Showing posts with label ejournal. Show all posts
Showing posts with label ejournal. Show all posts

Monday, 30 June 2014

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

UNCANNY FUSION by Catherine Grant: VIAGGIO IN ITALIA/JOURNEY TO ITALY meets…?
Read more about this video here and here

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

Back soonish.


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

 Adrian Martin Interview 
On the longest day of the year, June 21, 2014, Film Studies For Free's author interviewed film studies writer and thinker extraordinaire Adrian Martin. Our conversation took place in the quietest spot we could find in the historic center of Milan late on a World Cup match night. We were both visiting that city for the conference of the Network of European Cinema and Media Studies (NECS), and had been part of a workshop panel that day on videographic film studies, or "audiovisual approaches to audiovisual subjects." We discussed Adrian's turn to audiovisual essays (many made with Cristina Álvarez López) as well as his work more generally, and talked about his new book Mise en Scène and Film Style: From Classical Hollywood to New Media Art (forthcoming from Palgrave Macmillan, later in 2014). Adrian's latest De Filmkrant column 'Serve Yourself' offers an extract from the book as a preview of it: the column is on-line here: http://www.filmkrant.nl/world_wide_angle/10805. In the interview, Adrian talks in detail about a particular audiovisual essay -- Intimate Catastrophes -- which he co-edited with Cristina Álavarez López for the Transit: Cine y otros desvíos website.  Also see "[De Palma’s] Vision" by Martin and Álvarez López here: https://mubi.com/notebook/posts/de-palmas-vision. The interview is available from Film Studies For Free's Podbean Site.

  
Two new cinephilia links from Photogénie!

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

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

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

 SCOPE, Issue 26, February 2014

 See film scholars Ben Sampson and Drew Morton's fantastic VIDEO ESSAY DIPTYCH: Good Dads/Bad Dads: A Tribute to Cinematic Fathers. Morton has also posted all five drafts of his BAD DADS video essay to share his production process: . Also see Morton's ingenious video on Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles: Day x Day x Day: https://vimeo.com/96852873

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

Ian Magor's great video tribute to the films of Bela Tarr: https://vimeo.com/97625110

Interesting audiovisual essay, on film music' relationship to the image track, by students Noémie Lachance and Jana Zander https://vimeo.com/95030117 

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

Computers Watching Movies (Inception) by Benjamin Grosser: https://vimeo.com/79080565

"Walden Connection: The Thoreauvian Agenda in UPSTREAM COLOR" Video by Anna Robertson  https://vimeo.com/groups/audiovisualcy/videos/92652144

Michael Heileman's monumental videographic STAR WARS study Kitbashed" http://vimeo.com/heilemann/kitbashed 

Great updates at the Ingmar Bergman Foundation website!

Excellent interview with film scholar Richard Misek, creator of the feature length essay film ROHMER IN PARIS: http://contrappassomag.wordpress.com/2014/05/01/contrappasso-extra-interview-with-richard-misek-rohmer-in-paris/. See his short video essay Mapping Rohmer here: http://framescinemajournal.com/article/mapping-rohmer-a-video-essay/. 

 Souleymane Cissé on Henri Langlois (video 2:24): https://vimeo.com/99318945 (Link via Nicole Brenez)

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

Also at the Österreichisches Filmmuseum's site, video interviews with, among others, Philip Seymour Hoffman, James Benning, Anna Karina, Michel Ciment… Link via David Hudson: http://bit.ly/1m4MSAY

Remembering Eli Wallach, 1915 - 2014: http://fan.do/r/19i
 
David Hudson's tribute entry to Robert Gardner, 1925 – 2014, Anthropologist, filmmaker, author and advocate of the avant-garde: http://www.fandor.com/keyframe/daily-robert-gardner-1925-2014.

Ehsan Khoshbakht talks to Dariush Mehrjui, Kamran Shirdel and Masoud Kimiai about the first golden age of Iranian cinema: http://fan.do/r/19h

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

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

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

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

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

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

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


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Wednesday, 21 May 2014

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


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

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

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


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

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

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

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

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

Website: http://mediaindustriesjournal.org
Email: mediaindjournal@gmail.com
Facebook: http://facebook.com/mediaindustriesjournal
Twitter: http://twitter.com/mediaindjournal
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Thursday, 13 June 2013

10th Anniversary Issue of PARTICIPATIONS on Fan Studies, and Audience Interaction and Participation

Read more here: http://www.participations.org/Volume%2010/Issue%201/contents.htm
Screenshot extract from 'Ten years old - and ready to try new things, an editorial by Martin Barker and Sue Turnbull in the the tenth anniversary issue of Participations: Journal of Audience and Reception  Studies

Film Studies For Free today wishes a very happy 10th year in online existence to the remarkable open access venture that is Participations. What a great achievement! The journal is stronger and more impressive than ever, as the below, very high quality (and enormous), latest issue -- on fan studies, and audience interaction and participation -- testifies

FSFF somewhat cheekily embeds the above screenshot from the opening part of this issue's editorial, for its readers, as in it joint editors Martin Barker and Sue Turnbull raise some important matters concerning the long term viability and success of a journal like this. The editors are choosing to respond to these by 'recasting the journal' in a number of interesting ways - you can read about these at greater length here.

If you are working in this area, now would be a really good time to consider what you would want from Participations in the years ahead. Feel free to post comments here, or contact the editors here.

Here's to the next ten years, Participations! And thank you.


Participations, Volume 10, Issue 1, (May 2013)
Articles
Special Section: The Fan Studies Network - new connections, new research
FSN Forum Discussion
Special Section: COST - audience interaction & participation
Reviews
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Wednesday, 23 January 2013

Four Issues of INTENSITIES: The Journal of Cult Media and a Call for Papers

Screencap from the credit sequence of Games (Curtis Harrington, 1967). Read Steven Jay Schneider's 2003 article for Intensities in which he discusses this and other cult psychological thrillers and horror films.

Film Studies For Free just bumped into the new online incarnation of Intensities, the wonderful journal of cult media studies. Oh yes!

Always a highly innovative and valuable project, Intensities was first launched at Cardiff University in 2001 under the editorship of Matt Hills and Sara Gwenllian Jones. As its new website tells us, it later moved to Brunel University, where it was edited by David Lavery. The journal has relaunched in 2013 with Leon Hunt as its new editor and will publish two issues a year. The journal addresses all aspects of cult media including cult television, cult film, cult radio, cult comics, literary cults and cult authors, new media cults, cult figures and celebrities, cult icons, musical cults, cult geographies, historical studies of media cults and their fandoms, cult genres (e.g. science fiction, horror, fantasy, pulp fiction, Manga, anime, Hong Kong film etc.), non-generic modes of cultishness, theorisations of cult media, relevant audience and readership studies, and work that addresses the cult media industry.

In addition to publishing refereed essays (of between 6000 and 8000 words), Intensities also features a non-refereed Cult Media Review section which will carry shorter speculative reviews, reviews of cult phenomena (e.g. cult TV series, cult films, cult novels, science fiction, comics), short critical essays, interview transcripts, conference and convention reviews and articles about aspects of industry, fan culture, production and authorship.

Intensities' latest calls for papers are reproduced below, as are the tables of (linked) contents from the excellent first four issues of this journal. Let's all wish Intensities a very happy and long online life at its new website. Its entry has been updated at FSFF's permanent listing of open access film and media studies journals.
Call for Papers
Intensities will publish two themed issues in 2013.  Essays should be between 6000 and 8000 words, referenced Harvard style and sent as a word document – a 200 word abstract should be sent as a separate document.
Issue 5 Comic Book Intensities – Comics and Cult Media
The first new issue seeks submissions dealing with comics as cult media.  Topics might include:
  • Cult comic book auteurs – Grant Morrison, Alan Moore, Mark Millar, Joss Whedon.
  • Cult films from comics – Cinefumetti, Manga and Anime, the Turkish KIlink films, Dredd 3D.
  • National and international comic book cultures – French bandes dessinees, Italian fumetti, Japanese Manga.
  • Comic book fan cultures – Cosplay and beyond.
  • Underground and alternative traditions.
  • Beyond the cape and mask – neglected comic book genres.
  • From EC to Dark Horse – Horror comics.
Deadline extended to Friday March 1st 2013
Issue 6 Historical Approaches to Cult TV
This issue seeks submissions examining TV shows that have acquired cult status at a historical distance – both established cult shows (The Avengers, The Prisoner, the ‘classic’ series of Doctor Who) and those that have received less (or possibly even no) critical attention.  In addition, the papers will locate those shows historically, either by drawing on archive materials or suggesting new cultural, historical or institutional contexts in which they might be understood. Deadline for submissions: May 31st 2013



Intensities: The Journal of Cult Media 4 – Mysterious Bodies (2007)

Special Issue – Mysterious Bodies
Guest Editors: Rayna Denison and Mark Jancovich

Intensities: The Journal of Cult Media 3 – Horror Issue (Spring 2003)

Edited by Matt Hills and Sara Gwenllian Jones

Intensities: The Journal of Cult Media 2 (Autum/Winter 2001)

Edited by Matt Hills and Sara Gwenllian Jones

Intensities 1 (Spring/Summer 2001)

Edited by Matt Hills and Sara Gwenllian Jones
  • Lynette Russell and Nathan Wolski, ‘Beyond the Final Frontier: Star Trek, the Borg and the Post-colonial’ Russell_Wolski
  • Mark McLelland, ‘Why Are Japanese Girls’ Comics Full of Boys Bonking?’ McLelland
  • Alan McKee, ‘Which is the Best Doctor Who story? A Case Study in Value Judgements Outside the Academy’ McKee
  • Patricia MacCormack, ‘Becoming Hu-Man: Deleuze and Guattari, Gender and Third Rock from the Sun‘ MacCormack
  • Annette Hill and Ian Calcutt, ‘Vampire Hunters: the Scheduling and Reception of Buffy the Vampire Slayer and Angel in the UK’ Hill_Calcutt
  • Will Brooker, ‘Parallel Earths: Diana 2000 – a Review Essay’ Brooker_Earths
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Tuesday, 27 November 2012

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

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

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

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

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

Editorial Necsus

Articles:
Special Section: Tangibility

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

Book Reviews:

Exhibition Reviews:
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Wednesday, 18 April 2012

Four Issues of IMAGE [&] NARRATIVE: Antonioni, Malick, Nolan, Keaton, Russell, Haynes, Neo-Baroque, and more

Screen grab from Salome's Last Dance (Ken Russell, 1988). Read Christophe Van Eecke's study of this film as "Baroque Performance". And also read Film Studies For Free's memorial listing of links to other studies of Russell's work  
A more systematic way of understanding Russell’s work as baroque could be to simply read it as a contemporary reprise of a form of theatrical performativity associated specifically with seventeenth century baroque theatre. For literary critics one of the key innovations of the baroque stage was its self-reflexivity, its uncanny ability to point at itself in performance and say: look at me, I’m a play! Two important ways of generating this effect were the play-within-the- play and the so-called mise-en-abîme. These two procedures are related yet distinct. The play- within-the-play is a structural feature of baroque theatre, a conceit whereby several characters in a play become spectators of a play performed within the framing narrative, echoing the relationship between the original, framing play and the actual spectators in the theatre. The mise-en-abîme is a thematic trope and is quite literally a mirroring effect (Forestier 13). It refers to the potentially infinite self-reflection that emerges when a play starts mirroring its own action or begins to comment on it. The self-reflexive effect of baroque theatre is most overwhelming when the structural and the thematic self-reflexivity coincide. This happens when a play-within-the- play is used to reveal something about the characters or plot in the original framing story. This is the way the performance of the Mousetrap is used Hamlet. Russell has used the play-within-the- play as a revelatory mise-en-abîme in his film Salome’s Last Dance (1988), which is a play-within-the-film adaptation of Oscar Wilde’s play Salomé (1893). In this film Russell uses these tropes to reflect, through the play-within-the-film, on his own position as an artist. Therefore it would seem to be a very good place to start an investigation of whether and how Russell is ‘baroque’. The film is also one of the director’s most neglected efforts, which makes a critical discussion all the more timely. [Christophe Van Eecke, 'Moonstruck Follies. Ken Russell’s Salome’s Last Dance (1988) as Baroque Performance', Image and Narrative, 13.2, 2012: pp. 6-7]

Film Studies For Free presents a little catch up entry today: links to all the contents of the latest four issues of the very good, Belgium-based, online journal Image [&] Narrative which treats "visual narratology and word and image studies in the broadest sense".

There are some excellent film studies articles, especially in the latest issue, on the "Neo-Baroque", which begins the below list. FSFF particularly liked the article on Russell's 1988 film, and also Peter Verstraten's article on Antonioni and Malick's "Cinema of Modernist Poetic Prose".


Image [&] Narrative, Vol 13, No 2 (2012): Neo-baroque Today 1

Thematic Cluster
  • 'Introduction' by Ralph Dekoninck, Karel Vanhaesebrouck, et al Abstract PDF
  • 'Moonstruck Follies. Ken Russell’s Salome’s Last Dance (1988) as Baroque Performance' by Christophe Van Eecke Abstract PDF
  • 'The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows' by Jack Post Abstract PDF
  • 'Cinematic Neo-Mannerism or Neo-Baroque? Deleuze and Daney' by Sjoerd van Tuinen Abstract PDF  
  • 'Re-visioning the Spanish Baroque: The Ekphrastic Dimension of Constancia and Other Stories for Virgins by Carlos Fuentes' by Reindert Dhondt Abstract PDF
  • 'A Neo-Baroque Tale of Jesuits in Space: Mary Doria Russell’s The Sparrow (1996)' by Daniel J. Worden Abstract PDF
Various Articles
  • 'A Cinema of Modernist Poetic Prose: On Antonioni and Malick' by Peter Verstraten Abstract PDF
  • 'Metaphors in Buster Keaton’s Short Films' by Maarten Coëgnarts, Peter Kravanja Abstract PDF
Review Articles
  • 'Charles Hatfield, Hand of Fire. The Comics of Jack Kirby' by Jan Baetens Abstract PDF

Image [&] Narrative, Vol 13, No 1 (2012): Hauntings II: Uncanny, Figures and Twilight Zones

Thematic Cluster
  • 'Introduction' by Fabio Camilletti Abstract PDF
  • 'Staging the Uncanny: Phantasmagoria in Post-Unification Italy' by Morena Corradi Abstract PDF  
  • 'Freud and Hoffmann, once again' by Tan Wälchli Abstract PDF  
  • 'Phantasmagoria: A Profane Phenomenon as a Critical Alternative to the Fetish' by Christine Blaettler Abstract PDF  
  • 'Engführung as a Case Study of Paul Celan’s Poetics of the Uncanny' by Vita Zilburg Abstract PDF
  • 'Impassively true to life' by Claudia Peppel Abstract PDF
  • 'Medial Techniques of the Uncanny and Anxiety' by Michaela Wünsch Abstract PDF 
Various Articles
  • 'From Thought to Modality: A Theoretical Framework for Analysing Structural-Conceptual Metaphors and Image Metaphors in Film' by Maarten Coëgnarts, Peter Kravanja Abstract PDF
Review Articles
  • 'Inception and Philosophy: Ideas To Die For' by Martin Rosenstock Abstract PDF
  • 'Curious Visions of Modernity. Enchantment, Magic, and the Sacred' by Jan Baetens Abstract PDF

Image [&] Narrative, Vol 12, No 4 (2011): Introduction to The Story of Things: reading narrative in the visual (part 2)

Thematic Cluster
  • 'Introduction' by Jonathan Carson, Rosie Miller Abstract PDF 
  • 'Rephrased, Relocated, Repainted: visual anachronism as a narrative device' by Gyöngyvér Horváth Abstract PDF
  • 'Lost Children, the Moors & Evil Monsters: the photographic story of the Moors murders' by Helen Pleasance Abstract PDF
  • 'Read You Like A Book: Time and Relative Dimensions in Storytelling' by Mike Nicholson Abstract PDF
  • 'The Pre-Narrative Monstrosity of Images: how images demand narrative' by William Brown Abstract PDF
  • 'Towards Ephemeral Narrative' by Gavin Parry, Jacqueline Butler Abstract PDF
Various Articles
  • 'Portrait of the Opportunist as Circus Acrobat: Félicien Champsaur's Entrée de clowns' by Jennifer Forrest Abstract PDF
  • 'Depardon, le DATAR et le paysage' by Raphaële Bertho Abstract PDF
  • 'Historicising achronism. Some notes on the idea of art without history in David Carrier's The Aesthetics of Comics' by Jan Baetens Abstract PDF

Review Articles
  • 'Compte rendu de Myriam Watthee-Delmotte, Littérature et ritualité. Enjeux du rite dans la littérature française contemporaine' by Laurence van Nuijs Abstract PDF
 Image [&] Narrative, Vol 12, No 3 (2011): The Story of Things: reading narrative in the visual

Thematic Cluster
  • 'Introduction' by Jonathan Carson, Rosie Miller Abstract PDF
  • 'Relating the Story of Things' by Patricia Allmer Abstract PDF
  • 'Scrapbook (a visual essay)' by Jonathan Carson, Rosie Miller Abstract PDF
  • 'Seeing the Past/Reading the Past' by Karen Bassi Abstract PDF
  • 'Ephemeral Art: Telling Stories to the Dead' by Mary O’Neill Abstract PDF
  • 'European Locations Dreamed with a Limited Imagination' by Samantha Donnelly Abstract PDF
Various Articles
  • 'Belgian Photography: Towards a Minor Photography' by Jan Baetens, Hilde Van Gelder, Mieke Bleyen Abstract PDF
  • 'The surrealist book as a cross-border space: The experimentations of Lise Deharme and Gisèle Prassinos' by Andrea Oberhuber Abstract PDF
  • 'The Power of Tableaux Vivants in Zola: The Underside of the Image' by Arnaud Rykner Abstract PDF
  • 'Spitting Image and Pre-Televisual Political Satire: Graphics and Puppets to Screens' by Kiene Brillenburg Abstract PDF
Review Articles
  • 'Sarah Sepulchre, dir. Décoder les séries télévisées' by Jan Baetens Abstract PDF
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Wednesday, 11 April 2012

The "Godard Is" Issue of the new VERTIGO

Image from Histoire(s) du cinéma (Jean-Luc Godard, 1988-99)

Film Studies For Free had a nagging doubt that it was omitting something BIG from its recent entry of links to Godard studies. And, boy, it was!

It really should have waited....

Some time back, the very kind people at the great Close Up film centre were in touch to announce their relaunch of excellent film magazine Vertigo as an online publication.

The (just published) reboot issue -- Godard Is. -- is astonishingly, mouth-wateringly good! The luscious links are below.

A très contrite FSFF has added the link to Vertigo to its permanent listing of online Film Studies journals.

Close Up Films is on Facebook and Twitter. Follow them. Like them. Thank you.


VERTIGO, Issue 30 | Spring 2012: Godard Is.
Contents
From the Archive
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Thursday, 8 March 2012

Journal of European Television History and Culture

A new multi-media e-journal on the past and present of European television
Journal of European Television History and Culture is to be the first peer-reviewed, multi-media and open access e-journal in the field of European television history and culture. It will offer an international platform for outstanding academic research and archival reflection on television as an important part of our European cultural heritage. With its interdisciplinary profile, the journal is open to many disciplinary perspectives on European television – including television history, media studies, media sociology, cultural studies and television studies.
If only for pretty sound, nominal reasons, Film Studies For Free doesn't usually stray too far beyond the field of free film studies. Today is an exception, however, simply because of an exceptional, new, and also free to access, online publication.

The inaugural issue of the new Journal of European Television History and Culture is devoted to 'Making Sense of Digital Sources', a hugely important topic for all audiovisual forms and cultures. Its editors write,
In the past few years national broadcasting archives and audiovisual libraries have taken important steps in the digitisation of their sources. Consequently, some of their material has already become available online. But as access to television material online across national borders remains fractured and scattered, European funded projects such as Video Active (2006-2009) and EUscreen (2009-2012) try to tackle some of the main problems with transnational access:
  • the lack of interoperability between archival data-bases both at the level of metadata and semantics;
  • the non-existence of proven scenarios for the use of audiovisual material at a European level;
  • the complexity of rights issues and the lack of contextualisation of digitised sources.
     At the FIAT/IFTA conference in Paris in 2004, the European Television History Network (ETHN) was launched, aiming at promoting the need for a transnational perspective on the history and culture of television in Europe. The archival situation and the accessibility for researchers vary considerably in the different European countries. That is why ETHN acknowledged the necessity of cooperation between archives and academics on a European scale in order to bridge academic research and archival initiatives. The Journal of European Television History and Culture builds on these initiatives and is closely related to EUscreen of which the e-journal is an important feature.[from Andreas Fickers and Sonja de Leeuw. 'Editorial']
FSFF salutes EUScreen, ETHN, and especially, on this the occasion of its birth, the Journal of European Television History and Culture.

It can only hope that European (and, indeed, non-European) archival film culture and studies will learn much (and quickly) from the wonderful and increasingly joined up examples of its televisual counterparts.

Vol 1, No 1 (2012):Table of Contents
Editorial
Articles
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