Halloween Guide to the Philosophy of Film Horror

Animated.gif of an image of Linda Blair as Regan MacNeil in The Exorcist (William Friedkin, 1973), posted online by skyggebarnet

Father Damien Karras: Why her? Why this girl?
Father Merrin : I think the point is to make us despair. To see ourselves as... animal and ugly. To make us reject the possibility that God could love us.

Philosophers getting excited about horror films may seem incongruous to the average intellectual reader, and saying that one has a "philosophy of horror" may simply sound pretentious. Maybe it’s the bad critical reputation of most monster movies, a perennially popular genre (especially with teenagers) that has always taken its lumps, both aesthetically and morally. Plato wanted to ban all representations of the monstrous from his ideal Republic, and his successors have condemned such depictions ever since. [We] believe that there is ample reason for philosophers to become interested in horror films, for they raise a number of complex and interrelated questions that lie at the heart of philosophical aesthetics.

     Primary among these is the question of horror-pleasure. Why are those of us who enjoy the genre so attracted to watching things that, in real life, would be repellent to us? Like the more traditional aesthetic issue concerning tragic pleasure, there is something puzzling about enjoying in fiction what is painful in reality. Freudian film scholars Laura Mulvey and Robin Wood offered the first compelling solution to this puzzle, and it has been tough to beat. Wood’s thesis that monsters represent a return of the repressed, gratifying the instinctive drives of the id in a cathartic fashion, had almost no serious rival in critical literature from the mid-1970s until 1990. Elizabeth Cowie [also] offers an elaboration on that long-dominant paradigm in her essay [a version of which is linked to below].

      Serious philosophical discussion of horror theory was triggered by Noël Carroll’s seminal treatise, The Philosophy of Horror; or, Paradoxes of the Heart (1990)[...]. Carroll’s cognitivist approach to solving what he calls "the paradox of horror pleasure" was painstakingly modeled on David Hume’s theory of tragedy. We do not take pleasure in the painful and repugnant monster, according to Carroll, but rather in having our curiosity satisfied about its impossible nature, and whether and how the narrative’s human protagonists will dispatch it successfully. His denial that we take pleasure in the monster itself, along with his requirement that the object of horror must be an impossible being—one not believed capable of existing according to the tenets of contemporary science—have generated a good deal of critical ink. [Steven J. Schneider and Daniel Shaw, 'Introduction', Dark Thoughts: Philosophic Reflections on Cinematic Horror (New York: Scarecrow Press, 2003)]

It struck me that certain genres, such as suspense, mystery, comedy, melodrama, and horror, are actually identified by their relation to certain emotions. As a case study, I went about analyzing horror. I began by looking at what kind of horror we expect from horror fiction. At the time, a leading theory of the emotions was what was called the cognitive theory of the emotions, which tries to identify emotions in terms of their object – that is, the criterion that determines whether or not a state is this or that emotion. For example, in the case of fear, in order to be afraid you have to be afraid of a certain kind of thing, namely something that meets the criterion of harmfulness. I argued that horror was made up of two emotions we are already familiar with, fear and disgust. So I crafted my theory of the nature of horror by saying that horror is defined in terms of its elicitation of fear and disgust. Then I needed to say what the object of those two component emotional states were. For fear, there was a long history of analysis of the formal criterion as the harmful, and I drew on that. For disgust, I hypothesized the criterion was the impure.
     [..] I think that film theory should be closer to the practice of filmmaking and fiction-making in general. There shouldn’t be these two cultures. I think in some ways the theorists have made these two cultures exist by being unconcerned with the problems of construction. The Philosophy of Horror is very concerned with the problems of construction. It’s a philosophy of horror, but in the same way that Aristotle’s Poetics is a philosophy of tragedy. Aristotle wrote a philosophy of tragedy, but he called it a poetics, where poetics is a notion that comes from poesis, which comes from making. So poetics is about construction. His philosophy of tragedy is a philosophy of construction of tragedy, and I had hoped that my Philosophy of Horror would be a philosophy of construction of horror in much the same way. [Noël Carroll in Ray Privett and James Kreul, 'The Strange Case of Noël Carroll: A Conversation with the Controversial Film Philosopher', Senses of Cinema, Issue 13, 2001]

Film Studies For Free joins in the usual, general, Halloween hullabaloo with a scary little contribution of its own: a list of links to online and openly accessible philosophical considerations of the horror film genre.

Many of the below studies have been inspired by the extensive considerations of film horror by philosopher Noël Carroll or engage with the themes raised by his work.  

FSFF commends these to you with a little bloggish shudder: they are, after all, somewhat terrifyingly good...

• Zsolt Bátori, 'Genre Identification and the Case of Horror', Proceedings of the European Society for Aesthetics, vol. 2, 2010
• Birkbeck College Roundtable Discussion on ‘Dawn of the Dead’, May 26, 2011 (with Amber Jacobs, Paul Myerscough, Gordon Hon and Mark Fisher) mp3
• Anne-Marie Boisvert, 'Webmonsters', Ciac's Electronic Magazine, No 18 - Spring 2004 (Mutations and Monsters Issue)
• Curtis Bowman, 'Heidegger, the Uncanny, and Jacques Tourneur’s Horror Films', in Steven Jay Schneider and Daniel Shaw (eds.), Dark Thoughts: Philosophic Reflections On Cinematic Horror (Scarecrow Press, 2003)
• Curtis Bowman, The Uncanny. Other Voices 3, no. 1 (2007)
• Keith Brown, 'Notes on the Terror Film', Forum, Issue 2, Spring 2006
• Kate Bullen, '[Review of] The Philosophy of Horror or Paradoxes of the Heart. By Noel Carroll. New York: Routledge, 1990', B Sides, Spring 2010
• Noël Carroll, 'Nightmare and the Horror Film: The Symbolic Biology of Fantastic Beings', Film Quarterly, Vol. 34, No. 3, (Spring, 1981), pp. 16-25
• Noël Carroll, 'The Nature of Horror', The Journal of Aesthetics and Art Criticism, Vol. 46, No. 1 (Autumn, 1987), pp. 51-59
• Jodey Castricano, 'For the love of smoke and mirrors: Dario Argento's Inferno (1980)', Kinoeye, 2.11, 2002
• Brigid Cherry, 'Gothics and Grand Guignols: Violence and the gendered Aesthetics of Cinematic Horror', Particip@tions Volume 5, Issue 1 Special Edition (May 2008)
• Brigid Cherry, The female horror film audience: viewing pleasures and fan practices, PhD Thesis, University of Stirling, 1999
• 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
• Marty Fairbairn, 'Film and Philosophy Family Reunion', Film-Philosophy, Vol. 2, 1998
• Leanne Franklin and Ravenel Richardson (eds), The Many Forms of Fear, Horror and Terror (InterDisciplinary.net, August 2009)
• Cynthia Freeland, 'Feminist Frameworks for Horror Films', Originally published in Post-Theory, eds. Bordwell and Carroll (Madison, Wisconsin: University of Wisconsin Press, 1996)
• Michael Grant, 'Clint Eastwood: Avatar of the Undead', Michael Grant, February 8, 2010
• Tim Groves, 'Entranced: Affective Mimesis and Cinematic Identification', Screening the Past, Issue 20, 2006
• Joan Hawkins, 'Revisiting the Philosophy of Horror', Film-Philosophy, 6.6, 2002
• Matt Hills, '[Review of] Daniel Shaw, ed., Horror: Special Issue of Film and Philosophy (2001)', Aesthetics Online, 2002
• Timothy Iles, 'The Problem of Identity in Contemporary Japanese Horror Films', Electronic Journal of Contemporary Japanese Studies, Discussion Paper 4, 2005
• Kate Ince, 'Reply to Michael du Plessis', Film-Philosophy, Vol. 11, 2007
• Phevos Kallitsis , 'Urban Fears and spatial transformations: the horror movie point of view', CityFutures '09, Madrid 2009
• Lars Bang Larsen, 'Zombies of Immaterial Labor: the Modern Monster and the Death of Death', E-Flux, No. 15, April 2010
• John Marmysz, 'From "Night" to "Day": Nihilism and the Living Dead', First published in Film and Philosophy, vol. 3, 1996
• Rafael Miguel Montes, '¡Yo Soy Godzilla!—The Possibilities and Futilities of Cuban Horror', Irish Journal of Gothic and Horror Studies, July 2009
• Pablo Ortega-Rodriguez, 'How is Disbelief Suspended?: The Paradox of Fiction and Carroll's The Philosophy of Horror', Film-Philosophy, 7, 2003 David Palmieri, 'Carroll Meets Karmina: Québécois Horror Between America and Europe', Equinoxes: A Graduate Journal of French and Francophone Studies, Issue 1, 2004
• Bernard Perron, 'Coming to Play at Frightening Yourself :Welcome to the World of Horror Video Games', Aesthetics of Play, October 2005
• Carl Plantinga, 'Disgusted at the Movies', Film Studies, Volume 8, Summer 2006
• Michael du Plessis, 'Fantasies of the Institution: The Films of Georges Franju and Kate Ince’s Georges Franju', Film-Philosophy, Vol. 11, 2007
• Ray Privett and James Kreul, 'The Strange Case of Noël Carroll: A Conversation with the Controversial Film Philosopher', Senses of Cinema, Issue 13, 2001
• 'Roundtable Discussion: The Post-Cinematic in Paranormal Activity and Paranormal Activity 2 (with Julia Leyda, Nicholas Rombes, Steven Shaviro, and Therese Grisham)', La Furia Umana, 10, 2011
• Steven Schneider, 'Monsters as (Uncanny) Metaphors: Freud, Lakoff, and the Representation of Monstrosity in Cinematic Horror', Other Voices, v.1, n.3 (January 1999)
• Steven J. Schneider and Daniel Shaw, 'Introduction', Dark Thoughts: Philosophic Reflections on Cinematic Horror (New York: Scarecrow Press, 2003)
• Steven Shaviro, 'Survival of the Dead', The Pinocchio Theory, September 25, 2010
• Steven Shaviro, 'Diary of the Dead', The Pinocchio Theory, April 26, 2008
• Daniel Shaw, 'A Humean Definition of Horror', Film-Philosophy,Vol. 1, 1997
• Aaron Smuts, 'Haunting the House from Within: Disbelief Mitigation and Spatial Experience', Film Philosophy, vol. 6 no 7, April 2002 
• D. Bruno Starrs, '"If we stretch our imaginations": the Monstrous-Feminine Mother in Rolf de Heer's Bad Boy Bubby (1993) and Alexandra's Project (2003)', Scope, Issue 10, February 2008
• David Sterritt, 'Spellbound in Darkness: Shyamalan’s Epistemological Twitch', in Spoiler Warnings: CriticalApproaches to the Films of M. Night Shyamalan, ed. Jeffrey AndrewWeinstock (forthcoming)
• Bryan Stone, 'The sanctification of fear: Images of the religious in horror films', Journal of Religion and Film, 5.2, 2001
• Richard Walsh, 'The Passion as Horror Film: St. Mel of the Cross', Journal of Religion and Popular Culture, Vol. 40, Fall 2008
• Tobias Wendell, 'Wicked Villagers and the Mysteries of Reproduction: An Exploration of Horror Videos from Ghana and Nigeria', Postcolonial Text, Vol 3, No 2 (2007)
• Robert Yanal, 'Two Monsters in Search of a Concept', Contemporary Aesthetics, Vol. 1, 2003

Master Hands: A Video Mashup Round Table at Enculturation

Part of the Prelinger Archives and openly accessible online as a Public Domain film at the Internet Archive: Master Hands (as embedded in full at YouTube above) is a classic "capitalist realist" drama showing the manufacture of Chevrolets from foundry to finished vehicles. Though ostensibly a tribute to the "master hands" of the assembly line workers, it seems more of a paean to the designers of this impressive mass production system. Filmed in Flint, Michigan, just months before the United Auto Workers won union recognition with their famous sitdown strikes. Released in 1936, the same year as two other films with which it shares similarities: Modern Times and Triumph of the Will, it was selected for the 1999 National Film Registry of "artistically, culturally, and socially significant" films [text mostly taken from the entry at the Internet Archive; hyperlinks added].

Today, Film Studies For Free is thrilled to flag up a truly "unique experiment in digital publishing": “Master Hands, A Video Mashup Round Table,” a project commissioned by the ever innovative online journal Enculturation and published as Issue 11 in the last few days.

Here's part of a short explanation of the project by the issue editors:

Master Hands is a 1936 film sponsored by the Chevrolet Motor Company that shows the inner workings of a Chevrolet plant in Flint, Michigan. It is available for download at the Internet Archive, and it offers rich material for mashups and remixes. [Richard Marback, Wayne State University] had been considering a project involving Master Hands for some time, and when he shared his mashup of the film with [James J. Brown, Jr., University of Wisconsin-Madison] in May it triggered a discussion between the two of us about how such a work might be published. Richard was not interested in writing an essay to accompany his video project – he wanted the video to stand on its own. Jim suggested that the best way to engage with such work was to create another mashup, and we began discussing a round table format in which other scholars would create their own mashups using the same source footage and respondents would discuss the mashups.

The videos (all under ten minutes in length) and the formal responses to them are linked to here. The individual mashup titles and their artists are set out below.

• "Master Hands Remix" by Richard Marback
• "master" by bonnie kyburz
• "Craft Hands" by Jeff Rice
• "Other People's Lives: A Projection" by Jody Shipka
• "Master Hands" by Anthony Stagliano  

This is a great project in its own right, but what a wonderful model for future (and, of course, present!) forms of Film Studies, FSFF (rather typically for it) thinks...

Links of Doom and Disaster! Apocalyptic Film and Moving Image Studies

Updated November 21, 2011

Image from Deep Impact (Mimi Leder, 1998)

Aside from the current stirrings of challenge to the disastrous, real-world, global order, Film Studies For Free was inspired to produce the below, awesome entry of links to studies of apocalypse and planetary disaster in film and moving image culture by three earth-shatteringly exciting things:

1. A very impressive digital-cinema screening of Lars von Trier's latest film Melancholia (Is cinema dead? FSFF thinks it may still have a few years of life left... Some good thoughts on this film are linked to here); 
2. A thrilling call for papers for an upcoming conference on The End, in relation to motion pictures (scroll to the foot of the post);
3. The just-in-the-nick-of-time appearance of a great, film-related, free-to-read-online book published by the wonderful people at OpenBook Publishers: Maria Manuela Lisboa's The End of the World: Apocalypse and its Aftermath in Western Culture (Open Book Publishers, 2011). OBP have also produced a new, free-to read online version of Robert Philip Kolker's long freely available, classic book The Altering Eye: Contemporary International Cinema.

Now, if you don't mind, the all-too-easily scared FSFF will anti-climactically head for the hills (or, perhaps, for the sofa) to remove itself from all this eschatological excitement.

• Karin Badt. 'Apocalypse Too Soon: Wheeler Winston Dixon's Visions of the Apocalypse', Film-Philosophy, Vol. 9 No. 27, May 2005 
• Lior Barshack, 'Intimate Enunciations: Carnival and Apocalypse in Fellini', Cardozo Law Review, 31.4, 2010
• Brent Bellamy, 'We are Apocalyptic! [on Evan Calder Williams, Combined and Uneven Apocalypse (Zero Books, 2011)]', Reviews in Cultural Theory Vol. 2, Issue 2, 2011
• Adam Bingham, 'Images from the end of the world: Werner Herzog's La Soufrière', Senses of Cinema, September 2006
• Kurt Bullock, 'Vertical Apocalypse: Altered Noir Cityscape within Blade Runner’s Dystopia', SBCC.edu
• L.T. Copier, Preposterous revelations: visions of apocalypse and martyrdom in Hollywood cinema 1980 – 2000, PhD Thesis, UvA, 2009
• Sérgio Dias Branco, 'Being Her/She in ‘Who Are You?’”. It’s the End of the World. Again?!?: Why Buffy Still Matters, Conference at University of North Carolina at Greensboro, March 16, 2007
• H. Bruce Franklin, 'Don't Look Where We're Going: Visions of the Future in Science-Fiction Films, 1970-82 ("Ne cherche pas à savoir où on va": les Visions de l'avenir dans le cinéma de SF de 1970 à 1982), Science Fiction Studies, Vol. 10, No. 1 (Mar., 1983), pp. 70-80 
• Asbjørn Grønstad, 'Coppola's Exhausted Eschatology: Apocalypse Now Reconsidered', Nordic Journal of English Studies, Vol. 4, No. 1, 2005
• Mark Harris, 'The New Scene Canon - Chopping Choppers Unforgettably: The "Nowhere to Go but Down" Scene in Apocalypse Now', Cinephile, 6.1, 2011
• Despina Kakoudaki, 'Spectacles of History: Race Relations, Melodrama, and the Science Fiction/Disaster Film', Camera Obscura 50, Volume 17, Number 2, 2002
• Kate S. Kelly, 'Apocalyptic Dread: American Film at the Turn of the Century Thompson, Kirsten Moana. Apocalyptic Dread: American Film at the Turn of the Century. Albany: State University of New York Press, 2007', Journal of Religion and Popular Culture, 22.1, 2010 
• New Richard Langley, 'American Un-Frontiers: Universality and Apocalypse Blockbusters',Vimeo, November 17, 2011 (originally screened at the American Frontiers conference, University of Birmingham, 12 November 2011)
• Bruno Lessard, ‘"It’s the End of the World!": The Paradox of Event and Body in Hitchcock’s The Birds', Film-Philosophy, 14.1, 2010
• Jeff Lewis and Kirsty Best, 'Pure Filth: Apocalyptic Hedonism and the Postmodern Surfer', Scope, Issue 2, June 2005
• Maria Manuel Lisboa, The End of the World: Apocalypse and its Aftermath in Western Culture (Open Book Publishers, 2011) [Apocalypse Now and Again; The World Gone M A D ; Is the End Ever; Falling Out with Hal and Hester; Utopia at the End of this; Libera Me Domine De Vita Æterna]
• Ewa Mazierska, 'Polish Cinematic Dystopias: Metaphos of Life Under Communism - and Beyond', Kinema. 2004
• Walter Metz, 'Atomic Animals: Toward the Re-Invention of Natural History and Science Filmmaking', IM: Interactive Media. 2. [2006]. 1-12
• Angela Ndalianis, 'Buffy, Angel and the Palimpsest Apocalypse', Slayage Online, 2003
• Conrad Ostwalt, 'Visions of the End: Secular Apocalypse in Recent Hollywood Film', Journal of Religion and Film, 2.1, 1998
• Conrad Ostwalt, 'Armageddon at the Millennial Dawn', Journal of Religion and Film, 4.1, 2000
• Iván Pintor, 'Melancholay and Sacrifice in Contemporary Science Fiction' FORMATS, No. 5, 2009
• Gyan Prakash, 'Imaging the Modern City, Darkly', in Gyan Prakash (ed.) Noir Urbanism: Dystopic Images of the Modern City (Princeton University Press, 2010)
• Justin Remes, 'Apocalyptic Premediations', Journal of Religion and Popular CultureVolume 22(2): Summer 2010
• Karyn Charles Rybacki and Donald Jay Rybacki, 'Visions of Apocalypse: A Rhetorical Analysis of The Day After', Paper presented at the Annual Meeting of the International Communication Association (34th, San Francisco, CA, May 24-28, 1984
• D. Bruno Starrs, 'Filmic Eco-warnings and Television: Rolf de Heer's Epsilon (1995) and Dr. Plonk (2007)', Forum, 5, 2007
• Kevin Stewart, 'The Zombie Aesthetics and the Post-Apocalyptic Franchise', Kinema, 2007 
• Kirsten Moana Thompson, 'Apocalyptic Dread, Kierkegaard, and the Cultural Landscape of the Millennium', Apocalyptic Dread: American Film at the Turn of the Millennium (New York: SUNY Press, 2007)
• Robert Torry, 'Apocalypse Then: Benefits of the Bomb in Fifties Science Fiction Films', Cinema Journal, Vol. 31, No. 1 (Autumn, 1991) 
• Roslyn Weaver, '"The Four Horsemen of the Greenhouse Apocalypse": Apocalypse in the Science Fiction Novels of George Turner', Forum, 5, 2007

The End of ...? An Interdisciplinary Conference on the Study of Motion Pictures - University of Kent, UK, January 21, 2011

This one-day conference is for postgraduate students and early career researchers whose work incorporates the study of motion pictures and aims to explore the interdisciplinary conception and representation of “The End.”
     As the conspiracy theories for the end of the world in 2012 culminate in the mainstream disaster movie and the relevant literature, our concern and anxiety with closures remain within the margins of academic attention. In addition to the ubiquitous representations of “The End”, phrases such as “the end of cinema” and “death of celluloid” are recurrent in scholarly circles, calling forth a new era of engagement with film and other media. “The End” in the latter case evokes a new beginning that requires close examination: perhaps an analogy that could be extended to Film Studies as a discipline, outlining (or criticizing) its potential methodological changes in the future as well as in the past. The aesthetics of “The End”, however, is clearly evident in our direct engagement with time-based cultural artefacts. In other words, the study of various methods of narrative closure in film, music, literature and theatre can inform one of our fundamental obsessions: a good ending.
     We invite proposals for 20-minute presentations from candidates across arts and humanities, welcoming individual papers as well as group panels that investigate “The End” as a broad phenomenon that can be approached through a variety of methods. Possible research subjects include, but not limited to: End of cinema: changing patterns of distribution and exhibition; End of Theory: the methodological shifts in film studies as a discipline; End of story: the aesthetics and strategies of narrative closure, open endings, narrative inconclusiveness in relation to film and other arts; End of the world: recent preoccupation with the disaster film genres; End of cinephilia: alternative channels for watching and discussing movies; End of film: the death of celluloid, the rise of digital technologies and issues of medium specificity; Case studies of films or other media that address any of the aforementioned issues; Representation and/or conception of “The End” within the history and philosophy of art.
     The conference will conclude with a film screening and an introduction by the keynote speaker in the Gulbenkian Cinema, an independent cinema located within the university campus at Canterbury.
Please send abstracts (300 words) and a short biographical note to thendof2012@gmail.com. Deadline for applications is 15 November 2011. Should you have any queries, please do not
hesitate to contact us at the same e-mail address. Website: http://www.kent.ac.uk/arts/film/filmcentre/the_end_of.html
Conference Organization Committee: Emre Caglayan, Frances Kamm, Pete Sillett

Tina Pippin (ed.), Apocalyptic Bodies: the biblical end of the world in text and image (London: Routledge, 1999)

Brokeback Mountain Studies: Through the Queer Longing Glass

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!

• Harry M. Benshoff, 'Brokering Brokeback Mountain — a local reception study', Jump Cut, Issue 50, Spring 2008
• Michael Bronski, 'From The Celluloid Closet to Brokeback Mountain: The Changing Nature of Queer Film Criticism', Cineaste, 2008
• Matt Connolly, 'Brokeback Mountain, Milk, and the Queer Prestige Film', Reverse Shot, Issue 24, 2009
• Daniel Garrett, 'You Don’t Know What Love Is', Film International, January 2011
  
• William Glass, ''"Americans Don't Want Cowboys to Be Gay:" "Brokeback Mountain" and the Oscars', Interalia: A Journal of Queer Studies, 2, 2007
• Le Han and Lushan Shi, 'The "Brokeback Mountain"of Chinese Media: A Case Study of Chinese Media Construction of Nationalism on Reporting of 78th Academy Award[s]', Paper presented at the annual meeting of the NCA 93rd Annual Convention, Chicago, IL, Nov 15, 2007 
• William R. Handley, 'Introduction: The Pasts and Futures of a Story and a Film', in William R. Handley (ed.), The Brokeback Book: From Story to Cultural Phenomenon (Lincoln :University of Nebraska Press, 2011)
• Andrew Holleran, 'The Magic Mountain', The Gay and Lesbian review, Volume 13, Issue 2: History Questions, 2006
• Mark John Isola, 'Disciplining Desire: the Fluid Textuality of Annie Proulx’s Brokeback Mountain', Nordic Journal of English Studies, 7.1, 2008  
• James R. Keller and Anne Goodwyn Jones, 'Brokeback Mountain: Masculinity and Manhood', Studies in Popular Culture, 30.2 Spring 2008 
• Barbara Koziak, 'Shepherding Romance: Reviving the Politics of Romantic Love in Brokeback Mountain', Genders Online, Issue 50, 2009
• Christian Lassen, '"In the dark camp," Or: Straight with a (Pastoral) Twist. American Western Masculinity in Brokeback Mountain', Gender Forum, Issue 16, 2006 
• Christopher Le Coney and Zoe Trodd, 'John Wayne and the Queer Frontier: Deconstructions of the Classic Cowboy Narrative during the Vietnam War', Americana: The Journal of American Popular Culture, 5.1, Spring 2006
• Scott McKinnon, 'Taking the Word ‘Out’ West: Movie Reception and Gay Spaces', Participations, Volume 7, Issue 2, November 2010 
• George Raitt, 'Hidden Differences: New meanings in adaptations of literature to the screen', Double Dialogues, Issue 12, Winter 2010: Interior Worlds: Hidden Stories
• Christopher Sharrett, 'Death of the Strong, Silent Type: The Achievement of Brokeback Mountain', Film International, 7.1, 2009
• Craig Snyder, 'Fear and loathing on Brokeback Mountain', Jump Cut, Issue 53, Summer 2011 
• Irini Stamatopoulos, 'Ang Lee’s Cowboys', Offscreen Journal, Volume 11, Issue 2, February 28, 2007
• Ian Scott Todd, 'Outside/In: Abjection, Space, and Landscape in Brokeback Mountain', Scope13, February 2009 
• Michael Stewart, 'Transience and Imperfect Tense: Brokeback Mountain as Melodrama', Scope, Issue 12, October 2008
• Steven Stowell, 'A Gay Love Story?', The Oxonian Review of Books, 5.2, Spring 2006
• Tommy TSE Ho-lun, Narcissism in Male Sexuality: Lan Yu, Crystal Boys and Brokeback Mountain, MPhil Thesis, University of Hong Kong, 2006

Great Film Studies Theses from Texas Universities

Image from Blade Runner (Ridley Scott, 1982). You can read about this film in Chi Hyun Park's 2008 PhD thesis: Orientalism in U.S. cyberpunk cinema from Blade Runner to the Matrix

Film Studies For Free brings you one of its regular reports from eRepositories. This time it's the turn of the institutes of higher learning located in the largest state of the contiguous U.S.A., the online theses of which are kindly and neatly hosted by the wonderful folks at the Texas Digital Repository.

Seek, and ye shall find, and FSFF did indeed seek and find some graduate work of excellent quality, and on an incredibly wide range of topics. Ye can find it linked to below.

The PhD theses, in particular, will shortly be added to FSFF's permanent listing of Online Film and Moving Image Studies PhD and MPhil Theses.

Ye all come back now! 

• Identity, place, and subversion in contemporary Mizrahi cinema in Israel by Yaron Shemer, PhD Thesis, The University of Texas at Austin, August 2008
• The rhetoric of postcolonialism : Indian middle cinema and the middle class in the 1990s by Radharani Ray, PhD Thesis, The University of Texas at Austin, April 2011
• Globalization and hybridity of Korean cinema : critical analysis of Korean blockbuster films by Se Hee Han, MA Thesis, University of Texas at Austin, May 2011
• Re-charting French space : transnationalism, travel and identity from the postcolonial banlieue to post-Wall Europe by Michael Robert Gott, PhD Thesis, University of Texas at Austin, May 2011
• DEFA and East European cinemas : co-productions, transnational exchange and artistic collaborations by Mariana Zaharieva Ivanova, PhD Thesis, University of Texas at Austin, May 2011
• The children are always watching : violence, distressed children, and signs of hope in the cinema of Michael Haneke by Adam Wyatt Tate, MA, University of Texas at Austin, May 2011
• Orientalism in U.S. cyberpunk cinema from Blade Runner to the Matrix by Chi Hyun Park, PhD Thesis, The University of Texas at Austin, August 2008
• Challenging European borders : Fatih Akın's filmic visions of Europe by Berna Gueneli, PhD Thesis, University of Texas at Austin, May 2011
• The second wave of Chinese art film : film system, film style, and alternative film culture of the 1990s by Li Yang, PhD Thesis, University of Texas at Austin, August 2010
• Cine-animé: adaptations of realistic lighting styles by Ellen Man Ngoc Trinh, M. S. Thesis, Texas AM University, November 2005
• Prestige and prurience : the decline of the American art house and the emergence of sexploitation, 1957-1972 by Daniel Curran Metz, MA Thesis, University of Texas at Austin, May 2011
• Cold cuts : visions of refrigerators in United States media, 1942-1968 by Paul Alton Gansky, MA Thesis, University of Texas at Austin, May 2011
• Once upon a time in South Central Los Angeles : race, gender and narrative in John Singleton's Hood trilogy by Mark Douglas Cunningham, PhD Thesis, University of Texas at Austin, May 2010
• Sensational genres : experiencing science fiction, fantasy and horror by Lisa Marie Schmidt, PhD Thesis, The University of Texas at Austin, October 2010
• Teen films of the 1980s : genre, new Hollywood, and generation X by Elissa Helen Nelson, PhD Thesis, University of Texas at Austin, May 2011

New SENSES OF CINEMA: Malick, Godard, Weimar Cinema, Schepisi, Chaplin, Martel, Holland, Philibert, Pereira Dos Santos

Image from Film Socialisme (Jean-Luc Godard, 2010). You can read Samuel Bréan's SOC essay about this film here.

Film Studies For Free is delighted to convey to its readers that a great new issue of Senses of Cinema has just been published. It's a bumper issue with lots of interest.

It is a timely reminder of just what a valuable publication this online journal is. To which end, SOC launched a Support Senses campaign a little while ago. FSFF thinks that if you regularly visit this journal, if you value what it does, perhaps you might like to consider making a small (or large!) donation, perhaps the cost of a monthly commercial film magazine, as a guideline, for starters.

Senses of Cinema, Issue 60, 2011 

• “I have this special issue of Cahiers du cinéma in front of me”: Remembering Claudine Paquot (1951-2011) by Bérénice Reynaud
• Claudine Paquot, My Friend for Thirty Years by Serge Toubiana
• Gualtiero Jacopetti (1919-2011): The Carnivorous Eye  by Celluloid Liberation Front
• Either and Or: On Terrence Malick’s Tree of Life by Moritz Pfeifer
• godard english cannes: The Reception of Film Socialisme‘s “Navajo English” Subtitles by Samuel Bréan
• She Works Hard for the Money: Women and Fashion in Weimar Cinema by Alexandria Placido
• Cowboys and Aliens: The Exhaustion of History and the Re-Genesis of Illusions by Joseph Natoli
• Biting Back at the Machine: Charlie Chaplin’s Modern Times by Gregory Stephens
• Kansas: Towards a Rhetoric of the 1980s Farm Debt Crisis and the New Depression Film by Stephen Larson
• “Westalgie” in Leander Haußmann’s Herr Lehmann by Dorothea Otto
• Knife in the Head: German Social Realism Meets Cinema Verit by Robert M. Stowe
• Objects of Memory in Contemporary Catalan Documentaries: Materiality and Mortality by Abigail Loxham
• No Country for Old Men, Visual Regime, Mental Image and Narrative Slowness by Thierry Jutel 

Great Directors:

• Nelson Pereira dos Santos by Hudson Moura

CTEQ Annotations:

• La Niña santa by Carlota Larrea
• La Ciénaga  by Gwendolyn Audrey Foster
• Losing Your Head – Lucrecia Martel and The Headless Woman by David Melville
• Europa Europa by Pasquale Iannone
• Provincial Actors  by Pedro Blas Gonzalez
• Olivier Olivier by Tamara Tracz
• Fever by Michael Da Silva
• Être et avoir: The Medium and the Moment by Shari KizirianRetour en Normandie by Darragh O’Donoghue
• In the Land of the Deaf by Martyn Bamber
• “The Raw and the Cooked”: The Peculiar Poetics of Nicolas Philibert’s Un animal, des animaux by Adrian Danks
• Nénette by Louise Sheedy
• Acto de Primavera and the Uncompromising Vision of Manoel de Oliveira  by Wheeler Winston Dixon
• Karl May by Peter Hourigan

Fred Schepisi Dossier:

• The Filmmaker as Adaptor: Fred Schepisi Takes on Patrick White in The Eye of the Storm by Brian McFarlane
• Shooting Dialogue as Action: An Interview with Fred Schepisi  by Fincina Hopgood
• Schepisi’s Celluloid Australia by Daniel Eisenberg
• Across the Borderline by Adrian Danks
• It Runs in the Family: Sons, Sins and Structural Complexity in Fred Schepisi’s Six Degrees of Separation  by Rose Capp
• People Make Papers by Anna Daly
• ReViewing Jimmie: The Critical Reception of The Chant of Jimmie Blacksmith  by Glen Donnar 

Book Reviews:

• Minding Movies: Observations on the Art, Craft, and Business of Filmmaking by David Bordwell and Kristin Thompson by Tony McKibbin
• Jacques Rivette by Douglas Morrey and Alison Smith by Daniel Fairfax
• Baz Luhrmann by Pam Cook by Ben Goldsmith
• Encyclopedia of Early Cinema edited by Richard Abel  by Michael Walsh
• Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre by Dennis Bingham  by Frank P. Tomasulo
• Widescreen Worldwide edited by John Belton, Sheldon Hall and Steve Neale by Simon Howson

Film Festival Reports:

• Korean Independent Films (and Youth) in Jeonju: The 12th Jeonju International Film Festival by Nikki J. Y. Lee
• Eclectic and Open to the World: The 9th Annual Paris Cinema Festival  by Kath Dooley
• Hawksian Girls Meet Weimar Cinema at 25th Cinema Ritrovato  by Federico Passi
• A Soul Nourishing Pilgrimage: The 35th Frameline San Francisco International LGBT Film Festival by Stuart Richards
• I was a Captive Audience at the 57th Flaherty Seminar by Sergey Levchin
• The Tree of Cinema: The 46th Karlovy Vary International Film Festival by Bill Mousoulis
• Naked Ambition: The 14th Shanghai International Film Festival 2011 by Brandon Wee
• Generational Syncretisation and MIFF’s Diamond Jubilee: The 60th Melbourne International Film Festival by Alice G. Burgin

Journal articles on masculinity in popular cinema, and much more

Image of John Travolta as Tony Manero in Saturday Night Fever (John Badham, 1977). You can read Stelios Cristodoulou's great article on this film here

Today, Film Studies For Free brings you more excellent contents from Networking Knowledge: Journal of the MeCCSA-PGN, the periodical brought to you by the postgraduate network of the Media, Communications and Cultural Studies Association.

The links below channel the latest two issues of the journal, including a great selection of articles on masculinity and popular culture, with some very worthwhile studies of popular cinema.

And if you like these very worthy items, you might also like to check out a previous FSFF post listing some further, great articles from this journal.

Networking Knowledge, Vol 4, No 1 (2011) on Masculinity and Popular Culture  
Articles

• ‘"A straight heterosexual film": Masculinity, Sexuality, and Ethnicity in Saturday Night Fever' by Stelios Christodoulou Abstract PDF 

• 'Tough Guy in Drag? How the external, critical discourses surrounding Kathryn Bigelow demonstrate the wider problems of the gender question' by Rona Murray Abstract PDF

• Interrogating Masculinity through the Child Figure in Bombay Cinema' by Siddarth Pandey Abstract PDF 

• Deviating from the Deviant: The Masculinity of Brando in Julius Caesar (1953)' by Rachael Kelly Abstract PDF

• '“Please Baby, take me Back”: Homo-social Bonds in the Contemporary British Biopic' by Matthew Robinson Abstract PDF

• '"Tell me all about your new man": (Re)Constructing Masculinity in Contemporary Chick Texts' by Amy Burns Abstract PDF

• 'Mohamed “el-Limby” Saad and the Popularization of a Masculine Code' by Koen Van Eynde Abstract PDF

• 'Metal, Machismo and Musical Mode: How the ‘Feminine’ Phrygian Second has been Appropriated and Transformed' by Sarha Moore Abstract PDF

• 'The Role of Lucha Libre in the Construction of Mexican Male Identity' by Javier Pereda, Patricia Murrieta-Flores Abstract PDF

• 'Masculinity and Institutional Identity in South Cyprus - the case of I do not forget' by Stratis Andreas Efthymiou Abstract PDF

Networking Knowledge, Vol 3, No 2 (2010)  MeCCSA-PGN Conference Edition
Articles

• 'Screen Acting and Performance Choices' by Trevor Rawlins Abstract PDF

• 'Family Photography as a phatic construction' by Patricia Prieto Blanco Abstract PDF

• 'UTV, The Network relationship and Reporting the "Troubles"’ by Orla Lafferty Abstract PDF

• 'Representations of the Irish in American Vaudeville and Early Film' by Jennifer Mooney Abstract PDF

Short Papers

• 'Public Service Broadcasting and the Public Sphere: Normative Arguments from Habermasian Theory' by Phil Ramsey Abstract PDF

• 'Postdramatic Musicality in The Black Rider' by Markee Rambo-Hood Abstract PDF

Film Poet at the Window: Maya Deren Studies

Image from Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943)

Maya Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within. Although her eyes indicate distrust, she is not desperate to escape her domestic space, but she is not entirely comfortable immured behind the glass. This image symbolizes some of Deren’s most significant initiatives in experimental cinema. In this still shot she establishes a silent connection with the eyes, suggesting the possibility for reverie or even hallucination. It foreshadows her experiments with superimposition and the juxtaposition of disparate spaces. It is an image that suggests the most compelling themes of her film work: dreaming, reflection, rhythm, vision, ritual and identity.[Wendy Haslem, 'Maya Deren', Senses of Cinema, 23, 2002]

It seems to me that in many films, very often in the opening passages, you get the camera establishing the mood, and, when it does that, cinematically, those sections are quite different from the rest of the film. You know, if it’s establishing New York, you get a montage of images, that is, a poetic construct, after which what follows is a dramatic construct that is essentially “horizontal” in its development. The same thing would apply to the dream sequences. They occur at a moment when the intensification is carried out not by action but by the illumination of that moment. Now the short films, to my mind (and they are short because it is difficult to maintain such intensity for a long period of time), are comparable to lyric poems, and they are completely a “vertical,” or what I would call a poetic construct, and they are complete as such. [Maya Deren, "Poetry in the Film", Film Culture Reader, ed. P. Adams Sitney, Praeger Press, New York, 1970, cited by Jonathan Rosenbaum, 'Independent America, 1978-1988', Moving Image Source, January 26, 2009]

Film Studies For Free has the very great pleasure of bringing to your attention the Maya Deren Season at the British Film Institute between October 4-12 (click on this link for the full programme and booking details).

This blog is particularly looking forward to the book launch and lecture, this Friday, by Sussex colleague John David Rhodes, author of the then-to-be-launched BFI Film Classics study of Deren and Alexander Hammid's 1943 Meshes of the Afternoon - a wonderful tome FSFF has already read in its entirety, and from which you can read an enticing, free extract online.

To celebrate this season, and the most remarkable film artist to whom it is devoted, FSFF has put together a rather fabulous list, below, of openly accessible online scholarly studies of Deren's work, together with links to a couple of her written texts and some online videos of (and about) her work.

Taken together, the evidence of all these sources belies the apparent staticness of the iconographic image of Deren shown above: instead, she really was 'the Lara Croft of Jungian [and other psychogeographical and cinematic] terrains', as Mike Walsh jokingly, but memorably, put it.

• Maya Deren, "Cinematography: The Creative Use of Reality," in The Avant-Garde Film: A Reader of Theory and Criticism, ed. P. Adams Sitney (New York: Anthology Film Archives, 1978), pp. 60-73
• Maya Deren, 'Four Unpublished Poems', World Picture, 4.1, 2010

• David Andrews, 'Revisiting “The Two Avant-Gardes”', Jump Cut, 52, Summer 2010
• Rebecca Bachman, 'In the Mirror of Maya Deren', Senses of Cinema, 35, 2005
• Harmony Bench, 'Anti-Gravitational Choreographies: Strategies of Mobility in Screendance', The International Journal of Screendance, 1.1, 2010  
• Karen Berger, '‘In Search of the Thing Itself’ – Africans in the Art of Two Ukrainian/American Jewish Artists: Maya Deren (1917 - 1961) and Clarice Lispector (1920 – 1977)', AFSAAP Conference 2010 (WORD Document)
• Karen Berger, 'The White Darkness: Confluences in the Imaginative Explorations of Identity and ‘the Other’ in the Work of Three Jewish Woman Artists in the Tropics - Maya Deren (1917 - 1961) in Haiti, Clarice Lispector (1920 - 1977) in Brazil, and Hélène Cixous (1937 - ) in Algeria',  Refereed Proceedings of the Inaugural Tropics of the Imagination Conference, 2-3 November 2009. etropic: electronic journal of studies in the tropics, Vol 9 (2010)
• Erin Brannigan, 'Maya Deren, Dance, and Gestural Encounters in Ritual in Transfigured Time', Senses of Cinema, 22, 2002
• Erin Brannigan, '[Review of ] Bill Nichols (ed.) Maya Deren and the American avant-garde, Berkeley: University of California Press, 2001', Screening the Past, 2003
• Noël Carroll, 'Toward a Definition of Moving-Picture Dance', originally in Dance Research Journal, 2001; reprinted in The International Journal of Screendance, 1.1, 2010
• Louise Fenton, Representations of Voodoo: the history and influence of Haitian Vodou within the cultural productions of Britain and America since 1850, PhD Thesis, University of Warwick, 2009
• John Fox, 'The Other Side of the Gaze: Ethnographic Allegory in the Early Films of Maya Deren', REBUS, Issue 1, Spring 2008
• Christiana Galanopoulou and Alla Kovgan, 'In the Mirror of Maya Deren: Curators’ texts', Soith East Dance, [date unknown]
• Orit Halpern, 'Anagram, Gestalt, Game in Maya Deren: Reconfiguring the Image in Post-war Cinema', Postmodern Culture, 19.3, 2009
• Christopher C.P. Hanson, One more time: Instances, Applications and Implications of the Replay, PhD Thesis, USC, 2010 
• Wendy Haslem, 'Maya Deren', Senses of Cinema, 23, 2002
• Ilona Hongistu, 'Towards Embodied Knowledge? Maya Deren’s Divine Horsemen – The Living Gods of Haiti and the rupture of ethnographic documentary film', Wider Screen, 2, 2002
• Lewis Jacobs, 'Experimental Cinema in America - Part Two: The Postwar Revival', in Eric L. Smoodin, and Ann Martin (eds), Hollywood Quarterly (Berkeley: University of California Press, 2002)
• Brett Kashmere, 'Underground Film, Into the Light: Two Sides of the Projected Image in American Art, 1945-1975', Synoptique, 8, 2005
• Andrei Khrenov, 'Fragmented Self in a Shattered Mirror: Martina Kudlacek's In the Mirror of Maya Deren (2001)."Kinoeye, 2 (20): 2002
• Pamela Mansbridge, Metaphor, male/female theorists, and the "birth rites" of women, the reclamation projects of Sylvia Plath, Anais Nin and Maya Deren, MA Thesis, University of Manitoba, 2000
• Jonas Mekas, 'Two Memories of Alexander-Sasha Hammid', Logos, Summer 2004
• William Moritz, 'Visual Music and Film-As-An-Art Before 1950', in Paul J. Karlstrom (ed.), On the edge of America: California modernist art, 1900-1950 (Berkeley: University of California Press, 1996)
• Elinor Pearson, 'Mute Movement: Score and Silence in the work of Maya Deren', Forum 4, April 2008 
• Judith Marie Plessis, Femininity and Authorship: Deren, Duras and Von Trotta, PhD Thesis, University of British Columbia, 1995 
• John David Rhodes, [excerpt from] Meshes of the Afternoon (London: BFI/Palgrave, 2011)
• Rebecca Sheehan, 'The Time of Sculpture: Film, Photography and Auguste Rodin', Screening the Past, 29, 2010
• Jonathan Rosenbaum, 'Independent America, 1978-1988', Moving Image Source, January 26, 2009 
• P. Adams Sitney, 'Meshes of the afternoon' in Visionary Film: The American Avant-Garde, 1943- 2000 (New York: Oxford University Press, 2002)
• Marina Warner, 'Dancing the White Darkness', Tate Etc. Magazine, Issue 10, 2007 
• Alan Weiss, 'Deren's Ritual (A tale from The Aphoristic Theater)', public 15 (1997): Icons and Idols
• Chirstinn Whyte, 'The Evolution of the ‘A’ Word: Changing Notions of Professional Practice in Avant-garde Film and Contemporary Screendance', The International Journal of Screendance, 1.1, 2010 

Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943)

Maya Deren, Collected Experimental Films, 1986 (with C. Ito - New York: Mystic Fire Video)


Modern Women: Barbara Hammer on Maya Deren
 

Catherine Russell, 'Ecstatic ethnography: Maya Deren and the filming of possession rituals', in Ivone Margulies (ed.), Rites of realism: essays on corporeal cinema (Duke University Press, 2003)

On Pictures of Moving: Articles from the International Journal of Screendance

Montage of sequences from Carmen (Carlos Saura, 1983). You can read more about this film (one of FSFF's absolute favourites!) in Marisa Zanotti's article 'When Dance is Imagined In Cinema: Disclosure in Dance Practice'. The article also examines Chantal Akerman’s documentary Un Jour Pina a Demandé (1983), about spending five weeks with Pina Bausch’s company.

Another lucky (unchoreographed) find by Film Studies For Free today. Looking for something else entirely, FSFF pirouetted (tripped) over the following, rather wonderful, online and openly accessible item: the first issue of the International Journal of Screendance. The superb contents of the issue are described in detail and linked to below.

A new issue of IJS is just about due out now, according to the website, so FSFF will let you know about that just as soon as it can.

This first issue of The International Journal of Screendance is dedicated to the proposal that screendance has not yet been invented. This is an appropriation of film theorist Andre Bazin’s suggestion, in The Myth of Total Cinema (1946), that the reality of cinema had not yet embodied the ideal of cinema. Bazin’s writing had been discussed in the first seminar of the International Screendance Network, together with Professor Ian Christie (Birkbeck College, University of London), who had given the 2006 Slade Lectures under the title “Cinema has Not Yet Been Invented.” The proposition that screendance has not yet been invented is intended as an incitement to the community to think about the art form in new ways, both critical and theoretical, and this journal aims to create a forum to sustain the debate.
     A number of themes emerge in this first issue. The presence of Maya Deren is felt in a number of articles, as are ideas about genre, criticality, authorship, disability, performance, and the phenomenology of screendance itself. Chirstinn Whyte looks at amateurism and idea of “professionalism” in “The Evolution of the ‘A’ word: Changing Notions of Professional Practice in Avant-Garde Film and Contemporary Screendance.” Gravity is explored from differing perspectives in two essays: Ann Cooper Albright rethinks the act of falling on screen as an instant in which new meaning can arise while Harmony Bench filters twentieth-century, modern and postmodern, dance techniques’ shared faith in gravity and weight through a digital and electronic lens. Sarah Whatley raises questions about the portrayal of dance and disability on screen, and Argentine critic Susanna Temperley (in Spanish with English translation) addresses the role of the critic in screendance in“Perplexed Writing”, while Kyra Norman explores ideas around the body, perception, and place in site- based screendance. Claudia Kappenberg reviews notions of originality and authorship in “The Logic of the Copy”, and Douglas Rosenberg proposes theories about genre and the diasporic nature of screendance.
     In addition to in-depth discussion and theorization of particular aspects of screen- dance practices, each issue will include interviews and reflective writing by practitioners in the field. In this issue, we publish a transcribed interview with BBC dance for television producer Bob Lockyer. In an effort to reacquaint readers with out of print or hard to find extant articles, we will be including such texts in forthcoming issues, and we begin by re-printing a paper by film theorist and philosopher Noël Carroll entitled “Toward a Definition of Moving Picture-Dance.” The paper was originally presented at the Dance for Camera Symposium in 2000 at the University of Wisconsin–Madison. In the paper and talk, Carroll, who has been writing about movement on screen since the 1970s, lays out an argument for a definition of the field in order to, as he states, “compare and contrast the various categorizations in play and to develop dialectically from them a comprehensive framework that makes sense of our practices and that resonates with our intuitions about its compass” (2, this issue).

International Journal of Screendance
Vol 1, No 1 (2010): Screendance Has Not Yet Been Invented

Table of Contents
Vol.1, Issue 1 [PDF of Full Issue]

Editorial comment

• Screendance: The Practice in Print by Douglas Rosenberg and Claudia Kappenberg

Articles

• The Evolution of the ‘A’ Word: Changing Notions of Professional Practice in Avant-garde Film and Contemporary Screendance by Chirstinn Whyte

• In and Out of Place: Site-based Screendance by Kyra Norman

• FALLING...on screen by Ann Cooper Albright

• The Logic of the Copy, from Appropriation to Choreography by Claudia Kappenberg

• The Spectacle of Difference: Dance and Disability on Screen by Sarah Whatley

• Anti-Gravitational Choreographies: Strategies of Mobility in Screendance by Harmony Bench

• Excavating Genres by Douglas Rosenberg 

• Perplexed Writing: Towards a Possible Encounter between Criticism and Videodance by Susana Temperley [also in Spanish]

• When Dance is Imagined In Cinema: Disclosure in Dance Practice by Marisa Zanotti

Interviews

• Bob Lockyer by Douglas Rosenberg

Reviews

• Cutting Rhythms: Shaping the Film Edit By Karen Pearlman Review by Cari Ann Shim Sham*

Reprints
Toward a Definition of Moving-Picture Dance by Noël Carroll

Artists' Pages

Watching Simon Ellis Notes on Contributors