Two x FRAMES: 'The Political Western Beyond Cold War Frontiers' and 'Promotional Materials'

Film scholar Tim Bergfelder giving a talk which is embedded at the latest issue of Frames

Today, Film Studies For Free rounds up two, very fine, 2013 issues of the e journal Frames. Feast your eyes on all the links below.

The latest issue on the political western is just out. The earlier issue, on film and television promotional materials, will form part of a long in preparation bumper FSFF collection on paratextuality that will now appear in the new year, along with other (very long in preparation) posts: on the magnificence of Caboose, a film studies publisher with a marvellous attitude to freely available content; on découpage; and on many other topics.... 2013 has proved to be just too short a year to cram all this in.

There's still one more FSFF entry to go before the holidays, though, so please look out for that on Monday. In the meantime, happy solstice!


Frames, Issue 4, December 2013: Commies and Indians: The Political Western Beyond Cold War Frontiers 

 

Editorial

Letter from the Editor By Heath Iverson

Feature articles

• Csikós, Puszta, Goulash: Hungarian Frontier Imaginaries in ‘The Wind Blows under Your Feet’ and ‘Brady’s Escape’ By Sonja Simonyi
• Appropriating the “Other” for the Cold War Struggle: DEFA’s Depiction of Native Americans in its Indianerfilme By Jennifer Michaels
• Partisan ‘Realism’: Representations of Wartime Past and State-Building Future in the Cinema of Socialist Yugoslavia By Greg de Cuir, Jr.
• A Third Western(?): Genre and the Popular/Political in Latin America By Chelsea Wessels
• The Birth of the Romanian Western By Marian Tutui
• The Balkan Westerns of the Sixties By Sergey Lavrentiev
• The DEFA Indianerfilm as Artifact of Resistance By Evan Torner

Video Supplement

• Commies and Indians Symposium: Jonathan Owen on Czech Westerns
• Commies and Indians Symposium: Tim Bergfelder on the Euro-Western and on Collaborations across the Iron Curtain

P.O.V.

• Yugoslav (Hi)stories: a country which no longer exists, except on film By Ana Grgic and Raluca Iacob

Frames, Issue 3, May 2013: Promotional Materials 

 

Editorial

• Letter from the Editors By Kathleen Scott and Sarah Soliman
• Introduction: Still Coming Soon? Studying Promotional Materials By Keith M. Johnston 

Feature articles

• Working in the World of Propaganda: Early Trailers & Modern Discourses of Social Control By Frederick Greene
• The Advertising Director as Coming Attraction: Television Advertising as Hollywood Business Card in the Age of Digital Distribution By Leon Gurevitch
• ‘Action… Suspense… Emotion!’: The Trailer as Cinematic Performance By Daniel Hesford
• Imaging a Female Filmmaker: The Director Personas of Nishikawa Miwa and Ogigami Naoko By Colleen Laird
• Aspirational paratexts: the case of “quality openers” in TV promotion By Enrica Picarelli
• ‘Glamorous Bait for an Amorous killer!’: How post-war audiences were Lured by Lucille and the working-girl investigator By Ellen Wright
• DVD Special Features and Stage Greetings: Whose Promotional Material Is It Anyway? By Jonathan Wroot

Interviews

• Interview with Shaun Farrington By Keith M. Johnston
• Interview with Frederick L. Greene By Keith M. Johnston
• Interview with Esther Harris By Keith M. Johnston
• Interview with Paul N. Lazarus By Keith M. Johnston
• Interview with Bill Seymour By Keith M. Johnston
• Interview with Anthony Sloman By Keith M. Johnston

New CINEPHILE 8.2 on Contemporary Extremism

Screenshot from 올드보이/Oldboy (Park Chan-wook, 2003)

What happens to the specificity of the films of the new European extremism and their self-conscious address to the spectator when the category of extremism is opened up, and takes on global dimensions? To what extent is it useful or important to retain this label of a “new extremism” in cinema across these disparate contexts? And how do we account for the many-faceted contexts in which this idea of extreme cinema manifests itself? [Tanya Horeck and Tina Kendall, 'The New Extremisms: Rethinking Extreme Cinema', CINEPHILE 8.2, 2012 - clicking on this link downloads a large PDF]

Film Studies For Free has just found that the latest issue of one of its favourite journals has just gone online: a special issue on Contemporary Extremism of the Canadian film journal CINEPHILE (8.2, 2012). Here is a link to the archive where you can find the issue. The extremely excellent contents are listed below.

Preface: 'The New Extremisms: Rethinking Extreme Cinema' by Tanya Horeck and Tina Kendall

Articles

• 'Rites of Passing: Conceptual Nihilism in Jean-Paul Civeyrac’s Des filles en noir' by Tim Palmer
• 'Subject Slaughter' by Kiva Reardon
• 'Sacrificing the Real: Early 20th Century Theatrics and the New Extremism in Cinema' by Andrea Butler
• 'Cinematography and Sensorial Assault in Gaspar Noé’s Irreversible' by Timothy Nicodem
• 'Infecting Images: The Aesthetics of Movement in Rammbock' by Peter Schuck
• 'The Quiet Revulsion: Québécois New Extremism in 7 Days' by Dave Alexander

Report

• 'Extreme Vancouver' by Chelsea Birks and Dana Keller

LARGE PDF of whole issue

New Issue of SCOPE: CIA, Resnais, German cinema and Dead Cities in the Cinema

Framegrab from I Am Legend (Francis Lawrence, 2007). Read Elena Woolley's article on "lone-survivor-in-the-dead-city" films

A quick post from Film Studies For Free today, simply to deliver the, as ever, excellent news that Scope, the online journal of film and tv studies, has published a new issue. Some very good articles and a marvellous array of book and film reviews, and conference reports, await you when you click on all the links below. 

Scope Issue 23, June 2012

Articles

• Intelligence Activity in Hollywood: Remembering the 'Agency' in CIA Tricia Jenkins and Matthew Alford
• Toujours sous la neige: Snow, Stasis and Immobility in Alain Resnais' L'Amour mort and Coeurs Jenny Munro
• The Dead City: The Decay of the Urban Oganisation Elena Woolley
• Constructing Consensus: teamWorx's Event Movies and the Cinema of Consensus Andrew Wormald

Book Reviews

• All Book Reviews  [PDF]
• Alternative Worlds in Hollywood Cinema: Resonance Between Realms By James Walters; The Fantasy Film By Katherine A. Fowkes A review by Alexander Sergeant
• Global Art Cinema Edited by Rosalind Galt and Karl Schoonover; Avant-Garde to New Wave: Czechoslovak Cinema, Surrealism and the Sixties By Andrew L. Owen; Andrzej Wajda: History, Politics and Nostalgia in Polish Cinema By Janina Falkowska A review by Billy Budd Vermillion
• Jane Campion: Authorship and Personal Cinema By Alistair Fox; The Genius of the System: Hollywood Filmmaking in the Studio Era By Thomas Schatz A review by Deborah Mellamphy
• Possessed Hypnotic Crimes, Corporate Fiction, and the Invention of Cinema By Stefan Andriopoulos; A Page of Madness: Cinema and Modernity in 1920s Japan By Aaron Gerow A review by Irena Hayter
• Ostrannenie Edited by Annie van den Oever; Optical Media By Friedrich Kittler A review by Katerina Loukopoulou
• The Language of Film By Robert Edgar-Hunt, John Marland Steven Rawie;Valuing Films: Shifting Perceptions of Worth Edited by Laura Hubner; Fifty Key American Films Edited by John White and Sabine Haenni A review by Meraj Ahmed Mubarki
• Humphrey Jennings By Keith Beattie; Shadows of Progress: Documentary Film in Post-War Britain Edited by Patrick Russell and James Piers Taylor; From Pinewood to Hollywood: British Filmmakers in American Cinema 1910- 1969 By Ian Scott A review by Paul Elliot
• Hard Hats, Rednecks, and Macho Men: Class in 1970s American Cinema By Derek Nystrom; He Was Some Kind of a Man: Masculinities in the B Western By Roderick McGillis A review by Gavin Harper
• The Cinema of India Edited by Lalitha Gopalan; Film in the Middle East and North Africa Edited by Josef Gugler; Bengali Cinema "An Other Nation? By Sharmistha Gooptu A review by Rohit K. Dasgupta 
• Radical Light: Alternative Film & Video in the San Francisco Bay Area, 1945-2000 Edited by Steve Anker, Kathy Geritz and Steve Seid; Chainsaws, Slackers, and Spy Kids: Thirty Years of Filmmaking in Austin, Texas By Alison Macor A review by Yusef Sayed

Film and Television Reviews

• All Film and Television Reviews [PDF]
• Jane Eyre  Catherine Paula Han
• J. Edgar Serena Daalmans
• Andy Hardy, Collection 1 Judy Beth Morris
• The Avengers Brady Hammond
• A Dangerous Method Charles Andrews
• The Shore Andrew Grunert

Conference Reports

• All Conference Reports [PDF]
• East Winds: East Asian Cinema and Cultural Crossovers Symposium A report by Pierce Conran
• SCMS 2012: Society for Cinema and Media Studies Conference A report by Joan Doagle
• Contemporary Psychoanalysis, Literature and Film Symposium A report by Joanna Kellond
• Monsters: Subject, Object, Abject A report by Ian Pettigrew

Seven Great Film Studies PhD Theses from the University of Edinburgh

Framegrab from Jeux interdits/Forbidden Games (René Clément, 1952)

The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war.
This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of the Night (1964) and Elem Klimov’s Come and See (1985). [Pasquale Iannone, Childhood and the Second World War in the European fiction film PhD Thesis, University of Edinburgh, 2011: 11; hyperlinks added by FSFF]

Film Studies For Free went a-hunting at the research repository at the University of Edinburgh and found that seven great full-text PhD theses have been archived there.

Each of these works of original research has a huge amount to offer any student of cinema, and so it's really great that their authors and their university have made them publicly available online.

FSFF hopes its readers will join it in saluting them!

• Bruns, Christina, Contemporary German documentary cinema (1999 – 2007): the rural represented, the regional defamiliarised and Heimat revived PhD Thesis, University of Edinburgh, 2010
• Iannone, Pasquale, Childhood and the Second World War in the European fiction film PhD Thesis, University of Edinburgh, 2011
• Makrygiannakis, Evangelos, Films of Theo Angelopoulos: a voyage in time PhD Thesis, University of Edinburgh, 2009
• Russell, Michael, Soviet montage cinema as propaganda and political rhetoric PhD Thesis, University of Edinburgh, 2009
• Salzberg, Ana Beyond the looking glass: the narcissistic woman reflected and embodied in classic Hollywood film 2010
• Valcke, Jennifer, Static films and moving pictures: montage in avant-garde photography and film PhD Thesis, University of Edinburgh, 2009
• Yam, Chi-Keung, Study of popular Hong Kong cinema from 2001 to 2004 as resource for a contextual approach to expressions of christian faith in the public realm after the reversion to Chinese sovereignty in 1997, PhD Thesis, University of Edinburgh, 2008

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

Memory Screens: New Issue of IMAGE AND NARRATIVE

Frame grab from 1975 (Shaun Wilson, version 1 (2005), DV as single channel DVD, colour, sound, 5mins). Visit Shaun Wilson's website here and read his article about 'home movies' here

The concept of memory screens is an overarching term exploring the relationship between forms of media, viewers, practitioners and memory. The notion of memory screens alludes to the ways in which memories become remembered, layered, forgotten and transformed. The range of articles in this volume reflects the relationship between memory and history, both public and personal. ['Thematic Cluster: Introduction' by Teresa Forde]

Film Studies For Free continues to be impressed by the excellence of the online journal Image and Narrative which has recently published a special issue entitled Memory Screens.

FSFF particularly appreciated film and video artist Shaun Wilson's essay on the art of vintage home movies, Jenny Chamarette's study of the dynamics of the ‘spectre’ or ‘spectral body’ of the auteurist figure of Agnès Varda, Peter Kravanja's exploration of narrative contingencies in Rohmer and Akerman and Teresa Forde and Erin Bell's discussions of memory and British television. But this is a very high quality issue throughout and, as always at I and N, particularly characterised by the thoughtful integration of close analysis and film and moving image theory.

Image and Narrative, Vol 12, No 2 (2011): Memory Screens

Table of Contents

• 'Thematic Cluster: Introduction' by Teresa Forde ABSTRACT PDF
• 'Remixing Memory through Home Movies' by Shaun Wilson ABSTRACT PDF
• 'Video Installation, Memory and Storytelling: the viewer as narrator' by Diane Charleson ABSTRACT PDF
• 'Spectral bodies, temporalised spaces: Agnès Varda's motile gestures of mourning and memorial' by Jenny Chamarette ABSTRACT PDF
• 'Television and memory: history programming and contemporary identities' by Erin Bell ABSTRACTPDF
• 'Television Dramas as Memory Screens' by Teresa Forde ABSTRACT PDF
• 'The Lives of Others: re-remembering the German Democratic Republic'  by Margaret Montgomerie and Anne- Kathrin Reck ABSTRACT PDF
• 'Nostalgic [re]remembering: film fan cultures and the affective reiteration of popular film histories' by Nathan Hunt ABSTRACT PDF

Various Articles

• 'Cinema, Contingencies, Metaphysics' by Peter Kravanja ABSTRACT PDF

Review Articles

• Hillary Chute's Ambivalent Idiom of Witness' by Charlotte Pylyser  ABSTRACT PDF
• 'Naissances de la bande dessinée de William Hogarth à Winsor McCay' by Pascal Lefèvre ABSTRACT PDF

Werner Herzog's Cave: videos and links

One of the most distinctive filmmakers of our time, Werner Herzog has been called the "romantic visionary" of the New German Cinema movement. His edgy, larger-than-life films fuse the epic with the intimate, redefining the scale and scope of filmmaking to include more than 60 works shot on every continent. He appeared in conversation with acclaimed author and essayist, Pico Iyer at UC Santa Barbara on October 25, 2010. (download the video here)

A 10 minute fragment from a 'masterclass' with Werner Herzog. For 7 Planete Doc Review, with Pamela Cohn with Michałem Chacińskim, 2010. Also see this video.

Film Studies For Free hopes its Werner Herzog-obsessive readers will have a few hours to spare. They'll need them to watch the above embedded (and linked to) videos, some of the more recent, and most worthwhile of freely accessible online encounters with LA's most interesting resident filmmaker.

These videos, and the critical and scholarly reading below, will help time pass before the Spring 2011 premiere of Herzog's latest (3D) film, Cave of Forgotten Dreams (trailer, related video,  second related video). Don't say that FSFF isn't looking out for you, Herzog-ites!

Scholarly online writing about Herzog:

• Jesse Amato-Grill, 'Trappings', Mercer Street, 2007

• Matthias Wilhelm Benfey, Religious cinema as virtual religious experience : a theory of religious cinema applied to Werner Herzog's Herz aus Glas, PhD Thesis, McGill University, 1986 

• Adam Bingham, 'Images from the end of the world: Werner Herzog's La Soufrière', Senses of Cinema, September 2006

• Tom Bissell, 'The Secret Mainstream: Contemplating the Images of Werner Herzog', Harpers Magazine, December 2006

• Karl-Rainer Blumenthal, 'Of Gods and Grizzlies: The Non-Aesthetic of Nature and the new Kinship of Werner Herzog and Caspar David Friedrich', Senior Thesis, Bryn Mawr College, 2006 

• Buffalo Film Seminars - selected writings about Herzog (and, especially, Aguirre: Wrath of God)

• Garrett Chaffin-Quiray, 'An Adaptation With Fangs: Herzog's Nosferatu,' Kinoeye, Vol. 2, Issue 20, December 2002

• Alkan Chipperfield, 'Murmurs from a Shadowless Land: Fragmentary Reflections on the Cinema of Werner Herzog', Senses of Cinema, June 2001

• David Church, 'Werner Herzog', Senses of Cinema, June 2006

• David Church, 'Examining the Role of Disability in Herzog's Even Dwarves Started Small', Disability Studies Quarterly, Vol 25, No 4 (2005)

• Roger Dawkins, 'Thoughts of Deleuze, Spinoza and the Cinema (The Enigma of Kaspar Hauser)', Contretemps, 3 July 2002

• Eric Dewberry, 'Conceiving Grizzly Man through the "Powers of the False"', Scope, Issue 11, June 2008

• Thomas Elsaesser, 'The Cinema of Irony', Monogram no. 5, 1973

• Thomas Elsaesser, 'Hyper-, Retro- or Counter-European Cinema as Third Cinema between Hollywood and Art Cinema', in European Cinema: Face to Face with Hollywood(Amsterdam University Press, 2005)

• Caryl Flynn, The New German Cinema: Music, History, and the Matter of Style. Berkeley: University of California Press, c2004 2004

• Andrew W. Hurley, 'Re-imagining Milirrpum v Nabalco in Werner Herzog’s Where the Green Ants Dream', Paper delivered at PASSAGES: law, aesthetics, politics 13–14 July 2006 Melbourne Australia

• David T Johnson, '"You Must Never Listen to This": Lessons on Sound, Cinema, and Mortality from Herzog's Grizzly Man', Film Criticism; Spring 2008, 32: 3

• Michael Koller, 'The Great Ecstasy of Woodcarver Steiner', Senses of Cinema, February 2002

• Joe Muszynski, 'A Legacy of Quality: Werner Herzog's Nosferatu and the New German Cinema'

• Benjamin Noys, 'Antiphusis: Werner Herzog's Grizzly Man', Film-Philosophy, 11.3, November 2006

• Ingo Petzke, 'Aguirre, the Wrath of God', Senses of Cinema, February 2002

• Cynthia Rockwell, 'Werner Herzog and the Documentary Film', e-Thesis, Boston University 1994

• Antonia Shanahan, 'My Best Fiend', Senses of Cinema, February 2002

• John W. White, 'On Werner Herzog’s Documentary Grizzly Man: Psychoanalysis, Nature, and Meaning', Fast capitalism, 4.1, 2008

Michael Haneke Studies: videos, podcasts and article links

Dedicated to the memory of Peter Brunette, 1943-2010

True likeness by Catherine Grant

The above is a new video essay produced for Film Studies For Free's baby sister site Filmanalytical. It explores some of the obvious, as well as the more obscure, similarities between two films: Peeping Tom (Michael Powell, 1960) and Code inconnu: Récit incomplet de divers voyages/Code Unknown: Incomplete Tales of Several Journeys (Michael Haneke, 2000). Like all mash-ups it's best enjoyed and/or most effective if you know the original films. Read an explanation of the context of this work here.

 

Thomas Elsaesser on Michael Haneke (excerpt) And see Elsaesser's book chapter on this work here (pdf -details below)

 

Geoff Andrew on Michael Haneke

Geoff Andrew on The White Ribbon

 Film Studies For Free created a big Michael Haneke links list in October last year to coincide with the flood of online material on this filmmaker as a consequence of the cinematic release of Das Weisse Band/The White Ribbon. The flood shows no sign of abating, however, and so here's a new and updated list of material. For ease of use, FSFF has listed at the top items that weren't included in the October entry.

At the top of this post is a new video essay made by FSFF's author for a new companion website to  this blog: Filmanalytical. The site will focus on video and written essays on films and will necessarily be more "occasional" than FSFF, but hopefully useful nonetheless for those of you who like your Film Studies to be online and freely accessible.

This entry, like two other FSFF posts here and here, is dedicated to the memory of Peter Brunette, the film critic and scholar who died last week. Peter's last book was on Michael Haneke, and below is a link to a wonderful podcast interview that he gave on the subject of this filmmaker.

Finally, there are some other great new English-language books on Michael Haneke -- to join Catherine Wheatley's 2008 Michael Haneke's Cinema: The Ethics of the Image -- some of which FSFF's author has been poring over. Here are links to limited previews or listings of each of them on Google Books:

• Brian Price and John David Rhodes (eds), On Michael Haneke (Detroit: Wayne State University Press, 2010)
• Roy Grundmann (ed), A Companion to Michael Haneke (Oxford: Wiley-Blackwell, 2010)
• Peter Brunette, Michael Haneke (Chicago: University of Illinois Press, 2010)
• Ben McCann and David Sorfa, The Cinema of Michael Haneke: Europe Utopia (London: Wallflower Press, 2010)

New freely accessible items:

• Peter Bradshaw, 'What Haneke owes to Kafka', The Guardian, November 5, 2009
• Peter Brunette interviewed by Colin Marshall about his University of Illinois Press study of Michael Haneke's films (Podcast), April 15, 2010
• Caché - Videoed roundtable discussion of Michael Haneke's film with Roy Grundman, Edward Nersessian, Brigitte Peucker, Brian Price, and Garrett Stewart (1hr25), Philoctetes Center 
• Matthew Croombs, 'Algeria Deferred: The Logic of Trauma in Muriel and Caché', Scope, no. 16, February 2010
• Thomas Elsaesser, "Performative Self-Contradictions Michael Haneke's Mind Games," in Roy Grundmann (ed), A Companion to Michael Haneke (Oxford: Wiley-Blackwell, 2010)
• Catherine Grant, "True Likeness: Peeping Tom and Code Unknown", Filmanalytical, June 26, 2010 
• Jan Jagodzinski, 'Michael Haneke: The Spectatorship of Self-refleXivity; Between Lacan and Deleuze', 'The Scope of Interdisciplinarity' Conference, Center for Integrated Studies, November 2008
• Dan North, 'Funny Games, Funny Games', Spectacular Attractions, October 14, 2009 
• David Sorfa, "Uneasy domesticity in the Films of Michael Haneke", Studies in European Cinema, 3.2 (2006)
• Robin Wood, 'Michael Haneke: beyond compromise', CineAction, Summer 2007

Full list of freely accessible items:

• Paul Arthur, 'Endgame [on Caché]', Film Comment, November/December 2005
• Karin Badt, 'Family Is Hell and So Is the World: Talking to Michael Haneke at Cannes 2005', Bright Lights Films Journal, Issue 50, November 2005
• Pamela Biénzobas, 'Michael Haneke's "The White Ribbon": The Sins of the Father Are to be Laid Upon the Children', Undercurrent, 2009
• Adam Bingham, 'Long night's journey into day Michael Haneke's Le Temps du loup (The Time of the Wolf, 2003)', Kinoeye, Vol 4, Issue 1, Mar 2004
• Adam Bingham, 'Life, or something like it: Michael Haneke's Der siebente Kontinent (The Seventh Continent, 1989)', Kinoeye, Vol. 4, Issue 1, Mar 2004
• Adam Bingham, 'Modern Times: Notes Toward a Reading of Michael Haneke's 71 Fragments of a Chronology of Chance', Senses of Cinema, January 2005
• Bill Blick, 'The Time of the Wolf', Senses of Cinema, January 2005
• Joe Bowman, 'The Year 2001: The Piano Teacher (Michael Haneke)', Film For the Soul, April 28, 2009
• Peter Bradshaw, 'What Haneke owes to Kafka', The Guardian, November 5, 2009
  
• Peter Brunette interviewed by Colin Marshall about his University of Illinois Press study of Michael Haneke's films (Podcast), April 15, 2010 
• Caché - Videoed roundtable discussion of Michael Haneke's film with Roy Grundman, Edward Nersessian, Brigitte Peucker, Brian Price, and Garrett Stewart (1hr25), Philoctetes Center
• Zach Campbell, 'Blog-a-thon: Code Inconnu', Elusive Lucidity, February 12, 2006
• Mary Caputi, 'Ambivalence and Displacement in Michael Haneke’s Caché', Centre for Cultural Studies Research Conference Journal 2007
• John Champagne, 'Undoing Oedipus: Feminism and Michael Haneke's The Piano Teacher', Bright Lights Film Journal, Issue 36, April 2002
• Matthew Clayfield, 'Every Sequence an Unfinished Senten', Esoteric Rabbit Blog, February 13, 2006 [link currently not working]
• Dennis Cozzalio, 'Code Unknown and Crash: Collisions, Connections and Catharsis', Sergio Leone & The Infield Fly Rule, February 13, 2006
• Matthew Croombs, 'Algeria Deferred: The Logic of Trauma in Muriel and Caché', Scope, no. 16, February 2010
• Rob Davis and Robert Parks, 'Podcast Discussion: The Films of Michael Haneke', Errata, April 27, 2008
• Dipanjan, 'Haneke's Optimism' Dipanjan's Random Muses, February 13, 2006
• Maria van Dijk, 'Alienation & Perversion: Michael Haneke's The Piano Teacher', Bright Lights Film Journal, Issue 36, April 2002
• Peter Eisenman, 'Interview with Haneke for Icon', Iconeye
• Thomas Elsaesser, "Performative Self-Contradictions Michael Haneke's Mind Games," in Roy Grundmann (ed), A Companion to Michael Haneke (Oxford: Wiley-Blackwell, 2010)
• Christine Evans, 'Cache', UBCinephile, Volume 2, March 2006
• Richard Falcon, 'Code Unknown', Sight and Sound, May 2001
• Hamish Ford, 'Hidden: A film for our times', RealTimeArts, 75, Oct-Nov 2006
• Mattias Frey, 'Supermodernity, Capital, and Narcissus: The French Connection to Michael Haneke’s Benny’s Video', Cinetext: Film & Philosophy, September 27, 2002
• Mattias Frey, 'Michael Haneke', Senses of Cinema, August 2003
• Andrew Grant/Film Brain, 'A Crumpled Piece of Paper: Scattered and Inconsequential Musings on Code Unknown', Like Anna Karina's Sweater, February 13, 2006
• Catherine Grant, "True Likeness: Peeping Tom and Code Unknown", Filmanalytical, June 26, 2010 
• Asbjørn Grønstad, 'Downcast Eyes: Michael Haneke and the Cinema of Intrusion', Nordicom Review 29 (2008) 1, pp. 133-144
• Roy Grundmann, 'Auteur de force: Michael Haneke's "cinema of glaciation"', Cineaste, March 22, 2007
• Michael Guillén, 'Code Unknown', The Evening Class, February 13, 2006
• Steffen Hantke, 'Postwar German Cinema and the Horror Film: Thoughts on Historical Continuity and Genre Consolidation', in Caligari's Heirs: The German Cinema of Fear after 1945, Edited by Steffen Hantke (Scarecrow Press, 2006)
• Eric Henderson, 'Code Unknown', When Canses Were Classeled, February 13, 2006
• Lee Hill, 'How Do You Think It Feels', Vertigo Magazine, No 16, March 2008
• Aaron Hillis, 'Code Well Known, Or, How to Build a Better Blog-a-thon', Cinephiliac, Fevruary 13, 2006
• Andrew James Horton, 'Locked Out! Michael Haneke's Code inconnu: Récit incomplet de divers voyages', Central Europe review, Vol 3, No 19, May 2001
• Andrew J Horton, 'De-icing the Emotions: Michael Haneke's retrospective in London', Central Europe Review, Vol 0, No 5, October 1998
• David Hudson, 'The Auteurs Daily: The White Ribbon, How German is it?', The Auteurs Notebook, August 28, 2009
• Darren Hughes,'Code Unknown', Long Pauses, February 13, 2006
• Daniel Hui, 'Fun and Games: On Michael Haneke's 2007 Remake of His 1997 Funny Games', Bright Lights Film Journal, Issue 61, August 2008
• Nina Hutchison, ' Between Action and Repression: The Piano Teacher', Senses of Cinema, April 2003
• Jan Jagodzinski, 'Michael Haneke: The Spectatorship of Self-refleXivity; Between Lacan and Deleuze', 'The Scope of Interdisciplinarity' Conference, Center for Integrated Studies, November 2008
• Ian Johnston, 'Lost World: Michael Haneke's Time of the Wolf Reconsidered', Brights Lights Film Journal, Issue 56, May 2007
• Chris Justice, 'Funny Games', Senses of Cinema, January 2005
• Dominik Kamalzadeh for Die Tageszeitung, 'Interview "Cowardly and comfortable" Michael Haneke's new film "Cache" on France's colonial history investigates the point where private and collective guilt spill over into each other', Signand sight.com, January 2006
• Daniel Kasman, 'Cannes 09: Review of The White Ribbon', The Auteurs Notebook, May 22, 2009
• Tarja Laine, '"What are you looking at and why?" Michael Haneke's Funny Games (1997) with his audience', Kinoeye, Vol. 4, Issue 1, Mar 2004
• Maximilian Le Cain,' Do the Right Thing: the Films of Michael Haneke', Senses of Cinema, May 2003
• David Lowery, 'Following [On Code Unknown], Drifting, February 13, 2006
• Kartik Nair, 'Caché and the secret image', Wide Screen, Vol 1, No 1 (2009)
• Darragh O'Donoghue, 'Code inconnu: Récit incomplete de divers voyages', Senses of Cinema, January 2005
• Ara Osterwell, 'Caché ', Film Quarterly, Vol. 59, Issue 4, 2006
• Dan North, 'Funny Games, Funny Games', Spectacular Attractions, October 14, 2009
• Brigitte Peucker, 'Effects of the real Michael Haneke's Benny's Video (1993)', Kinoeye, Vol. 4 Issue 1, Mar 2004
• Peter Sainsbury, 'Visions, illusions, and delusions', RealTimeArts, 53, Feb-Mar 2003
• A. O. Scott, 'A Nice Middle Class Couple with their own Stalker [on Caché]', New York Times, December 23, 2005
• Girish Shambu, 'Cache', girish, January 23, 2006
• Girish Shambu, 'Code Unknown: An Auto-Dialogue', girish, February 13, 2006. and for the remaining contributions to the Code Unknown Blogathon:

Aaron Hillis at Cinephiliac;Darren Hughes at Long Pauses; David Lowery at Drifting; Dennis Cozzalio at Sergio Leone & The Infield Fly Rule; .Dipanjan at Random Muses; Eric Henderson at When Canses Were Classeled; Filmbrain [Andrew Grant] at Like Anna Karina's Sweater; Matthew Clayfield at Esoteric Rabbit; Michael Guillen at The Evening Class; and Zach Campbell at Elusive Lucidity.

• Christopher Sharrett, 'The Seventh Continent', Senses of Cinema, February 2005
• Christopher Sharrett, 'The World that is Known: Michael Haneke Interviewed', Kino Eye vol. 4, no. 1, 8 March 2004
• Christopher Sharrett, 'The horror of the middle class: Michael Haneke's La Pianiste (The Piano Teacher, 2001)', Kinoeye, Vol. 4, Issue 1, Mar 2004
• David Sorfa, "Uneasy domesticity in the Films of Michael Haneke", Studies in European Cinema, 3.2 (2006)
• Joerg Sternagel, 'From Inside Us: Experiencing the Film Actor in Michael Haneke’s Cache', Film International, Issue 39
• Harry Tuttle, 'Haneke on Hidden', Screenville, October 17, 2005
• Harry Tuttle, 'Three Times 4 Eggs - Funny Games (2)', Screenville, June 18, 2008
• Justin Vicari, 'Films of Michael Haneke: Utopia of fear', Jump Cut, No. 48, Winter 2006
• Catherine Wheatley, 'Secrets, Lies, & Videotape', Sight and Sound, February 2006
• Catherine Wheatley, Michael Haneke: The Ethic of the Image (London: Bergahn Books, 2008) limited preview on Google Books
• Robin Wood, 'Michael Haneke: beyond compromise', CineAction, Summer 2007

Film-Historia: Index to English language articles

Image from Offret/The Sacrifice (Andrei Tarkovsky, 1986). See "Images of War in Andrei Tarkovski's The Sacrifice: Four levels of meaning", by Gabriel Giralt, Film-Historia, No. 1, 1999

Over the years, Film Studies For Free has noticed that there were some excellent English-language articles on lots of different aspects of film history to be found at the (very difficult to navigate) website of the excellent Universitat de Barcelona-based film journal Film-Historia. 

Until today, however, there was no easy way to access all of these articles, but ...  (drum roll) ... ta-da! Cast your eyes at the awesome list of direct links below, and, if you feel so inclined, thank your lucky stars that FSFF's author needed some distraction from her country's general election shenanigans this morning.

• "Walker: the dramatic film as historical truth" by Robert A. Rosenstone, Film-Historia, No. 1, 1992
• "The Image of Mexican Heroes in American Films" by Paul J. Vanderwood, Film-Historia, No. 3, 1992
• "Absolved by History: On the Aesthetics and Ideology on History in the Cuban Film Institute" by John Mraz, Film-Historia, No. 3, 1993
• "The Historical Film is a Real History", by Robert A. Rosenstone, Film-Historia, No. 1, 1995
• "Social Roles/Political Responsabilities: Jean Renoir's Search for Artistic Integrity, 1928-1939" by Charles Musser, Film-Historia, No. 1, 1994
• "Hollywood, U.S.- Mexican Relations, and the Devolution of the "Golden Age" of Mexican Cinema" by Seth Fein, Film-Historia, No. 2, 1994
• "'We're just little people, Louis': Marie-Antoniette on Film" by Laura Mason, Film-Historia, No. 3, 1994
• "Against the Ivory Tower: An Apologia for 'Popular' Historical Documentaries" by Dirk Eitzen, Film-Historia, No. 1, 1995
• "Filming the "Discovery" of America: How and Whose History Is Being Told" by Luisela Alvaray, Film-Historia, No. 1, 1995
• "Film as Historical Narrative", by Hannu Salmi, Film-Historia, No. 1, 1995
• "The Politics of the Trilogy Form: Lucia, the Oresteia, and The Godfather", by Peter W. Rose, Film-Historia, No. 2-3, 1993
• "Who Killed Vincent Chin? (1988): Ethnicy and a Babble of Discourses", by Leslie Fishbein, Film-Historia, No. 2-3, 1995
• "Colonial History and Anglo-American tension in 1939: Allegheny Uprising and Drums along the Mohawk", by K. R. M. Short, Film-Historia, No. 1, 1996
• "Cinematic Contextual History of High Noon (1952, dir. Fred Zinnemann)", by J. M. Caparrós-Lera and Sergio Alegre, Film-Historia, No. 1, 1996
• "Spain in U.S.: cinematic relationship, 1939-1953", by Rafael de España, Film-Historia, No. 3, 1996
• "Mothering Daughters: Subjectivity and History in the Work of Helma Sanders Brahms's Germany Pale Mother" by Judith Keene, Film-Historia, No. 1, 1997
• "Paradise Found?: Ana/chronic Nostalgia in Belle Epoque", by Jose F. Colmeiro, Film-Historia, No. 2, 1997
• "Germany after Unification: Views from Abroad", by Roger Hillman, Film-Historia, No. 2, 1997
• "The Image of Ancient Rome in the Cinema", by Carl J. Mora, Film-Historia, No. 3, 1997
• "Coping Strategies: Three Decades of Vietnam War in Hollywood", by Eusebio V. Llácer and Esther Enjuto, Film-Historia, No. 1, 1998
• "The Royal Air Force: World War II Film Propaganda and The March of the Time", by K. R. M. Short, Film-Historia, No. 2-3, 1998
• "Oliver Stone's Nixon: Politics on the Edge of Darkness", by Ian Scott, Film-Historia, No. 1, 1999
• "Images of War in Andrei Tarkovski's. The Sacrifice: Four levels of meaning", by Gabriel Giralt, Film-Historia, No. 1, 1999
• "Playful Subversions: Hollywood Pirates Plunder Spanish America", by Nina Gerassi-Navarro, Film-Historia, No. 2, 1999
• "The Revolution is History: Filming the Past in Mexico and Cuba", by John Mraz, Film-Historia, No. 2, 1999
• "El día que me quieras: History, Mith and Che Guevara", by John Hess, Film-Historia, No. 2, 1999
• "Cantinfladas of the PRI: (Mis) Representations of Mexican Society and Democracy in the Films of Mario Moreno", by Jeffrey Pilcher, Film-Historia, No. 2, 1999
• "Los Hermanos Mayo: Photographing Exile", by John Mraz, Film-Historia, No. 1-2, 2000 
• "Cut from Anglophilia to Anglophobia. Hollywood's Changing Perceptions of the British" by Carl J. Mora, Film-Historia, No. 1-2, 2001
• "In search of reality through dreams: Alejandro Amenabar's Abre los ojos", by Marina Martin, Film-Historia, No. 1-2, 2002
• "The ideological meaning behind Greta Garbo's star image", by Alan McLane, Film-Historia, No. 1, 2003
• "Poor Mexican cinema, So far from Cahiers du Cinema, so close to Latino U.S.A.: A Cantankerous Essay", by Carl J. Mora, Film-Historia, No. 1, 2003
• "The War, the Air Force and the Search for Realist Cinema in Britain, 1941-1942", by Michael Paris, Film-Historia, No. 1, 2003
• The Spanish Film Industry, New Technologies, New Opportunities", by Lauren Kogen, Film-Historia, No. 1, 2006
• "The Fatherless Society: Die Blechtrommel (Tin Drum)", by Xuejuen Guo, Film-Historia, No. 1, 2007