We'll Tak' a Cup o' Kindness Yet: Awesome Open Access Film Studies Links to See Out 2016!

 A major open access eBook: Post-Cinema: Theorizing 21st-Century Film
Edited by Shane Denson and Julia Leyda (Falmer: REFRAME Books, 2016).

In this end of year post, Film Studies For Free 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. 

It has been a (deadly) funny old year, to be sure, one that began with tributes aplenty to David Bowie and has concluded with ones to Carrie Fisher and Debbie Reynolds (see also here, here and here). David Hudson rounds up some of the cinematic losses here. And some of FSFF's own tributes are linked to below, alongside blog entries, amazing free ebooks, and wonderful journal issue contents.

FSFF 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.

• Film Studies For Free 2016 entries x 10:

• The Film-Play's the Thing: RIP Jacques Rivette 1928-2016 
• New FILM CRITICISM, FILM-PHILOSOPHY, 12 new film and media open access eBooks, Mulvey and Dyer interviews, and lots of other links!,
• For the Starman Who Fell to Earth - In Memory of David Bowie 
• New LOLA, [in]TRANSITION, MOVIE, Film-Philosophy, MOVIE, Film-Philosophy, Senses of Cinema plus a video essay on Todd Haynes' CAROL, and more!
• The Persistence of Vision: Videos on the Work of Film Theorists and Scholars
• For all to see, and to see the sense of: In Memory of V. F. Perkins (1936-2016)
• Almodovar Studies For Free
• My Year’s Work in Audiovisual Essays and Videographic Film Studies
• We'll Tak' a Cup o' Kindness Yet: Awesome Open Access Film Studies Links to See Out 2016!

• Film Studies For Free Videographic Tributes Bookending the Year x 3

SIMULACRUM (For Carrie Fisher) by Catherine Grant

MOVIE MOTHER (For Debbie Reynolds and Carrie Fisher) by Catherine Grant

LOS OLVIDADOS / LAZARUS (Bowie meets Buñuel) by Catherine Grant

• The Best Video Essays of 2016 - Fandor's End of Year Poll

As last year, Kevin B. Lee polled "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."

• Open Access Film Studies eBooks x 2!

• POST-CINEMA: THEORIZING 21ST-CENTURY FILM

A major scholarly collection edited by Shane Denson and Julia Leyda, and published by REFRAME’s open access ebook imprint. 

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.

Download: PDF 13mb and PDF 9mb

CONTENTS AND LINKS TO WEB CHAPTERS

Perspectives on Post-Cinema: An Introduction – Shane Denson and Julia Leyda

1. Parameters for Post-Cinema 1.1  What is Digital Cinema? – Lev Manovich 1.2  Post-Continuity: An Introduction – Steven Shaviro 1.3  DVDs, Video Games, and the Cinema of Interactions – Richard Grusin

2. Experiences of Post-Cinema 2.1  The Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic “Presence” – Vivian Sobchack 2.2  Post-Cinematic Affect – Steven Shaviro 2.3  Flash-Forward: The Future is Now – Patricia Pisters 2.4  Towards a Non-Time Image: Notes on Deleuze in the Digital Era – Sergi Sánchez 2.5  Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect – Shane Denson 2.6  The Error-Image: On the Technics of Memory – David Rambo

3. Techniques and Technologies of Post-Cinema 3.1  Cinema Designed: Visual Effects Software and the Emergence of the Engineered Spectacle – Leon Gurevitch 3.2  Bullet Time and the Mediation of Post-Cinematic Temporality – Andreas Sudmann 3.3  The Chora Line: RealD Incorporated – Caetlin Benson-Allott 3.4  Splitting the Atom: Post-Cinematic Articulations of Sound and Vision – Steven Shaviro

4. Politics of Post-Cinema 4.1  Demon Debt: Paranormal Activity as Recessionary Post-Cinematic Allegory – Julia Leyda 4.2  On the Political Economy of the Contemporary (Superhero) Blockbuster Series – Felix Brinker 4.3  Reality Effects: The Ideology of the Long Take in the Cinema of Alfonso Cuarón – Bruce Isaacs 4.4  Metamorphosis and Modulation: Darren Aronofsky’s Black Swan – Steen Christiansen 4.5  Biopolitical Violence and Affective Force: Michael Haneke’s Code Unknown – Elena del Río

5. Archaeologies of Post-Cinema 5.1  The Relocation of Cinema – Francesco Casetti 5.2  Early/Post-Cinema: The Short Form, 1900/2000 – Ruth Mayer 5.3  Post-Cinematic Atavism – Richard Grusin 5.4  Ride into the Danger Zone: Top Gun (1986) and the Emergence of the Post-Cinematic – Michael Loren Siegel 5.5  Life in Those Shadows! Kara Walker’s Post-Cinematic Silhouettes – Alessandra Raengo

 6. Ecologies of Post-Cinema 6.1  The Art of Morphogenesis: Cinema in and beyond the Capitalocene – Adrian Ivakhiv 6.2  Anthropocenema: Cinema in the Age of Mass Extinctions – Selmin Kara 6.3  Algorithmic Sensibility: Reflections on the Post-Perceptual Image – Mark B. N. Hansen 6.4  The Post-Cinematic Venue: Towards an Infrastructuralist Poetics – Billy Stevenson

7. Dialogues on Post-Cinema 7.1  The Post-Cinematic in Paranormal Activity and Paranormal Activity 2 – Therese Grisham, Julia Leyda, Nicholas Rombes, and Steven Shaviro 7.2  Post-Cinematic Affect: A Conversation in Five Parts – Paul Bowman, Kristopher L. Cannon, Elena del Río, Shane Denson, Adrian Ivakhiv, Patricia MacCormack, Michael O’Rourke, Karin Sellberg, and Steven Shaviro 7.3  Post-Continuity, the Irrational Camera, Thoughts on 3D – Shane Denson, Therese Grisham, and Julia Leyda 7.4  Post-Cinema, Digitality, Politics – Julia Leyda, Rosalind Galt, and Kylie Jarrett

• The Arclight Guidebook to Media History and the Digital Humanities
In June 2016, REFRAME Books published The Arclight Guidebook to Media History and the Digital Humanities, 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. Online at: http://projectarclight.org/book/

CONTENTS:

“A Guide to the Arclight Guidebook” by Eric Hoyt, Kit Hughes, and Charles R. Acland

PART I: Searching and Mapping 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

PART II: Approaching the Database 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

PART III: Analyzing Images, Sounds, Words 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

PART IV: Process, Product, and Publics 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

• Open Access Film and Media Studies Journal Issues x 4: 

NECSUS: European Journal of Media Studies, Autumn 2016_#Home

• Editorial Necsus

• Features: 
• Even today there are people who think these harmless little books are dangerous: An interview with David Bordwell by Malte Hagener 
• From single male guest worker to Muslim: An archaeology of iterating archival footage on Dutch television by Andrea Meuzelaar 
• The politics of spatiality in experimental nonfiction cinema: Jonathan Perel’s ‘Toponimia’ by Patrick Brian Smith 
• For here there is no place that does not see you: ‘Minority Report’ and art as de/legitimisation by Josef Früchtl 

• Special section: #Home 
• The Calais Jungle: Mediations of home by Mireille Rosello 
• From the bedroom to LA: Revisiting the settings of early video blogs on YouTube by Rainer Hillrichs 
• The filmic representation of home in transnational families: The case of ‘I for India’ by Efrén Cuevas 
• The home screen as an anchor point for mobile media use: Technologies, practices, identities by Stefan Werning 
• Songs of home (and away): Ethnically-coded diegetic music and multidirectional nostalgia in fiction films about Polish migrants by Kris Van Heuckelom and Iwona Guść 

• Festival reviews: edited by Marijke de Valck and Skadi Loist (Film Festival Research Network) 
• How do film festivals work?: A conversation with Joshua Oppenheimer by Greg de Cuir Jr 
• Virtual futures and cinematic pasts at the 65th Melbourne International Film Festival by Kirsten Stevens 
• Films from Asia, attention around the world: 18th Far East Film Festival, Udine by Jinuo Diao 

• Exhibition reviews: edited by Miriam De Rosa and Malin Wahlberg (NECS Publication Committee) 
• Pierdom by Simon Roberts by Lavinia Brydon and Olu Jenzen 
• A place between desire and experience: Afterthoughts on Carolee Schneemann: Kinetic Painting by Carlos Kong 

• Book reviews: edited by Lavinia Brydon and Alena Strohmaier (NECS Publication Committee) 
• Dreaming of Cinema / Slow Cinema by James Newton 
• A geography of resistance: Locating US underground film and TV cultures by Andrea Mariani 

• Audiovisual essays: guest edited by Catherine Grant 
• The audiovisual essay as performative research by Catherine Grant 
• House Arrest by Domietta Torlasco 
• The Place of Voiceover in Academic Audiovisual Film and Television Criticism by Ian Garwood 
• Being Bowie by Will Brooker and Rebecca Hughes

NECSUS: European Journal of Media Studies, Spring 2016_’Small data’

• Editorial Necsus 

• Features
• A philosophy of weaving the web: An interview with media theorist Sebastian Giessmann by Geert Lovink
• Remake: Chantal Akerman’s and John Smith’s plays on reality by Clara Miranda Scherffig
• Videographic film studies and the analysis of camera movement by Volker Pantenburg
• Photobiographies: The Derrida documentaries as film-philosophy by Robert Sinnerbrink
• ‘The Right Stuff’: From Western to melodrama and comedy by Wim Staat
• Pleasure | Obvious | Queer: A conversation with Richard Dyer by Catherine Grant and Jaap Kooijman 

• Special section: Small data
• Forms of binding: On data and not ‘fitting in’ by Anirban Gupta-Nigam
• Compact cinematics by Pepita Hesselberth and Maria Poulaki
• From Saul Bass to participatory culture: Opening title sequences in contemporary television series by Valentina Re
• Database aesthetics, modular storytelling, and the intimate small worlds of Korsakow documentaries by Anna Wiehl
• Towards a minor data manifesto by Jacek Smolicki and Alberto Frigo 

• Exhibition reviews: edited by Miriam De Rosa and Malin Wahlberg (NECS Publication Committee)
• Ryoji Ikeda at ZKM by Joo Yun Lee
• Re-enacting pre-existing image collections in Akram Zaatari’s ‘Unfolding’ by Olivia Eriksson
• The milieu of poetry: Yuri An’s ‘The Unharvested Sea’ and ‘Sailing Words’ by Adeena Mey
• Festival reviews: edited by Marijke de Valck and Skadi Loist (Film Festival Research Network)
• Of calendars and industries: IDFA and CPH:DOX by Aida Vallejo
• Human rights, film, and social change: Screening Rights Film Festival, Birmingham Centre for Film Studies by Sonia Tascón
• Rediscovering Frantz Fanon at Scotland’s Africa in Motion film festival by Prince Bubacarr Aminata Sankanu 

• Book reviews: edited by Lavinia Brydon and Alena Strohmaier (NECS Publication Committee)
• Complex series and struggling cable guys by Anne Gre Wabeke
• New media configurations and socio-cultural dynamics in Asia and the Arab world by Najmeh Moradiyan Rizi 

• Audiovisual essays: guest edited by Dana Linssen
• Whose Cinema: The video-essay on the big screen of the International Film Festival Rotterdam by Dana Linssen
• Live Streaming US by Paula Albuquerque
• re_making by Juan Daniel Molero
• Warped Reflections: The Cinematic Identity of Helmut Berger by Hugo Emmerzael

• SEQUENCE (4.1 [2016]) — ‘THINKING WITH DIGITS: Cinema and the Digital-Analogue Opposition’ by Paul Atkinson

• SEQUENCE (5.1 [2016]) — 'Silence' by Liz Greene

• New website:

• AHRC-funded CHINESE FILM FESTIVAL STUDIES NETWORK 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): http://reframe.sussex.ac.uk/chinesefilmfeststudies/

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.

• Other Open Access Resources 

• TALKS@MFM – REFRAME continues with its series of video and audio recordings of research presentations and masterclasses held at the School of Media, Film and Music, University of Sussex: 

• Professor Laura Rascaroli on “Framing: The Essay Film as Theoretical Practice”

• Dr Rarchel Moseley on "Child’s Play? Stop-Frame Television Animation for Children in the Sixties and Seventies”

• Jerry Rothwell on "HOW TO CHANGE THE WORLD (2015): Production, Engagement and Distribution in Documentary”

New Issues of NECSUS on 'Animals', Godard, Sobchack, Mulvey, Musicals, Documentary, Feminisms, and PARTICIPATIONS on film festivals, internet, television, Twitter, film and theatre audiences

A concise video primer by Catherine Grant on phenomenological film theory as well as a tribute to the works of René Clément, Henri Decae, Vivian Sobchack, Steven Shaviro and Claude Lévi-Strauss. Published in NECSUS: European Journal of Media Studies, Spring, 2015, where you can also read an accompanying text: "Film studies in the groove? Rhythmising perception in Carnal Locomotive."

Today, Film Studies For Free brings very glad tidings of two newly published, open access journal issues, from NECSUS: European Journal of Media Studies (still rolling out, and which, alongside its regular features and sections, offers a special dossier on 'animals') and PARTICIPATIONS: Journal of Audience and Reception Studies. All the contents are listed and linked to below.

If you're attending the annual gathering of the Network of European Cinema and Media Studies (NECS) in Łódź, Poland, have fun! It's a great conference. This year, FSFF's author is presenting instead at the U.S. National Endowment for the Humanities-funded workshop on Scholarship in Sound and Image, taking place from next week at Middleburg College in Vermont, U.S.A. from which some wonderful (and certainly open access) things will soon come.

NECSUS: European Journal of Media Studies, Spring 2015

All the below contents are linked to here: http://www.necsus-ejms.org/portfolio/spring-2015_animals/ 


Features:
Editorial Necsus

• In search of ‘Sauve la vie (qui peut)’ by Michael Witt
• Oppositional banality: Watching ordinary Muslims in ‘Little Mosque on the Prairie’ by Jenifer Chao
• Dancing in the sun: The musical as touristic hook in ‘Honeymoon’ by Lidia Merás and Sarah Wright
• Feminist film studies 40 years after ‘Visual Pleasure and Narrative Cinema’, a triologue by Laura Mulvey, Anna Backman Rogers, and Annie van den Oever

Audiovisual essays:

• The audiovisual essay as art practice: An introduction by Cristina Álvarez López and Adrian Martin
• Carnal Locomotive by Catherine Grant
• Club Video by Philip Brophy

Special section: Animals (rolling out shortly)

• Animals, anthropocentrism, media by Barbara Creed and Maarten Reesink
• Why not look at animals? by Anat Pick
• When Lulu met the Centaur: Photographic traces of creaturely love by Dominic Pettman
• Tasmanian tigers and polar bears: The documentary moving image and (species) loss by Belinda Smaill
• Cinematic slowness, political paralysis?: Animal life in ‘Bovines’, with Deleuze and Guattari by Laura McMahon
• Horseplay: Equine performance and creaturely acts in cinema by Stella Hockenhull
• Cows, clicks, ciphers, and satire by Tom Tyler

Book reviews:

(edited by Lavinia Brydon and Alena Strohmaier [NECS Publication Committee])

• Television studies reloaded: From history to text review by Massimo Scaglioni
• The documentary film book review by Malin Wahlberg 
• Storytelling in the media convergence age: Exploring screen narratives review by Emre Caglayan
• Education in the school of dreams: Travelogues and non-fiction films review by Adam Freeman

Festival reviews:

(edited by Marijke de Valck and Skadi Loist [Film Festival Research Network])

• Dossier: International Film Festival Rotterdam 2015 edited by Marijke de Valck
• Dispatches from the dark: A conversation with Neil Young at the International Film Festival Rotterdam 2015 by Daniel Steinhart
• Hollywood legacies and Russian laughter: Le Giornate del Cinema Muto / Pordenone Silent Film Festival 2014 review by Gert Jan Harkema
• We can haz film fest!: Internet Cat Video Festival goes viral review by Diane Burgess

Exhibition reviews:

(edited by Miriam De Rosa and Malin Wahlberg [NECS Publication Committee])

• Too much world: A Hito Steyerl retrospective review by Paula Albuquerque
• McMansion of media excess: Ryan Trecartin’s and Lizzie Fitch’s SITE VISIT review by Lisa Åkervall
• Reaching out!: Activating space in the art of Olafur Eliasson review by Olivia Eriksson
• David Reeb: Traces of Things to Come review by Leshu Torchin

PARTICIPATIONS 12. 1, May 2015

All the below contents are linked to here: http://www.participations.org/Volume%2012/Issue%201/contents.htm


Editorial: Barker, Martin (Editor): 'Thinking differently about "censorship"''


Articles

• Bergström, Annika: ‘The contexts of internet use: From innovators to late majority’
• Knight, Victoria: ‘Television, emotion and prison life: Achieving personal control’ 
• Matikainen, Janne: ‘Motivations for content generation in social media’ 
• Reinhard, CarrieLynn D. and Kevin Miller: ‘Men watching Sex and the City, My Little Pony, and Oklahoma: The interpretation of gender appropriateness in the reception of cross-gendered media products’
• Wroot, Jonathan: ‘Reviewing distinctive DVD experiences: NEO Magazine and the critical reception of Asian media distributors’
• Chambers, Amy C. and R. Lyle Skains: ‘Scott Pilgrim vs. the multimodal mash-up: Film as participatory narrative’

Themed Section 1: 'Theatre Audiences' (Guest editors: Matthew Reason and Kirsty Sedgman)

• Reason, Matthew and Kirsty Sedgman: ‘Editors’ general introduction: Themed Section on theatre audiences’
• Sedgman, Kirsty: Introduction to Part 1: ‘Be reasonable! On institutions, values, voices’
• Wilkinson, Julie: ‘Dissatisfied ghosts: Theatre spectatorship and the production of cultural value’
• Hadley, Bree: ‘Participation, politics and provocations: People with disabilities as non-conciliatory audiences’
• Schuitema, Karian: ‘A provocation: Researching the diverse child audience in the UK’
• Richardson, John M.: ‘Live theatre in the age of digital technology: “Digital habitus” and the youth live theatre audience’
• Pasquier, Dominique: ‘“The Cacophony of Failure”: Being an audience in a traditional theatre’
• Lindelof, Anja Mølle and Louise Ejgod Hansen: ’Talking about theatre: Audience development through dialogue’ 
• Johanson, Katya and Hilary Glow: ‘A virtuous circle: The positive evaluation phenomenon in arts audience research’
• Reason, Matthew: Introduction to Part 2: ‘Participations on Participation: Researching the “active” theatre audience’ 
• Gomme, Rachel: 
• ‘Not-so-close encounters: Searching for intimacy in one-to-one performance’
• Biggin, Rose: ‘Reading fan mail: Communicating immersive experience in Punchdrunk’s Faust and The Masque of the Red Death’ 
• Wozniak, Jan: ‘The value of being together? Audiences in Punchdrunk’s The Drowned Man’
• Wilson, Anna: ‘“Playing the Game”: Authenticity and invitation in Ontroerend Goed’s Audience’ 
• Gröschel, Uwe: ‘Researching audiences through Walking Fieldwork’
• Breel, Astrid: ‘Audience agency in participatory performance: A methodology for examining aesthetic experience’

Themed Section 2: 'Tweeting the Olympics: International broadcasting soft power and social media' (Guest editors: Marie Gillespie and Ben O'Loughlin)

• Gillespie, Marie and Ben O’Loughlin: ‘Editorial Introduction: International news, social media and soft power: The London and Sochi Olympics as global media events’
• Burchell, Kenzie and Ben O’Loughlin, Marie Gillespie and Eva Nieto McAvoy: ‘Soft power and its audiences: Tweeting the Olympics from London 2012 to Sochi 2014’ 
• Dennis, James, Marie Gillespie and Ben O’Loughlin: ‘Tweeting the Olympics: Towards a methodological framework for Big Data analysis of audience engagement during global media events’
• Procter, Rob, Alex Voss and Ilia Lvov: ‘Audience research and social media data: Opportunities and challenges’
• Willis, Alistair, Ali Fisher and Ilia Lvov: ‘Mapping networks of influence: Tracking Twitter conversations through time and space’
• Shreim, Nour: ‘Tweeting the Olympics: Transcending national, religious and gender identities on BBC Arabic’
• Voss, Alex and Marzieh Asgari-Targhi: ‘The inescapable history and politics of Anglo-Iranian relations: Audience engagement with BBC Persian on social media during the London 2012 Olympics’
• Aslan, Billur, James Dennis and Ben O’Loughlin: ‘Balding goes trolling? Cross-media amplification of controversy at the 2012 Olympics’ 
• Aslanyan, Anna and Marie Gillespie: ‘The Russian-language Twittersphere, the BBC World Service and the London Olympics’
• Hutchings, Stephen Marie Gillespie, Ilya Yablokov, Ilia Lvov and Alexander Voss: ‘Staging the Sochi Winter Olympics 2014 on Russia Today and BBC World News: From soft power to geopolitical crisis’ 
• Burchell, Kenzie: ‘Infiltrating the space, hijacking the platform: Pussy Riot, Sochi protests, and media events’

Themed Section 3: 'EIFAC 2014' (Guest editors: Lesley-Ann Dickson)

• Dickson, Lesley-Ann: ‘Section Introduction: Edinburgh International Film Audiences Conference, 2014’
• Ateşman, Özge Özdüzen: ‘The Politicisation and “Occupy”sation of the Istanbul Film Festival Audience’
• Dickson, Lesley-Ann: ‘“Ah! Other Bodies!”: Embodied spaces, pleasures and practices at Glasgow Film Festival’
• Martinez, Josu, Miriam Frances, Katixa Agirre and Miren Manias-Muñoz: ‘Zinegin Basque film festival: A non-existent audience revealed’
• Ralph, Sarah and Martin Barker: ‘What a performance! Exploring audiences’ responses to film acting’
• Saryusz-Wolska, Magdalena: ‘Watching films in the ruins: Cinema-going in early post-war Berlin’

Reviews

• Burland, Karen and Stephanie Pitts (eds.): Coughing and Clapping: Investigating Audience Experience (reviewed by Rose Biggin)
• Radbourne, Jennifer, Hilary Glow and Katya Johanson (eds.): The Audience Experience: A Critical Analysis of Audiences in the Performing Arts (reviewed by Kirsty Sedgman)

FILMICON: The New Journal That Will Launch a Thousand (Plus) Greek Film Studies

Film Studies For Free is delighted to announce the launch of Filmicon: Journal of Greek Film Studies. A peer-reviewed, open access and cross-cultural project, its mission (excerpted from, below) is a refreshing, important and timely one, indeed.

The lively and original contents of its first issue are also linked to below. FSSF would particularly like to flag up Olga Kourelou's brilliantly useful English-language bibliography on Greek Cinema (2010-13), which contains links to numerous online and open access items of further interest, and Deb Verhoeven's excellent study of the Greek film circuit in Australia

FSFF wishes Filmicon the very best of luck: Καλὴ τύχη! 

Screen shot of Filmicon's mission

Filmicon: Journal of Greek Film Studies, Issue 1, September 2013 

EDITORIAL: Creating an Open-Access, Cross-cultural Home for Greek Film Studies


ARTICLES

• Banal or Extraordinary? Pedagogical Dilemmas in the New Audiovisual Environment Dimitris Eleftheriotis
• Twice Born: Dionysos Films and the Establishment of a Greek Film Circuit in Australia (updated) Deb Verhoeven (Γεννημένος δύο φορές: η Dionysos Films και η δημιουργία ενός ελληνικού κινηματογραφικού κυκλώματος στην Αυστραλία Deb Verhoeven [μετ: Μαρία Χάλκου]) 
• “Cinderella of Modern Greece”: Aliki Voyouklaki as National Romance Nick Potamitis
• From ‘Made in Greece’ to ‘Made in China’: a 21st Century Touring Revival of Golfo, a 19th Century Greek Melodrama Panayiota Konstantinakou

BOOK REVIEWS

• Greek Cinema: Texts, Histories, Identities, edited by Lydia Papadimitriou & Yannis Tzioumakis (2012) Maria Chalkou
• Journal of the Hellenic Diaspora, vol. 37 1 and 2 (Special Issue on Greek cinema, 2011) Afroditi Nikolaidou
• New Greek Cinema 1965-1981: History and Politics by Stathis Valoukos (2011) Anna Poupou

FILM REVIEWS

• Wasted Youth (Argyris Papadimitropoulos and Jan Vogel, 2011) Angeliki Milonaki
• Amnesty (Bujar Alimani, 2011) Philip Phillis

BIBLIOGRAPHY

• Greek-language Bibliography on Greek Cinema (2011-12) Dimitris Kalandidis
• English-language Bibliography on Greek Cinema (2010-13) Olga Kourelou

NECSUS #3 The GREEN Issue

Frame grab from Shrek 2 (Andrew Adamson, Kelly Asbury and Conrad Vernon, 2004). Read Brady Hammond's article in the new issue of NECSUS, which explores 'green skin' in contemporary Hollywood cinema

Things have been a little busy in Film Studies For Free's offline universe and so rather quiet in its online one. But it's back with an ecologically sound bang, in the form of some updates about excellent, recent, open access journal issues.

First up is Issue 3 of NECSUS, the European Journal of Media Studies. Its last issue touched on 'Tangibility’. This time round its focus is on ‘"Greenness" in a broader pallet of media-related issues, from sustainable media production to the use of the colour green in a variety of films.'


NECSUS #3_Spring 2013_’Green’

• Editorial Necsus

Articles:

• Anecdotal evidence by Sean Cubitt
• Still TV: On the resilience on an old medium by Alexander Dhoest and Nele Simons
• Nenette: Film theory, animals, and boredom by Barbara Creed
• Advertisarial relations and aesthetics of survival: Advertising –> advertisign by Jonathan Beller

Special Section: Green

• Greening media studies: An interview with Richard Maxwell and Toby Miller by Jaap Kooijman
• ‘Global warming is not a crisis!’: Studying climate change skepticism on the web by Sabine Niederer
• Painting the town green: From urban teleology to urban ecology in New York cinema, 1960-present by Brady Fletcher and Cortland Rankin
• A filmic exploration by means of botanical imagery: Notes on Rose Lowder by Enrico Camporesi
• Dialectical modes of nature in Terrence Malick’s The Thin Red Line by Tyson Wils
• Her green materials: Mourning, Melancholia, and not-so-vital materialisms by Catherine Lord
• Disharmonious designs: Colour contrast and curiosity in Jane Campion’s In the Cut by Liz Watkins
• Greenface: Exploring green skin in contemporary Hollywood cinema by Brady Hammond
• Scalar entanglement in digital media ecologies by Sy Taffel

Book Reviews:

edited by the NECS Publication Committee

• Subjectivity and ostrannenie: Key debates in European film studies review by Pietro Bianchi
• Screen dynamics: Mapping the borders of cinema review by Lavinia Brydon
• Branding television review by Alison Payne

Festival Reviews:

edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network

• Go east by southeast: 13th Festival of Central and Eastern European Film Wiesbaden review by Greg de Cuir, Jr
• From Chernobyl to Fukushima: The Uranium Film Festival review by Courtney Sheehan
• Indigenous film festival as eco-testimonial encounter: The 2011 Native Film + Video Festival review by Salma Monani

Exhibition + Website + Conference Reviews:

• Discovering repetition review by Francesco Pitassio
• Playing with digital byproduct data: An indictive example review by David Beer
• Screen industries in East-Central Europe: Cultural policies and political culture review by Olof Hedling

Queer Film Festival Studies

Click here to visit the full interactive version of the above map.

As identity-based festivals, queer film festivals have a specific relationship to the audience to which they cater. More specifically, most of these festivals have had a strong connection to the political and social movement behind the lesbian and gay/queer agenda and try to maintain this relationship between cultural event and political framework [...]. Because of this history, queer film festivals have a strong tradition of a nuanced critical inquiry into the interconnections of cultural event management, community politics, nation state politics, funding and marketing strategies, and organizational structures [...]. [From Skadi Loist and Marijke de Valck, 'LGBT / Queer Film Festivals', Film Festival Research Network, last updated November 2012]

Festivals are the primary markets for international queer film, but they do not simply acquire and screen the films they show; they actually create the economic conditions that enable their production. This is not to imply that queer internationalism is merely inauthentic or commercial and thus without any kind of political viability. Rather, what it indicates is that scholars, activists, and festival directors must begin to look at the economy of queer cultural production as an essential element of queer collectivities and the institutions they form. Conceiving of an international queer community through cultural circulation and consumption begs significant questions about how U.S. audiences understand the role of the festival in defining a gay and lesbian class identity within this global economy. [From Ragan Rhyne, 'The Global Economy of Gay and Lesbian Film Festivals', GLQ: A Journal of Lesbian and Gay Studies, Volume 12, Number 4, 2006]

As the above two scholarly excerpts indicate, the subject of film festivals is one which raises numerous issues of central importance to cultural studies more generally. For this reason, as well as to celebrate the work of scholars who have shared their findings in particular corner of this field online, Film Studies For Free is delighted to announce that the latest set of links to open access queer film studies that it has created for its sibling Global Queer Cinema website is devoted to the topic of Queer Film Festival Studies. You can visit numerous earlier FSFF entries on film festival studies by clicking here.

This most recent collection in the GQC Resources section includes a link to the full, interactive, version of the map at the top of this entry, created by pioneering film festival scholar Skadi Loist (co-founder, with Marijke de Valck,  of the Film Festival Studies Network), which shows 256 LGBT/queer film festivals existing globally since 1977.

For live-link access to all the below resources, please visit this webpage.

• Chris Berry, 'My Queer Korea: Identity, Space, and the 1998 Seoul Queer Film & Video festival', Intersections: Gender, History and Culture in the Asian Context, Issue 2, May 1999
• Noa Ben-Asher, 'Screening Historical Sexualities: A Roundtable on Sodomy, South Africa, and Proteus',Pace Law Faculty Publications, 2005. Paper 589
• Kaucyila Brooke, 'Dividers and Doorways [on the locational politics of Los Angeles's Gay and Lesbian film festival]', Jump Cut, no. 42, December 1998, pp. 50-57
• Phillip B. Cook, 'Gay Sundance 2013: The Year Ahead in Independent Queer Cinema', The Blog, Huff Post Gay Voices, January 17, 2013
• Michael Guillén, The Evening Class blog, 2006-present
• Mel Hogan, '21 years of image & nation: legitimizing the gaze', Nouvelles «vues» sur le cinéma québécois, no. 10, Hiver 2008-2009
• Jamie June, 'Is it Queer Enough?: An Analysis of the Criteria and Selection Process for Programming Films within Lesbian, Gay, Bisexual, Transgender, and Queer Film Festivals in the United States', MA Thesis, University of Oregon, August 2003
• Alice Kuzniar, 'Schwul-lesbisches Kino aus Deutschland', in: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg, ed. by Dorothée von Diepenbroick and Skadi Loist (Hamburg: Maennerschwarm Verlag, 2009)
• Hui-Ling Lin, Bodies in Motion: The Films of Transmigrant Queer Chinese Women Filmmakers in Canada, PhD Thesis, University of British Columbia, 2011
• Skadi Loist, 'Precarious cultural work: about the organization of (queer) film festivals', Screen, 52.2, 2011
• Skadi Loist and Marijke de Valck (2010). “Film Festivals / Film Festival Research: Thematic, Annotated Bibliography: Second Edition.” Medienwissenschaft / Hamburg: Berichte und Papiere 91 (2010). (19. May. 2010 (sections: 1. Film Festivals: The Long View; 2. Festival Time: Awards, Juries and Critics; 3. Festival Space: Cities, Tourism and Publics; 4. On the Red Carpet: Spectacle, Stars and Glamour ; 5. Business Matters: Industries, Distribution and Markets; 6. Trans/National Cinemas; 7. Programming; 8. Reception: Audiences, Communities and Cinephiles; 9. Specialized Film Festivals; 10. Publications Dedicated to Individual Film Festivals; 11. Online Resources; Contact / Bio), 2008
• Skadi Loist, 'Queer Film and the Film Festival Circuit', In Media Res, September 14, 2010
• Skadi Loist, 'Das Queer Cinema und die Bedeutung lesbisch-schwuler Filmfestivals: Monika Treut im Interview mit Skadi Loist'n: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg. Eds. Dorothée von Diepenbroick, and Skadi Loist. Hamburg: Männerschwarm, 2009. pp. 12–20
• Skadi Loist and Marijke de Valck, 'Film Festival Studies: An Overview of a Burgeoning Field', in: Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova and Ragan Rhyne. St. Andrews: St. Andrews Film Studies, 2009. pp. 179–215
• Scott McKinnon, 'Taking the Word ‘Out’ West: Movie Reception and Gay Spaces', Participations, Volume 7, Issue 2 (November 2010) 
• Kelly McWilliam, 'We're Here All Week': Public Formation and the Brisbane Queer Film Festival. Queensland Review 14(2), 2007:pp. 79-91
• Jenni Olson, 'Film Festivals', GLBTQ: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture. 2002. 24 February 2007
• Ricardo Peach, Queer Cinema as a Fifth Cinema in South Africa and Australia, PhD Thesis, University of Technology, Sydney 2005
• Renee Penney, Desperately Seeking Redundancy? Queer Romantic Comedy and the Festival Audience, PhD Thesis, University of British Columbia, 2010
• Mel Pritchard, 'the big queer film festival list', QueerFilmFestivals.org
• Marc Siegel, 'Spilling Out onto Castro Street', Jump Cut No. 41 (May), 1997
• Amy Watson, Being Inappropriate: Queer Activism in Context, MA Thesis, Central European University 2009
• Gerald J. Z. Zielinski, Furtive, Steady Glances: On the Emergence and Cultural Politics of Lesbian and Gay Film Festivals, PhD Thesis, McGill University, August 2008
• Ger Zielinski, 'On the production of heterotopia, and other spaces, in and around lesbian and gay film festivals', Jump Cut, No 54, Fall 2012
• Ger Zielinski, '"Queer Film Festivals." LGBTQ America Today: An Encyclopedia. Eds. John C. Hawley, and Emmanuel S. Nelson. Westport, CT: Greenwood Press, 2009. pp. 980–984
• Ger Zielinski in Conversation with Stephen Kent Jusick, Executive Director of MIX Festival of Queer Experimental Film and Video, FUSE Art Culture Politics (summer issue, 2010), pp. 16-23 

New JUMP CUT: gender, globalization, Third Cinema, history, political activism, racial representation, cinematic form, melodrama, genre, new media, and media institutions

Frame grab from La nación clandestina/The Hidden Nation (Jorge Sanjinés, 1989). Read a great selection of new and translated articles on this Bolivian filmmaker among the numerous essays just published in the latest issue of JUMP CUT

Film Studies For Free welcomes with wide open e-arms the fabulous new issue of JUMP CUT. Just look at all that high quality content, the links to which stretch out below, almost as far as the mouse can scroll.  

JUMP CUT truly goes from strength to strength with its focus on contemporary and international cinema, media, aesthetics, reception and politics. FSFF hasn't digested the entire issue yet, but so far particularly likes the dossier on Third Cinema filmmaker Jorge Sanjinés, Ian Murphy's article on two films by Claire Denis, and Diane Waldman's very thoughtful review of Vicki Callahan's important edited collection, Reclaiming the Archive: Feminism and Film History together with Suzanne Leonard's great study of Fatal Attraction.

Its brilliant and hardworking editors -- John Hess, Chuck Kleinhans and Julia Lesage -- deserve our admiration and sincere thanks for all the excellent, politically and ethically engaged research they help to bring into the public domain in our disciplines. Their stance and efforts are as crucial now as they have ever been.

Finally, in the week that brought the very sad news of the death of Octavio Getino, best known for co-founding, along with Fernando Solanas, the Grupo Cine Liberación as well as for elaborating with Solanas and others the notion of Third Cinema, and in memory of this great film theorist and practitioner, interested readers might like to be reminded of FSFF's earlier related entries (see below), which contain links to numerous, past JUMP CUT offerings, and also check out Michael Chanan's tribute to Getino and historian Eric Hobsbawm here.

• On Popular Memory and Third Cinema: the work of Teshome Gabriel
• Studies of 'Third Cinema' and anti-Eurocentric film culture
• Obstinate Battles for Documentary Memory: Patricio Guzmán Resources Online
• "Roots of Third Cinema" and other Michael Chanan films and videos online
• On Liberation Cinema and Raymundo Gleyser
• Winds of Change: Cinema from Muslim Societies
• Peruvian Cinema (in the age of transnational film finance)
• "Making films anyhow": On Glauber Rocha's DIY cinema

JUMP CUT: A REVIEW OF CONTEMPORARY MEDIA

Current issue No. 54, fall 2012

THE FIRST WORD

• The first word: an introduction 
by the editors. 
Highlights and interconnections between essays in this issue.

ASIAN CINEMA AND TV DRAMA

• “Family” in Li Yang’s Blind Shaft and Blind Mountain by Amanda Weiss. A look at globalization and the family in Li Yang's migrant films Blind Shaft (2003) and Blind Mountain (2007).
• Migrant workers, women, and China’s modernization on screen 
by Jenny Kwok Wah Lau.
 Even though China's migrant workers constitute the biggest human migration in the world at this time the life circumstances of these workers receive little attention in Chinese cinema. This article explores how visual media, including installation arts, documentary films, and narrative films expose the often neglected issues of women migrants.
• Defining the popular auteur, or what it means to be human within the machine 
by Caroline Guo.
 Review of Director in Action: Johnnie To and the Hong Kong Action Film by Stephen Teo. 
Stephen Teo tackles Johnnie To’s multifaceted role in the Hong Kong film industry: this review picks up where his monograph leaves off to grapple with the filmmaker’s ongoing evolution and rethink the notion of the “popular auteur.”
• Negotiating censorship: Narrow Dwelling as social critique
 by Wing Shan Ho.
 Housing crisis and extra-marital affair—this essay explores how the TV drama Narrow Dwelling skillfully critiques social inequalities under the censor’s eye.
• Digital pleasure palaces: Bollywood seduces the global Indian at the multiplex 
by Manjunath Pendakur. 
Malls, multiplexes and digital cinemas are symbols of the fast-modernizing, neoliberal India of the 21st century and, in these turbulent conditions, Bollywood is expanding its audiences at home and abroad while the political-economic-technological changes have resulted in new conflicts and a reshaping of the film industry's internal structure and operation.
• Chokher Bali: a historico-cultural translation of Tagore
 by Srimati Mukherjee
. Bengali director Rituparno Ghosh challenges the moribund aspects of cultural tradition and shows that mobilization in and out of the “fixed” space of the widow is possible.

LATIN AMERICAN MEDIA

• The Chilean Student Movement of 2011: Camila Vallejo and the media 
by Matt Losada.
 How the Chilean establishment media set out to negatively portray the leader of the student movement, Camila Vallejo, but failed, in large part due to new media responses.
• Made on Rails in Mexico 
by John Mraz.
 How can modern media be employed to represent history — particularly that of workers in underdeveloped countries — in a critical and rigorous way?
• Julio García Espinosa’s Reina y Rey: 
from returning exile to Cuban-American tourist 
by Mariana Johnson. 
Cuba's revolutionary filmmaker and theorist of "Imperfect Cinema" comes to terms with life in the Special Period.

Articles on Bolivian filmmaker, Jorge Sanjinés

• Andean realism and the integral sequence shot 
by David M.J. Wood. 
Bolivian filmmaker Jorge Sanjinés’ radical film theory and praxis: an Andean take on the critique of mainstream cinema and the redemptive power of realism.
• The impossibility of mestizaje in The Hidden Nation: 
emblematic constructions in the cinema of Jorge Sanjinés
 by Alber Quispe Escobar, translated with explanatory notes by Keith John Richards.
• The all-encompassing sequence shot
by Jorge Sanjinés, translated by Cecilia Cornejo and Dennis Hanlon.
Jorge Sanjinés' 1989 essay explains the development of the "Andean sequence shot" and why it is consonant with indigenous Andean concepts of community and time. A key piece of Third Cinema theory never before translated into English.
• The “new” and the “old” in Bolivian cinema
 by Verónica Córdova S., translated by Amy L. Tibbitts. 
Verónica Córdova S. remarks on the motivations of the New Latin American Cinema movement of the 60s as contrasted with current trends and concerns of present-day Bolivian filmmakers. Using the films of Jorge Sanjinés as a model, Córdova explains how new technological advances in filmmaking are influencing Bolivian film production, while, hopefully, remaining in dialogue with the past generation of filmmakers.
• A cinema of questions: a response to Verónica Córdova 
by Martín Boulocq, translated by Amy L. Tibbitts. 
Martín Boulocq responds to Verónica Córdova's comments regarding the motivation of past and present Bolivian filmmakers, offering an entirely unique perspective on what motivates filmmakers to make films.
• Insurgentes: the slight return of Jorge Sanjinés 
by Keith John Richards.
 Jorge Sanjinés’ most recent film, Insurgentes, has aroused differences of opinion within Bolivia; this review examines the film in the context of recent developments in the country.

THEMES IN HOLLYWOOD AND OTHER CINEMAS

1. Race/ethnicity

• Not helping: The Help is stuck in the same stereotypes it's supposed to debunk 
by Kathryn Fleishman.
 Tate Taylor's 2011 film adaptation of The Help erases the continuing complexity of U.S. race relations, but it is all the more treacherous because it so earnestly strives to elucidate them.
• English ladies to liberators? How Pirates of the Caribbean and Alice in Wonderland mobilize aristocratic white femininity
by Kendra Marston. 
Examining the narrative trajectories of female protagonists in recent Holly wood blockbusters reveals that stories of feminist liberation may be utilized in order to mask power structures that privilege whiteness.
• “Machete improvises”: 
racial rhetoric in digital reception of Robert Rodriguez’s Machete 
by Marina Wood.
 Robert Rodriguez's Machete brings the immigration debate to the big screen with heaping sides of exploitation and satire much to the dismay, delight, and disinterest of its diverse audiences.
• Postmodern geekdom as simulated ethnicity 
by Kom Kunyosying and Carter Soles. 
As geekdom moves from the cultural fringes into the mainstream, contemporary media frame white male geeks sympathetically by allowing them to simulate racially marked victimhood in order to justify their existence as protagonists in a world where an unmarked straight white male hero is increasingly passé.
• Babel’s national frames in global Hollywood 
by Leisa Rothlisberger.
 Alejandro González Iñárritu’s Babel may be a melodrama about the human implications of globalization, but it also reveals the consequences of neoliberal policy for individuals as well as the global film industry.

2. The Mideast

• Looking back on Iraq: winning American hearts and minds
 by Patricia Ventura.
 Using key documentaries and reality TV shows, this essay explores how popular support for neoliberal U.S. war involves powerful forces mobilizing a necropolitics that the essay analyzes in its many facets.
• Narrating the global: pedagogy and disorientation in Syriana 
by Kfir Cohen. 
Stephen Gaghan's Syriana as a way to think the historical and philosophical significance of neoliberalism and globalization.

3. History

• A working-class hero is something to be: class in 70s U.S. cinema 
by Peter Steven.
 Review of Derek Nystrom's Hard Hats, Rednecks, and Macho Men: Class in 1970s American Cinema
• Performing the new economy: New York, neoliberalism, 
and mass communication in late 1970s cinema
 by Stanley Corkin.
 Howard Beale is mad as hell, but can he stop the tide of neoliberalism?
• The unquiet memory of the Hollywood Blacklist 
by Clay Steinman.
 Review of Alan Casty’s Communism in Hollywood: The Moral Paradoxes of Testimony, Silence, and Betrayal and Joseph Litvak’s The Un-Americans: Jews, the Blacklist, and Stoolpigeon Culture
. Sixty-five years after it began, the Hollywood blacklist continues to offer new lessons for left cultural practices, including the right’s ongoing response to them.
• Feminist film history
 by Diane Waldman.
 Review of Vicki Callahan (ed), Reclaiming the Archive: Feminism and Film History and Suzanne Leonard's Fatal Attraction
• “The lesser of the attractions”: Grindhouse and theatrical nostalgia 
by Kevin Esch.
 The Quentin Tarantino/Robert Rodriguez double-feature experiment celebrated a bygone era of grindhouse moviegoing. Was anybody listening?

4. Institutions: Law, Production, Exhibition

• The Hurt Locker litigation: an adult’s story
 by Robert Alpert
. Jeffrey Sarver, the alleged doppelganger to Kathryn Bigelow’s fictional character, William James, is crushed in real life, where law, on the one hand, and ethics and morality, on the other, frequently do not coincide.
• Interview with Zalman King—“In defense of myself, it’s not soft core” 
by Peter Lehman, with introduction by Chuck Kleinhans. 
Zalman King talks about the unusual and intense sexual journeys at the heart of his films and TV shows that he argues distinguish them from soft-core.
• On the production of heterotopia, and other spaces, 
in and around lesbian and gay film festivals 
by Ger Zielinski.
 Thinking through the varied, contested spaces of the lesbian and gay film festivals with the concept of heterotopia.

5. Queering the entertainment

• Glee: coming out on U.S. teen television 
by Whitney Monaghan.
 Employing an ensemble of queer adolescent characters, Glee offers multiple variations to the coming out narrative.
• Jeepers Queerpers: exploring queer identity in Jeepers Creepers 2 
by Patrick Bingham. 
Jeepers Queerpers explores the complex relation between the slasher film, (homo)sexuality and monstrosity.
• RuPaul’s Drag Race as meta-reality television 
by Nicholas de Villiers. 
RuPaul’s Drag Race—considered as a “meta-text” that incorporates and parodies Paris Is Burning, America’s Next Top Model, and Project Runway—demonstrates how drag-as-citation destabilizes notions of originality, and how queer culture is passed on in the age of new media.

DOCUMENTARY

• Framing the world economics in a tuna can: 
Luc Moullet tracks the Origins of a Meal/ Genèse d’un repas (1978) 
by Audrey Evrard.
Insisting that the globalization of French economy should be seen as a perfected form of colonialism, Luc Moullet's documentary is as relevant to today's viewers as it was to its initial audience over thirty years ago. Where contemporary films often vilify corporate interests, Moullet prefers to point to shared responsibility in the devastating exploitative nature of the global food trade.
• Truth in the mix: 
Frederick Wiseman’s construction of the observational microphone 
by Giovanna Chesler.
 By closely examining the construction of soundtracks in Frederick Wiseman’s documentaries High School and Domestic Violence, Chesler explores how sound editing in observational-style documentary provides a seemingly continuous foundation that enables storytelling and editing techniques more familiar to fiction filmmaking.
• Consciousness-raising and difference in 
The Woman’s Film (1971) and Self-Health (1974) 
by Shilyh Warren. 
To reconsider the aesthetic legacies and political fantasies of feminist documentaries of the 1970s means that we also have to come to terms with some of their real rhetorical limitations.
• On suffering and human eloquence: 
commemorating 9/11, televised U.S. coverage in 2011 
by Isabel Pinedo.
 Televised programs commemorating the tenth anniversary of 9/11 sought to construct redemptive narratives of various kind, but the most powerful, the mini-eulogies and the documentary approach, revolved around human affect in contrasting ways.
• Streaming death: the politics of dying on YouTube 
by Jennifer Malkowski. 
Documentary footage of two violent deaths—Oscar Grant’s and Neda Agha-Soltan’s—circulating on YouTube reveals the promise and perils of activist Internet video.
• Julia Bacha’s Budrus (Palestine), Ali Samadi Ahadi’s The Green Wave (Iran), Leonard Retel Helmrich’s Position Among the Stars (Indonesia) — transnational collaborations for art and impact in new documentary cinema 
by Daniel Miller.
 Three contemporary documentaries are attracting notice as they go out from festivals into the world to do real work.
• Media activists for livability: an NFB experiment in 1970s Vancouver 
by Jean Walton.
 In the early 1970s, the National Film board brought its Challenge for Change Program to a troubled suburb on Canada’s West Coast, putting cameras into the hands of disenfranchised residents. The land use battles that ensued complicated Vancouver’s image as the Shangri-La of the North.
• Give me shelter: the ecology of the home in Blue Vinyl and Libby, Montana 
by Robin L. Murray and Joseph Heumann. 
In Blue Vinyl and Libby, Montana, it’s not just how you live and how you build your home, it’s where you live and what’s around you that contribute to the everyday eco-disasters associated with constructing and sustaining shelter.

EXPERIMENTAL and NEW MEDIA

• Identity, interactivity and performativity in Michelle Citron’s Queer Feast
 by Kathleen Scott. 
An exploration of interactive narrative and form in the work of experimental filmmaker Michelle Citron.
• Video games, cognitive capital, the cognitariat, and the dream factory's seedy streets: patrolling the citizenry of LA Noire 
by Dennis Broe and Ken Cohen in conversation.
 A critical discussion of LA Noire, a game that claimed to revolutionize the industry but which this article contends raises perennial questions relevant to gaming in general regarding the cognitariat, surveillance culture and the digital panopticon.
• “Making it through”: 
sickness and health in Su Friedrich’s The Odds of Recovery 
by William C. Wees.
In vivid and intimate detail, Su Friedrich's autobiographical film offers literal and metaphorical views of the consequences of sickness and the pleasures of recovery.
• New media and politics: populist revolt, state control, and elections 
by Lyell Davies.
 Review of Nadia Idle and Alex Nunns, eds., Tweets From Tahrir: Egypt’s Revolution as it Unfolded, in the Words of the People who Made it; Evgeny Morozov, The Net Delusion: The Dark Side of Internet Freedom; Richard L. Fox and Jennifer M. Ramos, eds., iPolitics: Citizens, Elections, and Governing in the New Media Era
• Work-in-progress: Marie Menken and the mechanical representation of labor 
by Caroline Guo.
 Through her experimental short films, Marie Menken reveals how cinema’s capacities lie not only in the mechanical workings of the camera but also the potentials of human labor, leading us to bigger reflections on the inextricable ties between filmmaking, labor, and modern society.
• The Cry of Jazz and the expressive politics of music and race 
by Chuck Kleinhans.
 An interview with Ed Bland, director of the landmark 1959 film on jazz music and African Americans in U.S. society, reveals the context of the experimental documentary's argument and analysis.

CRITICAL ANALYSES

• Should the Dark Knight Have Risen?
 by Todd McGowan. 
The radical politics of Christopher Nolan's new film lies in Bane's voice and in its critique of the idea of harmony and balance, as represented by Miranda Tate.
• The rape-revenge film: biocultural implications 
by David Andrews.
 This article looks at rape-revenge movies from a biocultural perspective, using sexual-selection theory to understand rape-revenge conventions.
• Feeling and form in the films of Claire Denis 
by Ian Murphy. 
Shattering the laws of traditional narrative, Denis’ films Beau travail (1999) and Vendredi soir (2002) promote a purely rhythmic form that calls for a deeper mode of viewer engagement – with the screen, and with the self.
• Time After Time: cinema, trauma, and (a)temporality 
by Allan Cameron. 
Review of Todd McGowan's Out of Time: Desire in Atemporal Cinema

THE LAST WORD

• Days of whines and ruses
 by the editors.
 Non-electoral concerns: class, race, sex and higher ed/media studies