To the Close Observer: In Memory of Donald Richie

Updated February 27

Life in Japanese Film: Donald Richie from Berkeley Arts and Letters on FORA.tv

In this excerpt from The Story of Film, Mark Cousins, Donald Richie and Kyōko Kagawa discuss the life and films of the sublime Yasujiro Ozu.

What interests you about Donald Richie?
He's like my Uncle Boonmee. I think that he embodies a lot of memories about cinema, and if I work with him I almost have an excuse to research and get to know the generation of Kurosawa and Miziguchi, etc. He also lived through that time and saw the change of Japan, and I'd like to know that because it's such a fascinating country with great literature and cinema. I've only worked in Thailand, so if there's a country I want to step out and "know," it's Japan. [Apichatpong Weerasethakul, 'Interview', indieWire, May 17, 2011]

Film Studies For Free was very sad to hear of the death, at the grand old age of 88, of the preeminent English-language scholar of Japanese cinema and culture Donald Richie.

Richie, author of more than thirty books (including Japanese Cinema: Film Style and National Character, A Lateral View, Travels in the East, A Tractate on Japanese Aesthetics, The Donald Richie Reader, and The Japan Journals)  was one of the must-reads of our generation but was also an experimental filmmaker of huge note, too -- see his 1968 film Five Philosophical Fables here for an example. This was one of the reasons why Apichatpong Weerasethakul (a filmmaker Richie considered to be "the new Kurosawa") was hoping to work with him - sadly, due to Donald Richie's ill health in recent years, it seems likely this intriguing collaboration did not take place.

Richie's work has featured many times over the years here at FSFF, so as well as celebrating the brilliant film studies content he produced, this blog also gives sincere thanks for his amazing scholarly generosity, placing much of his work online and in the public domain.

Key posthumous tributes to Donald Richie

• David Bordwell, 'Donald Richie', Observations on Film Art, February 25, 2013
• Peter Cowie, 'Remembering Donald Richie', Criterion Collection, February 22, 2013
• Kim Hendrickson, 'Donal Richie (1924-2013)', Criterion Collection, February 19, 2013
• Karen Severns, Donald Richie Tributes website

Online works by Donald Richie

• Donald Richie, Japanese Cinema: Film Style and National Character (New York: Anchor Books, 1961; Michigan Electronic Reprint 2004)
• Donald Richie, 'In the Realm of the Senses: Some Notes on Oshima and Pornography', Criterion Film Essays, April 30, 2009 
• Donald Richie, 'Remembering Kurosawa', Criterion Collection, December 9, 2009
• Donald Richie, 'Ikuru', Criterion Collection, January 5, 2004 
• Donald Richie, ' Stories of Floating Weeds', Criterion Collection, April 19, 2004 
• Donald Richie, 'Dersu Uzala', Criterion Collection, July 17, 1995
• Donald Richie, 'Tokyo Journal: Remembering Toshiro Mifune', Criterion Collection, September 30, 2008 
• Donald Richie, 'Ozu and Setsuko Hara', Criterion Collection, May 8, 2006
• Donald Richie, 'Samurai Rebellion: Kobayashi's Rebellion', Criterion Collection, October 24, 2005
• Donald Richie, 'Red Beard', Criterion Collection, November 19, 1989
• Donald Richie, 'Expressionism in Film', Tokyo - Berlin / Berlin - Tokyo Exhibition Catalogue, Mori Art Museum, 2006
• Donald Richie, 'The Daughter of the Samurai: a German-Japanese co-production', Tokyo - Berlin / Berlin - Tokyo Exhibition Catalogue, Mori Art Museum, 2006
• Donald Richie, writer and film critic, Conversations With History: "Writing, Film, and Japan: An Expatriate's View," 9/21/01
• Japan Times archive of work by Richie
• Donald Richie on Midnight Eye - Visions of Japanese cinema 

Online Interviews/Reviews, etc., about Donald Richie

• Alexander Jacoby, 'Donald Richie: A lifetime's observations of Japan', The Asi-Pacific Journal: Japan Focus, August 2006
• Moving Image Source Interview, October 2006
• Richard Lloyd Parry, 'Smilingly Excluded [Review of The Japan Journals: 1947-2004 by Donald Richie]', London Review of Books, 28.16, August 2006
• Jasper Sharp, 'Inteview with Donald Richie', Midnight Eye, December 8, 2003
• A letter Hollis Frampton wrote in 1973 to Donald Richie, then the Film Curator at MoMA

For Donald Richie

• David Bordwell, 'Kurosawa's Early Spring', Observations on Film Art, December 8, 2009 
• Catherine Grant, 'On Japanese Cinema', Film Studies For Free, July 27, 2010

On Japanese Cinema at FSFF

• On Japanese Cinema
• Emperor of the Senses: RIP Nagisa Oshima 1932-2013
• Nagisa Oshima (1932-2013), a Tribute by Geoffrey Nowell-Smith
• On Kazuo Hara and Japanese Documentary Film
• Reassessing Anime: Japanese cinema and animation
• Animation Studies: Three Fabulous Online Resources
• Horror Ad-Nauseam!
• War, Conflict and Commemoration in the Age of Digital Reproduction
• Dreaming Movies: RIP Satoshi Kon (1963-2010)

Cinemagogic Echoes? Len Lye's FREE RADICALS (1958) and Fernando Solanas and Octavio Getino's HOUR OF THE FURNACES (1968)

CINEMAGOGIC ECHOES? from Catherine Grant on Vimeo.

A real-time comparison, for scholarly purposes, of Len Lye's 1958 experimental animation FREE RADICALS and the opening minutes of Fernando Solanas and Octavio Getino's 1968 Grupo Cine Liberación activist film  LA HORA DE LOS HORNOS/HOUR OF THE FURNACES

[Len] Lye's Free Radicals (1958) […] is a black and white scratch animation short, cut to the insistent rhythmic accompaniment of an African drum solo.* It immediately calls to mind the unforgettable opening scenes of Octavio Getino and Fernando Solanas' Third Cinema classic La hora de los hornos/The Hour of the Furnaces (1968).** While equally exciting and radical, these strikingly similar films hint at the extent to which the world and the political landscape had changed in the decade between their respective release dates, and between then and now. We have no way of knowing if Getino and Solanas knew of Len Lye's film. We know, however, that films exchange ideas, talking to one another across time, and that the conversation between radical aesthetics and radical politics is ongoing, with both daring to 'make it new' and set the world on its feet, by turning it upside down. [Jerry Whyte, 'Free Radicals', CineOutsider.com, December 11, 2011. Online at: http://www.cineoutsider.com/articles/stories/f/free_radicals_1.html]

A demonstration and a lesson, The Hour of the Furnaces imports into cinema the affirmative aesthetics of the written political treatise. A collective ideal informs the whole film. It anticipates a liberated time. It’s not the product of a single voice but of a chorus of poems (Marti, Césaire), manifestos (Fanon, Guevara, Castro, Juan José Hernández Arregui) and films (by Fernando Birri, Joris Ivens, Nemesio Juárez). It conjoins the powers of didacticism, poetry and agogy (the agogic qualities of a work concern its rhythmic, sensible, physical properties – a notion suggested by the French aesthetician Etienne Souriau). Stylistically, the film uses all possible audiovisual techniques, from flicker to contemplative sequence shots (for instance, the final three-minute shot that reproduces a picture of the dead Che Guevara’s face with his eyes wide open), from collage to direct cinema, from blank screen to animated effects, from the rigours of the blackboard to the hallucinogenic properties of the fish-eye, from classical music to anglophone pop hits. Cinema is an arsenal and here all its weapons are unsheathed. [Nicole Brenez, 'Light my fire: The Hour of the Furnaces', Sight and Sound Magazine, 8 March 2012. Online at: http://www.bfi.org.uk/news/light-my-fire-hour-furnaceshttp://www.bfi.org.uk/news/light-my-fire-hour-furnaces]

'Agogics' is a musical term that designates the use of agogic accents, that is accents consisting in a lengthening of the time-value of the note. The philosopher Étienne Souriau extended the use of the term to include all the arts existing in time. He defined 'agogics' as \what characterizes an artwork that takes place in time, through movement, and specifically through the creation of a fast or slow pace, or the use of different rhythms.' For musicians, the notion is related to gesture, to physical movements, to a bodily interaction with their instrument, to a sense of speed, an energy, a precise handling of a piece. [Christian Jacquemin et al, 'Emergence of New Institutions for Art-Science Collaboration...' [date unknown], Online at: seadnetwork.files.wordpress.com/2012/11/jacquemin_final1.pdf. Hyperlinks added by FSFF] 

Souriau developed his idea of the agogic as an explicit reaction to the ‘rather banal description [of] arts of space in contrast to the phonetic and cinematic arts’. [Of] interest is Popper’s use of the term to describe the quality of temporal pattern that he identifies in a range of works. At one extreme [..].] is the velocity and dramatic choreography of a Len Lye installation. The term agogic conflates speed, acceleration and duration and would appear to be a significant aspect of kinetic form. [Jules Moloney, Designing Kinetics for Architectural Facades: State Change (New York: Taylor and Francis, 2011), p. 64.]

Film Studies For Free's author has been a tad busy elsewhere lately - and there will be lots to catch up with at this blog in due course.

But today FSFF is thrilled to present its (by distance) contribution to a teach-in which took place earlier today. This video was produced in a few hours this morning, using readily available materials for quotation (see above and below), in solidarity with a campus occupation that you can choose to read more about here.

Staff and students of media and cultural studies, working in a deeply personal, activist capacity, gave short presentations on their research and thinking about ideas of resistance, occupation and neoliberalism in the context of the university and beyond, in order to consider how research in their fields might offer new and diverse perspectives on activism and resistance.

FSFF has always liked its politics, like its film studies, to have rhythm and timing, so its research project today foregrounds those elements. You can find its author's scholarly discussion of this kind of "real-time" videographic comparison here: 'Déjà-Viewing? Videographic Experiments in Intertextual Film Studies', MEDIASCAPE: Journal of Cinema and Media, Winter 2013.

FSFF has devoted a number of previous entries to online and openly accessible resources on Third Cinema and revolutionary aesthetics in the past. See especially this bumper post and this more recent one. 

And you can find the two films quoted from above, in low-res online video versions, as per the details and links below.

• Free Radicals by Len Lye (1958). Online at: http://video.frieze.com/film/len-lye-free-radicals/
• La hora de los hornos/Hour of the Furnaces by Fernando Solanas and Octavio Getino (1968). Online at: youtu.be/jQOXKoMHOE0

Two new eBooks: On Stillness and Motion Film, and on Contemporary Indonesian Film

Screenshot of a freeze frame from the opening credit sequence of Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979)

Even before the credits, the opening of the film brings us the scene of a newly married couple and a registry official leaving a German registry office during an air raid. We watch as the excited couple throw themselves to the ground, imploring the official to sign the marriage certificate right there. A sheet of paper floats upward, borne on the gust of wind caused by exploding bombs, and then, in the middle of the visual field, there is a sudden standstill in the form of a freeze-frame, while the soundtrack continues to herald the horror of the approaching artillery. This is followed by the film title in red letters that fill the entire visual field, word after word, as if it were a page in a book. At the end, Fassbinder’s name appears alone on a white backdrop.
    With this standstill, the floating sheet of paper is simultaneously captured and displaced by the film. Due to the non-sync between image and sound, of visual interruption and auditive flow, we are confronted from the very start with two various temporal modi: the time of the film narrative (the postwar years) and the time of the making of the film (the 1970s). At issue here is Fassbinder’s time-place: when the author tells stories and histories, they are always primarily in the present tense. [Christa Blümlinger, writing on the sequence in which the above freeze frame appears, in 'The Figure of Visual Standstill in R.W. Fassbinder’s Films', in Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011)

There's nothing Film Studies For Free likes more than a good open access ebook. So you can imagine how delighted it is to bring its readers news of not one but two such English language, digital artifacts, from different Dutch publishers to boot!

• Katinka van Heeren, Contemporary Indonesian Film; Spirits of Reform and ghosts from the past (Leiden: KITLV Press, 2012)
• Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011) 

The contents are listed below, and both books have been added to FSFF's permanent, and continuously updated listing of more than 100 free ebooks in film and moving image studies.

Dank u wel, the Netherlands (and the below authors, editors and publishers!): FSFF salutes you for your pioneering, open access ebook achievements!

Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011)

Contents

The Still/Moving Field: An Introduction - Eivind Røssaak

Philosophies of Motion
The Play between Still and Moving Images: Nineteenth-Century “Philosophical Toys” and Their Discourse - Tom Gunning

Digital Technics Beyond the “Last Machine”: Thinking Digital
Media with Hollis Frampton - Mark B.N. Hansen

The Use of Freeze and Slide Motion
The Figure of Visual Standstill in R.W. Fassbinder’s Films - Christa Blümlinger
The Temporalities of the Narrative Slide Motion Film - Liv Hausken

The Cinematic Turn in the Arts
Stop/Motion - Thomas Elsaesser
After “Photography’s Expanded Field” - George Baker
On On Otto: Moving Images and the New Collectivity - Ina Blom

The Algorithmic Turn
Mutable Temporality In and Beyond the Music Video:
An Aesthetic of Post-Production - Arild Fetveit
Algorithmic Culture: Beyond the Photo/Film Divide  - Eivind Røssaak

Archives in Between
“The Archives of the Planet” and Montage: The Movement of the Crowd and “the Rhythm of Life” - Trond Lundemo

Katinka van Heeren, Contemporary Indonesian Film; Spirits of Reform and ghosts from the past (Leiden: KITLV Press, 2012)

Contents
Preface
Introduction
part 1 film mediation practices
1 new order and surface

Production: The attempt to produce Provokator the New Order way 26 Distribution and exhibition: Trade and charade in cinemas and film formats
Exhibition and consumption: Film festivals as forums for national imaginations and representations
Conclusion

2 reformasi and underground

Reformation in film production: Kuldesak and film independen
Distribution and exhibition of new media formats: ‘Local’ Beth versus ‘transnational’ Jelangkung
Alternative sites of film consumption: Additional identifications and modes of resistance Conclusion

part 2 discourse practices
3 histories, heroes, and monumental frameworks

Film history: New Order patronage of film perjuangan and film pembangunan
Film and historiography: Promotion and representations of New Order history
‘Film in the framework of’: G30S/PKI and Hapsak
Conclusion

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 

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 1^st 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 31^st 2013

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

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

• Rayna Denison and Mark Jancovich, ‘Introduction’ Jancovich_Intro
• Mark Jancovich, ‘An Unidentified Species: Horror, the Body and Early Television’ Jancovich, Unidentified Species
• Lincoln Geraghty, ‘Painted Men and Salt Monsters: The Alien Body in 50s and 60s American Science Fiction Television’ Geraghty, Painted Men and Salt Monsters
• Milly Williamson, ‘Television, Vampires and the Body: Somatic Pathos’ Williamson, Television, Vampires and the Body
• Matt Hills, ‘”Gothic” Body Parts in a “Postmodern” Body of Work? The Hinchcliffe/Holmes Era of Doctor Who (1975-77)’ Hills, Gothic Body Parts in Postmodern Body of Work
• Rayna Denison, ‘The Muppet Show: Sex and Violence: Investigating the Complexity of the Television Body’ Denison, The Muppet Show Sex and Violence
• Rebecca Feasey, ‘Investigating Angel: The Hair, the Car and the Wardrobe’ Feasey, Investigating Angel
• Peter Hutchings, ‘Welcome to Royston Vasey: Grotesque Bodies and the Horror of Comedy in The League of Gentlemen‘ Hutchings, Welcome to Royston Vasey
• Elke Weissman, ‘The Victim’s Suffering Translated: CSI: Crime Scene Investigation and the Crime Genre’ Weissmann, Victim’s Suffering Translated
• Julian Savage, ‘The Lost Cult of Wake in Fright‘ Savage, Lost Cult of Wake in Fright

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

Edited by Matt Hills and Sara Gwenllian Jones

• Steven Jay Schneider, ‘Murder as Art/The Art of Murder: Aestheticising Violence in Modern Cinematic Horror’ Schneider, Murder as Art
• I.Q. Hunter, ‘Even Baser Instincts: Notes on Hollow Man‘ Hunter, Even Baser Instincts
• Stephen Harper, ‘”They’re Us”: Representations of Women in George Romero’s ‘Living Dead’ Series’ Harper, They’re Us
• Kate Egan, ‘The Amateur Historian and the Electronic Archive: Identity, Power, and the Function of Lists, Facts and Memories on “Video Nasty”-themed Websites’ Egan, The Amateur Historian and the Electronic Archive
• Linda C. Badley, ‘Spiritual Warfare: Postfeminism and the Cultural Politics of the Blair Witch Craze’ Badley, Spiritual Warfare

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

Edited by Matt Hills and Sara Gwenllian Jones

• Marie-Laure Ryan, ‘From The Truman Show to Survivor: Narrative versus Reality in Fake and Real Reality TV’ Ryan, From The Truman Show to Survivor
• William D. Routt, ‘Bad for Good’ Routt, Bad for Good
• Mark Jancovich, ‘Placing Sex: Sexuality, Taste and Middlebrow Culture in the Reception of Playboy Magazine’ Jancovich, Placing Sex
• Bertha Chin and Jonathan Gray, ‘”One Ring to Rule Them All”: Pre-Viewers and Pre-Texts of the Lord of the Rings Films’ Chin and Gray, One Ring to Rule Them All
• Will Brooker, ‘The Many Lives of the Jetman: A Case Study in Videogame Analysis’ Brooker, Many Lives of the Jetman
• Intensities interviews Henry Jenkins @Console-ing Passions, University of Bristol, July 7th 2001 Intensities interviews Jenkins
• Ben Talbot, Conference Review: Compete, Command and Conquer – Playing for Space at the International Games Cultures Conference Talbot, Compete, Command and Conquer

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