New SCREENING THE PAST on 'Untimely Cinema'

Framegrab from Histoire(s) du cinéma (Jean-Luc Godard, 1998). Please read Adrian Martin's new essay A Skeleton Key to Histoire(s) du cinéma

The question of whether cinema has run out of time, and the related question of whether it is also, therefore, out of ‘its’ time (cinema as ‘heritage’ media, a relic from another era) are questions that are often posed by, and to, those working in cinema studies today. For well over a decade, film theorists and film historians have evocatively, rigorously and at times relentlessly theorised and debated the question of whether cinema is dead, dying, living on borrowed time, or doing what it has so often done – refigure itself. In titling this essay, and this issue, “Untimely Cinema: Cinema Out of Time” we consider this idea in two seemingly very different ways. [Jodi Brooks and Therese Davis, 'Untimely Cinema: Cinema Out of Time', Screening the Past, ISsue 43, 2012 ]

A really wonderful new issue of Screening the Past, one of the best online and openly accessible film studies journals, has just been published, so Film Studies For Free rushes you the news. It's a timely special issue on Untimely Cinema guest edited by Jodi Brooks and Therese Davis.

The contents are incredibly rich and wide-ranging and are listed, and linked to, below.


Untimely Cinema: Cinema Out of Time

• Untimely Cinema: Cinema Out of Time by Jodi Brooks & Therese Davis
• Syrian Cinema: Out of Time? by Kay Dickinson
• The Restoration of The Exiles: The Untimeliness of Archival Cinema by Catherine Russell
• A Skeleton Key to Histoire(s) du cinéma by Adrian Martin
• Suspended Reading: Man on Wire, 9/11, and the Logic of the High-Wire by Adam Ross Rosenthal
• Kim Ki-duk’s Aporia: The Face and Hospitality (on 3-Iron) by Steve Choe
• Re-staging the Cinema: Psycho, Film Spectatorship and the Redundant New Remake by Megan Carrigy
• Parentheses in Time: L’Année Dernière à Marienbad (1961) as Amorous Event by Alex Ling
• Missed Beats: Unseen Cinema and a Cinema of the Unseen (or Stella Dallas, Again) by Jodi Brooks
• Cinema Against the Age: Feminism and Contemporary Documentary by Belinda Smaill
• Untimely Animations: Waltz with Bashir and the Incorporation of Historical Difference by Paul Atkinson and Simon Cooper

First Release

• Ten Fingers and Nine Toes: Embodied Representations of Pregnancy in Avant-Garde Cinema by Lauren Bliss
• Mapping the Cinematic Journey of Alexander Pearce, Cannibal Convict by Jane Stadler
• I racconti di Canterbury (Pier Paolo Pasolini)/The Canterbury Tales (Geoffrey Chaucer) by Sam Rohdie
• The Great Uncredited: Sir Walter Scott and Cinema by Tim Dolin
• The Jazz Singer: Accounting for Female Agency and Reconsidering Scholarship by Karen Vered
• Encountering Elusive Cinema: Tati, Straub-Huillet and Antonioni by Edgar Jorge

Classics and Re-runs

• Directing the Avant-Garde: Raymond Durgnat interviews Stephen Dwoskin (1984) by Raymond Durgnat

Reviews

• Ford At Fox by Bill Routt
• To Wax Zizekian: On Un-American Psycho: Brian De Palma and the Political Invisible by Adrian Martin
• Humphrey Jennings and British Documentary Film: A Re-Assessment by Patricia Aufderheide
• The Shadowcatchers: a history of cinematography in Australia by Ina Bertrand
• Post – 9/11 Cinema: Through a Lens Darkly by Rod Bishop
• Optic Antics: The Cinema of Ken Jacobs by Dirk de Bruyn
• Deleuze and World Cinemas by Daniel Fairfax
• Celluloid Immigrant: Italian Australian Filmmaker Giorgio Mangiamele by Geoff Gardner
• Deleuze and Cinema: The Film Concepts
• by Gabrielle Lowe
• World Film Locations: Paris by Sarinah Masukor
• The Oriental Obscene: Violence and Racial Fantasies in the Vietnam Era by Josh Nelson
• China on Video: Smaller-screen realities by Tom Salek
• Terrence Malick and the Thought of Film
• by Robert Sinnerbrink
• World Film Locations: Los Angeles & World Film Locations: London by Lynn Smailes
• Virtual Hallyu: Korean Cinema of the Global Era by Mike Walsh
• The Anatomy of Harpo Marx by Wheeler Winston Dixon