City University) presents: Prophetic Revisionist Paratextual Ontologies: Preparing the Way for The Force Awakens</span></li>
<li><span style="font-size: x-small;">William Proctor (Bournemouth University) presents: Star Wars Detectives</span></li>
</ul>
</blockquote>
<ul>
</ul>
<ul>
<li><i>New</i> <a href="http://www.necsus-ejms.org/portfolio/autumn-2015_vintage/" target="_blank"><i><b>NECSUS: European Journal of Media Studies</b></i>, Autumn 2015_‘Vintage’</a>. The below contents are all accessible here: <a href="http://www.necsus-ejms.org/portfolio/autumn-2015_vintage/">http://www.necsus-ejms.org/portfolio/autumn-2015_vintage/</a><br /><span style="font-size: x-small;"><i>Editorial Necsus;<b> Articles</b>: Temps mort: Speaking about Chantal Akerman (1950-2015) by Eric de Kuyper and Annie van den Oever; Agamben’s cinema: Psychology versus an ethical form of life by Janet Harbord; Richard Serra: Sculpture, television, and the status quo by Francesco Spampinato; Dredging, drilling, and mapping television’s swamps: An interview with John Caldwell on the 20th anniversary of Televisuality by Markus Stauff; <b>Special section: Vintage</b>, guest edited by Kim Knowles; Locating vintage by Kim Knowles; A theoretical approach to vintage: From oenology to media by Katharina Niemeyer; Technostalgia of the present: From technologies of memory to a memory of technologies by Tim van der Heijden; The way we watched: Vintage television programmes, memories, and memorabilia by Helen Piper; Retro, faux-vintage, and anachronism: When cinema looks back by Stefano Baschiera and Elena Caoduro; No time like the past?: On the new role of vintage and retro in the magazines Scandinavian Retro and Retro Gamer by Kristian Handberg; Death, beauty, and iconoclastic nostalgia: Precarious aesthetics and Lana Del Rey by Arild Fetveit; <b>Audiovisual essays</b>: edited by Cristina Álvarez López and Adrian Martin; Learning from popular genres – with help from the audiovisual essay by C. Álvarez López and A. Martin; Construction of a Heist by Henrike Lindenberger; Comedy Vitti Style by Pasquale Iannone; <b>Book reviews:</b> edited by Lavinia Brydon and Alena Strohmaier (NECS Publication Committee); The Lumière Galaxy by Francesco Pitassio; Beautiful Data / The Democratic Surround by Malte Hagener; Cinema of the Swimming Pool / Cinema as Weather by Adam O’Brien; <b>Festival reviews</b>: edited by Marijke de Valck and Skadi Loist (Film Festival Research Network); Selling film in the summer of 2015: Midnight Sun, Il Cinema Ritrovato, and Karlovy Vary by Maria San Filippo; Made in Peru: Lima Film Festival comes of age by Sarah Barrow; Strong positioning on the international festival circuit: An interview with Diana Iljine of Filmfest München by Tanja C. Krainhöfer; <b>Exhibition reviews</b>: edited by Miriam De Rosa and Malin Wahlberg (NECS Publication Committee); Hollis Frampton’s ‘other work’ by Michael Zryd; Theaters: Cinematic vintage magnified by Miriam De Rosa; Arab Pop: Whose Gaze is it Anyway? by James Harvey-Davitt; Artists’ Film Biennial, ICA 2014 by Sophia Satchell-Baeza.</i></span></li>
</ul>
<ul>
<li><i>New</i> <b><a href="http://sensesofcinema.com/issues/issue-77/">SENSES OF CINEMA!! Issue 77</a>,</b> 2015 - including tributes to and studies of Chantal Akerman: <i>La Passion de L’Intime/An Intimate
Passion</i>, the Legacy of Pier Paolo Pasolini, Australian film history, Apichatpong Weerasethakul, Quentin Tarantino and more...</li>
</ul>
<ul>
<li><i>New</i> <a href="http://www.mediaindustriesjournal.org/index.php/mij/issue/view/5" target="_blank"><b>Media Industries Journal, 2.2 2015</b></a>. Online at: <a href="http://www.mediaindustriesjournal.org/index.php/mij/issue/view/5">http://www.mediaindustriesjournal.org/index.php/mij/issue/view/5</a></li>
<li><blockquote class="tr_bq">
<span style="font-size: x-small;"><b>Articles</b>: PR and Politics at Hollywood’s Biggest Night: The Academy Awards and Unionization (1929-1939) by Monica Roxanne Sandler; The Impact of Working Conditions and Personality Traits on the Job Satisfaction of Media Professionals by M. Bjørn von Rimscha; The Sony Hack: Data and Decision in the Contemporary Studio by J.D. Connor; <br />Hacking Radio History’s Data: Station Call Signs, Digitized Magazines, and Scaled Entity Search by Kit Hughes, Eric Hoyt, Derek Long, Kevin Ponto, Tony Tran; Cultural Diversity as Brand Management in Cable Television by Melanie Kohnen; TV Got Better: Netflix’s Original Programming Strategies and the On-Demand Television Transition by Chuck Tryon</span></blockquote>
</li>
</ul>
<ul>
</ul>
<ul>
<li><i>New <a href="http://ojs.meccsa.org.uk/index.php/netknow/issue/view/48/showToc" target="_blank"><b>Networking Knowledge</b></a></i><a href="http://ojs.meccsa.org.uk/index.php/netknow/issue/view/48/showToc" target="_blank"><b>, Vol 8, No 5 (2015):</b></a> Reframing Cinematic Space and Audience Practice in the Digital Age, Edited by DARIO LLINARES and SARAH ARNOLD: <a href="http://ojs.meccsa.org.uk/index.php/netknow/issue/view/48/showToc">http://ojs.meccsa.org.uk/index.php/netknow/issue/view/48/showToc</a></li>
</ul>
<div>
<blockquote class="tr_bq">
<ul>
<li><span style="font-size: x-small;"><a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/392">Introduction: Reframing Cinematic Space and Audience Practice in the Digital Age</a> <a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/392/221">PDF</a> Dario Llinares, Sarah Arnold </span></li>
<li><span style="font-size: x-small;"><a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/393">Re-centering the Cinema Experience in a Multi-Platform, Digital Age</a> <a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/393/222">PDF</a> E. W. Nikdel </span></li>
<li><span style="font-size: x-small;"><a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/394">New Materialist Spectatorship: The Moving-Image-Body, the Mockumentary and a New Image of Thought</a> <a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/394/223">PDF</a> Miriam von Schantz </span></li>
<li><span style="font-size: x-small;"><a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/395">In Excess, Elsewhere and Otherwise: Feminine Subjectivity in Eija-Liisa Ahtila’s multi-screen installation If 6 Was 9 (1995)</a> <a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/395/224">PDF</a> Elspeth Mitchell </span></li>
<li><span style="font-size: x-small;"><a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/396">A Social Zombie: The Performative Nature of Contemporary (British) Zombie Cinema Fandom</a> <a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/396/225">PDF</a> Shanaz Shakir </span></li>
<li><span style="font-size: x-small;"><a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/397">Dr Dario Llinares in Conversation with Dr Sarah Atkinson</a> <a href="http://ojs.meccsa.org.uk/index.php/netknow/article/view/397/226">PDF</a> Dario Llinares, Sarah Atkinson</span> </li>
</ul>
</blockquote>
</div>
<ul>
<li><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;">New at <i><a href="http://www.thecine-files.com/dossier-on-teaching-film/">The Cine-Files</a></i>: </span><span style="color: #454545; font-family: inherit;"><span style="font-size: 15px;">a great <a href="http://www.thecine-files.com/dossier-on-teaching-film/">dossier on teaching film</a> with </span></span><span style="color: #454545;"><span style="font-size: 15px;">contribution</span></span><span style="color: #454545;"><span style="font-family: inherit;"><span style="font-size: 15px;"> as follows: </span></span></span><h3 style="border: 0px; font-weight: normal; line-height: 1.25; margin: 0px 0px 10px; outline: 0px; padding: 0px; text-align: left; vertical-align: baseline;">
<span style="font-family: inherit; font-size: x-small;"><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><a href="http://www.thecine-files.com/teaching-la-historia-oficial/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Nicolas Poppe, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Historia Oficial”</i></a>; </span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><a href="http://www.thecine-files.com/teaching-meshes-of-the-afternoon/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Sarah Keller, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Meshes of the Afternoon”</i></a></span><span style="color: #003300; font-style: inherit;">; </span><a href="http://www.thecine-files.com/teaching-the-bridge/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="font-style: inherit;">Ned Schantz, “Teaching </span><i style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">The Bridge”</i></a>; <span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><a href="http://www.thecine-files.com/teaching-the-hangover/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Patricia Ventura, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Hangover</i></a>; </span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><a href="http://www.thecine-files.com/teaching-the-birth-of-a-nation/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Tarshia Stanley, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The</i> <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Birth of a Nation”</i></a>; </span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><a href="http://www.thecine-files.com/teaching-casablanca/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Kyle Stevens, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Casablanca”</i></a>; </span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><a href="http://www.thecine-files.com/teaching-american-psycho/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Jaap Kooijman, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">American Psycho”</i></a>; </span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><a href="http://www.thecine-files.com/teaching-pillow-talk/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Pamela Robertson Wojcik, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Pillow Talk”</i></a>; </span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><a href="http://www.thecine-files.com/teaching-smoke/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">David Johnson, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Smoke”</i></a>;<span style="font-family: inherit;"> </span></span></span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-align: justify; text-decoration: none; vertical-align: baseline;"><span style="font-family: inherit; font-size: x-small;"><a href="http://www.thecine-files.com/teaching-touch-of-evil/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-align: justify; text-decoration: none; vertical-align: baseline;">Corinn Columpar, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Touch of Evil”</i></a>; </span></span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="font-family: inherit; font-size: x-small;"><a href="http://www.thecine-files.com/teaching-sweet-smell-of-success/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Patrick Keating, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sweet Smell of Success”</i></a>; </span></span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="font-family: inherit; font-size: x-small;"><a href="http://www.thecine-files.com/teaching-the-400-blows/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Kristi McKim, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The 400 Blows”</i></a>; </span></span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="font-family: inherit; font-size: x-small;"><a href="http://www.thecine-files.com/teaching-devdas-and-mirch/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Ani Maitra, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Devdas</i> and <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Mirch Masala”</i></a>; </span></span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="font-family: inherit; font-size: x-small;"><a href="http://www.thecine-files.com/teaching-inception/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">John Bruns, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Inception”</i></a>; </span></span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="font-family: inherit; font-size: x-small;"><a href="http://www.thecine-files.com/teaching-tomboy/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Amelie Hastie, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Tomboy”</i></a>; </span></span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="font-family: inherit; font-size: x-small;"><a href="http://www.thecine-files.com/teaching-the-wire/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><span style="font-style: inherit;">Jason Mittell, “Teaching </span></span><i style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">The Wire”</i></a>; </span></span><span style="border: 0px; color: #003300; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="font-family: inherit; font-size: x-small;"><a href="http://www.thecine-files.com/teaching-invasion-of-the-body-snatchers/" style="border: 0px; color: black; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">Rashna Richards, “Teaching <i style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Invasion of the Body Snatchers”</i></a>.</span></span></h3>
</li>
<li><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;">PROJECT ARCLIGHT! </span><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 13px; line-height: normal;">Charles Acland and Eric Hoyt have launched <a href="http://search.projectarclight.org/"><b>Arclight</b> </a>(</span><a href="http://search.projectarclight.org/" rel="noreferrer" style="color: #1155cc; font-family: arial, sans-serif; font-size: 13px; line-height: normal;" target="_blank">http://search.<wbr></wbr>projectarclight.org</a><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 13px; line-height: normal;">), a data mining and visualization tool for film and media history.</span></span><span style="font-family: inherit;"><br style="color: #222222; font-family: arial, sans-serif; font-size: 13px; line-height: normal;" /></span>
<span style="font-family: inherit;"><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 13px; line-height: normal;">Arclight graphs how terms and entities trend across the nearly 2 million page collection of the Media History Digital Library (MHDL, </span><a href="http://mediahistoryproject.org/" rel="noreferrer" style="color: #1155cc; font-family: arial, sans-serif; font-size: 13px; line-height: normal;" target="_blank">http://mediahistoryproject.org</a><wbr style="color: #222222; font-family: arial, sans-serif; font-size: 13px; line-height: normal;"></wbr><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 13px; line-height: normal;">), which includes lengthy runs of Variety (1905-1948), Broadcasting (1932-1963), Sponsor (1946-1964) Motion Picture News (1913-1930), Motion Picture Herald (1930-1948), Motion Picture Daily (1931-1964), and Photoplay (1915-1943), among many, many other publications. Arclight is integrated with the MHDL's search platform, Lantern, to allow for toggling between distant and close reading. </span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 13px; line-height: normal;">You can find suggestions about how to use Arclight for research and teaching on our blog: </span><a href="http://projectarclight.org/arguments/" rel="noreferrer" style="color: #1155cc; font-family: arial, sans-serif; font-size: 13px; line-height: normal;" target="_blank">http://projectarclight.org/<wbr></wbr>arguments/</a></span></span></li>
</ul>
<ul>
<li><span style="color: #454545; font-family: inherit;">The </span><span style="color: #454545; font-family: inherit; font-weight: bold;"><a href="https://www.openlibhums.org/">Open Library of Humanities</a>,</span><span style="color: #454545; font-family: inherit;"> a major new open access journal </span><span style="color: #454545;">platform, launched in 2015 and immediately published excellent film and media studies content:</span> </li>
</ul>
<blockquote class="tr_bq">
<ul>
<li>Keith M. Johnston, 2015 <a href="http://dx.doi.org/10.16995/olh.19">“3D UK? 3D History and the Absent British Pioneers”. <i>Open Library of Humanities</i>, 1(1): e2, pp. 1–25, DOI</a>: <a href="http://dx.doi.org/10.16995/olh.19">http://dx.doi.org/10.16995/olh.19</a>. </li>
</ul>
</blockquote>
<blockquote class="tr_bq">
<ul>
<li><a href="https://about.openlibhums.org/2015/09/30/an-interview-with-olh-author-keith-johnston-about-the-history-of-3d-cinema-in-the-uk/">An interview</a> with OLH author Keith Johnston about the history of 3D cinema in the UK. Online at: <a href="https://about.openlibhums.org/2015/09/30/an-interview-with-olh-author-keith-johnston-about-the-history-of-3d-cinema-in-the-uk/">https://about.openlibhums.org/2015/09/30/an-interview-with-olh-author-keith-johnston-about-the-history-of-3d-cinema-in-the-uk/</a></li>
</ul>
</blockquote>
<ul>
<li><div style="color: black; font-family: inherit;">
<b style="font-family: inherit;"><i>Perspectives on Nagisa Oshima </i></b><span style="font-family: inherit;">(open access ebook). Downloadable at <a href="http://utcp.c.u-tokyo.ac.jp/publications/2015/03/perspectives_on_oshima_nagisa_1/index_en.php">http://utcp.c.u-tokyo.ac.jp/publications/2015/03/perspectives_on_oshima_nagisa_1/index_en.php</a></span></div>
<div style="color: black; font-family: inherit; font-weight: normal;">
<a href="http://utcp.c.u-tokyo.ac.jp/publications/pdf/UTCP-Uehiro%20Booklet%207.pdf">http://utcp.c.u-tokyo.ac.jp/publications/pdf/UTCP-Uehiro%20Booklet%207.pdf</a></div>
</li>
</ul>
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: x-small;">Preface: M. Downing ROBERTS</span></blockquote>
<blockquote>
<span style="font-size: x-small;">1. Oshima in Retrospect(ives): The Question of Corporeality in Daitōa Sensō (1968) by Shota OGAWA<br />2. Ideology and Subjection in Ōshima Nagisa’s Kōshikei (1968) by Max WARD<br />3. Oshima is Dead: Proxy Wars, Security, and Cinematic Love by Phil KAFFEN<br />4. Ōshima Nagisa on Responsibility and Premonition: Shiiku (1961) and Amakusa Shirō Tokisada (1962) by M. Downing ROBERTS<br />5. The Voice of the Dead: The Image of the State and Postwar Democracy in Oshima Nagisa’s The Ceremony (1971) by Ryoko MISONO</span></blockquote>
</blockquote>
<ul>
<li><span style="font-family: inherit;">The excellent <i style="font-weight: bold;">The London Film and Media </i></span><span style="font-family: inherit;"><b>Conference Readers </b>are now available as <b>PDF ebooks</b> for download - free, but encouraging small donations: </span><span style="font-family: inherit;"><a href="http://www.thelondonfilmandmediaconference.com/conference-ebook-readers-available-for-download/">http://www.thelondonfilmandmediaconference.com/conference-ebook-readers-available-for-download/</a></span></li>
</ul>
<ul>
<li><span style="font-family: inherit; font-weight: bold;">New FILM-PHILOSOPHY!! Rolling issue 89: </span><span style="font-family: inherit;"><a href="http://www.film-philosophy.com/index.php/f-p/issue/view/89">http://www.film-philosophy.com/index.php/f-p/issue/view/89</a>. </span><i>Including, so far:</i></li>
</ul>
<blockquote class="tr_bq">
<ol>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/263">Anti-Christ: Tragedy, Farce or Game?</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/263/910">PDF</a> Jan Simons</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/905">Laughter and the Death of the Comic: Charlie Chaplin's The Circus and Limelight in Light of the Ethics of Emmanuel Levinas</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/905/912">PDF</a> Moshe Shai Rachmuth</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/963">Films Blancs: Luminosity in the Films of Michael Mann</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/963/913">PDF</a> Davide Panagia</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/1009">Cinematic Incorporation: Literature in My Life Without Me</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/1009/911">PDF</a> Sarah Dillon</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/1012">Trying Truths: Dreyer, Bresson and the Meaning Effect</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/1012/914">PDF</a> Brandon White</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/1003">Ambivalent Screens: Quentin Tarantino and the Power of Vision</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/1003/916">PDF</a> Frida Beckman</li>
<li><a href="http://www.film-philosophy.com/index.php/f-p/article/view/1018">The Permeable Self: A Theory of Cinematic Quotation</a> <a href="http://www.film-philosophy.com/index.php/f-p/article/view/1018/915">PDF</a> Chelsea Crawford</li>
</ol>
</blockquote>
<ul>
<li><i>New</i> <a href="http://offscreen.com/issues/view/volume-19-issue-7"><b>Offscreen </b>19.7, 2015</a> Online at: <a href="http://offscreen.com/issues/view/volume-19-issue-7">http://offscreen.com/issues/view/volume-19-issue-7</a> (link via <a href="http://girishshambu.blogspot.co.uk/2015/12/tiff-2015-films-and-their-paratext.html">Girish Shambu</a>) </li>
<li><blockquote class="tr_bq">
<span style="font-size: x-small;"><b>Articles:</b> The Maltese Falcon and the Case of the Mystery Square and other things lurking in the background by Donato Totaro; Nanarophelia and the danger of praising the mediocre by Simon Laperrière; London Made Me: Personal History, Film History and My Home Town by Paul W. Salmon; The Subject Was Rose Joseph Cornell and Rose Hobart by Elaine Lennon; Beautiful Light, Vibrant Things, Speaking Minds: Terrence Malick’s To the Wonder by Daniel Garrett</span></blockquote>
</li>
</ul>
<ul>
<li>New video channel: <a href="http://reframe.sussex.ac.uk/conversations/talksmfm/" style="font-weight: bold;">TALKS@MFM</a><b>,</b><span style="font-family: inherit;"> v</span><span style="background-color: white; color: #373737; font-family: inherit; font-size: 15px;">ideo and audio recordings of research presentations and masterclasses held at the </span><a href="http://www.sussex.ac.uk/mfm/" style="border: 0px; color: #1982d1; font-family: inherit; font-size: 15px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">School of Media, Film and Music, University of Sussex</a><span style="background-color: white;"><span style="color: #373737; font-family: inherit;"><span style="font-size: 15px;">. Further information linked to here:<a href="http://reframe.sussex.ac.uk/conversations/talksmfm/"> http://reframe.sussex.ac.uk/conversations/talksmfm/</a></span></span></span></li>
</ul>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/LqQlqxYl6xU" width="560"></iframe></div>
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/_rD6IS6FkuE" width="560"></iframe></div>
<div>
<br /></div>
<ul>
<li><span style="font-family: inherit;">There will be lots more publications to come which are related to the fabulous NEH funded <span style="background-color: white; color: #444444;"> </span><a href="http://sites.middlebury.edu/videoworkshop/" style="color: #006699; outline: none; text-decoration: none;" target="_blank"><b>Scholarship in Sound and Image: A Workshop in Videographic Criticism</b></a><span style="background-color: white;"><span style="color: #444444;"> at Middlebury College, U.S.A., </span></span><span style="font-family: inherit;">including the book mentioned at the top of this entry<span style="font-family: inherit;">:</span></span></span> <a href="http://www.caboosebooks.net/the-videographic-essay">The Videographic Essay: Criticism in Sound and Image</a>, edited by workshop directors Christian Keathley and Jason Mittell, forthcoming from <a href="https://www.caboosebooks.net/the-videographic-essay">CABOOSE BOOKS</a> in 2016, as well as a related issue of <a href="http://mediacommons.futureofthebook.org/intransition/">[in]Transition: Journal of Videographic Film and Moving Image Studies</a>. But there are four highlights (or related items) already online:</li>
</ul>
<blockquote class="tr_bq">
<ol>
<li><span style="font-size: small;">Jason Mittell’s <a href="https://justtv.wordpress.com/2015/07/01/making-videographic-criticism/#more-1202">account of the project</a></span> </li>
<span style="font-size: small;">
</span>
<li><span style="font-size: small;">A<a href="http://blog.commarts.wisc.edu/2015/07/09/videographic-criticism-101/"> post by participant Melanie Kohnen</a> for Antenna, which also includes links to some of the work produced at the workshop </span></li>
<span style="font-size: small;">
</span>
<li><span style="font-size: small;">Guest Presenter in Residence Catherine Grant's video essay <a href="https://www.caboosebooks.net/the-videographic-essay">Dissolves of Passion</a> on <i>Brief Encounter,</i> which is celebrating its 70th anniversary this winter. </span></li>
<span style="font-size: small;">
</span>
<li><span style="font-size: small;">And participant John Gibbs' <a href="https://fttreading.wordpress.com/2015/10/13/three-videographic-exercises-on-notorious-alfred-hitchcock-1946/">Three videographic exercises on Notorious (Alfred Hitchcock, 1946).</a></span><span style="font-size: small;"> including the video below:</span> </li>
</ol>
</blockquote>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="444" mozallowfullscreen="" src="https://player.vimeo.com/video/140418637?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe><br /></div>
<blockquote class="tr_bq">
<ul>
</ul>
</blockquote>
<ul>
<li>Jacob T Swinney's new video for <i>Press Play</i>: <a href="http://blogs.indiewire.com/pressplay/watch-quentin-tarantinos-best-visual-film-references-in-three-minutes-20150522">http://blogs.indiewire.com/pressplay/watch-quentin-tarantinos-best-visual-film-references-in-three-minutes-20150522</a></li>
<li><div style="text-align: center;">
</div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/148955244?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></div>
</li>
</ul>
<ul>
<li> Below, Corey Creekmur's great video essay on 'intensified continuity' <b>How to Read a File (How to Read a Film) [The 39 Steps]</b>. Watch Corey's other videos here: <a href="https://vimeo.com/user41519424">https://vimeo.com/user41519424</a></li>
</ul>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/136221583?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe> </div>
<br />
<ul>
<li><a href="https://vimeo.com/89415626" target="_blank"><b>Almost Bliss: Notes on Derek Jarman’s Blue, curated by Donald Smith</b></a> (via Ed Webb-Ingall). Read the written ref<b>l</b>ection on the below installation work here: <a href="https://vimeo.com/89415626">https://vimeo.com/89415626</a></li>
</ul>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/89415626?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe> </div>
<ul>
<li>Four videos (playlist embedded below) from <a href="https://centreformoderniststudiessussex.wordpress.com/quadrophenia/">University of Sussex Centre for Modernist Studies: 'Here by the Sea and the Sand: <b>A Symposium on QUADROPHENIA'</b></a></li>
</ul>
<blockquote class="tr_bq">
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/videoseries?list=PLVXvS0k8-NHTHuLX-c8eDfilLz1S2Tr5H" width="560"></iframe></div>
</blockquote>
<br />
<ul>
<li><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;">Film Theory Ch 3 The Face and the Mirror<span style="font-family: inherit;"> </span></span><span style="color: #454545;"><span style="font-family: inherit;">T</span></span><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;">h<span style="font-family: inherit;">e below</span> video essay, drawn from chapter 3 ('Cinema as Mirror: The Face and Close-Up'') of Thomas Elsaesser and Malte Hagener's <i>Film Theory: an Introduction Through the Sense<span style="font-family: inherit;">s</span></i> (Routledge, 2nd edition, 2015), investigates elements of film theory that highlight the close-up and the face in the films of Ingmar Bergman. Premissed as the book is on the assumption that great films 'think' their own conditions of possibility, the video essay gives a meta-cinematic dimension to a filmmaker's apparently personal themes and private obsessions. For <span style="font-family: inherit;">related</span> video e<span style="font-family: inherit;">ssay<span style="font-family: inherit;">s and texts</span></span>, visit the book's companion website: <a href="http://www.routledgetextbooks.com/textbooks/9781138824300/"><span style="font-family: inherit;">http://www.routledgetextbooks.com/textbooks/9781138824300/</span></a></span></li>
</ul>
<div style="text-align: center;">
<span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"><span style="font-family: inherit;"><span style="font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="447" mozallowfullscreen="" src="https://player.vimeo.com/video/134700631?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></span> </span></span></div>
<ul>
<li><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;">A video essay on Lindsay's Anderson's film <i>If</i>,</span><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"> by Ella Finch<span style="font-family: inherit;">, Dilyana Atanasova, Alex Brace, Yang Jiang</span></span></li>
</ul>
<div style="text-align: center;">
<span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"><span style="font-family: inherit;"><iframe allowfullscreen="" frameborder="0" height="381" mozallowfullscreen="" src="https://player.vimeo.com/video/133431600?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="610"></iframe></span></span><br /></div>
<ul>
<li><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;">Check out the <a href="http://www.euppublishing.com/userimages/ContentEditor/1434029192585/American%20Independent%20Cinema.pdf" target="_blank">introduction</a></span><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"> (<a href="http://www.euppublishing.com/userimages/ContentEditor/1434029192585/American%20Independent%20Cinema.pdf" target="_blank">PDF</a>) to Anna Backman Rogers' new book on</span><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"> American Independent Cinema courtesy of the Edinburgh University Press website:</span><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"><span style="font-family: inherit;"><span style="font-family: inherit;"> </span></span></span><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"><span style="font-family: inherit;"><a href="http://www.euppublishing.com/userimages/ContentEditor/1434029192585/American%20Independent%20Cinema.pdf">http://www.euppublishing.com/userimages/ContentEditor/1434029192585/American%20Independent%20Cinema.pdf</a></span></span><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"><span style="font-family: inherit;">.</span></span><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"><span style="font-family: inherit;"> Check out Anna's <a href="https://gu-se.academia.edu/AnnaBackmanRogers">academia.edu</a> page for some other very in<span style="font-family: inherit;">terest</span>ing downloadable items: <a href="https://gu-se.academia.edu/AnnaBackmanRogers">https://gu-se.academia.edu/AnnaBackmanRogers</a></span></span><span style="color: #454545; font-family: inherit; font-size: 15px; font-weight: bold;"> </span></li>
</ul>
<ul>
<li><b>PhD thesis</b> by Anna Hurina (2015) <b>Representations of Urban Spaces and Their Transformations in Soviet Cinema of the 1920s and 1960s</b>, Durham theses, Durham University. Available at Durham E-Theses Online: <a href="http://etheses.dur.ac.uk/11340/">http://etheses.dur.ac.uk/11340/</a></li>
</ul>
<ul>
<li><b>PhD thesis</b> by Christopher van Eecke (2015) <b>Pandaemonium: Ken Russell's Artist Biographies as Baroque Performance</b>, Maastricht University: <a href="http://pub.maastrichtuniversity.nl/b9a991ae-7312-4fe4-a59c-d4b44512b92b">http://pub.maastrichtuniversity.nl/b9a991ae-7312-4fe4-a59c-d4b44512b92b</a></li>
</ul>
<ul>
</ul>
<ul></ul>
<ul>
<li><b>Podcasts from the study day</b> on ‘<a href="http://selfrep.wix.com/selfrep#!pagina-di-musica/c192q">The Self-Portrait in the Moving Image</a>’ at <a href="http://www.bbk.ac.uk/arts/research/birkbeck-institute-for-the-moving-image">Birkbeck Institute for the Moving Image</a> <a href="http://selfrep.wix.com/selfrep#!pagina-di-musica/c192q">http://selfrep.wix.com/selfrep#!pagina-di-musica/c192q</a></li>
</ul>
<ul></ul>
<div>
</div>
<ul>
<li><b>SERIAL PODCASTS!</b> In addition to <i>Cinema Journal</i>'s great <a href="http://www.aca-media.org/"><b>Aca Media</b> podcast </a>offering and Peter Labuza's marvellous <a href="http://www.thecinephiliacs.net/" style="font-weight: bold;">The Cinephiliacs</a> (check out Peter's recent <a href="http://www.thecinephiliacs.net/2015/12/episode-72-david-bordwell-daisy-kenyon.html" target="_blank">interview</a> with <a href="http://www.thecinephiliacs.net/2015/12/episode-72-david-bordwell-daisy-kenyon.html" target="_blank"><b>David Bordwell</b></a>), there is a great new podcast of film and media scholarly interest on the block: <b><a href="http://www.cinematologists.com/">The Cinematologists</a></b> (Dario Llinares and Neil Fox)</li>
</ul>
<div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
<o:PixelsPerInch>96</o:PixelsPerInch>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Calibri;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-ansi-language:EN-US;}
</style>
<![endif]-->
<!--StartFragment-->
<br />
<blockquote class="tr_bq">
<div style="text-align: center;">
<b style="font-family: 'Helvetica Neue';">List of
Cinematologists episodes Season 1 & 2</b></div>
<blockquote>
<b><span style="font-family: "helvetica neue";"><span style="font-size: x-small;">Episode 1: Repo Man (with Director Lucien
Busse) </span></span></b><span style="font-family: "helvetica neue";"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/3/23/episode-1-repo-man"><span style="font-family: "helvetica neue";">http://www.cinematologists.com/podcastarchive/2015/3/23/episode-1-repo-man</span></a></span><span style="font-family: "helvetica neue";"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Dario
and Neil introduce, screen and discuss Alex Cox’s 1984 cult classic </span><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-BoldIt; mso-bidi-font-weight: bold;">Repo Man<b> </b></span></i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-BoldIt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">in the context of independent v mainstream filmmaking</span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">. Neil's visit to the Berlinale
is reviewed plus we have an interview he conducted while in Berlin
with filmmaker Lucian Busse.<br /><o:p></o:p></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 2: Bande À part (with Actors
Gillian Harker, Robert Dukes, Aisling M De’Ath & Adam Lannon) </span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/3/23/episode-2-bande-part"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/3/23/episode-2-bande-part</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Neil
and Dario discuss perhaps Godard's most accessible film and contextualise the
filmmaker’s legacy covering topics of filmic influence, homage and pastiche. We
also talk to four London based actors - Gillian Harker, Robert Dukes,
Aislinn M De'Ath & Adam Lannon - about their process of working with
directors and their own influences as actors.</span></span><span style="font-family: "helvetica neue";"><span style="font-size: x-small;"> </span></span><b><span style="font-family: "helvetica neue";"><span style="font-size: x-small;">Episode 3: Whip it (with Prof. Linda Ruth
Williams & Dr. Shelley Cobb)</span></span></b><span style="font-family: "helvetica neue";"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/3/23/episode-3-whip-it"><span style="font-family: "helvetica neue";">http://www.cinematologists.com/podcastarchive/2015/3/23/episode-3-whip-it</span></a></span><span style="font-family: "helvetica neue";"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Introduction
and audience discussion of Drew Barrymore’s </span><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Bold; mso-bidi-font-weight: bold;">Whip It</span></i><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"> </span></i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">(2009) with guest speaker Dr Laura
Canning. The episode also analyses issues of gender with regards to the
film industry and academia and Dario interviews Prof. Linda Ruth Williams and
Dr Shelley Cobb about their AHRC funded research project investigating the
status and role of women filmmakers.<br /> <o:p></o:p></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 4: Yojimbo (with Director Mark
Herman)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/4/9/episode-4-yojimbo"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/4/9/episode-4-yojimbo</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Neil
and Dario discuss the cinematic influence of Kurosawa particularly on American
New Wave filmmakers and explore the gaps in their own cinematic canons arguing
whether there can be any real, definitive criteria for judging a 'great' film.
Dario interviews British film Director Mark Herman about his career including
the films </span><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt;">Brassed off </span></i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;">(1996)<i>, Little Voice </i>(1998) </span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">and</span><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt;"> The Boy in the Striped Pyjamas </span></i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;">(2008).</span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;"><span style="font-size: x-small;"><br /></span></span></b><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;"><span style="font-size: x-small;">Episode 5:
Bronson (with Dr. Johnny Walker)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/5/2/episode-5-bronson"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;">http://www.cinematologists.com/podcastarchive/2015/5/2/episode-5-bronson</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2f2f2f; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: Font;">Neil
questions Dario about his article on Nicolas Winding Refn’s powerful <i>Bronson</i>
(2008) - entitled </span><a href="http://www.euppublishing.com/doi/abs/10.3366/jbctv.2015.0258?journalCode=jbctv"><span lang="EN-US" style="color: #20629e; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: Font; text-decoration: none; text-underline: none;">Punishing
Bodies: British Prison Film and the Spectacle of Masculinity</span></a><span lang="EN-US" style="color: #2f2f2f; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: Font;"> - which analyses the prison as an
aesthetic space and suggests the (de)constructions of masculinity made possible
by the prison genre. Neil also interviews Dr Johnny Walker about his work on
the contemporary British Horror film.</span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 6: Goodbye Dragon Inn (Dr Sarah
Atkinson)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/5/13/episode-6-goodbye-dragon-inn"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/5/13/episode-6-goodbye-dragon-inn</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Neil
and Dario discuss Tsai Ming-Liang’s 2003 ode to the cinema auditorium <i>Goodbye Dragon Inn</i> and discuss the
concept of the cinema experience and how this has been affected by the arrival
of the digital age. This theme also frames Dario's interview with Dr. Sarah
Atkinson on her recently published book </span><a href="http://www.amazon.co.uk/Beyond-Screen-Emerging-Engaging-Audiences/dp/1623566371"><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt;">Beyond the Screen: Emerging Cinema and
Engaging Audiences</span></i></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 7: Sci-fi Special (part 1)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/6/4/episode-7-sci-fi-special-part-1"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/6/4/episode-7-sci-fi-special-part-1</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">In
the first of a sci-fi podcast double bill Neil and Dario discuss their
introductions to four films screened at the Poly, Falmouth as part of the BFI
season</span><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt;"> Days of Fear Wonder. The Fly </span></i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;">(1986)<i>,
Demon Seed </i>(1977)<i>, The Thing </i>(1982) and<i> Rollerball</i> (1975)<i> </i></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">are all explored in the context of what
science fiction offers as a key cinema genre. Neil and Dario touch upon
the tropes of hard v soft sci-fi, artificial intelligence, the fear of
technology, metaphors of alien invasion and control of reproduction, along with
many other of the fundamental elements of the genre.<br /><o:p></o:p></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span></b><span style="font-size: x-small;"><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Episode 8: Sci-fi Special Part 2 (<i>Pacific Rim</i>)</span></b></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/6/26/episode-8-sci-fi-special-part-2-pacific-rim"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/6/26/episode-8-sci-fi-special-part-2-pacific-rim</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">In
what promises to be a no-holes-barred, apocalyptic battle of the ages Neil and
Dario face off in a cerebral clash of wills over a film that represents the
most overt disagreement: </span><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt;">Pacific Rim</span></i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;"> (2013)<i>. </i></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Don't miss episode 2 of the sci-fi
double bill.</span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 9a: Point Blank (Port Eliot
Special)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/8/21/episode-9a"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/8/21/episode-9a</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Dario
is on Holiday so Neil is joined by filmmaker and academic Mark Jenkin to
present and discuss John Boorman's 1967 classic <i>Point Blank</i> starring Lee Marvin. <i>Point Blank</i> was released in a zeitgeist year for crime cinema that
also included Arthur Penn's <i>Bonnie &
Clyde</i>, Jean-Pierre Melville's <i>Le
Samourai</i> and Seijun Suzuki's <i>Branded
To Kill</i> and it stands equal to those illustrious peers. This episode also
features an interview with writer Tom Shone about his latest book <u>Woody
Allen: A Retrospective.<br /> </u></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 9b: Interviews from Port Eliot</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/9/9/episode-9b-port-eliot-special"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/9/9/episode-9b-port-eliot-special</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">This
episode collects the diverse interviews collected by Neil across the weekend of
the festival. The conversations cover film costume with Oscar winner Sandy
Powell, music documentaries with television actress Caroline Catz, poetry
with Simon Armitage, extinct birds with </span><a href="https://twitter.com/cerilevy"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Ceri
Levy</span></a><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"> and clouds
with Gavin Pretor-Pinney of the </span><a href="https://cloudappreciationsociety.org/"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Cloud Apprecation Society</span></a><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">. Yes. Clouds. Neil also spent time with
one of his heroes, Ralph Steadman, and Neil and Dario discuss the place of
cinema at modern multi-arts festivals.<br /><o:p></o:p></span></span><span style="font-size: x-small;"><a href="http://www.porteliotfestival.com/"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Port Eliot Festival website</span></a></span><span style="font-size: x-small;"><a href="http://www.bloomsbury.com/uk/nextinction-9781472911681/"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Nextinction by Ralph Steadman and Ceri
Levy</span></a></span><span style="font-size: x-small;"><a href="http://www.simonarmitage.com/walking-away.html"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Walking Away by Simon Armitage</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 10: 12 Angry Men</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/9/26/episode-10-12-angry-men"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/9/26/episode-10-12-angry-men</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Season
2 of the podcast kicks off with a bumper freshers edition featuring a screening
of Sydney Lumet's 1957 social drama </span><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt;">12 Angry Men. </span></i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">A heavyweight cast of character actors
led by Henry Fonda argue over the evidence of what appears to be
straightforward guilty verdict. Neil and guest presenter Kingsley Marshall
introduce what is a canonical film studies text. Dario and Neil also discuss
their experiences of studying film and hopefully offer some helpful guidelines
to those who are coming into university to study what is a changing discipline.</span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 11: Tony Manero (with Prof. Will
Brooker)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/10/4/episode-10-tony-manero"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/10/4/episode-10-tony-manero</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Our
intense desire for, and identification, with film characters and stars comes under
the spotlight in this weeks' podcast. Neil is joined by filmmaker </span><a href="http://www.imdb.com/name/nm1444721/"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">James Dean</span></a><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"> to introduce Pablo Larraín's unique and
brutal </span><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt;">Tony Manero</span></i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"> (2008)
about Chilean criminal who is obsessed with John Travolta's character from
Saturday Night Fever. It is simultaneously bleak, shocking and unsettling with
allusions to the darkest parts of human identity. Also on the podcast Dario
interviews Professor </span><a href="http://www.kingston.ac.uk/news/article/1540/05-aug-2015-kingston-university-professor-will-brooker-transforms-himself-into-pop-icon-david-bowie-for-yearlong-study/"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Will Brooker</span></a><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"> from Kingston University about the year
he is spending embodying the iconic David Bowie.<br /><o:p></o:p></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 12: Planes, Trains and Automobiles
(with Jeanie Finlay)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/10/25/episode-12-planes-trains-and-automobiles"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/10/25/episode-12-planes-trains-and-automobiles</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Neil
is joined on stage at Falmouth by Kingsley Marshall to introduce John Hughes'
comedy <i>Planes, Trains and Automobiles</i>
(1987). The influence and persona of John Candy and Steve Martin is discussed
along with the career of John Hughes as one the quintessential American 80s
directors. The podcast also features an interview with Jeanie Finlay on her
surprising and offbeat musical documentary <i>Orion:
The Man Who Would Be King</i> (2015).</span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 13: Dead of Night (with Jez
Connolly)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/10/29/episode-13-dead-of-night"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/10/29/episode-13-dead-of-night</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">The
Cinematologists go on the road again, this time to the University of Bristol,
to screen the Ealing produced British anthology horror <i>Dead of Night</i> (1945). Dario and Neil discuss the film with Jez
Conolly who has co-authored a book on the film with David Owain Bates as part
of Auteur’s ‘Devil’s Advocates’ series. Also discussed on the podcast is the
new book by friend of The Cinematologists, Dr. Johnny Walker. </span><u><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;">Contemporary
British Horror Cinema </span></u><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">is
out now from </span><a href="http://www.euppublishing.com/book/9780748689736?template=reviews"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular; text-decoration: none; text-underline: none;">Edinburgh
University Press. </span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 14: Seconds (with journalist
Andy Bass)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/11/1/18p6jz74rsjn3od3azafzzkznn0fvo"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/11/1/18p6jz74rsjn3od3azafzzkznn0fvo</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">In
our first podcast from the University of Brighton's Hastings campus we screen the
strangely superb sci-fi thriller </span><i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt;">Seconds </span></i><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-RegularIt; mso-bidi-font-style: italic;">(1966). </span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">John Frankenheimer's key themes revolve
around paranoia and conspiracy with titles to his credit including <i>The Manchurian Candidate</i> (1962) and <i>Seven Days in May</i> (1964). This film
takes a faustian theme and links it to social contexts of mistrust in
government, consumerism and the increasing loss of identity in the modern age.
The episode also features an interview with writer and historian Andy Bass who
has recently written an article on the shooting of the film in his home town of
Scarsdale:<br /><o:p></o:p></span></span><span style="font-size: x-small;"><a href="http://scarsdalenews.com/Scarsdale_Inquirer/8-21-15_NEWS__Rock_Hudson.html"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://scarsdalenews.com/Scarsdale_Inquirer/8-21-15_NEWS__Rock_Hudson.html</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><br /></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 15: The Hitch-Hiker (with writer
Jack Thorne)</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/12/2/episode-15-the-hitch-hiker-with-writer-jack-thorne"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">http://www.cinematologists.com/podcastarchive/2015/12/2/episode-15-the-hitch-hiker-with-writer-jack-thorne</span></a></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Neil
is joined onstage at Falmouth by Kingsley Marshall to discuss Ida Lupino's 1953
film noir <i>The Hitch-Hiker</i>. Neil also
interviews writer Jack Thorne about, amongst other things, his up-coming
theatre adaptation of Harry Potter.</span></span><span style="font-size: x-small;"><a href="http://www.bbc.co.uk/programmes/b06pdcdy"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Link</span></a><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"> to the Film Programme episode discussed
on the podcast<br /><o:p></o:p></span></span><span style="font-size: x-small;"><a href="http://sensesofcinema.com/2009/great-directors/ida-lupino/"><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;">Link</span></a><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"> to the Senses of Cinema Ida Lupino
piece mentioned by Kingsley on the podcast</span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">Episode 16: In The Mood For Love</span></span></b><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"><a href="http://www.cinematologists.com/podcastarchive/2015/12/2/episode-16-in-the-mood-for-love">http://www.cinematologists.com/podcastarchive/2015/12/2/episode-16-in-the-mood-for-love</a></span><span style="font-size: x-small;"><br /></span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">In
one of the highlights of the year The Cinematologists screen Wong Kar-Wai's
stylish masterpiece as part of the BFI 'love' season in association with The
Poly, Falmouth. A veritable modern masterpiece <i>In the Mood for</i> Love stars Tony Leung and Maggie Cheung in iconic
roles as lovers seeking refuge from disappointment, loneliness and the harsh
realities of their surroundings. Dario and Neil also discuss their cinematic
highlights of the year. The Guardian article by Peter Walker referred to in the
podcast can be found here:</span></span><u><span lang="EN-US" style="color: #2d2d2d; font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;"> </span></span></u><a href="http://www.theguardian.com/film/filmblog/2011/dec/19/in-the-mood-for-love"><span lang="EN-US" style="font-family: "helvetica neue"; mso-ansi-language: EN-US; mso-bidi-font-family: ProximaNova-Regular;"><span style="font-size: x-small;">http://www.theguardian.com/film/filmblog/2011/dec/19/in-the-mood-for-love</span></span></a></blockquote>
</blockquote>
<br />
<!--EndFragment--></div>
<div>
<div style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 11px; line-height: 15.399999618530273px; padding: 0px;">
<div style="font-family: -apple-system-font; font-size: 12px; line-height: 16px;">
<br /></div>
</div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-89704406510036607702015-11-19T11:12:00.000+00:002015-12-20T15:06:18.522+00:00Sam Rohdie's Passion(s): A Coda<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju1iZropBIR6k_nbMkGOXs94MUIq__s54TEkXwXH2DCeSZH2-_T3NZVukEf582aft_2HmZFTTfA_9IIMDqF2D3pJ-QbbFNq4dMEYFcEZ3cAU3pUYv6Qa8QmLV_LPAl96csPsY5F1uBT6E/s1600/Sam+Event_QFT.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju1iZropBIR6k_nbMkGOXs94MUIq__s54TEkXwXH2DCeSZH2-_T3NZVukEf582aft_2HmZFTTfA_9IIMDqF2D3pJ-QbbFNq4dMEYFcEZ3cAU3pUYv6Qa8QmLV_LPAl96csPsY5F1uBT6E/s320/Sam+Event_QFT.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption"><br />
<i>Publicity for the <a href="http://www.queensfilmtheatre.com/films/godardthenandnow/">Queen's University Belfast Study Day event held</a> in memory of Sam Rohdie</i></td></tr>
</tbody></table>
<br />
<a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> is delighted to publish <a href="http://filmstudiesforfree.blogspot.co.uk/2015/04/the-passions-of-sam-rohdie-1939-2015.html">four additional tributes</a> to the late film scholar <b>Sam Rohdie</b> (1939-2015). These join the ones published by this blog on April 14, 2015. <a href="http://filmstudiesforfree.blogspot.com/2015/04/the-passions-of-sam-rohdie-1939-2015.html"><b>Link here</b></a>. Many thanks to Des O'Rawe and his Queen's University Belfast colleagues for their work in gathering them. Coming up next at <a href="http://filmstudiesforfree.blogspot.com/">FSFF</a> we have a <a href="http://filmstudiesforfree.blogspot.co.uk/2015/12/big-december-round-up-favourite-film.html">big round up</a> to coincide with the <a href="http://filmstudiesforfree.blogspot.co.uk/2015/12/big-december-round-up-favourite-film.html">upcoming festive season</a> See you <a href="http://filmstudiesforfree.blogspot.co.uk/2015/12/big-december-round-up-favourite-film.html">then</a>!<br />
<br />
<blockquote class="tr_bq">
On Friday, 9 October 2015, <a href="http://www.queensfilmtheatre.com/films/godardthenandnow/">Film Studies at Queen's held a study-day</a> to mark the recent passing of former colleague, Sam Rohdie. The event focused on the work of Jean-Luc Godard, and included presentations by Geoffrey Nowell-Smith and Rod Stoneman. It also included a screening of <i>Une femme est une femme,</i> and some extracts from Godard's more recent work. The study-day was well-attended, with an audience that included many of Sam's former students and colleagues from Queen's, as well as some of the friends he and Margaret had made while living in Belfast.<br />
As a coda to this event, we are publishing Geoffrey Nowell-Smith's reflection on Sam's life and work, as well two pieces about Sam by former colleagues at Queen's, David Johnston and Des O'Rawe, and a tribute written by another close friend and collaborator, Stefania Parigi (Università degli Studi Roma Tre).</blockquote>
<br />
<b>1. My Friend Sam Rohdie <i>by Geoffrey Nowell-Smith</i></b><br />
<br />
Sam Rohdie is – or was – the only person I know of who taught film studies in four continents – Europe, Asia, North America, and Australia. (He also did some teaching in Africa when he was a graduate student doing his anthropology fieldwork, but not film studies.) I was a friend of his, more or less continuously but with certain gaps due to his being on a different continent so much of the time, for forty-five years. And over that lengthy period we never had a row that couldn’t be patched up. People who knew him will recognise how unusual that is.<br />
<br />
He was combative, abrasive, and bore grudges. Sometimes his temperament stood him in good stead, particularly in the early 1970s when he left Sheffield, where I first knew him, to become General Secretary of a small London-based organisation attached to the British Film Institute called the Society for Education in Film And Television (SEFT). At the time of his appointment both SEFT and its sponsor the Education Department of the BFI were in crisis. Sam played an important role in saving SEFT and turning it into a vanguard organisation not only for film studies but in wider intellectual life in the UK. He succeeded partly because he earned the respect of Sir Denis Forman, a former Director of the BFI and at the time Managing Director of Granada Television, who had been brought back to the BFI as Chairman to sort out the crisis. Denis was tough, imaginative, generous, instinctively progressive, and not easily put off by young whippersnappers who stood up to him, even aggressively. He had shown these qualities at Granada and was to do so again on his return to the BFI. Sam was to be a beneficiary.<br />
<br />
But having turned SEFT and its magazine <i>Screen</i> into the voice of a new cultural avant-garde, Sam’s singlemindedness, his aggressivity and his inability – unlike Denis – to listen to criticism, meant that he fell foul of his former allies and was acrimoniously sacked from his post as General Secretary of SEFT and Editor of <i>Screen</i>.<br />
<br />
Jobless in the UK, he went back to New York, where he came from originally. He taught there for a while, then went to La Trobe University in Melbourne, where the Aussies rather took to him, abrasiveness and all. He acquired – and lost – a new wife. More importantly, he became properly himself intellectually. No longer enslaved to the <i>Screen</i> dogma he had done a lot to foster, he developed new tastes, a new sensitivity to the richness of film language, and a new writing style with which to communicate his discoveries. The upshot was his book on Antonioni, which remains the best – certainly the subtlest – account of what is so special about that director’s films.<br />
<br />
His break with “Screen” theory did not align him with any of the other tendencies in vogue in the world of film studies in the 1970s and 80s. He recognised the existence of a “classical” film language but his focus turned away from generalities to the ways in which this language was subverted and disrupted in the work of particular artists – besides Antonioni, his examples included Renoir, Pasolini, Godard, Nicholas Ray. This focus on the disruptive was in part a continuation of the other side of <i>Screen</i> legacy, its championing of a cinema that “bared the device” and broke with the comforting illusions of classical Hollywood and its avatars. But Sam’s interest was not in “baring the device” as such – another generality paralleling that of the idea of classical cinema itself. Rather he looked at the many and various ways, both overt and covert, in which certain film-makers destabilise the world they portray and the relationship the spectator has to it. This was to differentiate him not only from “Screen” theory but from “mise en scène” criticism which, while interested in the particular, remained locked in to the norms of the classical aesthetic.<br />
<br />
From Melbourne Sam went to Hong Kong, where he acquired a new wife (his third), this time for keeps. He spent time in Paris and Rome, developing his interest in Godard, Pasolini and Bertolucci. He mostly stayed away from London, and his return to the UK was to Belfast. Forcibly retired at the age of 65 (which was the rule at the time: exceptions could be made but Queen’s for whatever reason did not wish to make an exception in his case) he then finished his scholarly career back in the United States.<br />
<br />
He died last April, leaving his last book in proof.<br />
<br />
The presiding genius behind this last book, <i>Film Modernism,</i> is Godard. The over-riding thesis of the book, developing ideas expressed in his earlier work, is that in 1960 Godard, together with Antonioni, Pasolini, Bertolucci and a few others, revolutionised the cinema and for the first time in history aligned it with the modernism that had taken the artistic world by storm fifty years earlier but to which the cinema up to then had been resistant. But while the early Godard of <i>Breathless </i>(1960) and <i>Une femme est une femme</i> 1961) had taken the first steps towards creating a truly modern cinema, it was the later Godard, particularly that of the monumental <i>Histoire(s) de cinéma</i> (1988-1998), which most fascinated Sam and, in a sense, defeated him. He made several attempts to write a book just on Godard, focusing on <i>Histoire(s)</i> but could never bring it together. Much of what he wanted to write about Godard is folded into the pages of <i>Film Modernism</i>, and is his legacy.<br />
<br />
He is survived by his first wife, Jean McCrindle, and their daughter Claire, and by his second and third wives, Annie Langusch and Margaret Lam.<br />
<br />
<br />
<b>2. Remembering Sam <i>by David Johnston</i></b><br />
<br />
Sam Rohdie was the first Professor of Film at Queen’s University. I was Head of School at the time, and was on his appointment panel. The first signal he gave of his enduring willingness to come at you from left field was in his interview. Other candidates answered stock questions in stock ways, but to one query as to why he had moved from Australia to Hong Kong, Sam smiled and drawled with disarming honesty ‘Love’. That one-word (but in his voice two-syllable) answer got him the job, in my book anyway. It marked him out as a maverick, and in an institution – and indeed a whole sector - increasingly prone to the deadening sameness of a compliancy culture, to be human and different and unexpected was a breath of fresh air. He was a maverick but, at the same time, he was a great film critic and an intellectual of stature; to be a maverick and still be regarded by your students and peers as one of the best in the field anywhere, requires extraordinary finesse. He was a contrarian, of course, but an endlessly intelligent and creative one. Like many Americans he rose early, and would regularly send at least six impossible emails before breakfast. I would open them with a mixture of anticipation and trepidation, but they would always make eloquent representation for the ideal programme in Film Studies that Sam had in his mind. Never once did he use the word ‘vision’. But he had a glorious sense of what Film at Queen’s might become. And I came to share that sense. That’s how I remember Sam: a colleague who challenged because he cared, not least about language itself. A colleague who became a friend.<br />
<br />
<br />
<b>3. Travels with Sam <i>by Stefania Parigi</i></b><br />
<br />
Sam for me was always the man from another planet: Africa, Australia, Hong Kong ...<br />
<br />
An unstoppable traveller. All his books read to me like travel diaries, performances of an individual wandering through nature, cinema, the imagination.<br />
<br />
As time went on his thoughts led him increasingly to reject any form of organicity or system and took form more as fragments of an adventure, where knowledge was sparked off by pleasure. Montages, cross-cuttings, as suggested in the titles of the books which brought together his pieces of writing, jotted down at any time of day or night, between a swim and a wander through images of the cinema and of the world. Of a world that becomes cinema and a cinema that never ceases to be a fantasy of the world.<br />
<br />
His pages shine as if covered in droplets, like his swimmer’s body.<br />
<br />
This is my first memory of him: athletic arm movements in a little swimming pool, in a small hotel on the Adriatic coast, courtesy of the International Festival of New Cinema at Pesaro. It would have been in 1987 or perhaps 1988.<br />
<br />
We got to know each other thanks to a captivating laugh. Out of control, childish, quite out of scale with his giant’s body. He was very handsome, women flocked to him.<br />
<br />
Maybe Sam and I talked more about love than about cinema. But it was all the same. Don’t get me wrong. We told each other stories of our loves as if we were eternal adolescents who could not tell life from representations of it.<br />
<br />
Sam seemed to move all the time inside a kind of fairy tale, in which ancient and modern images were mixed together, and where horizons merged with each other in a wandering flow.<br />
<br />
He combined certain refinements of thought with a taste for the continuous discovery of the most basic forms of pleasures, which he found in every nook and cranny of life. He was a solitary and he was a communitarian. His cooking was a performance very like the performance of his writing, each caught up in the same display of impulsive vitality.<br />
<br />
There is no doubt that he had nothing to do with the academy, at least as we understand it in Italy. He cultivated independence with a boyish pride and could be as cutting in his negative judgements as he was warm and constructive in his appreciation. He was very generous with me and offered to translate some of my writings on the Italian cinema for an English publisher.<br />
<br />
Together we had the privilege of enjoying a free run across the field of aesthetics, with no protocols to respect or formulae to box us in. I mean aesthetic here also in its original sense of perception; aesthetics as pleasure and pain, as a form of knowing, an extricable twining together of thinking and the senses, in brief a field of flesh and blood, of dreams, of projections outward towards the other and plunges deep into the interior of the self. But also as an inexhaustible field in which to play.<br />
<br />
Moreover, writing for Sam was above all a way of capturing the oscillations, the light and shade of the internal and external world, as if one were for ever in an gigantic rotating merry-go-round.<br />
<br />
And his laugh. So subversive, so exhilarating, shaking and embracing you at the same time, it made me feel that he was indestructible, like one of those fantasies that move in and out of the screen, challenging us with their uncertainty. And now I have nothing left to say but this: Sam so far away, Sam so close.<br />
<br />
<br />
<b>4. Sam/Belfast <i>by Des O'Rawe</i></b><br />
<br />
My first encounter with Sam was at a BFI study day at the Queen's Film Theatre (QFT). He had arrived only recently to Belfast, and was still finding his feet. His talk had an edgy eloquence, culminating in a ferocious denunciation of BFI Education and its policies. Belfast can often seem at one remove from the metropolis, and I suspect much of what Sam said that afternoon meant little to the assembled gathering (especially, given that most of us probably knew little about his history with the BFI.)<br />
<br />
At that time, I was teaching an undergraduate module on Irish film and visual culture with Colin Graham and Eamonn Hughes. Shortly after Sam's appointment, we met with him and I remember a good-humoured meeting, at which <i>The Big Sleep</i> (and 'Rusty' Regan) was discussed at length. I happened to mention to Sam that I was also teaching film courses in the local further education college, and I was surprised at his genuine interest in extra-mural and outreach film education, and so - half mischievously - I invited him to call in on one of these classes. A week or so later, true to his word, he paid a visit. In the classroom, he was courteous but didn't pay much heed to me, preferring to sit enigmatically at the back, sporting a pair of dinky designer sunglasses. We were about to screen F.W. Murnau's <i>Tabu</i> that morning, and Sam was delighted on hearing this news. (This choice of film was fortuitous: I had ordered up <i>Nosferatu</i>; <i>Tabu</i> arrived instead, and I decided just to go with the flow.) After the film, Sam talked to us about cinematography, anthropology, vampires, exoticism, the sea, the moon, <i>Tabu</i> as a documentary, <i>Tabu</i> as a painting, <i>Tabu</i> as a dream, <i>Tabu</i> as <i>Nosferatu</i>, <i>Tabu</i> as everything the cinema should be, and still can be. He listened carefully to whatever the students had to say. He was inquisitive but encouraging, witty but also self-deprecating - and completely unrecognisable from the volcanic eccentric who had erupted at the QFT a month or so previously. Once I got to know Sam, I realised that this kind of teaching situation was his <i>métie</i>r - relaxed, unfettered, unscripted, free - sitting among students talking about a film, encouraging them to explore new ideas and possibilities, and also wanting to learn with them.<br />
<br />
Of course, a part of Sam relished the challenge of wooing an audience, and he could be very good at that. (A couple of years ago, I bumped into a former reluctant student of ours who told me the only thing he remembered about his entire first year at university was 'that Sam Rohdie lecture on <i>Rules of the Game</i>'). However, I think Sam's best and most influential teaching at Queen's was done with smaller seminar groups, in situations where he could persuade students to think for themselves, to embrace difficulty, to lose their bearing before discovering a space where the cinema alone could work its magic.<br />
<br />
With the benefit of hindsight, and all things considered, it was only a matter of time before Sam and Margaret moved on from Belfast but he certainly made a lasting impression, influencing the lives of many of us, in all sorts of ways. A critic with a distinctive vision, a teacher with a method, and a professor with something to profess, Sam will be much missed - not least by his more intelligent critics.Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com0tag:blogger.com,1999:blog-925395536023721138.post-1163281483903614102015-10-06T11:40:00.001+01:002016-10-31T10:08:17.686+00:00NO HOME MOVIE: In Warm Memory of Chantal Akerman (1950-2015)<div style="text-align: center;">
<span style="font-size: x-small;"><b>Last updated October 5, 2016</b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<img alt="http://next.liberation.fr/culture-next/2015/10/06/mort-de-la-cineaste-chantal-akerman_1398190" border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ztoKx69Umw6zB8ZxR-zs_zQSFPgkAqtxjxQKiApePI4GL1XbPmK3H4PAOtE6vKzTi-DNlozcrEhTYHf8QcelYWjL6m5TS6-Z6Ncy_D2c9KaUX7SNMv-v2z3shSt5sL0UWpLiVHcopAs/s640/814687-chantal-ackerman.jpg" title="" width="640" /></div>
<br />
<blockquote class="tr_bq">
Akerman’s search for images that represent nothing, and mean nothing else (except perhaps themselves – and even this is difficult enough) while she focuses her camera on observing the minutiae of women’s lives, is expressed in the first instance by her style: distant, clean, sober, looking at the image outside of the image. Rootless, detached images. Images in the Diaspora. Is it possible to return home, to where the image can exist, outside of the commandment? Is such an image even possible? (<a href="http://www.lolajournal.com/2/letter_23.html">Dana Linssen on Akerman's filmmaking</a>)</blockquote>
<blockquote class="tr_bq">
Despite their apparent simplicity, Akerman’s assured framing and narrative, built out of blocks of real time intercut by radical ellipses, are not easily replicated. Rather, the film’s impact is indirectly evident in the emergence of a new phenomenological sensibility and approach to observation and the weight of time... <a href="https://www.criterion.com/current/posts/1215-a-matter-of-time-jeanne-dielman-23-quai-du-commerce-1080-bruxelles">(Ivonne Margulies on </a><a href="https://www.criterion.com/current/posts/1215-a-matter-of-time-jeanne-dielman-23-quai-du-commerce-1080-bruxelles"><i>Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles</i></a>)</blockquote>
<i style="color: #333333; font-family: verdana; font-size: 11px; line-height: 18px;"><br /></i>
<br />
Unbelievable, unbearable news, but just <a href="http://next.liberation.fr/culture-next/2015/10/06/mort-de-la-cineaste-chantal-akerman_1398190">confirmed</a> by <i>Libération</i>.<br />
<br />
<a href="https://en.wikipedia.org/wiki/Chantal_Akerman">Chantal Akerman</a> has died.<br />
<br />
Links to online, freely accessible studies of her work and to tributes to it will continue to be added below in the next days (as they will, undoubtedly, at <i><a href="https://www.fandor.com/keyframe/daily-chantal-akerman-1950-2015">KeyFrame Daily</a> | Fandor</i>, and elswehere). It's the only way that <a href="http://filmstudiesforfree.blogspot.com/">Film Studies For Free</a> can process this news.... Incroyable....<br />
<br />
<br />
<b>By / With Chantal Akerman</b><br />
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="172" mozallowfullscreen="" src="https://player.vimeo.com/video/78547046?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="305"></iframe></div>
<div style="text-align: center;">
<br />
<a href="https://vimeo.com/78547046">Interview with Chantal Akerman, recorded November 2013. By Ricky D'Ambrose</a><br />
<br /></div>
<ul><br /></ul>
<ul>
<li><a href="http://www.lolajournal.com/2/almayer.html">Chantal Akerman, 'Almayer's Folly: Synopsis and Statement of Intent', LOLA, 2, 2012</a></li>
<li><a href="https://www.youtube.com/view_play_list?p=E15F114D1C96F7F9">Chantal Akerman + Catherine Breillat. Film and Theory. 2001 (By European Graduate School Seven Video Lectures)</a></li>
<li><a href="http://www.egs.edu/faculty/chantalakerman.html">Chantal Akerman</a> Film Director "<a href="http://www.egs.edu/video/chantalakerman.ram">Crossing Cinematic Borders</a>"</li>
</ul>
<div style="text-align: center;">
<br /></div>
<b>Studies of Ackerman's work</b><br />
<ul>
<li><i><b style="font-style: normal;"><span style="font-size: x-small;">ADDED </span></b>Senses of Cinema</i><b> </b>special tribute dossier (December 2015):<b> </b><a href="http://sensesofcinema.com/category/chantal-akerman/">Chantal Akerman: La Passion de L’Intime / An Intimate Passion</a></li>
</ul>
<br />
<ul style="margin: 0.5em 0px; padding: 0px 2.5em;">
<li><a href="http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/chantal-akerman-primer">Cristina Álvarez López and Adrian Martin,' Chantal Akerman: a Primer', Sight and Sound, October 6, 2015</a></li>
<li><a href="http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/keeping-distance-chantal-akerman-s-jeanne-dielman">Janet Bergstrom</a>,<a href="http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/keeping-distance-chantal-akerman-s-jeanne-dielman"> '</a><a href="http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/keeping-distance-chantal-akerman-s-jeanne-dielman">Keeping a Distance: Chantal Akerman’s <i>Jeanne Dielman</i>', <i>Sight and Sound</i>, November 1999</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.lolajournal.com/2/pajama.html">Nicole Brenez, 'Chantal Akerman: The Pajama Interview', LOLA, 2, 2012</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://tlweb.latrobe.edu.au/humanities/screeningthepast/firstrelease/fr1201/rcfr13a.htm">Rose Capp, '<i>A couch in New York</i>: Chantal Akerman and sex in the city', <i>Screening the Past</i>, December 1, 2010 (Link via Adrian Martin)</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.84/">Adriana Cerne,</a><a href="http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.84/"> '</a><a href="http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.84/">Maternal Matters: Jeanne Dielman and Emma Bovary Strange(ly) Familiar Reflections on Everyday Domestic Scenes</a>'<a href="http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.84/">, Studies in the Maternal, 1:1/2, 2010</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.out1filmjournal.com/2009/01/deja-vu-melodrama-iconographical-and.html">Maria Fosheim Lund, </a>'<a href="http://www.out1filmjournal.com/2009/01/deja-vu-melodrama-iconographical-and.html">Deja-Vu Melodrama: An Iconographical and Iconological Analysis of "Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles</a><a href="http://www.out1filmjournal.com/2009/01/deja-vu-melodrama-iconographical-and.html">', Out 1 Film Journal (January 27, 2009)</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://wrap.warwick.ac.uk/4048/">Catherine Fowler, The films of Chantal Akerman: a cinema of displacements, PhD Thesis, University of Warwick, 1995</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="https://vimeo.com/11706484">Fernando Franco, Les Variations Dielman [video, 2000]</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.slantmagazine.com/film/film_review.asp?ID=709">Ed Henderson, '<i>Jeanne Dielman</i>...', Slant Magazine, June 8, 2003</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.bfi.org.uk/news-opinion/news-bfi/features/chantal-akerman-beginners">Alex Hudson, 'Chantal Akerman for beginners', Sight and Sound , June 4, 2015</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="https://www.academia.edu/3676782/Memory_Once_Removed_Indirect_Memory_and_Transitive_Autobiography_in_Chantal_Akermans_Dest">Alisa Lebow, 'Memory once removed: indirect memory and transitive autobiography in Chantal Akerman's <i>D'Est</i>', <i>Camera Obscura</i> May 2003</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.lolajournal.com/2/letter_23.html">Dana Linssen, 'A Letter', LOLA, 2, 2012</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.criterion.com/current/posts/1215">Ivone Margulies, 'A Matter of Time: Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles', Criterion Collection Essays, August 18, 2009</a> </li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.rouge.com.au/10/akerman.html">Ivonne Margulies: 'La Chambre Akerman: The Captive as Creator', Rouge 10, 2006</a></li>
<li><i><b style="font-style: normal;"><span style="font-size: x-small;"><b><span style="font-size: x-small;"><span style="font-style: normal;">ADDED </span></span></b></span></b></i><a href="http://www.filmquarterly.org/2016/09/walking-talking-singing-exploding/" target="_blank">Barbara McBane,<i><b style="font-style: normal;"><span style="font-size: x-small;"><b><span style="font-size: x-small;"><span style="font-style: normal;"> </span></span></b></span></b></i>Walking, Talking, Singing, Exploding . . . and Silence: Chantal Ackerman’s Soundtracks', <i>Film Quarterly</i>, Fall 2016</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="https://vimeo.com/96852873">Drew Morton, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles: Day x Day x Day [video, 2014]</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.mutanteggplant.com/vitro-nasu/category/cinema/chantal-akerman/">Vitro Nasu's website content on Akerman (link via Adrian Martin)</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.82/">Griselda Pollock, 'The Long Journey: Maternal Trauma, Tears and Kisses in a Work by Chantal Akerman', Studies in the Maternal</a><a href="http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.82/">, 1:1/2, 2010</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.lolajournal.com/2/integrity_exile.html">Jonathan Rosenbaum, 'Chantal Akerman: The Integrity of Exile and the Everyday', LOLA, 2, 2012</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.83/">Alison Rowley, 'Between Les Rendez-vous d’Anna and Demain on Déménage: m(o)ther inscriptions in two films by Chantal Akerman</a><a href="http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.83/">', Studies in the Maternal, 1:1/2, 2010</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://www.revue-critique-de-fixxion-francaise-contemporaine.org/rcffc/article/view/fx07.06/752">Marion Schmid, 'Between Literature and the Moving Image: The Cinematography of Chantal Akerman', <i>Revue critique de fixxion française contemporaine</i>, 2012 (thanks to Adrian Martin for the link)</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://sensesofcinema.com/2012/feature-articles/invested-in-expression-or-in-its-destruction-the-politics-of-space-and-representation-in-chantal-akermans-cinema/">Zain Jamshaid, 'Invested in Expression or in Its Destruction?: The Politics of Space and Representation in Chantal Akerman’s Cinema', Senses of Cinema, 64, 2012</a></li>
</ul>
<b><br /></b>
<b>Tributes to Akerman</b><br />
<ul>
<li>By <a href="https://www.fandor.com/keyframe/daily-chantal-akerman-1950-2015">David Hudson at <i>Keyframe Daily | Fandor</i></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="https://www.fandor.com/keyframe/five-lessons-from-ten-great-filmmakers-chantal-akerman">Miriam Bale, "Five Lessons from Ten Great Filmmakers: Chantal Akerman', Fandor, October 5, 2012</a></li>
</ul>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div>
<div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/132931885" webkitallowfullscreen="" width="610"></iframe> <a href="https://vimeo.com/132931885">Jeanne Dielman, 224 scènes, 5 minutes, 36 secondes, 24 centièmes.</a> from <a href="https://vimeo.com/user41825572">Collectif Ekphrasis</a></div>
<br />
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="344" mozallowfullscreen="" src="https://player.vimeo.com/video/86134338" webkitallowfullscreen="" width="610"></iframe> <a href="https://vimeo.com/86134338">BERLIN: Testimony of a City</a> by Andy Moore and Ian Magor</div>
<div style="text-align: center;">
Using Chantal Akerman's <i>News from Home</i> [1977] here the city of Berlin is the stage for another journey through another city. Reflective and reversing timelines encourage the visual to interact with the spoken testimony.</div>
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/123645191" webkitallowfullscreen="" width="610"></iframe> <a href="https://vimeo.com/123645191">Ripples</a> from <a href="https://vimeo.com/ianmagor">Ian Magor</a></div>
<div style="text-align: center;">
The portrayal of desire on the cinema screen is necessarily problematic. Too often it is an assertion of masculine power, sometimes an idealised notion of romance, rarely the reality of sagging mattresses and aching muscles. Chantal Akerman's <i>Je, tu, il, elle</i> is set alongside two typical Hollywood portrayals of sexual passion<span style="background-color: #f4f5f7; color: #71767a; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 16px; line-height: 21px;">.</span></div>
<div style="text-align: center;">
<span style="background-color: #f4f5f7; color: #71767a; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 16px; line-height: 21px;"><br /></span>
<br />
<span style="background-color: #f4f5f7; color: #71767a; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 16px; line-height: 21px;"><iframe allowfullscreen="" frameborder="0" height="458" mozallowfullscreen="" src="https://player.vimeo.com/video/135139184" webkitallowfullscreen="" width="610"></iframe></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<a href="https://vimeo.com/135139184">Slow / Motion</a> from <a href="https://vimeo.com/danielmc1989">Daniel Mcilwraith</a> and<a href="https://vimeo.com/danielmc1989"> Jessie McGoff</a></div>
<div style="text-align: center;">
The personal and the public. Private letters and open spaces. Home, exile. Chantal Akerman’s <i>News From Home</i> is often torn between personal introspection and visual ethnography. Here, its slow composure is put in to conversation with the chaos of Godfrey Reggio’s <i>Koyaanisqatsi</i>. Whilst the former tackles the personal and transcends towards the universal, the latter uses the universal to invoke a self-observating experience. If <i>Koyaanisqatsi</i> signals a life out of balance, <i>News From Home</i> tries to rectify that balance - in pace, in space and in the everyday. - Jessica McGoff</div>
</div>
<div style="text-align: center;">
<br /></div>
<ul style="margin: 0.5em 0px; padding: 0px 2.5em;">
</ul>
<div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/116874792?byline=0" webkitallowfullscreen="" width="610"></iframe> <a href="https://vimeo.com/116874792">Chantal Akerman: Too Far, Too Close (Eng)</a> from <a href="https://vimeo.com/arttubevideo">ARTtube</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
<div>
<div style="text-align: center;">
<a href="https://vimeo.com/116874792">Chantal Akerman: Too Far, Too Close (Eng)</a> from <a href="https://vimeo.com/arttubevideo">ARTtube</a></div>
<div style="text-align: center;">
Belgian director Chantal Akerman gained world success with her masterpiece <i>Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles</i> (1975) and consolidated her reputation with films like <i>Toute une Nuit</i>, <i>Les années 80</i> and <i>Le Marteau</i>. In the early nineties Akerman shifted her career from strictly film into the arts. She participated, amongst other exhibitions, at dOCUMENTA 10 and 11. It dated from 1995 since Akerman exhibited in her native country with a massive retrospective. In Too Far, Too Close the M HKA presented an overview from Akermans oeuvre starting with the 1968 production <i>Saute ma Ville</i> and ending with her most recent work, <i>Maniac Summer</i>.</div>
</div>
</div>
Catherine Granthttp://www.blogger.com/profile/15844538902594202591noreply@blogger.com2