Film Philosophy Conference Keynote Presentations Online

A slide from the Film-Philosophy Conference keynote lecture by Francesco Casetti

Film Studies For Free can only marvel at, and be very thankful for, the efficiency and commitment to open access research and scholarship involved in the speedy publication online of five excellent keynote lectures from the very recent annual conference held by the Film-Philosophy journal earlier this month.

Below are links to four audio files and some slides from presentations, too. Thank you F-P!

The London Graduate School presents Film-Philosophy Conference 2012

Film-Philosophy continues to grow as an important discipline within the fields of both Film Studies and Philosophy. The Film-Philosophy Conference brought together scholars from all over the world to present their research on a broad range of topics within the subject area.

The 2012 conference took place on September 12-14, and was jointly hosted by King’s College London, Queen Mary, University of London and Kingston University.

Keynote Speakers:

• Bernard Stiegler (Goldsmiths, University of London; University of Technology of Compiègne) and Ken McMullen (Director of Ghost Dance) AUDIO HERE
• Francesco Casetti (Yale University) AUDIO HERE
• Damian Sutton (Middlesex University) AUDIO HERE
• Libby Saxton (Queen Mary, University of London) AUDIO HERE

Welcome to NECSUS, A New Open Access Film and Media Studies Journal

Frame grab from The Virgin Suicides (Sofia Coppola, 1999). Read Anna Backman Rogers's article on this film at the new NECSUS journal.

Hot off the press! To coincide with its annual conference, taking place in Lisbon from tomorrow, the European Network for Cinema and Media Studies (NECS) has just launched its new online and open access journal NECSUS. Feast your eyes on the marvellous contents of its first issue on Crisis below.

It has been added to Film Studies For Free's permanent listing of online and open access film and media studies journals. And now FSFF's author will read it! Yay!

Enjoy the conference, fellow NECS members!


Spring 2012: Launch Issue

• Editorial Necsus
• The gaps of cinema by Jacques Rancière
• Twitter as a multilingual space: The articulation of the Tunisian revolution through #sidibouzid by Thomas Poell and Kaouthar Darmoni
• Policing the people: Television studies and the problem of ‘quality’ by Sudeep Dasgupta
• The photo-novel, a minor medium? by Jan Baetens

Special Section: Crisis

• Sea-change: Transforming the ‘crisis’ in film theory by Robert Sinnerbrink
• A sideways view of the film economy in an age of digital piracy by Ramon Lobato
• Portraying the global financial crisis: Myth, aesthetics, and the city by Miriam Meissner
• Universal, Germany, and All Quiet on the Western Front: A case study in crisis historiography by Michael Wedel
• Ephemeral bodies and threshold creatures: The crisis of the adolescent rite of passage in Sofia Coppola’s The Virgin Suicides and Gus Van Sant’s Elephant by Anna Backman Rogers

Book Reviews:

• Crisis and capitalism in contemporary Argentine cinema reviewed by Fausto Appiolaza
• Towards a new media archaeology? A report on some books and tendencies reviewed by Petra Löffler

Conference Reviews:

• Moving image and institution: Cinema and the museum in the 21st century, University of Cambridge reviewed by Beatriz Bartolomé Herrera
• The impact of technological innovations on the historiography and theory of cinema, La Cinémathèque québécoise, Montreal reviewed by Trond Lundemo

Festival + Exhibition Reviews:

• Busan Cinema Forum 2011 reviewed by Skadi Loist and Marijke de Valck
• Atlas. How to carry the world on one’s back? reviewed by Teresa Castro

DeleuzeCinema.com Needs You!

By Tom McDonald (2010): a reading and discussion of the concepts of movement-image and time-image as developed in the work of philosopher Gilles Deleuze.

Film Studies For Free is delighted to be able to introduce its readers to DeleuzeCinema.com, a valuable, new, free, online resource for students, scholars and researchers run by those wonderful Film Studies folk at the University of St Andrews.

It is a database designed to facilitate ease of access to international networking and collaboration amongst people interested in Gilles Deleuze and cinema. The site contains a database of people and resources related to Deleuze and cinema (including TV, new media and visual culture). It enables discussion of topics of interest to its members, and disseminates announcements and news items.

The site is open access and its content available to everyone. Registered users can contribute content, build a profile for themselves, enter discussion, or post news items. We welcome participation from people all over the world in any language.

The updating of content relies on registered contributors adding information about ongoing work on Deleuze and cinema (their own work, or the work of others). We hope that those who are interested will join us! [site co-editor, David Martin-Jones]

So, Deleuzians (and Deleuzo-Guattarians) please join the fabulous, scholarly Crowd Sourcerors at DeleuzeCinema.com! And also please feel free to enter, or revisit, all of the manifold Deleuze links that FSFF has gathered over the ages: one dedicated list of resources, numerous other Deleuze-filled postings, and even its latest link to philosopher Tom McDonald's brilliant video above.

Merci!

Latest issues of KINEMA: von Trier, Czech cinema, Romanian cinema, Woody Allen, cult cinema, de Mille, Schnabel, Practice vs. Theory

So bad it's good? Framegrab from The Room (Tommy Wiseau, 2003). Read Rod Stoneman's study of cult cinema "Inside The Room and Beyond"

Film Studies For Free continues to catch up with (fairly) recently published issues of online Film Studies journals. Below are links to the articles from the Spring and Fall 2011 issues of Canadian journal Kinema.

Lots of good stuff here, and even some good stuff on bad stuff, but FSFF especially recommends Mette Hjort's wonderful article on Lars von Trier.

Fall 2011

• "On Lars von Trier, Enfant Terrible of Danish Art Film: by Mette Hjort
• "Inside The Room and Beyond" by Rod Stoneman
• "Czech Surrealism and Czech New Wave Realism" by Alison Frank
• "Remarks on the Actual Status of Romanian Cinema" Christina Stojanova
• "Moral Luck in the Films of Woody Allen" by Ewa Mazierska

Spring 2011

• "Gerald Arthur Pratley, OC (1923-2011)" by The Editor   
• "Themes in the Cinema of Darrell James Roodt" by Martin P. Botha   
• "The Primacy of Practice?" by Desmond Bell   
• "Cecil B. DeMille and the Art of Applied Suggestibility" by Anton Karl Kozlovic    
• "The Films of Julian Schnabel" by Alex Britton   

Repulsive Film Studies? New issue of FILM-PHILOSOPHY on Cinematic Disgust

Life's Work: The Films of Roman Polanski - Chapter 5: Repulsion, the Dark Art of Desire written and narrated by Kim Morgan and edited by Matt Zoller Seitz. Video Essay Series hosted by PressPlay at IndieWire

[Tarja] Laine’s insights on disgust have important implications for thinking about the aesthetic paradox of unpleasure. In her assessment, [Repulsion (Roman Polanski, 1965)] offers a particularly pertinent limit-case in which disgust is not readily convertible into pleasurable cognitive satisfaction. Ultimately, her reading of the film suggests that we may need to re-think theories that construct unpleasure as antithetical to aesthetic experience. In this, she joins Korsmeyer and other thinkers who have recently suggested that we may need to abandon the pleasure-unpleasure binary, in favor of thinking about disgust as ‘modifier of attention, intensifying for a host of reasons some experience that the participant would rather have continue than not’ (Korsmeyer 2011, 118). Indeed, as Laine puts it, it is possible that what we value in cinematic renderings of disgust is precisely the ‘vivid and immediate experience’ that it offers us, ‘regardless of its non-pleasurable, non-rewarding features’. [Tina Kendall in her editor's 'Introduction: Tarrying with Disgust' for the Film-Philosophy special issue on Disgust, discussing Tarja Laine's brilliant article for that issue, as well as citing Carolyn Korsmeyer's Savoring Disgust: The Foul and the Fair in Aesthetics (Oxford: Oxford University Press, 2011)]

Many of you will already have heard about the new issue of Film-Philosophy that came out in late December, but Film Studies For Free is obsessively completist in its mission to bring you news of notable, open access, film studies, hence this, otherwise possibly superfluous, entry.

Besides, it's a brilliantly provocative special issue which successfully takes explorations of filmic disgust well beyond the, to date, canonical or entrenched Film Studies approaches to film horror. Despite some of the attractions of these approaches, for those of us marking undergraduate essays on horror cinema and television from time to time, this greater plurality of conceptual pathways into these topics is a Very Good Thing - that is, in FSFF's ever so humble view.

Thanks so much for that, and more, Film-Philosophy!

Vol 15, No 2 (2011): The Disgust Issue

Guest Editor: Tina Kendall

Articles

• Introduction: Tarrying with Disgust PDF Tina Kendall
• Toward a Poetics of Cinematic Disgust PDF Julian Hanich
• Imprisoned in Disgust: Roman Polanski's Repulsion PDF Tarja Laine 
• Laura Dern’s Vomit, or, Kant and Derrida in Oz PDF Eugenie Brinkema 
• Chew on This: Disgust, Delay, and the Documentary Image in Food, Inc. PDF Jennifer Marilynn Barker
• Body Horror and Post-Socialist Cinema: Györgi Pálfi’s Taxidermia PDF Steven Shaviro

Book Reviews

• Dina Iordanova, David Martin-Jones and Belén Vidal (2010) Cinema at the Periphery PDF Rowena Santos Aquino
• Richard Greene and K. Silem Mohammad, eds. (2010) Zombies, Vampires, and Philosophy: New Life for the Undead PDF Caroline Walters
• Joseph Mai (2010) Jean-Pierre and Luc Dardenne PDF R. D. Crano
• Boaz Hagin (2010) Death in Classical Hollywood Cinema PDF Richard Lindley Armstrong
• Peter Lee-Wright (2010) The Documentary Handbook PDF Wes Skolits
• William Brown, Dina Iordanova and Leshu Torchin (2010) Moving People, Moving Images: Cinema and Trafficking in the New Europe PDF Alison Frank
• Richard Misek (2010) Chromatic Cinema PDF Robert Barry
• Alain Badiou (2010) Cinéma PDF Manuel Ramos
• Annie van den Oever, ed. (2010) Ostrannenie PDF Lara Alexandra Cox
• David Martin-Jones (2010) Scotland: Global Cinema: Genres, Modes and Identities PDF John Marmysz

New Issue of CINEMA: Journal of Philosophy and the Moving Image

Jeff Wall's photograph A Sudden Gust of Wind (after Hokusai), 1993 (courtesy of Wikipedia)

Today, in its continuing series of catch up posts on new offerings from open access film e-journals, Film Studies For Free brings you links to the contents of the latest issue of Cinema: Journal of Philosophy and the Moving Image.

Of particular interest, this time, are Tom McClelland's clear-eyed account of the respects 'in which the medium of film and the discipline of philosophy can intersect', Agustín Zarzosa's detailed evaluation of Rancière’s criticism of Deleuze, and Temenuga Trifonova's terrific discussion of the ways in which contemporary photography, like that of Jeff Wall mentioned above, 'seeks to reclaim the cinematic within the photographic from within the twilight of indexicality'.

Cinema: Journal of Philosophy and the Moving Image, No. 2 (2011)

Abstracts and Contributors

Articles

• Tom McClelland, 'The Philosophy of Film and Film as Philosophy'

• Agustín Zarzosa, 'Layering Images, Thwarting Fables: Deleuze, Rancière and the Allegories of Cinema'

• Temenuga Trifonova, 'The Twilight of the Index'

• Flore Chevaillier, 'Semiotic Images'

• Gabriella Calchi-Novati, '“Biopolitics on Screen”: Aernout Mik's Moving-Image Installations' ONLINE

Interview

• Questions for Jacques Rancière around his book Les écarts du cinéma (English version and French version): Conducted by Susana Nascimento Duarte

Conference Report

• William Brown on the Film-Philosophy Conference (Liverpool John Moores University, 6-8 July, 2011)

In Portuguese: 

• Leonor Areal, 'Para uma teoria do cliché' 

• Teresa Pedro, 'Técnicas cinematográficas e actos mentais: The Photoplay de Hugo Münsterberg'

Translation

• Mauro Carbone, trad. Débora Quaresma e Davide Scarso, 'Merleau-Ponty e o pensamento do cinema'

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)

University of Sussex Film and Moving Image Studies Research Online

A (bordering on) recursive Film Studies For Free screengrab

It is Film Studies For Free's 3rd birthday today. So, time for a little self-indulgent reflection and celebration...

A lot has changed in the last year, most notably that this blog has had to vie with a Film Studies For Pay job for its author's attention... Entries have indeed slowed a little. But, despite this, FSFF's readership has continued to grow rather astonishingly, with 'unique visits' exceeding 300,000, and 'page views' just about to reach half a million. Thank you, dear readers!

While there will be big developments at this blog in the coming year -- some of those linked to an exciting new, MA in Film Studies course its author will teach on Curating Film Culture next Spring -- its essential mission and qualities won't change: viva Open Access!

Onwards and upwards, but please remember you can follow FSFF in its various incarnations at Twitter, at Facebook, and at Vimeo, and you can keep up with its videographic film studies curations at Audiovisualcy (also on Twitter and Facebook).

Film Studies at the University of Sussex has been such a welcoming, fruitful and stimulating workplace for this blog's author. So, today's entry gratefully gathers links to openly accessible, online, film and moving image studies research and scholarship produced by the very wonderful staff and doctoral students/graduates at that rather venerable (50 years old, itself, next month) and pretty cool institution (as well as by FSFF's own scrivener).

• Thomas Austin, "Seeing, feeling, knowing: a case study of audience perspectives on screen documentary" Participations, 2:1, August 2005
• 'Review of Contemporary Hollywood Cinema By Steve Neale and Murray Smith (eds.)', Scope, 2000
• Caroline Bassett, 'Up the Garden Path: Or How to Get Smart in Public', Second Nature, Issue No.2, November 2009
• Jimmy Billingham, 'Indeterminate Film Thinking and Interpretation,' in Networking Knowledge: Journal of the MeCCSA PGN (Media, Communications and Cultural Studies Association Postgraduate Association), vol. 2, no. 1, 2009 
• Sam Cooper, 'Sex and the Situs', World Picture, 4, 2010
• Martin Paul Eve, The Time That Remains: Elia Suleiman and the London Palestinian Film Festival 2010', Excursions, 1 (1), (2010) pp. 146-151
• Rosalind Galt, '“It’s so cold in Alaska”: Evoking Exploration Between Bazin and The Forbidden Quest', Discourse, 28.1, (Winter, 2006), pp. 53–71
• 'Mapping Catalonia in 1967: the Barcelona School in global context,' Senses of Cinema, Oct-Dec 2006
• 'The Obviousness of Cinema', World Picture, 2, Autumn 2009
• ' Perverse Aesthetics: Maria Beatty, Masochism, and the Cinematic', World Picture, 4, Spring 2010
• Catherine Grant, 'Home Movies: The Curious Cinematic Collaboration of Anne-Marie Miéville and Jean-Luc Godard', in For Ever Godard (eds) Temple, Williams, Witt (London: Black Dog Press, 2004), pp. 100-117 (preprint)
• ''Still Moving Images: Photographs of the Disappeared in Films about the Dirty War in Argentina', Phototextualities: Intersections of Photography and Narrative, ed. Alex Hughes and Andrea Noble (Albuquerque: University of New Mexico Press, 2003) (preprint)
• 'Recognizing Billy Budd in Beau Travail: Epistemology and Hermeneutics of an Auteurist "Free" Adaptation', Screen Vol. 43, No. 1, 2002, pp. 57-73
• 'The "Author Function" in Transnational Film Adaptation: the Case of El lugar sin límites (Ripstein, Puig, Donoso' - English language translation of ''La función de "los autores": la adaptación cinematográfica transnacional de El lugar sin límites', Revista Iberoamericana, Vol. LXVIII, Núm, 199, Abril-Junio 2002, pp. 253-268
• 'Secret Agents: Feminist Theories of Women's Film Authorship', Feminist Theory Vol. 2, No. 1, April 2001, pp. 113-130 (preprint)
• 'Intimista Transformations: María Luisa Bemberg's First Feature Films', An Argentine Passion: The Films of María Luisa Bemberg ed. John King, Sheila Whittaker and Rosa Bosch (London: Verso, 2000) (preprint)
• 'Giving up Ghosts: Eliseo Subiela's Hombre mirando al sudeste and No te mueras sin decirme a dónde vas', Changing Reels: Latin American Cinema against the Odds, ed. Rob Rix and Roberto Rodríguez-Saona (Leeds: Leeds Iberian Papers - Trinity and All Saints/University of Leeds, 1997), pp. 89-120
• Video essays: 
• 'Unsentimental Education: on Claude Chabrol's Les Bonnes femmes', FSFF, June 2009
• 'True Likeness: on Peeping Tom and Code Unknown', Filmanalytical, June 2010
• 'Establishing Split: on Darren Aronofsky's Requiem for a Dream', Filmanalytical, November 2010
• 'Video Primer: Refashioning the Femme Fatale? Gilda in Motion', Film Studies For Free', February 2011;
• 'Video Primer: Framing Incandescence: Elizabeth Taylor as 'Helen Burns' in Jane Eyre', Film Studies For Free, April 2011
• Ed Hughes and Aitor Antepara Zuza, (2007) Battleship Potemkin: A Contemporary Score. Tartan Video, London, UK, 2007
• Mary Agnes Krell, 'Investigating Imaginary Evidence', Vectors, Issue 1, 2005 
• Kate Lacey, 'Home, Work and Everyday Life: Roger Silverstone at Sussex', International Journal of Communication 1 (2007)
• Michael Lawrence '“Carefully Posed Thighs”: The Garden of Eden in 1966', World Picture, 4, 2010
• Simon Paul Mussell, Constellations of Adornian theory and film: readings of Adorno with Tarkovsky and Haneke. Doctoral thesis, University of Sussex, 2011
• Kate O'Riordan,  'Playing with Lara in Virtual Space' in Sally Munt (ed.), Technospaces: inside the new media (London: Continuum, 2001)
• 'Caroline Bassett (2007) The Arc and the Machine: Narrative and New Media', Culture Machine, 130, July 2008
• Graeme G. Pedlingham, The (un)scene of memory: energetic theory and representation in theatre and film, Doctoral thesis, University of Sussex, 2011 
• Roberta Piazza, The representation of conflict in the discourse of Italian melodrama. Journal of Pragmatics, 38 (12), 2006, pp. 2087-2104
• John David Rhodes, "Concentrated Ground": Grey Gardens and the Cinema of the Domestic', Framework, 47.1, Spring 2006
• 'Location, Location, Location', Framework: The Journal of Cinema and Media, Volume 47, Number 1, Spring 2006, pp. 129-131
• 'Peggy Ahwesh', Senses of Cinema, 29, 2003 
• 'Notes on Cinematic Desire (for Louis)', World Picture, 4, Spring 2010
• 'Easy Living: The Modernist House and Cinematic Space', Talk at the Centre for the Interdisciplinary Study of Film and the Moving Image University of Kent, 2010 (mp3)
• Niall Richardson, 'Poison in the Sirkian System: The Political Agenda of Todd Haynes's Far From Heaven', Scope, Issue 6, 2006
• Neil Graham Slack, A cinema of white masculine crisis: race and gender in contemporary British film. Doctoral thesis, University of Sussex, 2010
• Sue Thornham, 'Starting to Feel Like a Chick: Re-visioning romance in In the Cut', Feminist Media Studies, Vol. 7, No. 1, 2007
• Lizzie Thynne, 'Ethics, politics and representation in Child of Mine, a television documentary on lesbian parenting', Jump Cut, No. 53, 2011
• Dolores Tierney, 'The Appeal of the Real in Snuff: Alejandro Amenabar's Thesis', Spectator, 22.2, 2002
• 'Alejandro González Iñárritu: director without borders', New Cinemas, 2009
• 'Emilio Fernandez 'in Hollywood': Mexico's Postwar Inter-American Cinema, La perla/The Pearl (1946) and The Fugitive (1948)', originally in Studies in Hispanic Cinema, Vol. 7, No. 2, 2010
• 'Gender Relations and Mexican Cultural Nationalism in Emilio Fernández's Enamorada/Woman in Love', originally in QRFV, 20:3, 2010
• 'Lights and shadows: new perspectives on Cuban cinema', The International Journal of Cuban Studies, Issue 2, December 2008
• El terror en El beso de la mujer araña', Revista Iberoamericana, Vol. LXVIII, Núm. 199, Abril-Junio 2002, 355-365
• Glenn Ward, Journeys into perversion: vision, desire and economies of transgression in the films of Jess Franco, Doctoral thesis, University of Sussex, 2011
• Neelam Sidhar Wright, Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema, Doctoral thesis, University of Sussex, 2010
• '"Tom Cruise? Tarantino? E.T.? ...Indian!": Innovation through Imitation in the Cross-cultural Bollywood Remake', Cultural Borrowings: Appropriation, Reworking, Transformation, edited buy Iain Robert Smith, Scope, Issue 15, 2010

Frank Krutnik et al (co-ed.), "Un-American" Hollywood: politics and film in the blacklist era (Rutgers University Press, 2007)

Thomas Austin, Watching the world: screen documentary and audiences (Manchester: Manchester University Press, 2007)

Andy Medhurst, 'Heart of Farce: Almodóvar's comic complexities', All about Almodóvar: A Passion for Cinema, eds. Bradley S. Epps, Brad Epps, Despina Kakoudaki (University of Minnesota Press, 2009)


Dolores, Tierney, Emilio Fernández: pictures in the margins (Manchester: Manchester University Press, 2008)

Vicky Lebeau, Psychoanalysis and Cinema: the Play of Shadows (London: Wallflower Press, 2001)

Rosalind Galt, Pretty: Film and the Decorative Image (New York: Columbia University Press, 2011)

Rosalind Galt, The new European cinema: redrawing the map (New York: Columbia University Press, 2006)

Rosalind Galt and Karl Schoonover (eds), Global Art Cinema: New Theories and Histories (Oxford: Oxford University Press, 2010)

Lizzie Thynne, "The Space Between: Daughters and Lovers in Anne Lister', in Tamsin Wilton (ed.), Immortal, Invisible: Lesbians and the Moving Image (London: Routledge, 1995)

Andy Medhurst, A national joke: popular comedy and English cultural identities (London: Routledge, 2007)

Niall Richardson, Transgressive Bodies: Representations in Film and Popular Culture (London: Ashgate, 2010)

Sharif Mowlabocus, Gaydar Culture: Gay Men, Technology and Embodiment in the Digital Age (London: Ashgate, 2010)

Double Vision: Links in Memory of Raúl Ruiz, a Filmmaking Legend

Updated Sunday August 21, 2011

The late Raúl Ruiz in conversation with Kriss Ravetto-Biagioli at the University of Aberdeen in 2007. One of the most prolific directors of the last 50 years, having written over 100 plays before starting in the cinema, Ruiz films have been characterized as ironic, surrealistic and deeply experimental.

Here is my own theoretical fiction: in the waking dream that is our receiving the film, there is a counterpart; we start projecting another film on the film. I have said to project and that seems apt. Images that leave me and are superimposed on the film itself, such that the double film - as in the double vision of Breton traditions - becomes protean, filled with palpitations, as if breathing. [Raúl Ruiz, 'The Face of the Sea (In Place of an Epilogue)', Poetics of Cinema 2]

Every time that a general theory or a fiction is elaborated I have the impression that ... there is a painting stolen, a part of the story or puzzle missing. The final explanation is no more than a conventional means of tying together all the paintings. It’s like the horizon: once you reach it, there is still the horizon.  [Raúl Ruiz in L’Hypothèse du Tableau Volé/The Hypothesis of the Stolen Painting (Ruiz, 1979)]

... Raul Ruiz's comments on filmmaking outside metropolitan centres are revealing. He tells us how, when he was studying theater and film in Santiago with the aid of American textbooks, he was surprised to find "that the films we loved the most were badly made" - because they were not made according to the set of assumptions about action and behaviour in Central Conflict Theory." This led him to strategise that "every film is always the bearer of another, a secret film" and that "the strong points [of the inexplicit film] are found in the weak points of the apparent one." This argument seems to be not just about how fascination presents itself in film; it also suggests that fascination (Ruiz calls it "the gift of double vision that we all possess") is not just an aesthetic project: It is, above all, a social and political project. [MA Abbas, 'Dialectic of Deception', Public Culture, 1999, v. 11 n. 2, p. 347-363, p. 360 citing Ruiz, A Poetics of Cinema, trans. by Brian Holmes, (Paris: Editions Di Voir, 1995); p. 11, 111, and 109 respectively:]

Film Studies For Free is very sad to pass on news of the death of Chilean film director Raúl Ruiz in Paris after a long illness. 

Film critic Dave Kehr points to the report in Le Monde in which Ruiz's producer, François Margolin, informed the French newspaper that the director "was in the midst of finishing the editing of a film he has shot on his childhood in Chile ... And he was preparing another film in Portugal, on a famous Napoleonic battle.”  Perhaps we will get to see the first of these tantalising projects. FSFF very much hopes so.

Below is this blog's sincerely felt tribute to the brilliant Ruiz, one of the most memorable and talented of prolific filmmakers (and one of the most prolific of filmmakers against the odds): a list of links to online studies of the director's work, as well as to interviews with him, and writing by him. Further links will continue to be added here in the days and weeks to come.

Links to posthumous tributes to Ruiz, along with other material about his films, are being gathered by David Hudson at the Mubi Notebook.

Update (August 21, 2011): The list below was expanded with many additional entries, including, at the foot of the post, a number of documentaries about (and/or recordings of) Ruiz. Of particular note is the documentary Exiles: Raoul Ruiz Chilean Film Director (BBC, 1988, directed by Jill Evans), which contains many marvellous excerpts from Ruiz's films. 

Also see Jonathan Rosenbaum's marvellous tribute to Ruiz, 'Ruiz Hopping and Buried Treasures: Twelve Selected Global Sites'.

You can watch Ruiz's Three Crowns of a Sailor (1983, circa 117 mins) online at present for free, too!

And Girish Shambu has just posted "A Ghost at Noon",  a remarkable and very personal tribute to Ruiz by Adrian Martin (author or editor of many of the essays below).

• Raúl Ruiz, 'Three Thrusts at Excalibur', Screening the Past, Issue 26: Special Issue: Early Europe, 2009 


• Raúl Ruiz, 'Palomita Blanca (Little White Dove, Chile, 1973)', Rouge, 2, 2004 


• Raúl Ruiz, 'El Realismo Socialista (Considerádo Commo Una de las Bellas artes) (Socialist Realism [Considered as One of the Fine Arts], Chile, 1973), Rouge, 2, 2004


• Raúl Ruiz, 'The Comedy of Shadows (La Comédie des ombres): Fragments of a Screenplay', Rouge, 2, 2004


• Raúl Ruiz, 'Las Soledades (The Solitudes, UK, 1992)', Rouge, 2, 2004 


• Raúl Ruiz, 'The Golden Boat (USA, 1990)', Rouge, 2, 2004 


• Raúl Ruiz, 'Handbook of French History (Petit manuel d’histoire de France, 2 part TV series, France, 1979)', Rouge, 2, 2004


• Raúl Ruiz, 'Suspended Vocation (La Vocation suspendue, France, 1977)', Rouge, 2, 2004

• Acquarello on Raúl Ruiz at Strictly Film School


• Barthélemy Amengual, 'The Expropriation (La Expropriacíon, Chile, 1971)', Rouge, 2, 2004


• Michael J. Anderson, 'Three Crowns of the Sailor: A Resurfaced Masterpiece from Cinema's Forgotten Decade', Tativille, May 17, 2006


• BBC Radio Movie Café with Raul Ruiz and Alan Marcus Interviewed by Janice Forsyth (29 November 2007) (mp3) 


• Cyril Béghin, 'Time Regained (Le Temps retrouvé, France, 1999)', Rouge, 2, 2004 


• Cyril Béghin, 'Treasure Island (L'île au trésor, France, 1986, released 1991)', Rouge, 2, 2004 


• Patrick Blaine, 'Reconstructing Resistant Memory in the Chilean Social Documentary: Guzmán and Ruiz', 2010 LASA Congress, Toronto, October 6-­9, 2010


• Christine Buci-Glucksmann, 'La Querelle de jardins (Quarrel of Gardens, short, France, 1982)', Rouge, 2, 2004


• Christine Buci-Glucksmann, 'Le Borgne (The One-Eyed Man, 4 episodes, France, 1980)', Rouge, 2, 2004


• Christine Buci-Glucksmann, 'Les Divisions de la nature: Un homme, un château, ‘Chambord’ (The Divisions of Nature: A Man, a Castle, ‘Chambord’, short, France, 1978)', Rouge, 2, 2004


• Maximilian Le Cain, 'Genealogies of a Crime (Génealogies d’un crime, France, 1997)', Rouge, 2, 2004
  


• Robert Castle, 'Proust Regained: On Raul Ruiz's Time Regained and Filming the Unfilmable' Bright Lights Film Journal, 51, 2006


• Michael Chanan, 'New Cinemas in Latin America 1960-1995', from The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith, OUP, 1996; Section 3, The Modern Cinema 1960-1995, pp.427-435


• Michael Chanan, 'Documentary film: Latin America', from Ian Aitken, ed., Encyclopedia of the Documentary Film, Routledge, 2006


• Ian Christie, 'Los Tres Tristes Tigres (Three Sad Tigers, Chile, 1968), Rouge, 2, 2004


• Ian Christie, 'The Penal Colony (La Colonia Penal, Chile, 1970)', Rouge, 2, 2004 


• Ian Christie, 'Dans un miroir (In a Mirror, short feature, France, 1984)', Rouge, 2, 2004


• Ian Christie, 'The Real Presence (La Présence réelle, France, 1983)', Rouge, 2, 2004


• Olivier Curchod, 'Bérénice (France, 1983)', Rouge, 2, 2004


• Fergus Daly, 'Wind Water (aka Feng Shui, short, UK, 1996)', Rouge, 2, 2004


• Fergus Daly, 'Manoel on the Island of Marvels (3 part TV series, France, 1985)', Rouge, 2, 2004
  


• Thomas Elsaesser, 'Raoul Ruiz’s L’Hypothèse du Tableau Vole', European Cinema: Face to Face with Hollywood (Amsterdam University Press, 2005 - scroll down in PDF to p. 251)


• Thomas Elsaesser, 'The Hypothesis of the Stolen Painting (L’Hypothese du tableau volé, France, 1978)', Rouge, 2, 2004


• Filipe Furtado, 'That Day (Ce jour-là, France, 2003)', Rouge, 2, 2004


• Michael Goddard, 'Towards a Perverse Neo-Baroque Cinematic Aesthetic: Raúl Ruiz's Poetics of Cinema', Senses of Cinema, 30, 2004  
  


• Michael Goddard, 'Hypothesis of the Stolen Aesthetics', Contretemps, July 2002


• Eleanor Kaufman, 'Deleuze, Klossowski, Cinema, Immobility: A Response to Stephen Arnott', Film-Philosophy, 5, 33, 2001


• Andreea Marinescu, Dialoguing across catasptrophes: Chilean Post-Coup and Post-Dictatorship Cultural Production in the works of Roberto Bolaño and Raúl Ruiz, PhD thesis, University of Michigan, 2010
  


• Jonathan Marlow, 'Raúl Ruiz and the Poetics of Cinema', GreenCine Daily, September 26, 2006


• Adrian Martin, 'A Place Among the Living (aka A Taste for Murder, Une place parmi les vivants, France/Rumania, 2003', Rouge, 2, 2004


• Adrian Martin, 'Responso: Homage to Huub Baals (video, work-in-progress, 2004)', Rouge, 2, 2004


• Adrian Martin, 'Three Lives and Only One Death (Trois vies et une seule mort, France, 1996)', Rouge, 2, 2004


• Adrian Martin, 'Dark at Noon or Eyes and Lies (L'œil qui ment, France, 1992)', Rouge, 2, 2004


• Adrian Martin, 'A TV Dante (UK, 1989)', Rouge, 2, 2004 


• Adrian Martin, 'The Territory (Portugal/USA, 1981)', Rouge, 2, 2004


• Adrian Martin, 'Great Events and Ordinary People (Des grands événements et des gens ordinaires: Les Élections, short feature, France, 1979)', Rouge, 2, 2004


• Gonzalo Masa, 'Ruiz and the Devils: La recta provincia', Rouge, 11, 2007


• Abdelwahab Meddeb, 'Mirror of Tunisia/Tunisia, the Trance and the Stone (Miroir de Tunis/Tunis, la transe et la Pierre, Tunisia/France, 1993)', Rouge, 2, 2004


• Jean Miotte, 'Miotte vu par Ruiz (Miotte by Ruiz, France, 2001)', Rouge, 2, 2004


• Rouge #2, an annotated filmography of the work of Raúl Ruiz as a director, Rouge, 2, 2004 


• Luc Moullet, 'The Blind Owl (La Chouette Aveugle, France/Switzerland, 1987)', Rouge, 2, 2004


• Zuzana M. Pick, 'Chilean cinema: ten years of exile (1973-83)', from Jump Cut, no. 32, April 1987, pp. 66-70  


• Zuzana Mirjam Pick, 'Dialogue of Exiles (Diálogo de exilados, France 1974)', Rouge, 2, 2004


• Maxime Renaudin, 'Días de campo (Journées à la campagne, Days in the Country, Chile/France, 2004)', Rouge, 2, 2004


• Michael Renov, 'History And/As Autobiography: The Essayistic in Film and Video', Framework, 2,3, 1989


• Bérénice Reynaud, 'Three Crowns of the Sailor (Les Trois couronnes du matelot, France, 1982)', Rouge, 2, 2004


• Jonathan Rosenbaum, 'Ruiz Hopping and Buried Treasures: Twelve Selected Global Sites', JonathanRosenbaum.com, August 19, 2011


• Jonathan Rosenbaum, 'Mapping the Territory of Raúl Ruiz', JonathanRosenbaum.com, October 13, 1990


• Jonathan Rosenbaum, 'Trying To Catch Up With Raúl Ruiz: A Conversation with Jonathan Rosenbaum', Cinema Scope no. 11 (summer 2002)


• Jonathan Rosenbaum, 'Mammame (France, 1985)', Rouge, 2, 2004


• Jonathan Rosenbaum, 'The Roof of the Whale aka On Top of the Whale (Hek dak van de Valvis/Le Toit de la baleine, Netherlands/France, 1981)', Rouge, 2, 2004


• Jonathan Rosenbaum, 'Snakes and Ladders (Le Jeu de l’Oie: La Cartographie, short, France, 1980)', Rouge, 2, 2004


• Jonathan Rosenbaum, 'Dogs’ Dialogue (Colloque de chiens, short, France, 1977)', Rouge, 2, 2004


• Guy Scarpetta, 'Love Torn in Dream (Combat d’amour en songe, France/Portugal/Chile, 2000)', Rouge, 2, 2004


• A.O. Scott, 'A Mild Mannered Maniac: Interview with Raoul Ruiz', New York Times, July 31, 2011


• Clemente Sobourin, 'Cofralandes: Chilean Rhapsody (Cofralandes: Rapsodia Chilena, Chile/France, 2002)', Rouge, 2, 2004


• Lesley Stern, 'Life is a Dream (Mémoire des apparences, France, 1986)', Rouge, 2, 2004 


• Charles Tesson, 'Letter from a Filmmaker, or The Return of a Library Lover (Lettre d’un cinéaste ou Le Retour d’un amateur de bibliothèques, short, France, 1983)', Rouge, 2, 2004


• Antonio Traverso, 'Contemporary Chilean Cinema and Traumatic Memory: Andrés Wood's Machuca and Raúl Ruiz's Le domaine Perdu', IMA, 2008
   

Centre for Modern Thought, University of Aberdeen: Tuesday 13th June 2006, Mr Raoul Ruiz, the distinguished film director spoke to us in broad terms about his work in film (he has directed almost 100 films) and film theory (he is the author of a multi-volume book entitled "The Poetics of Cinema").

The Tree of Links: Terrence Malick Studies

Frame grab from The New World (Terrence Malick, 2004)

For me the most powerful films are, and always will be, those of a singular gaze where the human eye can be felt, where it is allowed to go uninhibited, without question and without anyone second guessing its accuracy.

[Filmmaker Brad McGann on Malick's Days of Heaven in ‘Southern Superstition’, Take, Issue 27, Winter 2004/5, p. 19. cited by Duncan Petrie]

Film Studies For Free is off to the beach and won't be posting for a few weeks. But, dry those tears! FSFF always likes to leave its readers with something to remember it by. And this year's pre-vacation posting will hopefully do the trick. 

Below, you will find a sublime, transcendent, rare, totally indulgent, and almost religiously good list of links to online and openly accessible studies of the work of American filmmaker Terrence Malick, together with some reviews of his 2011 Palme D'Or winning opus The Tree of Life which are of scholarly interest. Scroll right down to the end for five of Matt Zoller Seitz's great video essays on Malick's work.

Don't say that FSFF doesn't love you, because, despite its occasional confusion with double-negatives, it does! Ciao!

• Michael Atkinson, 'The Shadow Army: Ruminations on a phantom version of Terrence Malick's The Thin Red Line', Moving Image Source, October 27, 2008
• Michael Atkinson, 'The Tree of Life', Sight and Sound, August 2011
• Adam Batty, 'Unless you love, your life will flash by. Terrence Malick’s The Tree Of Life', Hope Lies at 24 Frames Per Second, July 9, 2011 
• John Bleasdale, 'The Tree of Life', Alternate Takes, May 21, 2011
• John Bleasdale, 'Please Make More Films: On The Cinema of Terrence Malick [ed. by Hannah Patterson]', Film-Philosophy, 9.33, 2005
• J.E.J. Cain, 'Writing in his musical key": Terrence Malick's vision of The Thin Red Line', Film Criticism v. 25 no. 1 (Fall 2000) p. 2-24
• Hubert I. Cohen, 'The Genesis of Days of Heaven', Cinema Journal - 42, Number 4, Summer 2003, pp. 46-62
• Simon Critchley, 'Calm: On Terrence Malick's The Thin Red Line', Film-Philosophy, 6.38, 2002
• Charlotte Crofts, 'From the" Hegemony of the Eye" to the" Hierarchy of Perception": The Reconfiguration of Sound and Image In Terrence Malick's Days of Heaven', Peer-reviewed draft prior to corrections / typographical setting, published in Journal of Media Practice, 2:1, 19-29
• Adrian Danks, 'Death Comes as an End: Temporality, Domesticity and Photography in Terrence Malick's Badlands', Senses of Cinema, Issue 8, 2000
• Bilge Ebiri, 'English Speakers: The prison of language in Terrence Malick's The New World', Moving Image Source, October 27, 2008
• Michael Filippidis, 'On Malick's Subjects', Senses of Cinema, Issue 8, 2000
• Patrick ffrench, 'Potential Not To Be: Bersani and Dutoit's Forms of Being', Film-Philosophy, 9.3, 2005
• Kenji Fujishima, 'The Cleveland Orchestra: Bruckner: (R)evolution', Slant Magazine , July 13, 2011
• Marc Furstenau and Leslie MacAvoy, 'Terrence Malick’s Heideggerian Cinema: War and the Question of Being in The Thin Red Line', Vertigo, Vol. 2, Issue 5, 2003
• Daniel Garrett, 'The American Sublime, the Sublime American: The New World by Terrence Malick', Cinetext, July 8, 2006
• Janine Gericke, 'The Tree of Life (2011)', Film International, June 15, 2011
• Angela Havel and Aaron Snyder and T. Oates, 'The Similarities in Terrence Malick's Films: An Iconography [Part 1]', Terrence Malick Page, 2001 And Part 2 
• Stuart Kendall and Robert Deane Tucker, 'Introduction', in eds. Thomas Deane Tucker and Stuart Kendall, Terrence Malick: Film and Philosophy (London: Continuum, 2011)
• Michael King, ''Badlands: shoot first from Jump Cut, no. 1, 1974, pp. 5-6
• Michael Koresky, 'Design for Living: The Tree of Life', Reverse Shot, Issue 29, 2011 
• Dimitrios Latsis, 'Rosy-Fingered Dawn: The Natural Sublime in the work of Terrence Malick', Refractory, vol. 17, July 2010
• Hwanhee Lee, 'Terrence Malick', Senses of Cinema, Issue 23, 2002
• Hwanhee Lee, 'On the Objects in Days of Heaven', Offscreen, December 31, 2007 
• Rose Lucas, 'Theatres of Extremity: War and Subjectivity in The Thin Red Line', Xchanges, vol. 4, no. 2, February 2005
• Oliver Lyttleton, 'The Lost Projects And Unproduced Screenplays Of Terrence Malick', The Playlist at indieWire, July 12, 2011 
• James MacDowell, 'The New World', Alternate Takes, February 21, 2006
• James MacLeod, 'Narrative Vistas: Subversive Voice‐over in Terrence Malick', Philament SENSE & SENSATION – August 2009
• Adrian Martin, 'Things to Look Into: The Cinema of Terrence Malick', Rouge, 10, December 2006 
• Richard Neer, 'Terrence Malick’s New World ', Nonsite.org, Issue 2, 2011
• S. Brent Plate, 'Terrence Malick and an imaginary history of the universe', Visualizing the Buddha, July 11, 2011
• Dana Polan, 'Auteurism and War-teurism: Terrence Malick’s War Movie', in Elsaesser, Thomas, Noel King, Alexander Horwath (eds), The Last Great American Picture Show: New Hollywood Cinema in the 1970s (Amsterdam University Press, 2004)
• Jeff Reichert, 'Children of the Evolution: The Tree of Life', Reverse Shot, Issue 29, 2011
• Ian-Malcolm Rijsdijk, 'Apprehending Beauty [on Chion on The Thin Red Line]', Film-Philosophy, 10.1, 2006
• Peter Rist, 'The Tree of Life', Offscreen, June 7, 2011
• Bill Schaffer, 'The Shape of Fear: Thoughts after The Thin Red Line', Senses of Cinema, Issue 8, 2000
• Nathan Scheider, 'Mobilize and Contemplate: What’s spiritually at stake in The Tree of Life?', Visualizing the Buddha, June 6, 2011
• Robert Sinnerbrink, 'A Heideggerian Cinema?: On Terrence Malick's The Thin Red Line', Film-Philosophy, 10.3, December 2006
• Robert Sinnerbrink, 'From Mythic History to Cinematic Poetry: Terrence Malick’s The New World Viewed', Screening the Past, Issue 26, 2009
• David Sterritt (July 2006). 'Film, Philosophy and Terrence Malick', Undercurrents. FIPRESCI, Issue 2, July 2006
• Eric Syngle, 'The Earth Trembles [on The Thin red Line]', Reverse Shot Online, July/August 2003
• Eleftheria Thanouli, 'The Thin Red Line and the World War II Hollywood Tradition', Kinema, May 6, 2005
• Keith Uhlich, 'The Space Between Spaces: The Tree of Life', Reverse Shot, Issue 29, 2011 
• Beverley Walker, 'Malick on Badlands', Sight and Sound, 44:2:82-83, Spring 1975
• Chris Wisniewski, 'A Stitch in Time: Terrence Malick’s Days of Heaven and The New World', Reverse Shot, Issue 22 
• Chris Wisniewski, 'Known Unknowns: The Tree of Life', Reverse Shot, Issue 29, 2011
• Genevieve Yue, 'Garden of the World: The Tree of Life', Reverse Shot, Issue 29, 2011
• Robert Zaller, 'Adam without Eve: Terrence Malick returns to Eden [on The Tree of Life]', Broad Street, June 28, 2011
• Matt Zoller Seitz, 'All things shining', Complete Terrence Malick video essay, Salon, June 1, 2011 
• Matt Zoller Seitz, 'The Whispering Wind: The New World', Reverse Shot, Issue 27