Film Studies For Free: transnational cinema

Showing posts with label transnational cinema. Show all posts

Monday, 31 March 2014

Society for Cinema and Media Studies Post-Conference Round Up: [IN]TRANSITION,Transnational Cinemas, MOVIE eBooks, and much more!


Homepage of [in]Transition, 1.1, 2014

Film Studies For Free is just back from attending the annual conference of the Society for Cinema and Media Studies. This year it took place in the distinctly cinematic, and especially fun, city of Seattle in Washington State, USA.

The big event, from this blog's point of view, was the launch of [in]Transition, a new open access periodical, co-edited by FSFF's author with Christian Keathley and Drew Morton. [in]Transition – a collaboration between MediaCommons and the Society for Cinema and Media Studies’ official publication Cinema Journal – is the first peer-reviewed academic journal of videographic film and moving image studies. [in]Transition has a highly distinguished editorial board and is more than ably project managed for MediaCommons by Jason Mittell and for Cinema Journal by Chris Becker, CJ's online editor (big thanks also go to the very visionary Will Brooker [CJ editor], Avi Santo, Monica McCormick and the rest of the heroic MediaCommons team).

You can read more about the project here, and about videographic film studies and its lineage more generally in the Resources page here. Please visit the website and be very encouraged to comment on the curated videos (on Marilyn Monroe, neorealism, F for Fake and the films of Ingmar Bergman) published in issue 1. One of the main goals of this journal is to generate debate and understanding about audiovisual moving image studies, and we would love to be able to count on the insights and questions of our viewers/readers in this project. So please visit the journal website and see whether you'd like to contribute to the Open Peer Commentary.

You can also watch video recordings (linked to below) of the historic SCMS conference workshop on Visualizing Media Studies, on March 20th, which launched [in]Transition, with contributions by Chris Becker, Drew Morton, Catherine Grant, Christian Keathley, Matthias Stork, Benjamin Sampson, Jason Mittell, and a very lively and interested audience. This session was livestreamed and then archived for online viewing among a series of other SCMS panels and workshops. These are all linked to below, along with lots of other items of interest and news from the conference.

SCMS Workshop Livestreaming:

SCMS Workshop -Visualizing Media Studies Part 1 (0:14:00 - scroll to 5:58 for Chris Becker's introduction and then to 8:40 for the first part of Drew Morton's presentation)
SCMS Workshop -Visualizing Media Studies Part 2 (1:35:49 - DM's presentation continues then scroll to 4:20 for Catherine Grant; to 20:50 for Christian Keathley; to 28:14 for Matthias Stork; to 40:00 for Ben Sampson; to 54:30 for Jason Mittell; and to 58:15 for the Q&A session)
SCMS Workshop on Exploring Transnational Television Histories (1:45:35)
SCMS Workshop on Media Activism and the Cultural Industries (1:58:10)

Transnational Cinemas Links:

FSFF's New Podcast Interview with Austin Fisher at SCMS14:

On March 24, 2014, Film Studies For Free interviewed Dr Austin Fisher, Senior Lecturer in Media Arts at the University of Bedfordshire, UK, author of Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema and editor of the forthcoming volume Spaghetti Westerns at the Crossroads: Studies in Relocation, Transition and Appropriation (Edinburgh: Edinburgh University Press, 2015), among other publications.
The interview took place in Seattle, USA, after the close of the annual conference of the Society for Cinema and Media Studies, where Austin was contributing to a number of workshops and panels as co-chair (with Iain Robert Smith) of the SCMS Scholarly Interest Group in Transnational Cinemas. Austin talks about this topic in the interview and connects it to his longstanding interest in Italian cinema and the spaghetti western. He was also in the US as an invited speaker (with Sir Christopher Frayling) at an event at Texas Tech, in Lubbock, Texas, to celebrate 50 years since the release of A Fistful of Dollars.
Austin is also author of a video essay on The Searchers, and in the interview he talks about the experience of making this work, a topic of particular interest at the SCMS conference where [in]Transition was launched.

MOVIE eBooks!!

At a wonderful SCMS workshop on 'Film Scholarship and the Online Journal' (proposed by V.F. Perkins and chaired by Girish Shambu), John Gibbs announced the launch of a range of open access eBooks by MOVIE: A Journal of Film Criticism. The first three volumes (in EPUB and Mobi formats) are as follows:

Movies and Tone by Douglas Pye
The Police Series by Jonathan Bignell
Reading Buffy by Deborah Thomas

Discussions of/Reflections on SCMS:

Archived live tweets from @cinemajournal reporters about the conference: @CJ at SCMS Cinema and @ CJ at SCMS Media/TV
Great Aca-Media podcasts (also on Twitter)
Photos from SCMS14!!
Check out Chris Cagle's SCMS14 commentary (at his wonderful blog Category D) here and here, and his interview with Jaimie Baron whose great new book The Archive Effect: Found Footage and the Audiovisual Experience of History (read Baron's related essay on Archival Footage as an Experience of Reception here) launched just prior to the conference.
James Wicks has some good posts on the transnational cinema panels at his great website:

Other material presented or referred to at SCMS (please let FSFF know of more to add to this list):

Just added Steen Christiansen, 'Things Gone Wild: The Movie Camera in the Drone Age', Dissemination, March 19, 2014
Justin Horton, 'Vibration, Resonance, Deformation: Deleuze's Soundfulness', Academica.edu, March 2014
Transmedia Database (Tmdb!): 'a research hub for transmedia content in its widest sense' run by Vicki Callahan, Sarah Atkinson, Jeff Aldrich and Robert Foster.

Other news and links:

Save Film Studies at University of West of England!!
New issue of SCOPE, 26, 2014!!
New issue of Senses of Cinema, 70, 2014!!
New issue of Wide Screen, Vol 5, No 1 (2014), Special Issue: An Unseen Century: Indian Cinema 1913-2013!!
Remembering Stuart Hall by E. Ann Kaplan
Remembering Scott Nygren by David Desser
Remembering Harold Ramis by Kristen Thompson
Remembering Věra Chytilová (DAISIES), 1929 – 2014 by David Hudson
Two great early German cinema links: by Enes Lukac; and by Jan-Christopher Horak
Kevin B Lee on Chris Marker
David Bordwell on The Grand Budapest Hotel
VIDEO (2:23): James Mooney's brilliant video essay on Bertolucci's use of Plato's cave Imagery in THE CONFORMIST (narrated by Orson Welles...). Also see Mooney's discussion here: http://filmandphilosophy.com/.../platos-cave-and-the-cinema/
Roberto Ortiz's essay on Latina star of the 1940s Maria Montez, and Warhol superstar and drag pioneer Mario Montez
Below, a short video tribute to Shirley Temple (made the day after she died) by Catherine Grant. This was screened at the SCMS panel on 'First-person Singular: Cinephilia and Writing with the “I” in Cinema and Media Studies' (proposed and chaired by David Johnson) in Christian Keathley's presentation 'Video Essays and the First-person Singular'. The video was originally published, with a short explanatory text, by Film Ireland, February 12, 2014. It will also be presented in a talk called 'Losing/finding/creating the (child) star: on online mourning and videographic objects' at the 'Film and the Psycho-Cultural: Objects, relatedness, process' symposium on Saturday 31st May at the Freud Museum in London, organised by Media and the Inner World, Psychosocial Studies at UEL and the Centre for Research in Film and Audio-Visual Cultures at Roehampton.

Mechanised Flights: Memories of Shirley Temple in HEIDI (Allan Dwan, 1937) from Catherine Grant.

Read more about this video here

Single Take Horror Film Mutations from Catherine Grant on Vimeo. Also see
'Single Take Horror Film [Transnational] Mutations: Remaking La casa muda in Silent House [video essay plus text for SCMS Transnational Film Remakes Panel, March 2014]', Mediático. March 31, 2014

Friday, 6 January 2012

40+ Essays on Film, Moving Image, and Digital Media in the Sarai Readers

Framegrab image of early action heroine "Fearless" Nadia (née Mary Ann Evans) in Miss Frontier Mail (Homi Wadia, 1936). Read Rosie Thomas's 2007 article on this film.

Today, Film Studies For Free focuses on, and links to, some remarkable film and digital media studies essays commissioned and edited by the Sarai Programme at the Centre for the Study of Developing Societies (CSDS), Delhi.

The Sarai Programme was initiated in 2000 by a group consisting of internationally renowned cinema scholar Ravi S. Vasudevan, Ravi Sundaram (both fellows at CSDS) and the members of the Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta), a Delhi based group of media practitioners, documentarists, artists and writers.

Sarai's mission is to act as a platform for discursive and creative collaboration between theorists, researchers, practitioners and artists actively engaged in reflecting on contemporary urban spaces and cultures in South Asia. Its areas of interests include media research and theory, the urban experience in South Asia: history, environment, culture, architecture and politics, new and established media practices, media history, cinema, contemporary art, digital culture, the history and politics of technology, visual/technological cultures, free and open source software, social usage of software, the politics of information and communication, online communities and web-based practices.

The below collection of articles -- painstakingly drawn from the numerous, openly accessible Sarai Readers produced by the collective -- reflect the above interests, but have been curated here by FSFF because of their particular, potential relevance to scholars of cinema and related moving image and digital media studies.

Thursday, 15 December 2011

"Global Cinema: Cinéma Engagé or Cinéma Commerciale?" Special Issue of SITUATIONS

Framegrab from Babel (Alejandro González Iñárritu , 2006)

Babel sets out to be a new sort of film that attempts to create a “world cinema” gaze within a commercial Hollywood framework. I examine how it approaches this and ask whether the film succeeds in this attempt. I explore the tensions between progressive and conservative political agendas, and pay particular attention to the ways “other” cultures are seen in a film with “Third World” pretensions and U.S money behind it. I frame my analysis around a key question: does the Iñárritu-led outfit successfully create a paradigmatic “transnational world cinema” text that de-centers U.S. hegemony, or is this a utopian project doomed to failure in a film funded predominantly by major U.S. studios? I examine the ways in which the film engages with the tourist gaze and ask whether the film replaces this gaze with a world cinema gaze or merely reproduces it in new ways . [Deborah Shaw, "Babel and the Global Hollywood Gaze", Situations, 4.1, 2011]

Film Studies For Free is delighted to announce the publication of a new film issue of the Open Access journal Situations: Project of the Radical Imagination. The special issue is entitled "Global Cinema: Cinéma Engagé or Cinéma Commerciale?" and it contains ten essays on modern international films and cinemas, including those of Iran, Nigeria, Mexico, Romania, France, China, Argentina, and India as well as on contemporary film festivals and on films documenting the Israeli-Palestinian conflict.

As the editors write:

The issue has a global reach in its coverage of countries and regions of the world ranging from Hollywood’s own “Global Gaze,” to a placement of Nigerian Cinema as the equal of Africa’s modernist cinema, to Venezuela’s difficult negotiation of a Bolivarian cinema in a neoliberal context, to a questioning of the radical othering of Eastern European cinema whose concerns now seem much closer to those of the West, and, finally, to a tracing of a complex multiperspectival fashioning of the image of the Chinese peasantry in a moment when the distinction between city and country are rapidly fading. The global reach of the issue extends as well to the range of theoretical positions used to examine contemporary global cinema, be it: structural-materialist aspects of the questioning of the Israeli-Palestinian problematic; the integration of economic and aesthetic methodologies in a post-Adornian examination of the Cannes Film Festival; feminist and subaltern theory utilized to critique the patriarchal aspects of what is sometimes viewed as India’s most politically progressive cinema; a rereading and deconstruction of French radical workerist post-1968 cinema; and a linking of feminist and anti-colonial perspectives to highlight the way that in Iran Abbas Kiarostami’s Ten spotlights Muslim women's emancipation.

Below are direct links to the contents, as per usual here at FSFF.

Situation homepage Archives

Vol 4, No 1 (2011) Table of Contents PDF

Terri Ginsberg, Dennis Broe, "Whither Globalization? An Idea Whose Time Has Come or Whose Time Has Come and Gone?" PDF
Deborah Shaw, "Babel and the Global Hollywood Gaze" PDF
Dennis Broe, "The Film Festival as Site of Resistance: Pro or Cannes" PDF
Hossein Khosrowjah , "Neither a Victim nor a Crusading Heroine" PDF
Jonathon Haynes , "African Cinema and Nollywood: Contradictions" PDF
Terri Ginsberg, " Radical Rationalism as Cinema Aesthetics: The Palestinian–Israeli Conflict in North American Documentary and Experimental Film" PDF
Paul Douglas Grant, "Just Some of the Ways to Shoot a Strike: Militant Filmmaking in France from Arc to the Groupe Medvedkine" PDF
Noah Zweig, "Villa del Cine (Cinema City): Constructing Bolivarian Citizens for the Twenty-First Century" PDF
Ping Fu, "Encircling the City: Peasant Migration in Contemporary Chinese Media" PDF
Gayatri Devi, "Between Personal Cataclysms and National Conflicts: The Missing Labor Class in Malayalam Cinema" PDF PDF
"Eastern European Cinema on the Margins" by Meta Mazaj PDF
Contributors, Film Issue PDF

Saturday, 8 October 2011

Brokeback Mountain Studies: Through the Queer Longing Glass

Through the Queer Longing Glass of BROKEBACK MOUNTAIN from Catherine Grant.

Films accumulate meaning through, at times, very subtle moves. From one colour to another. From one shape to another. The latter is the case with Brokeback Mountain (Ang Lee, 2005).

While much of the film's affective meaning is conjured through quite obvious (but no less moving for that) figurations of absence and presence, such as Ennis's discovery of the (now 'empty') bloodied shirts in Jack's closet, and their (still 'empty') reappearance in Ennis's own closet at the end of the film, there is also some mourning and memory-work carried out through considerably less conspicuous, visual shape-shifting and graphic matching.

This very short video essay traces the long journey from Jack's desirous looking at Ennis through round glass (as he shaves his later-to-be-bruised cheek) in the early and middle parts of the film, to Ennis's touching association with squarer, straighter vistas, at the end of the film, an un/looking through 'longing glass' in which Jack can only be figured invisibly, metaphorically, through his absence. [Catherine Grant, 'Through the Queer Longing Glass of Brokeback Mountain']

Film Studies For Free's author was doing a little bit of teaching on Brokeback Mountain last week. It was windy up there, but this pedagogical outing inspired the above little video essay as well as the below list of links to online, and openly accessible studies of Ang Lee's 2005 film and Annie Proulx's short story as well as of the 'gay cowboy film' more generally. Yee ha!

Saturday, 6 August 2011

ALPHAVILLE, a new journal of film and screen media

A poster of Jean-Luc Godard’s Alphaville, une étrange aventure de Lemmy Caution (1965)

Alphaville is the first fully peer-reviewed online film journal in Ireland. It is edited by staff and PhD students in Film Studies at University College Cork. It will be published twice a year, in Summer and Winter, with both open and themed issues that will aim to provoke debate in the most topical issues in film and screen studies. [More about Alphaville]

There is no better title [...] for a new journal that proposes to explore the constitutive hybridity of the moving image—analog and digital, commercial and avant-garde, mainstream and independent, popular and elitist—without forgetting how its roots spread in artistic and productive practices that have always been far more composite and multilayered than our critical categories seemed to wish to account for. Calling for the breaking down of disciplinary boundaries, media fields and critical categories, Alphaville: Journal of Film and Screen Media aspires to be a laboratory for new interpretative ideas on the moving image of yesterday, of today and of tomorrow. This inaugural issue, in particular, foregrounds cultural, spatial, productive and aesthetic issues that aim to set in motion our thinking about European cinema within multilayered critical, cultural and geopolitical models, and in light of the complexity of the flow of images that characterises our media landscape. The transnationality, transculturality and transmediality of contemporary European cinemas are undoubtedly going to shape and occupy the research agenda for some time to come. [Laura Rascaroli, 'Back to the Future: The European Film Studies Agenda Today']

There's a new open access film journal on the block, everybody! Great news in Film Studies For Free's humble opinion. Alphaville: Journal of Film and Screen Media has just published its first issue, along with calls for papers for two further issues, to boot.

The first issue is themed, and here's what its editors say about their choice of organising topic:

Alphaville Issue 1, European Cinema: Transnational, Transcultural, Transmedial stems thematically from an international graduate film studies conference that we co-organised in May 2010 at University College Cork. The conference addressed the permeability of European spaces—geopolitical, sociocultural, productive and aesthetic—within a post-1989 cinematic context. This Issue, however, moves the focus beyond such a specific—albeit multilayered—epoch, encompassing research on both past and contemporary filmmaking, in a bid to showcase the “movement” that was and still is at the heart of European cinema with regard to its interrelationships of geography, culture and form. Inspired by the many seminal works on European cinema that have gone before it, we seek to contribute to the debate a collection that is at once original, in its theoretical and thematic scope, and fresh, in its demonstration of inspiring new work by early career scholars (an attribute that affords us the knowledge that this thriving area in our field will continue to be so).

FSFF thinks it's a great issue packed with items of interest for film scholars, beginning with Natalia Pinázza's brilliant article on Sandra Kogut’s multinational coproduction documentary Un passeport hongrois/The Hungarian Passport (2001).

Tu es très bienvenu Alphaville!

Alphaville: Journal of Film and Screen Media Issue 1 (Summer 2011)

Editorial:

Articles:

Book Reviews and Festival and Conference Reports:

[Compiled by Jill Moriarty, Deborah Mellamphy and Stefano Odorico, University College Cork]

Screening Strangers: Migration and Diaspora in Contemporary European Cinema, by Yosefa Loshitzky (2010) Reviewer: Aidan Power
Cinema, Memory, Modernity: The Representations of Memory from the Art Film to Transnational Cinema, by Russel J.A. Kilbourn (2010) Reviewer: Colm Ryan

The “Biographical Narrative in Film and Television” Postgraduate Seminar Series University of Southampton, May and June 2010 Reporter: Victoria Kearley
The Society of Cinema and Media Studies Annual Conference 2011: Media Citizenship New Orleans, USA, March 10-13, 2011 Reporter: Deborah Mellamphy

The Corona Fastnet Short Film Festival Schull, County Cork, 26-29 May 2011 Reporter: Barry Monahan
Film 4 Frightfest, 2010 London, 26-30 August 2010 Reporter: Deborah Mellamphy

email: alphavillejournal@gmail.com

Issue 2, Winter 2011, Space and Time in Film.

Issue 3, Summer 2012, Sound, Voice, Music.

cfp: http://www.alphavillejournal.com/CallforPapers.html

Thursday, 26 May 2011

30+ articles from the Journal of Aesthetics and Culture

Frame grab from The Wind (Victor Sjöström, 1928). Read Bo Florin's article on this film

[Traditionally, aesthetics] has been based on national perspectives and contexts, as well as contained within the limits of specific disciplines. However, the changing society has made this focus all too narrow. Due to globalization, media and territories merge and move in new ways, where regional, national, international, and global perspectives increasingly integrate. New contexts and new aesthetic strategies are also created, and traditional boundaries and hierarchies become transgressed, for example, between high brow and popular culture, or between art and technology. Aesthetics as well as culture thus need to be discussed and interpreted across the disciplines, through different media, over territorial borders. Finally, this is also a strong argument for Open Access publishing: to constitute a global platform and an interface for interdisciplinary discourse—free for anybody to read. [from first JAC Editorial by Astrid Söderbergh Widding, Lars Gustaf Andersson and John Sundholm]

Film Studies For Free had been meaning to post something about the Journal of Aesthetics and Culture for quite a while. It's an online open access journal, hence one very much after this blog's's heart, with a high percentage of very good quality film-studies related articles that FSFF has frequently linked to on Twitter.

Today, JAC published an excellent dossier on Transnational Cultural Memory, an event which provided a wonderful prompt to gather together, in one place, links to everything that JAC has published to date. And below, that is just what you will find.

FSFF has also added JAC to its permanent listing of excellent, Open Access film and moving image studies journals.

Vol. 1 (2009)

Editorial by Astrid Söderbergh Widding, Lars Gustaf Andersson, John Sundholm (PDF HTML XML)
Sean Cubitt, Thinking filming thinking filming (PDF HTML XML)
Thomas Elsaesser, Ingmar Bergman in the museum? Thresholds, limits, conditions of possibility (PDF HTML XML)
Julia Creet, Calling on Witnesses: testimony and the deictic (PDF HTML XML)
Bodil Marie Stavning Thomsen, Antichrist – Chaos Reigns: the event of violence and the haptic image in Lars von Trier’s film (PDF HTML XML)
Anu Koivunen, Confessions of a Free Woman: telling feminist stories in postfeminist media culture (PDF HTML XML)
Tiina Rosenberg, On feminist activist aesthetics (PDF HTML XML)
Bo Florin, Confronting The Wind: a reading of a Hollywood film by Victor Sjöström (PDF HTML XML)

Vol. 2 (2010)

Editorial by Astrid Söderbergh Widding, Lars Gustaf Andersson, John Sundholm (PDF HTML XML)
Irina Aristarkhova, Hosting the animal: the art of Kathy High (PDF HTML XML)
Maaret Koskinen, Ingmar Bergman, the biographical legend and the intermedialities of memory (PDF HTML XML)
Timotheus Vermeulen, Robin van den Akker, Notes on metamodernism (PDF HTML XML)
Anita Seppä, Globalisation and the arts: the rise of new democracy, or just another pretty suit for the old emperor? (PDF(high) PDF HTML XML)
Tytti Soila, Passion at the threshold: Doctor Glas the flaneur in the films of Rune Carlstén and Mai Zetterling (PDF HTML XML)
Ryszard W. Kluszczynski, Strategies of interactive art (PDF(high) PDF HTML XML)
Michael Laurence Woods, What it is? A question on the derivation of musical meaning (PDF HTML XML)
Matthew Mullane, The aesthetic ear: sound art, Jacques Rancière and the politics of listening (PDF HTML XML)
Sven-Olov Wallenstein, Space, time, and the arts: rewriting the Laocoon (PDF HTML XML)
Torkild Thanem, Louise Wallenberg, Buggering Freud and Deleuze: towards a queer theory of masochism (PDF HTML XML)

Vol 3 (2011)

Lisbeth Söderqvist, Structuralism in architecture: a definition (PDF HTML EPUB XML)
Per-Arne Bodin, The holy fool as a TV hero: about Pavel Lungin’s film The Island and the problem of authenticity (PDF HTML EPUB XML)
Des O'Rawe, Towards a poetics of the cinematographic frame (PDF HTML EPUB XML)
Erik van Ooijen, Cinematic shots and cuts: on the ethics and semiotics of real violence in film fiction (PDF HTML EBUB XML)

Dossier on Transnational Cultural memory

John Sundholm, Adrian Velicu, Introduction to the dossier on transnational cultural memory (PDF HTML EPUB XML)
Astrid Erll, Traumatic pasts, literary afterlives, and transcultural memory: new directions of literary and media memory studies (PDF HTML EPUB XML)
Steffi Hobuß, Aspects of memory acts: transnational cultural memory and ethics (PDF HTML EPUB XML)
Adrian Velicu, Cultural memory between the national and the transnational (PDF HTML EPUB XML)
John Sundholm, Visions of transnational memory (PDF HTML EPUB XML)
Julia Creet, Transnational archives: the Canadian case (PDF HTML EPUB XML)
Anna-Kaisa Kuusisto-Arponen, Transnational sense of place: cinematic scenes of Finnish war child memories (PDF HTML EPUB XML)

Saturday, 29 May 2010

Love builds bridges: on the romantic comedy in transnational cinema

Last updated June 1, 2010

Image of Cary Grant and Katharine Hepburn on the set of Bringing Up Baby (Howard Hawks, 1938). See Kartina Richardson's short video essay on this film at her new audio commentary website Mirror.

Film Studies For Free's author sensibly decided, on balance, that it was probably better to stay at home and draft the below list of links to good quality, openly accessible, and disciplinarily-diverse, scholarly studies of the transnational, transhistorical, romantic comedy film mode, than to haul herself out (in the rain) to the cinema to see Sex and the City 2.

Enough said, probably, but if you think she has made the wrong choice, please do leave a comment below... (More links should be added in the next few days - if you have any to suggest, please get in touch).

María del Mar Azcona Montoliú, 'Love is a Many-Person’d Thing: Multi-Protagonist Tales of Contemporary Desire', BELLS, 17, 2008

Kathleen Battles and Wendy Hilton-Morrow, 'Gay Characters in Conventional Spaces: Will and Grace and the Situation Comedy Genre', Critical Studies in Media Communication Vol. 19, No. 1, March 2002, pp. 87–105

Christopher Beach, Class, Language and American Film Comedy (Cambridge: Cambridge University Press, 2002) long excerpt

Michael Black, Bonnie Friel, Joan Jasak, Matthew Lombard, Anne Russ, 'An Evaluation of Portrayals of Telepresence and Romantic Relationships in Film and Television', Edited by Anna Spagnolli, Luciano Gamberini, Proceedings of the 11th Annual International Workshop on Presence, Padova, 16-18 October 2008

Karen Boyle, 'Attractions and distractions: Mums, babies and ‘early’ cinemagoing', Participations, Volume 6, Issue 2, 2009

Mary M Chan, 'Mr. Collins on Screen: Jane Austen’s Legacy of the Ridiculous', Persuasion On-Line, V.29, NO.1 (Winter 2008)

Isabel Sterling Clark, 'The Challenge of Being Yourself: Adaptation, Adolescence, and Disguise in Teenage Romantic Comedy Films of the Late 1990s and Early 2000s', Senior Thesis, Haverford College, 2009

Brenda Cossman, 'Sexuality,Queer Theory,and "Feminism After": Reading and Rereading the Sexual Subject', McGill Law Journal, Vol. 49, 2004

Celestino Deleyto, 'The Dupes Strike Back: Comedy, Melodrama and Point of View in The Apartment,' Atlantis: Revista de la Asociacion Espanola de Estudios Anglo-Norteamericanos 14.1-2 (1992): 37-61

Jonathan Fletcher, ‘"Anything can happen": Narrative Ambiguity and Musical Intertextuality in The Holiday', Kieler Beiträge zur Filmmusikforschung, 2, 2008 / 135

Marcy J. Goodfleisch, 'Gentlemen gigolos, deceptive damsels, comedy and film: A dangerous mix', MA Thesis, Excelsior College, 2008

Tamar Jeffers McDonald, 'Review of Celestino Deleyto's The Secret Life of Romantic Comedy. (Manchester: Manchester UP, 2009), ATLANTIS. Journal of the Spanish Association of Anglo-American Studies. 31.2 (December 2009): 163-168

Kimberly R. Johnson and Bjarne M. Holmes, 'Contradictory Messages: A Content Analysis of Hollywood-produced Romantic Comedy Feature Films', (draft article for Communication Quarterly, Volume 57, Issue 3 January 2009 , pages 352 - 373)

Betty (Despoina) Kaklamanidou, 'The "Light" Side of Feminine Evil: Film Comedies', Paper at Evil, Women and the Feminine Conference, Budapest, Hungary, May 2009

James MacDowell, 'Romantic Comedy: Love, Nervousness & Intertextuality', Alternate Takes, February 15, 2009

Sergio Melo , 'The phenomenology of adaptation of classics: A Midsummer Night’s Dream as viewed by Ingmar Bergman’s and Woody Allen’s perspectives', Paper for FOOT 2006, The Festival of Original Theatre: Performing Adaptations

Linda Mizejewski, 'Queen Latifah, Unruly Women, and the Bodies of Romantic Comedy ', Genders, Issue 46, 2007

Linda Mizejewski, 'Chapter 1: Rules and Unruliness: Romantic Comedy' in It Happened One Night (Oxfod: Wiley-Blackwell, 2009)

Diane Negra, 'Quality Postfeminism?"Sex and the Single Girl on HBO', Genders, Issue 39, 2004

Kenny K. K. Ng, 'Romantic comedies of Cathay-MP and GI in the 1950s and 60s: language, locality, and urban character', from Jump Cut, No. 49, spring 2007

Jakob Isak Nielsen, 'There's something about comedy theory', P.O.V. No.26, 2008

Beatriz Oria Gomez, 'The Importance of Being Famous: Romance and Self-identity in Woody Allen's Celebrity (1998)', Revista de Estudios Norteamericanos no 12 (2007), pp. 83-98

Renee Penney, Desperately Seeking Redundancy? Queer Romantic Comedy and the Festival Audience, PhD Thesis, University of British Columbia, 2010

Polona Petek, ‘"I deserve the best and I accept the best": Exploring Female Narcissism in Me Myself I', Voicing Dissent, New Talents 21C: Next Generation Australian Studies, No. 76, 2003, pp. 159-68

Helene A. Shugart, 'Reinventing Privilege: The New (Gay) Man in Contemporary Popular Media', Critical Studies in Media Communication Vol. 20, No. 1, March 2003, pp. 67–91

Douglas A Sonheim, 'Walker Percy's The Moviegoer as Romantic Comedy', Baiko English Journal (1987)

Lesley Speed, 'A World Ruled by Hilarity: Gender and Low Comedy in the Films of Amy Heckerling', Senses of Cinema, Issue 22, 2002

Lisa Trahair, 'Comedy and Beyond: Geoff King's Film Comedy', Film-Philosophy, Volume 8, 2004

Jyotika Virdi, 'Mr. and Mrs. 55: Comedy of gender, law, and nation', from Jump Cut, no. 43, July 2000, pp. 75-85, 130

Stephen J. Whitfield, 'Cinéma Verité [on Pursuits of Happiness: The Hollywood Comedy of Remarriage. By Stanley Cavell]', Virginia Quarterly Review, Winter 1983

Rachel Williams, "It's Like Painting Toys Blue and Pink" (Martha Coolidge, 1996): Marketing and the Female-Directed Hollywood Film , Scope, December 2000

Norman Yusoff, 'Genre and Pleasure: The Case of Malay(sian) Romantic Comedy', SKRIN: Volume 1 Issue 1 Jan 2004

Saturday, 24 April 2010

Cinema at the Periphery: world cinema studies articles and videos

Sequence from Morvern Callar (Lynne Ramsay, featuring Samantha Morton as Morvern and the psychedelic song 'Some Velvet Morning' written by Lee Hazlewood in 1967 and performed by Hazlewood and Nancy Sinatra (for more on Ramsay's great film, see Scott Tobias, 'The New Cult Canon: Morvern Callar', The A.V. Club, February 27, 2008; as well as John Caughie, 'The Angel's Share: Morvern Callar and the Difficulty of Art Cinema', video also linked to below)

With Spring (and a spring) in its step, Film Studies For Free brings you a whole, golden, host of articles as well as little video tasters to the work of some of the world's leading film scholars on the topic of international (and/or 'interstitial', or 'transnational', or 'peripheral') cinema.

The videos are recordings of presentations from the Cinema at the Periphery conference held at the University of St Andrews between June 15th and June 17th 2006. While those external to that university can only see the first ten minutes of each presentation, they're still very informative, and showcase, in miniature at least, some brilliant film studies research.

They've been newly publicised on the occasion of the publication of the conference book Cinema at the Periphery by Wayne State University Press, part of its series on Contemporary Approaches to Film and Television, under the general editorship of Barry Keith Grant. The book is edited by Dina Iordanova, David Martin-Jones, and Belén Vidal.

As FSFF always endeavours to add value to the free resources it links to, it decided also to assemble an accompanying list of related, high quality, freely accessible, online articles:

The clips can be viewed using Quicktime player 7, VLC player or similar MP4 player. Just click on the pictures to access.
The clips are currently set to stream at a quality of medium (512Kbps) - they are also available to watch as low (56Kbps) or high (2Mbps).