"Horror in Homeopathic Doses": Franju's Eyes Without a Face

Les Yeux sans visage/Eyes Without a Face (Georges Franju,  France/Italy, 1959)

More than any other image, an erased human face remains horribly eloquent. In fact, a face cannot be made to vanish completely: it stays sufficiently human to horrify by its exact lack of humanity. Hence the unnerving effect of Georges Franju's film Eyes Without a Face (1959), in which a young woman, disfigured in a car crash, is subjected to her father's insane and murderous plan to give her a new face. We never see the daughter's ravaged face, but the featureless white mask she wears for most of the film is enough to suggest her uncanny oscillation between human and inhuman.
Brian Dillon, 'The Revelation of Erasure', Tate Etc., Issue 8, Autumn 2006

Being a horror buff of the rather squeamish and easily frightened kind, Film Studies For Free usually likes its scary, gory movies to be Lyrical... Poetic... Beautiful. That way, it finds, it doesn't have to avert its eyes from the screen too much. 

Thus, FSFF is a particular fan of the truly horrific but extraordinarily beautiful film Les Yeux sans visage/Eyes Without a Face. Georges Franju's classic delivers its 'horror in homeopathic doses', as Franju himself so aptly put it. 

So, it's the film FSFF just had to choose for its little homage in scholarly links this Halloween. (P.S. If you are based in the USA or Canada, you can also currently watch it for free online as part of October Halloween Festival of free films at The Auteurs website).

• Curtis Bowman, 'A film without politics: Georges Franju's Les Yeux sans visage (Eyes Without a Face, 1959)', Kinoeye, Vol 2,  Issue 13, Sept 2002
• Elizabeth Cowie,  'Anxiety, ethics and horror: Georges Franju's Les Yeux sans visage (Eyes Without a Face, 1959)', Kinoeye, Vol 2,  Issue 13, Sept 2002
• Paul Cronly, 'Les Yeux sans visage (Eyes Without a Face)', Irish Journal of Gothic and Horror Studies, Issue 5, December 2008
  
• Lee Hill, 'Skin Deep', Vertigo Magazine, No. 17, May 2008
  
• Reynold Humphries, 'Dr Franju's "House of Pain" and the political cutting edge of horror', Kinoeye, Vol 2, Issue 13, Sept 2002 
• Kate Ince, 'Reply to Michael du Plessis', Film-Philosophy, Vol. 11, 2007
• Gary Johnson, "Georges Franju's Eyes Without a Face', Images Journal, 2004 
• Katerina Loukopoulou, 'Review of Georges Franju by Kate Ince [Manchester and New York: Manchester University Press, 2005]', Scope, Issue 9, October 2007
• Michael du Plessis, 'Fantasies of the Institution: The Films of Georges Franju and Kate Ince’s Georges Franju', Film-Philosophy, Vol. 11, 2007  
• Donato Totaro, 'Martyrs: Evoking France's Cinematic and Historical Past', Offscreen, Vol. 13, Issue 5, 2009
  
• Donato Totaro, Salute Alida', Offscreen, Vol. 10, Issue 5, May 31, 2006 
• Catherine Wheatley, 'Les Yeux sans visage', Senses of Cinema, Issue 42, 2007
  

Peruvian Cinema (in the age of transnational film finance)

Image of Fausta/Magaly Solier, in La teta asustada/The Milk of Sorrow (Claudia Llosa, Spain/Peru, 2009) - see a review of this film here

Film Studies For Free's author attended a very stimulating seminar yesterday given by Sarah Barrow of Anglia Ruskin University, entitled 'Transnational Film Financing in the Hispanic World: A Peruvian Case Study'.

Barrow presented a fascinating overview of Peruvian cinema in the last five years, and, in particular, of the efforts made by an emerging set of filmmakers to take advantage of new international funding and support opportunities. These include the regional Ibermedia programme, Rotterdam Film Festival’s Hubert Bals project, the Berlin World Cinema Fund (WCF), and the Cannes screenwriting residency awards for developing writer-director talent from developing economies. Barrow focused on the career trajectories of two Peruvian writer-directors: Josué Méndez (Días de Santiago [2004]; Dioses [2008]) and Claudia Llosa (Madeinusa [2006]; La teta asustada/The Milk of Sorrow [2009], Winner of the Golden Bear Award at the Berlinale 2009 and 2009 Foreign-Language Oscar Nominee).

FSFF wanted to follow up on Barrow's valuable seminar with some online resources for researchers working on Peruvian cinema as well as on transnational film finance. Below, then, are some links to high-quality, openly-accessible, scholarly work on these topics, most of them in English. See also FSFF's earlier post on Studies of 'Third Cinema' and anti-Eurocentric film culture

• Buzz Alexander, 'Interview with Pancho Adrienzén: Radical film in Peru today', from Jump Cut, no. 28, April 1983, pp. 27-30

• Sarah Barrow, 'Images of Peru: A National Cinema in Crisis', from Latin American Cinema: Essays on Modernity, Gender and Nationhood. Ed. Stephanie Dennison and Lisa Shaw. Jefferson, NC: McFarland, 2005: 39-58

• Scott L. Baugh & Michael Schoenecke, 'Special Issue Introduction: Historical Reflection/Cinematic Projections of Latin American Film', Film & History, Vol. 34.1 (2004)

• Jon Beasley-Murray, “Subalternity, Betrayal, and Flight: Three Recent Films from Peru”, essay draft (2007). See also Beasley-Murray's blog: Posthegemony

• Michael Chanan, 'The economic condition of cinema in Latin America', from Third World Affairs 1985, London: Third World Foundation, pp.379-389

• Tamara Falicov, 'Programa Ibermedia: Co-Production and the Cultural Politics of Constructing an Ibero-American Audiovisual Space', Spectator, Vol. 27, Issue 2, 2007, Special Issue on Media Co-Productions, 21-30

• Francisco da Gama, 'Filming the war with Sendero', Jump Cut, No. 49, spring 2007

• Gabriela Martínez, 'New Readings of Past and Recent Latin American Cinema', A Contra corriente: A Journal on Social History and Literature in Latin America [Review of Lisa Shaw and Stephanie Dennison (Editors), Latin American Cinema: Essays on Modernity, Gender and National Identity. (Jefferson, NC and London: McFarland, 2005)], Vol. 4, No. 1, Fall 2006, 163-174

• Gabriela Martínez, 'Cinema law in Latin America:Brazil, Peru and Colombia ', Jump Cut: A Review of Contemporary Media, No. 50, spring 2008

• Sophia A. McClennen, 'The theory and practice of the Peruvian Grupo Chaski', from Jump Cut, No. 50, spring 2008

• Jeffrey Middents, Writing National Cinema: Film Journals and Film Culture in Peru (UPNE, 2009: Google Books Limited Preview) Also see Middents' blog
  

• Violeta Núñez, 'PERUVIAN CINEMA : An ongoing battle', Cinema Journal/El ojo que piensa, 2007
  

• Miriam Ross, 'Social Engagement, Empowerment and Change - Grupo Chaski’s Microcines: Engaging the Spectator', eSharp, Issue 11, 2008

• Libia Villazana, [Audio file of soundtrack of] 'Latin America in Co-production' (46 minute long documentary directed by Villazana, UK/Peru 2007, partly in English, partly in Spanish), followed by a panel discussion at the Tate Modern Film Synergies event (November 25, 2007) added Nov 2, 2009

• Libia Villazana, 'De una política cultural a una cultura politizada: La República Bolivariana de Venezuela y su revolución cultural en el sector audiovisual', ZiF: Center for Interdisciplinary Research, 2007 added Nov 2, 2009

• Libia Villazana, 'Hacia un cine peruano de coproducción Entrevista con Francisco “Pancho” Lombardi', Contratexto digital. Año 4, N° 5, 2007
  

Lastingly good work on Ephemeral Media

The Psycho Shower Scene: A Reenactment: a YouTube fan video discussed by Barbara Klinger in her talk linked to below.

Today, Film Studies For Free is delighted to pass on details of some great freely accessible film and media studies research resources from the Institute of Film and Television at the University of Nottingham.

This summer, the Institute held two Arts and Humanities Research Council 'Beyond Text' workshops on ‘ephemeral media,’ focusing on the growth of the brief or ‘ephemeral’ texts that exist beyond, below and between the films, television programmes, and radio broadcasts more commonly isolated for analysis.

For those interested, the plenary sessions can be found as YouTube recordings and/or sound files on the Beyond Text website (following the photo and video gallery). Also see below.

The Ephemeral Media website has great resources links, too, so do please explore those.

1. The Promotional Surround: logos, promos, idents, trailers (Click here for the Abstracts)

• Charlie Mawer (Executive Creative Director, Red Bee Media) – Perspectives on media branding and TV design (this including a fascinating discussion of BBC idents and the branding of Dave, from a highly influential figure in media brand design) (YouTube)
  

• Professor William Uricchio (MIT) ‘The recurrent, the recombinatory, and the ephemeral: thoughts on a textual system in transition’ (YouTube)

• Professor John Caldwell (UCLA) - “The Insider’s Promotional Surround: Rationing Production Knowledge, Managing Unruly Machines, and Worker Buy” (MP3)

2. Internet Attractions: online video and user-generated ephemera (Click here for the Abstracts)

• Professor Barbara Klinger, ‘Reenactment: Fans Performing Movie Scenes from the Stage to Youtube’ (YouTube)
  

• Hugh Hancock (Strange Company) – Machinima (an overview from one of the pioneers of the genre) (YouTube)
  

• Professor Jon Dovey (UWE) –‘User-generated content: archeologies, economies and ecologies (YouTube)
  

• Rik Lander (U-soap Media) – Web drama (a practitioner’s perspective on the creative and business challenges of online drama) (MP3)
  

Sensing cinema: phenomenological film and media studies

Image from Ta'm e guilass/Taste of Cherry (Abbas Kiarostami, Iran, 1997)

Film Studies For Free is using all of its searching senses today to bring you lots of links to perceptive film and media studies of the phenomenological kind, or to studies which at least touch meaningfully on issues of phenomenology, perception, and haptics.

Those especially interested in these topics might also like to experience the fascinating Cinesensory website once they've dipped into some of the wonderful, openly-accessible, scholarly resources below:

• Henry Bacon, 'Synthesizing Approaches in Film Theory', The Journal of Moving Image Studies, Volume 4, 2005
  

• Jennifer M Barker, 'Chapter 1: Skin', The Tactile Eye: Touch and the Cinematic Experience (Berkeley: University of California Press, 2009)

• Melinda Barlow, 'Review of TOUCH: SENSUOUS THEORY AND MULTISENSORY MEDIA Laura U. Marks Minneapolis: University of Minnesota Press, 2002', Canadian Journal of Film Studies, Fall 2003
  

• Tammy L. Bennington and Geri Gay, 'Mediated Perceptions: Contributions of Phenomenological Film Theory to Understanding the Interactive Video Experience', Journal of Computer-Mediated Communication 5 (4) June 2000
  

• Martha Blassnigg, 'Review of Documentary Time: Film and Phenomenology by Malin Wahlberg [University of Minnesota Press, Minneapolis, 2008]', Leonardo on-line, July 2008
  

• Jay David Bolter, 'Digital Media and Cinematic Point of View',Telepolis (14.02.1997)

• Havi Carel, 'A phenomenology of tragedy: illness and body betrayal in The Fly', SCAN, vol. 4, number 2 august 2007
  

• Josh Cohen, 'Phenomenology, History and the Image: A Reply to Kathleen Fitzpatrick', Film-Philosophy, vol. 3 no. 11, March 1999
  

• Sarah Cooper, 'Mortal Ethics: Reading Levinas with the Dardenne Brothers', Film-Philosophy, Vol. 11, No. 2, 2007

• Glorianna Davenport and Brian Bradley, 'Everyone's Cinema: Towards the Future of Cinematics', Oberhausen Film Festival - April 28, 199
  

• Trevor G. Elkington, 'Between Order and Chaos: On Peter Greenaway's Postmodern/Poststructuralist Cinema', Film-Philosophy, vol. 8 no. 2, January 2004
  

• Kathleen Fitzpatrick, 'Images of/and the Postmodern', Film-Philosophy, vol. 3 no. 8, February 1999
  

• Daniel Frampton, 'The Way that Movements Speak [on Damnation and Werckmeister Harmonies by Bela Tarr, and Last Resort by Pawel Pawlikowski]', Film-Philosophy, Vol. 5, No. 10, 2001

• Alex Gerbaz, 'Direct Address, Ethical Imagination, and Errol Morris’s Interrotron', Film-Philosophy, Vol. 12, No. 2, December 2008

• Sam B. Girgus, 'Beyond Ontology: Levinas and the Ethical Frame in Film', Film-Philosophy, Vol. 11, No. 2, August 2007
  

• Julien Guillemet, 'Painting/Cinema: A Study on Saturated Phenomena', Film-Philosophy, Vol. 12, No. 2, September 2008
  

• Jan Holmberg, 'Ideals of Immersion in Early Cinema, Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 14, n° 1, 2003, p. 129- 147
  

• Robert Hopkins, 'Pictures and Film; Philosophy and the Empirical Disciplines: A Reply to Dean', Film-Philosophy, vol. 3 no. 27, June 1999
  

• Mike Jones, 'Composing Space: Cinema and Computer Gaming - The Macro-Mise en Scene and Spatial Composition', Imaginary Worlds: Image and Space International Symposium, Sydney, 14 October 2005
  

• Marcia Landy, 'Traveling in Film Theory: Giuliana Bruno's Atlas of Emotion', Film-Philosophy, vol. 7 no. 44, November 2003

• Abigail Loxham, 'Veo, veo; Leo, Leo?: A re(-)viewing of haptic and visual discourse in Bigas Luna’s Bilbao (1978)', Studies in European Cinema, Vol. 4, No. 3, 2007

• Laura U. Marks, 'Haptic Visuality: Touching with the Eyes', Framework" the Finnish Art Review, No. 2, 2004

• Laura U. Marks, 'Information, secrets, and enigmas: an enfolding-unfolding aesthetics for cinema', 2009

• Laura U. Marks, 'Multisensory Culture', 2008

• Laura U. Marks, 'Mohamed Soueid's Cinema of Immanence', Jump Cut, 49, 2007

• Laura U. Marks, 'Asphalt Nomadism', 2006

• Laura U. Marks, 'Enfolding and Unfolding: An Aesthetics for the Information Age',
  
  An interactive essay produced in collaboration with designer Raegan Kelly in Vectors: Journal of Culture and Technology in a Dynamic Vernacular, 2006.
  
  
  

• Douglas Morrey, 'Bodies that Matter - Review: Vivian Sobchack (2004) Carnal Thoughts: Embodiment and Moving Image Culture', Film-Philosophy, Vol. 10, No. 2, 2006

• Douglas Morrey, 'Open Wounds: Body and Image in Jean-Luc Nancy and Claire Denis', Film-Philosophy, Vol. 12, No. 1, 2008

• Edward R. O'Neill, 'Apprehending Deleuze Apprehending Cinema [on Der Film bei Deleuze/Le cinema selon Deleuze, edited by Fahle & Engell], Film-Philosophy, Vol. 2, No. 2, January 1998
  

• Per Persson, 'Chapter 1: Understanding and Dispositions', Understanding Cinema: A Psychological Theory of Moving Imagery (Cambridge University Press, 2003
  

• Dominic Michael Rainsford, 'Tarkovsky and Levinas: Cuts, Mirrors, Triangulations', Film-Philosophy, Vol. 11, No. 2, 2007

• Elena del Río, “Antonioni’s Blowup: Freeing the Imaginary from Metaphysical Ground”, Film-Philosophy, vol. 9, no. 32, June, 2005
  

• Jason Kelly Roberts, 'Review of The Virtual Life of Film by D.N. Rodowick [London: Harvard University Press, 2007]', Scope, Issue 13, February 2009

• Anne Rutherford, 'Cinema and Embodied Affect', Senses of Cinema, 2002

• Anne Rutherford, 'Precarious Boundaries: Affect, Mice en Scene, and the Senses in Angelopoulos' Balkan Epic', Senses of Cinema 2004
  

• Philipp Schmerheim, ‘Film, not Sliced up into Pieces, or: How Film Made me Feel Thinking: Review of Filmosophy’, Film-Philosophy, vol. 12, no. 2, 2008

• Vivian Sobchack, 'Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime', Millennium Film Journal No. 34 (Fall 1999): The Digital

• A. Soltani, 'Cinesensory: A Filmic Design for Mapping Haptic Space', International Design and Cinema Conference, Istanbul, November 2009

• David Sterritt, 'Taste of Kiarostami,' Senses of the Cinema, Issue no. 9, Sept-Oct. 2000

• David Sullivan, 'Noemata or No Matter?: Forcing Phenomenology into Film Theory', Film-Philosophy, vol. 1 no. 3, July 1997

• Melanie Swalwell, 'The Senses and Memory in Intercultural Cinema [on Laura U. Marks's The Skin of the Film]', Film-Philosophy, Vol. 6, No. 32, 2002

• Donato Totaro, 'Deleuzian film Analysis: The Skin of the Film', Offscreen Journal, June 30, 2002
  

• Saige Walton, '“Cinema as I see-I hear-I feel”: Review of The Material Image: Art and the Real in Film by Brigitte Peucker', Senses of Cinema, Issue 45, 2007

• Robert E. Wood, 'Toward an Ontology of Film: A Phenomenological Approach', Film-Philosophy, Vol. 5, No. 24, 2001

• Benjamin Wurgaft, 'How Heavy Light Can Be', Film-Philosophy, vol. 6 no. 9, May 2002
  

• Kevin Wynter, 'Of depth and surfaces; notes on Watchmen and other reflections on phenomenological film experience', CineAction, Summer, 2009
  

• Daniel Yacavone, ‘Towards a Theory of Film Worlds’, Film-Philosophy, vol. 12, no. 2, 2008

• Christopher S. Yates, 'A Phenomenological Aesthetic of Cinematic "Worlds"', Contemporary Aesthetics, Oct 22, 2006
  

Concordia cinema studies resources freely accessible online

The woman at the window: image from Jane Campion's Bright Star (2009); a trope explored in Julianne Pidduck's PhD thesis on the costume film now accessible online

Film Studies For Free was excited to hear last week that Concordia University has launched its online Institutional Research Repository Spectrum, with 6,000 full-text theses and dissertations. It was excited because it knows that based at Concordia is the Mel Hoppenheim School of Cinema of the Faculty of Fine Arts, the largest, university centre for the study of film animation, film production and film studies in Canada.

FSFF also specifically knew that highly significant Canadian scholars, such as Julianne Pidduck (now a professor at the Université de Montréal) and André Habib (also at the Université de Montréal) had produced graduate theses there.

So, it is delighted to bring you the below links to the fabulous (mostly) Film Studies thesis resources accessible via the repository, including ones by Pidduck on the costume film (and also on contemporary film noir), Habib's brilliant francophone thesis on Jean-Luc Godard, and great work by other (now) well-known scholars such as Liz Czach.

• Babineau, Dan (2003) Stairs in cinema : a formal and thematic investigation. Masters thesis, Concordia University.
• Ballantyne Tree, Tanya (1989) Formative evaluation of a documentary film on the effects of poverty on a Montreal family. Masters thesis, Concordia University.
• Bambic-Workman, Helen (1986) Development and evaluation of an instructional manual concerning the Nagra 4.2 film sound tape recorder. Masters thesis, Concordia University.
• Baric, Stephanie (2001) Yugoslav war cinema : shooting a nation which no longer exists. Masters thesis, Concordia University.
• Bird, Charles (1979) The making of 8mm film loops. Masters thesis, Concordia University.
• Black, Joel Elan (2003) 'Arrested for selling poetry!' or 'You wouldn't want your children reading this' : the historical significance of the "Howl" obscenity trial. Masters thesis, Concordia University.
• Boudreault-Fournier, Alexandrine (2003) Manufacturing culture in Cuba, an ethnography. Masters thesis, Concordia University.
• Brook, Glenn Leonard (2002) Canada, a people's history : an analysis of the visual narrative for a colonial nation. Masters thesis, Concordia University.
• Bruce, Jean Marietta (2003) A melodramatic imagined nation : the unruly subject of Canadian cinemas. PhD thesis, Concordia University.
• Castiel, Élie (2003) Pour une esthétique du plan-séquence dans Le Voyage des comédiens de Theo Angelopoulos. Masters thesis, Concordia University.
• Chang, Sandra (2003) Children's pretend play with television and film-scripted character toys. Masters thesis, Concordia University.
• Cheryl., Dabreo-Ramharack (1998) Uplifting The Black Race - only males need apply : Black male militancy in Malcom X, Panther, Boyz n' the hood, and Get on the bus. Masters thesis, Concordia University.
• Clarke, Jocelyne (1989) Moving peripheries and marginal cultures : cinema and the "Dark Continent". Masters thesis, Concordia University.
• Curcin, Nikola R (1983) Investing in Canadian feature films : production and evaluation of a video-tape for potential investors. Masters thesis, Concordia University.
• Czach, Elizabeth (2000) Home movies then and now. Masters thesis, Concordia University.
• D'Amboise, Paul (2002) "Tinseltown as teacher" : a case study of historical feature films as interpretive sources of history within an educational context. Masters thesis, Concordia University.
• Dancsok, Michael (1998) Transcending the documentary : the films of Arthur Lipsett. Masters thesis, Concordia University.
• De B'béri, Boulou Ebanda (2003) Africanicity in Black cinema : a horizontal labyrinth of trans-geographical practices of identity. PhD thesis, Concordia University.
• Deschamps, Lisa Anne (2002) The effects of popular culture on youth sub-culture and how it plays a role in the school environment. Masters thesis, Concordia University.
• Dorland, Michael (1991) The discursive economy of the emergence of the Canadian feature film : discourses of dependency and the governmentalization of a displaced national cinema, 1957-1968. PhD thesis, Concordia University.
• Dufour, Marianne (2000) Through the looking glass : the therapeutic potential of videotaping as an adjunct tool in non directive art therapy in an object relations perspective. Other thesis, Concordia University.
• Egan, Catherine M (1973) Films for art programmes at the secondary level. Masters thesis, Concordia University.
• Frigon, Martin (2003) La fonction historique de la figure du patriote dans le cycle abitibien de Pierre Perrault. Masters thesis, Concordia University.
• Gasher, Mike (1999) The Grey Fox meets Jumanji : the emergence of the feature-film industry in British Columbia. PhD thesis, Concordia University.
• Gilbert, Sylvie (2000) Sortir de table : les performances alimentaires de Carmen Miranda, Louise Mercille et des religieuses du Moyen Âge. Masters thesis, Concordia University.
• Gupta, Dipti (1998) Confronting the challenge of distribution : women documentary filmmakers in India. Masters thesis, Concordia University.
• Habib, André (2001) Origine et fin : Méthode(s). À partir et autour des Histoire(s) du cinéma de Jean-Luc Godard. Masters thesis, Concordia University.
• Jaafar, Nisrine (2001) The blue flame and the red flame: love and eroticism. Masters thesis, Concordia University.
• Jordan, Randolph (2003) Starting from scratch : turntables, auditory representation, and the structure of the known universe in the films of David Lynch. Masters thesis, Concordia University.
• Katadotis, Katina (1995) Quebec's Cinema act : policy and practical perspectives. Masters thesis, Concordia University.
• Keightley, Keir (1996) Frank Sinatra, hi-fi, and formations of adult culture : gender, technology, and celebrity, 1948-62. PhD thesis, Concordia University.
• Kolomeir, Harriet T (1987) The neighbourhood movie house in Montreal, 1925-1929 : the harmonious whole. Masters thesis, Concordia University.
• Kristmanson, Mark (1999) Plateaus of freedom : nationality, culture and state security in Canada, 1927-1957. PhD thesis, Concordia University.
• Laakso, Hanna Maria (2002) DOGMAtic iconoclasm : performative aspects of realism and excess in Lars von Trier's Breaking the waves and The idiots. Masters thesis, Concordia University.
• Marsh, Susan (2003) As easy as 1,2,4-- : the space of ambiguity in art and teaching. Masters thesis, Concordia University.
• McKee, Tracey L (2000) Good girls do it too! : a look at the representation of women who kill in made-for-TV movies. Masters thesis, Concordia University
• McLeish, Anna (2003) To recycle is to author is to create is to recycle : transitory film authorship, from popular European cinema to post-new Hollywood cinema. Masters thesis, Concordia University.
• Moen, Kristian (2001) "About as shapeless as the Man in the Moon" : the representation of desire and transition in six films of Charles Laughton. Masters thesis, Concordia University.
• Nagy, Judy (1996) Home grown remedies : in-house innovation in the film-making industry. Masters thesis, Concordia University.
• Nichols, Robert Darcey (2003) From monuments to cinema : the question of the counter-monument in two works by Mark Lewis. Masters thesis, Concordia University.
• Pidduck, Julianne (1997) Intimate places and flights of fancy : gender, space, and movement in contemporary costume drama. PhD thesis, Concordia University.
• Pidduck, Julianne (1993) The "fatal femme" in contemporary Hollywood film noir : reframing gender, violence, and power. Masters thesis, Concordia University.
• Pinsonneault, Michael (1999) Social dimensions of Hollywood movie music. PhD thesis, Concordia University.
• Preville, Philip (1997) The effort to forget : collective memory and documentary film in Québec. Masters thesis, Concordia University.
• Primeau, François (2001) Enquête sur la représentation de la masculinité et la Méthode dans le cinéma états-unien des années mille neuf cent soixante-dix : vers une nouvelle conception de l'acteur cinématographique. Masters thesis, Concordia University.
• Pycock, Elizabeth (1992) Memory and anger : teen films and the female body. Masters thesis, Concordia University.
• Read, Robert J (2003) The film noir collection and the legacy of nineteenth century modernity. Masters thesis, Concordia University.
• Ryan, Cyril (1996) Black movie : five picture deal to make gun movies. Masters thesis, Concordia University.
• Schyngera, Wes (1993) Experiencing media : the resonance of post(modern) culture. Masters thesis, Concordia University.
• Shalinsky, Bernard (1977) Multi-sensory exploration of the natural environment : production and evaluation of a super 8 film-based videotape. Masters thesis, Concordia University.
• Simon, Cheryl Inez (1998) Gender, genre and globalization : discourses of "Femininity" in the popular culture of the 1990's. PhD thesis, Concordia University.
• Sinkinson, Susan (1999) The self as "other" : accessing issues of difference in Trinh T. Minh-Ha's Reassemblage. Masters thesis, Concordia University.
• Smith, Donna Lee (1989) Mombasa days : a feature-length film script. Masters thesis, Concordia University.
• Smith, Matthew (1996) Introducing a new medium : newspaper reviews of the first film screenings in Montréal, Ottawa, Toronto and New York in 1896. Masters thesis, Concordia University.
• Spivak, Robert (1991) Christopher Durang : satire and beyond. Masters thesis, Concordia University.
• Stober, JoAnne (2001) That's not what I heard : synchronized sound cinema in Montreal 1926-1931. Masters thesis, Concordia University.
• Stoianova, Christina (1999) The Eastern European crisis of self-knowledge (1948-1989) : the relationship between state and society as reflected in Eastern European film : a genre approach. PhD thesis, Concordia University.
• Suchet, Simone (1994) Le cinéma rural et la société italienne des années soixante-dix : représentations idéologiques et impuissance politique : étude sur Novecento de Bernardo Bertolucci, Padre, padrone de Paolo et Vittorio Taviani, [et] l'Albero degli zoccoli de Ermanno Olmi. PhD thesis, Concordia University.
• Verma, Tina (1999) Re-imagining multiculturalism : how newness enters the world. Masters thesis, Concordia University.
• Weir, Jodi (1999) Performing gender : transgenderism as critique. Masters thesis, Concordia University.
• Zhou, Hao (2003) Application of 3D facial animation techniques for Chinese opera. Masters thesis, Concordia University.
• Zielinski, Ger (1996) Towards the "Utopie film" : aspects of Adorno's thought in Alexander Kluge's antagonistic concept of realism. Masters thesis, Concordia University.
  

Bellocchio, Bertolucci, Pasolini, Verga and beyond: Italian Cinema research from new look eScholarship.org/uc/

Image from I pugni in tasca/Fists in pocket (Marco Bellocchio, Italy, 1965).
See Deborah Young's short essay on this film here.

Here's another post to celebrate Open Access Week, just in the nick of time.

Film Studies For Free, tipping its jaunty e-hat to the fabulous weblog Open Access News for the information, has been delighted today to revisit the eScholarship archive of the University of California, which has had a makeover. Here's the explanation of the whys and wherefores. FSFF can happily testify that it is now even more user-friendly than before, so do please explore it.

To celebrate, here's a little crop of wonderful, openly-accessible articles on Italian cinema, all published in the UCLA journal Carte Italiane, that FSFF was able to harvest in a even shorter jiffy than usual.

• Sarah A. Carey, Before and After the Revolution: The Power(lessness) of the Image in I pugni in tasca, Buongiorno, notte, Prima della rivoluzione and The Dreamers, Carte Italiane, 2:4, 2008

• Brendan W. Hennessy, A Cinematic Premonition of Disorder: Social and Political Satire in Bellocchio's La cina è vicina (1967), Carte Italiane, 2:4, 2008
  

• Antonio Idini, Stealing Home: Flight from Exile in Il ladro di bambini, Carte Italiane, 1:14, 1994

• Peggy Kidney, Recent Publications in the Field of Italian Cinema, Carte Italiane, 1:7, 1986

• David Pendleton, Pasolini's Cinema of Regression, Carte Italiane, 1:12, 1992

• Dana Renga, Women's Place: Contradictory Models of Female Behavior in Italian Cinema (1932-1940), Carte Italiane, 1:16, 1999

• Robert Spiegel, Verga and the Realist Cinema, Carte Italiane, 1:2, 1981

Film International for free - Lynch, Kieślowśki, Gomorrah, Brokeback Mountain, Tearoom, and Caché

Still from Tearoom (William E Jones, 1962/2007)

A very busy Film Studies For Free has just got round to reading yet another of Intellect's freely accessible journal issues: Film International (Volume: 7 | Issue: 1 February 2009). This was an excellent, highly stimulating read indeed. Below are links to all the main articles. FSFF particularly enjoyed the essays by Orr, Supanick, Sharrett and Ogrodnik.

• 'McMafia rising [on Gomorrah, the Camorra, Roberto Saviano, deregulation, free trade, Naples, Italy, Matteo Garrone]' Rajko Radovic

• 'Last Year at Mansfield: William E. Jones's Tearoom' Jim Supanick

• 'Death of the Strong, Silent Type: The Achievement of Brokeback Mountain' Christopher Sharrett

• 'A Cinema of Parallel Worlds Lynch & Kieślowśki + Inland Empire' John Orr

• 'Performative Radicalism in contemporary Canadian documentary film' William Anselmi and Sheena Wilson

• 'Deep Cuts [on Haneke's Caché, colonialism, distanciation, politics & media]' Benjamin Ogrodnik
  

An Index to SCAN Journal of Media Arts Culture

Frame grab from All About My Mother (Pedro Almodóvar, 1999) from an image-essay by Ryland Walker Knight) - see also Fiona Jenkins' wonderful SCAN essay, Grief’s Testimony: On Almodóvar’s All About My Mother

It's Open Access Week this week, and while every Film Studies For Free blogpost brings you links to openly accessible Film and Media Studies resources, FSFF thought it was a good moment to celebrate one of the most consistently excellent OA e-journals, the Australia-based SCAN: Journal of Media Arts Culture. Below, then, is a complete and convenient one-stop index of live links to all the refereed articles on film and media that SCAN has published in its five and a half years of online existence.

FSFF's highlights are: the Film as Philosophy and Screenscapes Past Present Future special issues; the fantastic Cinematic Scriptwriting issue, edited by Kathryn Millard; Elizabeth A. Wilson's brilliant reflections on artificial intelligence; Justine Toh on Batman Begins; Christopher Hayton on Charlton Comics' Monster Movie Adaptations; Darrin Verhagen on audiovision; and Ahu Paköz on Persepolis.

• Vol 6 Number 2 September 2009 on Sound.Music.Design

The Expanded-contracted Field of Recent Audio-Visual Art Ian Andrews

Developing the Practice and Theory of Stream-based Sonification Stephen Barrass

Captured Space Philip Samartzis

Audiovision, psy-ops and the perfect crime: Zombie Agents and sound design Darrin Verhagen

Body≈Sounds: an emergent sonic practice Danielle Wilde

• vol 6 number 1 June 2009 Reading Between the Panels (Part II)
  

Considering comics as medium, art, and culture - the case of From Hell Simon Locke

The tools and toys of (the) War (on Terror): Consumer desire, military fetish and regime change in Batman Begins Justine Toh

Remasters of American Comics: Sequential art as new media in the transformative museum context Damian Duffy

Fantastic Giants: Charlton Comics' Monster Movie Adaptations Christopher Hayton

Reading Comics Rhetorically: Orality, Literacy, and Hybridity in Comic Narratives Bobby Kuechenmeister

• vol 5 number 3 December 2008 Biopolitics of the senses: touch, sound and embodied being

Possession without a touch: letters of Marina Tsvetaeva: Written in and translated from the Russian by Natalija Arlauskaite

"When the grinding starts": Negotiating touch in rehearsal Kate Rossmanith

Sound, touch, the felt body and emotion: Toward a haptic art of voice Yvon Bonenfant

Interactive instrumental performance and gesture sonification Kirsty Beilharz

Critical Dialogues 1 David Chapman and Louise K. Wilson, with Anne Cranny-Francis

Sonic Assault to Massive Attack: touch, sound and embodiment Anne Cranny-Francis

• vol 5 number 2 September 2008 Reading Between the Panels (Part I)

(Re)Constructing History: Italy's Post-War Resistence Movement in Contemporary Comics Laura Perna

Too Cruel: The Diseased Teens and Mean Bodies of Charles Burns's Black Hole James Zeigler

"His greatest enemy – intolerance!" The Superman radio show in 1946 Michael Goodrum

Out of Africa: The Saga of Exiled Cartoonists in Europe John A. Lent

A Reawakening of Memories in Comic Form: Persepolis by Marjane Satrapi Ahu Paköz

The Cultural Biographies and Social Lives of Manga: Lessons from the Mangaverse Mio Bryce, Jason Davis and Christie Barber

If Walls Could Talk: Spatialising Narrative in the Museum Peter Doyle

• vol 5 number 1 May 2008 Screenscapes Past Present Future

For a History of Black Sean Cubitt

YouTube: the New Cinema of Attractions Teresa Rizzo

S.M.L.XL: Feature film across the Screenscape Alex Munt

Voice, Image, Television: Beckett’s Divided Screens Julian Murphet

James Ellroy's Cinematic Crime Writing: From 'Stephanie' to My Dark Places Rodney Taveira

Surveillance Screens and Screening in Code 46 Peter Marks

From Big to Little Screens: Recurring Images of Democratic Credibility and the Net Mark Rolfe

• vol 4 number 3 December 2007 Mobile Media/Public Spaces

Uncertain Spaces: Artists’ Exploration of New Socialities in Mediated Public Space Maria Miranda

Dead to the World: The future of hand-held art Darren Tofts

iApparatus or How the Culture of Personalised Media Creates Millions of iOperators Andreas Ströhl

• vol 4 number 2 august 2007 Film as Philosophy

A phenomenology of tragedy: illness and body betrayal in The Fly Havi Carel

Grief’s Testimony: On Almodóvar’s All About My Mother Fiona Jenkins

A Play of Memory: Chris Marker’s Sans Soleil Catherine Summerhayes

Grace and Violence: Questioning Politics and Desire in Lars von Trier’s Dogville Robert Sinnerbrink

Even Better than the Real Thing: Sadism and Real(ity) T.V. Matthew Sharpe

Thinking cinema(tically) and the Industrial Temporal Object: Schemes and technics of experience in Bernard Stiegler's Technics and Time series Patrick Crogan

The cinematic condition of the politico-philosophical future Daniel Ross

• vol 4 number 1 April 2007 e-Performance: Post-disciplinary contexts and theorisation

soundAFFECTs: transcoding, writing, new media, affect Hazel Smith

Performing the Network Maria Miranda and Norie Neumark

Sonic Immersion: Interactive Engagement in Real-Time Immersive Environments Garth Paine

Performing Posthuman Perspective: Can You See Me Now? Rosemary Klich

e-Collaborations in Sixties America: 9 Evenings, the Dancer’s Body, and Electronic Technologies Meredith Morse

• vol 3 number 3 December 2006 Technological Interventions
  

Somatechnics, or Monstrosity Unbound Nikki Sullivan

Somatic Technologies: Embodiment, New Technologies and the Undead Anne Cranny-Francis

Cyber Disobedience: Gandhian Cyberpunks Cynthia Townley & Mitch Parsell

Deus est Machina: Technology, Religion and Derrida’s Autoimmunity Nick Mansfield

(De)constructing Technologies of Subjectivity Nicole Anderson

Border Trouble: photography, strategies, and transsexual identities Sara Davidmann

Grow Your Own - Angiogenetic Body Adornment Norman Cherry

The theatrical text as a misrecognised technological practice: Shape-shifting interventions between words and bodies Mark Seton

• vol 3 number 2 October 2006 Cinematic Scriptwriting (edited by Kathryn Millard)

Kind of a Revolution, and Kind of Not: Digital Low-Budget Cinema in Australia Today Adrian Martin

Writing for the Screen: Beyond the Gospel of Story Kathryn Millard

Re-telling History in the Digital Age: The Scripting Of Hunt Angels Alec Morgan

Digital Kiarostami & The Open Screenplay Alex Munt

Writing the 'Real'/ Really Writing Maree Delofski

Writing on the screen John Grech

• vol 3 number 1 June 2006 News and the Net: Convergences and Divergences
  

Wikinews: The Next Generation of Alternative Online News? Axel Bruns

Disaggregating Online News: The Canadian Federal Election, 2005-2006 Greg Elmer, Zach Devereaux & David Skinner

Democracy & Online News: Indymedia and the Limits of Participatory Media Lee Salter

News on the Net: A critical analysis of the potential of online alternative journalism to challenge the dominance of mainstream news media Trish Bolton

The Daily Show, Crossfire, and the Will to Truth Megan Boler

• vol 2 number 3 December 2005 Shadows of the Dead: Mediating the Archive Photograph
  

The Utilitarian Photographer Lindsay Barrett

Doomed streets of Sydney 1900-1928: Images from the City Council's Demolition Books Sue Doyle

Haunted by a Vitality that is No More - Interpreting the Photograph in the Crime Archive Caleb Williams

Public eye, private eye: Sydney police mug shots, 1912-1930 Peter Doyle

• vol 2 number 2 September 2005 Memory, Media, and Embodied Cognition
  

"Can you think what I feel? Can you feel what I think?": Notes on affect, embodiment and intersubjectivity in AI Elizabeth A. Wilson

"The Chain of Memory": Distributed Cognition in Early Modern England Evelyn Tribble

Tangkic Orders of Time: an anthropological approach to time study Paul Memmott

Body Memory in Muscular Action on Trapeze Peta Tait

The Dynamic Body Image and the Moving Body: revisiting Schilder's theory for psychological research Francine Hanley

The Mutation of "Cognition" and the Fracturing of Modernity: cognitive technics, extended mind and cultural crisis Andrew Murphie

Indexing Audio-Visual Digital Media: the PathScape prototype Mike Leggett

Seeking self-consistency with integrity: an interdisciplinary approach to the ethics of self and memory Russell Downham

On the Likely Form of 'Autobiographical Memory' for Aristotle James William Ley

• vol 2 number 1 April 2005 "The Glittering Tart": Imaging Sydney
  

The Enigma of Arrival James Donald

SYD: the city as airport Gillian Fuller & Ross Rudesch Harley

Morphings and Ur-Forms: From Flâneur to Driveur Sherman Young

Drawing Sydney: Flatlands and the Chromatic Contours of a Global City Stephanie Hemelryk Donald & John Gammack

"I’d rather take Methadone than Ken Done": Branding Sydney in the 1980s Susie Khamis

Blue Murder: a RE-IMAGINED history Greg Levine & Stephen McElhinney

• vol 1 number 3 November 2004 BODILY (Trans)Formations

Body Politics in Post-Soviet Russia Dmitry Mikhel

'It's as plain as the nose on his face': Michael Jackson, modificatory practices, and the question of ethics Nikki Sullivan

Fleshly Impressions: The Work of Paddy Hartley Paddy Hartley

The Monster Body of Myra Hindley Cathy Hawkins

Producing Identity: Elective Amputation and Disability Harminder Dosanjh Kaur

Queering Performativity: Disability After Deleuze Margrit Shildrick

Better dicks through drugs? The penis as a pharmaceutical target Petra Boynton

Digital memories, analogues of affect Robert Payne

“Pagan Poetry”, Piercing, Pain and the Politics of Becoming Greg Hainge

The Christological Imperative: notes towards a speculative re-interpretation of Catholic martyrdom Daniel Nourry

• vol 1 number 2 June 2004 Ghost & Their Machines: Magic, Technology and the Uncanny
  

Contingency on the Island of Ghosts Stephen Muecke

Machine Love and the Uncanny Object: A Children's Story Annette Hamilton

The Ghost In/On The Machine: Magic, Technology And The "Modest Witness" Anne Cranny-Francis

Dream Cities: The Uncanny Powers of Electric Light Scott McQuire

Seeing Impossible Bodies: Fascination as a Spatial Experience Patricia Pringle

Technology and Magick Steve Collins

• vol 1 number 1 January 2004 Ludic Moments

Co-Creative Media: Online Multiplayer Computer Game Culture Sue Morris

The Experience of Information in Computer Games
Patrick Crogan

Playing in the Zone: Thirdspace in Jet Set Radio Future and Shenmue II Brett Nicholls & Simon Ryan

Games, Simulation & Serious Fun: An Interview With Espen Aarseth Patrick Crogan

Neither gaze nor glance, but glaze: relating to console game screens Chris Chesher