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   

Longtime Companion? HIV/AIDS in thirty years of cinema, media and culture

Images from two 'AIDS film dramas': above, Longtime Companion (Norman René, 1989), a film which, as Emmanuel Levy puts it, carried "the burden of being the first [widely distributed] theatrical movie to deal directly with AIDS"; below, a frame grab from Yesterday (Darrell Roodt, 2004), about a Zulu woman living with AIDS. Read Jean Stuart's and Olaia Cores Calvo's articles on this film.

It was [30] years ago, in the summer of 1981, when society as a whole[, including] the scientific community[,] was faced with an unknown disease that came later to be known as Acquired Immunodeficiency Syndrome (AIDS). Several films [...] reflected the initial fears and uncertainty, the responses of the different social groups, the fight against ignorance, the [demand for] access to treatment and the suffering of the infected individuals and their families [...] due to this disease. Taking into account that these movies were filmed when these epidemics took place they can actually be considered as [...] historical documents that deserve [to be] analysed by the generations to come. Films such as And The Band Played On; Longtime Companion; Common Threads: Stories from the Quilt; Les Nuits Fauves; Angels in America; Yesterday and My Brother... Nikhil have marked [30] years of AIDS history that should not be forgotten by the world. [Adapted from António Pais de Lacerda, 'Cinema as an Historical Document: AIDS in 25 years of Cinema', Journal of Medicine and Movies, 2 (2006): 102-113; hyperlinks added by FSFF]

Film Studies For Free today commemorates the twenty-third World AIDS Day in the thirtieth year since the identification of Acquired Immunodeficiency Syndrome, or AIDS. The Human immunodeficiency virus [HIV], the lentivirus which causes the syndrome, was identified two years later, in 1983.

FSFF marks this anniversary year with the below entry of links to scholarly resources on the figuration of AIDS/HIV in cinema and culture.

Today's posting was also inspired by a series of film screenings and discussions on 'AIDS and its Melodramas' that have been taking place at the University of Sussex, UK, organised by Michael Lawrence and John David Rhodes. These academic events will continue next term with screenings of Fatal Love (1991), And the Band Played On (1993), Philadelphia (1993) and, one of FSFF's favourites,  Boys on the Side (1995). Please email FSFF if you'd like more details.

• ACT UP NY Webcasts
• Elana D. Anderson, 'Yesterday, Today, And Tomorrow: Socio-Cultural Evolution In African Literature and Film', Mosaic African Studies, 2010 
• Carole Blair and Neil Michel, 'The AIDS Memorial Quilt and the Contemporary Culture of Public Commemoration', Rhetoric and Public Affairs Vol. 10, No. 4, 2007, pp. 595–626
• Martin P. Botha, 'Post-Apartheid Cinema: A Thematic and Aesthetic Explorations of Selected Short and Feature Films', Ilha do Desterro, Florianópolis, nº 61 p. 225- 267 jul/dez 2011
• Cüneyt Çakirlar, 'Cinephilic Bodies: Todd Haynes's Cinema of Queer Pastiche', KÜLT: A Journal of Cultural Studies 1:1, April 2011
• Jean Carlomusto and Jane Rosett, 'AIDS: A LIVING ARCHIVE™', SandF Online, 2.1, Summer 2003
• Olaia Cores Calvo, 'Yesterday (2004)', Journal of Medicine and Movies, 5.4 (2009):125-130
• David Campbell, The Visual Economy of HIV/AIDS: A report for the AIDS, Security and Conflict Initiative, May 2008 
• Brendan Curran, Singin’ in the Scourge: Two AIDS Musicals, Two Political and Cultural Contexts, MA Thesis, Concordia University, April 2011
• Juan Luis Cuesta Jiménez, 'The Constant Gardener or the development of new Therapies', Journal of Medicine and Movies, 2.3 (2006): 96-101 
• Ann Cvetkovich, 'AIDS Activism and the Oral History Archive', SandF Online, Summer 2.1, Summer 2003
• Anthony Enns, '"A Name in Search of a Disease": Illness and Identity in Todd Haynes' Safe', Reconstruction,7.3, 2007
• Kyle Frackman, 'Out of Time: "Allotemporality" in Pierre Sanoussi-Bliss’ Zurück auf los', queere (t)ex(t)perimente. Eds. Franziska Bergmann, Jennifer Moos, and Claudia Münzing. Freiburg: fwpf-Verlag, 2008
• J.E. García Sánchez, E. García Sánchez and M.L. Merino Marcos, 'Antiviral, antifungal and antiprotozoal agents in the cinema', Revista Española de Quimioterapia, Marzo 2007; Vol. 20 (No 1): 106-111
• Silvia Grassi, 'Like a Carsic River: Gay Independent Cinema from Underground Films to New Queer Cinema and Beyond', Altre modernità/ Otras modernidades/ Autres modernités/ Other Modernities, N. 2 – 10/2009
• Oliver Gruner, Public Politics/Personal Authenticity: A Tale of Two Sixties in Hollywood Cinema, 1986-1994, PhD Thesis, University of East Anglia, August, 2010
• Roger Hallas, 'The Witness in the Archive', SandF Online, 2.1, Summer 2003
• Lucas Hilderbrand, 'Retroactivism', glq, 12.2, 2006
• Jim Hubbard, 'A Report on the Archiving of Film and Video Work by Makers with AIDS', DIVA TV, [date unknown]
• Alexandra Juhasz, 'AIDS Video: To Dream and Dance with the Censor', Jump Cut, No. 52, summer 2010
• Alexandra Juhasz in exchange with Antoinette Burton, 'Feminist history making and Video Remains', Jump Cut, No. 48, winter 2006
• Alexandra Juhasz, 'Alternative AIDS Videos', Cineaste, vol.XXI, nos. 1-2, 1994/5
• Alexandra Juhasz, 'Interview with Jim Hubbard and Sarah Schulman: ACT UP Oral History Project', CORPUS, Spring 2006
• Alexandra Juhasz, 'From the Scenes of Queens: Genre, AIDS and Queer Love,' originally published in The Cinema of Todd Haynes, ed. James Morrison (London:Wallflower Press, 2007)
• Dion Kagan, '[Review of] Roger Hallas, Reframing Bodies: AIDS, Bearing Witness, and the Queer Moving Image. Duke University Press, 2009', Screening the Past, 28, 2010
• Tim Lawrence, ‘AIDS, the Problem of Representation, and Plurality in Derek Jarman's Blue’ Social Text, 52/53 (Autumn - Winter 1997): 241-264
• Timothy F. Murphy, 'Part One: The Meaning of AIDS', Ethics in an Epidemic: AIDS, Morality, and Culture (Berkeley: University of California Press, 1994)
• Christo Oberholzer, An Investigation Into Nationalism and National Allegory within South African Post-Apartheid Film, MA Thesis, University of the Witwatersrand, Johannesburg, 2006
• António Pais de Lacerda, 'Cinema as an Historical Document: AIDS in 25 years of Cinema', Journal of Medicine and Movies, 2 (2006): 102-113
• Georgios Pappas, Savvas Seitaridis, Nikolaos Akritidis, and Epaminondas Tsianos, 'Infectious Diseases in Cinema: Virus Hunters and Killer Microbes', Clinical Infectious Diseases,
• Volume 37, Issue 7, 2003: 939-942
• Monica B. Pearl, 'The City of Brotherly Love: Sex, Race and AIDS in Philadelphia', EnterText 2.3, Summer 2003
• Monica B. Pearl, 'American Grief: The AIDS Quilt and Texts of Witness', Gramma, 08
• Lucia Pérez Ochoa López, 'Philadelphia (1993): View of AIDS when it began to be a treatable disease', Journal of Medicine and Movies, 2 (2006): 21-28
• Jean Stuart, 'Yesterday, today … and tomorrow: The future of girlhood in the age of AIDS', AGENDA 79 2009
• Marita Sturken, 'The Politics of Video Memory: Electronic Erasures and Inscriptions', in Contemporary Video Practices, ed. Michael Renov, 1996
• Nicoletta Vallorani, 'Path(o)s of Mourning. Memory, Death and the Invisible Body in Derek Jarman’s Blue', Altre modernità/ Otras modernidades/ Autres modernités/ Other Modernities, N. 4 – 10/2010

Routledge Film Studies free online: Celebrity and Stardom; European Cinema; Race and Film; and Audience and Spectatorship

Update at 14.33 BST: The PDF files linked to here are currently not working. Will sort out and update as soon as possible. Apologies for any inconvenience.

Cate Blanchett as Galadriel in the The Lord of the Rings film trilogy.

While it is often the emergence of exceptions that proves rules, the very existence of Film Studies For Free shows that there might occasionally be such a thing as a free lunch.

At the same time, this wily blog is certainly no purist when it comes to campaigning for Open Access in scholarly publishing. FSFF's inbuilt pragmatism means that it is always very happy to pass on news of the experiments of otherwise 'closed' or 'subscription only' academic publishers with marketing strategies involving limited free online access to their scholarly publications.

While there is, as yet, no challenger on the horizon to Intellect's extensive championing of the Film Studies freebie, publishing giant Routledge is currently offering up occasional free 'article collections' for particular subjects. Their Film Studies collection is focused on the following four key themes: Celebrity and Stardom; European Cinema; Race and Film; and Audience and Spectatorship.

Free access to the below articles in their current collection will last until December 31, 2010, so do be sure to download them before then.

• Daniel Allington, '“How Come Most People Don't See It?”: Slashing the Lord of the Rings', Social Semiotics, 17: 1, 2007: 43 — 62

• Matthias De Groof, 'Black Film Label: Negritude and Cinema', Third Text, 24: 2, 2010: 249 — 262

• Chris Holmlund, (2010) 'Celebrity, ageing and Jackie Chan: middle-aged Asian in transnational action', Celebrity Studies, 1: 1, 2010: 96 — 112

• Luke McKernan, 'A fury for seeing: Cinema, audience and leisure in London in 1913', Early Popular Visual Culture, 6: 3, 2008: 271 — 280

• Andrew L. Mendelson, 'On the function of the United States paparazzi: mosquito swarm or watchdogs of celebrity image control and power', Visual Studies, 22: 2, 2007: 169 — 183

• Dorota Ostrowska, 'Languages and Identities in the Contemporary European Cinema', Journal of Contemporary European Studies, 15: 1, 2007: 55 — 65

• Stephen Sharot, 'The ‘New Woman’, star personas, and cross-class romance films in 1920s America', Journal of Gender Studies, Vol. 19, No. 1, March 2010, 73–86'

• Darko Štrajn, 'Identity in a notion of the Eastern and Western European cinema', New Review of Film and Television Studies, 6: 1, 2008: 41 — 50

• Keyan G. Tomaselli, 'Class and Ideology: Reflections in South African Cinema', Critical Arts, 1: 1, 1980: 1 — 13

Screening the Past Issue 25 Out Now

Image from The Rose of Rhodesia (Harold M Shaw, 1918 - slottsbio.com)

Film Studies For Free rushes you the hot-off-the-press news that there's new issue out today of one of its favourite open access online film journals, Screening the Past. It's a hugely valuable special issue devoted to the subject of 'Colonial Africa on the Silent Screen'. The website describes the issue thus:

The Rose of Rhodesia (1918) by Harold M. Shaw is one of the earliest remaining feature films shot in Africa. Issue #25 of Screening the Past offers the first critical assessment of the film that until recently was thought lost. Essays by specialists in an array of fields situate the film in the context of South African cinema history, silent film conventions, performance styles, popular literature, imperialism, and political struggle in Zimbabwe today. Guest-edited by Stephen Donovan and Vreni Hockenjos, and in collaboration with the Nederlands Filmmuseum, this special issue includes a streamed version of the restored print of The Rose of Rhodesia.

FSFF would also like to flag up Robert Burgoyne's brilliant essay on The New World, Sam Rohdie's four essays (on Painlevé, Jennings, Vigo, and Ford), and Bill Routt's great feature review Ford At Fox: Part Two (b).

Below is the full table of contents:

Foreword: Terence Ranger

Introduction: Stephen Donovan and Vreni Hockenjos

The Rose of Rhodesia—click here to view the film

Acknowledgements

Film Information

Part I: Production and Reception

Neil Parsons: Investigating the Origins of The Rose of Rhodesia, Part I: African Film Productions

Neil Parsons: Investigating the Origins of The Rose of Rhodesia, Part II: Harold Shaw Film Productions Ltd.

James Burns: Cape Town Bioscope Culture and The Rose of Rhodesia

Part II: Cinematic Perspectives

Vreni Hockenjos: Featured Attractions: The Rose of Rhodesia and Silent Cinema

Ylva Habel: Hollywood Histrionics: Performing “Africa” in The Rose of Rhodesia

Jacqueline Maingard: The Rose of Rhodesia: Colonial Cinema as Narrative Fiction and Ethnographic Spectacle

Part III: Political Perspectives

Bernard Porter: Race, Empire, and The Rose of Rhodesia

Nhamo Anthony Mhiripiri: Blood Diamonds and State Repression: From The Rose of Rhodesia to Zimbabwe’s Chiadzwa Diamond Fields

Ashleigh Harris: “Until time make him white”: Race, Land, and Insurrection in The Rose of Rhodesia

Part IV: Literary Perspectives

Stefan Helgesson: The Rose of Rhodesia as Colonial Romance

Stephen Donovan: Guns and Roses: Reading for Gender in The Rose of Rhodesia

Commentary

Peter Davis: In Africa, Diamonds Are Forever: From The Great Kimberley Diamond Robbery to Blood Diamond

Scoring The Rose of Rhodesia: An Interview with Matti Bye

Appendices

A. Plot summary
B. Intertitles with English translation
C. Press cuttings
D. Cast and crew biographies
E. Harold Shaw filmography
F. Maps of Rhodesia and Southern Africa
G. Early Rhodesian ephemera

Contributors

---

First release

Sam Rohdie, Four Essays: Painlevé; Jennings; Vigo; Ford.

Robert Burgoyne, The Columbian Exchange: Pocahontas and The New World.

---

Reviews

Feature Review: Bill Routt reviews Ford At Fox: Part Two (b).

---

Ina Bertrand reviews Catherine Lumby, Alvin Purple, and Henry Reynolds, The chant of Jimmie Blacksmith.

Yvette Biro reviews Lorraine Mortimer, “Terror and Joy”. The Films of Dusan Makavejev.

Dean Brandum reviews Michael Deeley and Matthew Field, Blade Runner, Deer Hunters & Blowing The Bloody Doors Off: My Life in Cult Movies.

Wheeler Winston Dixon reviews Peter Gidal, Andy Warhol’s Blow Job.

Charles Drazin reviews Brian McFarlane, Screen Adaptations: Charles Dickens’ Great Expectations: The Relationship Between Text and Film.

Seyda Aylin Gurses reviews Nurith Gertz and George Khleifi, Palestinian Cinema: Landscape, Trauma and Memory.

Jan-Christopher Horak reviews Lee Grieveson and Haidee Wasson (eds), Inventing Film Studies.

D.B. Jones reviews Wheeler Winston Dixon, Film Noir and the Cinema of Paranoia.

Lorraine Mortimer reviews Esther Romeyn, Street Scenes: Staging the Self in Immigrant New York 1880-1924.

Geoffrey Nowell-Smith reviews Christopher Wagstaff, Italian Neorealist Cinema: an aesthetic approach.

Daniel Ross reviews Ingmar Bergman, Cinematic Philosopher: Reflections on His Creativity and Irving Singer, Cinematic Mythmaking: Philosophy in Film.

Thomas Salek reviews James Walters, Alternative Worlds in Hollywood Cinema: Resonance Between Realms.

Brian Shoesmith reviews Sangita Gopal and Sujata Moorti (eds), Global Bollywood: Travels of Hindi Song and Dance.

Matt Wanat reviews Nitzan Ben-Shaul, Film: The Key Concepts.

Studies of 'Third Cinema' and anti-Eurocentric film culture

Subtitled introduction to the first part of Fernando Solanas and Octavio Getino's 1968 Third Cinema classic La hora de los hornos/The Hour of the Furnaces (made by the Grupo Cine Liberación collecive), 1968 on YouTube. Also see the first part ('Neocolonialismo y violencia'/'Neocolonialism and Violence') in its entirety, without subtitles, HERE.

Two events in particular provoked Film Studies For Free's posting, today, of a webliography of openly accessible, online material about Third Cinema and anti-Eurocentric film culture: the revamping of the website of Michael Chanan, one of the most important anglophone writers on Third Cinema (note the updated page for his online essays and papers and his new blog address); and the publication of a new issue of online film journal Offscreen (volume 13, issue 6), with an article on Third Cinema by Nicola Marzano.

The film-studies links are below, but first, here are links to three essential 'Third Cinema' Manifestos: Julio García Espinosa, 'For an Imperfect Cinema' ; Glauber Rocha, 'Aesthetic of Hunger'; and Fernando Solanas and Octavio Getino, 'Towards a Third Cinema' (Published online courtesy of Revolutionen aus dem Off: EINE RETROSPEKTIVE DES DRITTEN KINOS IM AUFBRUCH, ZEUGHAUSKINO BERLIN, April 18-May 27, 2009)

• William Alexander, 'Jorge Sanjinés and Tomás Gutierrez Alea: Class, film language and popular cinema', from Jump Cut, no. 30, March 1985, pp. 45-48

• Megha Anwer, 'Close Up on the Colony, Inside History, through the Camera Lens', Wide Screen, Vol. 1, No. 1 (2009)

• Patricia Aufderheide, 'Cross-Cultural Film Guide: Films from Africa, Asia and Latin America at The American University', 1992

• Scott L. Baugh, 'Manifesting La Historia: Systems of 'Development' and the New Latin American Cinema Manifesto', Film & History: An Interdisciplinary Journal of Film and Television Studies 34.1 (2004) 56-65
  

• Desmond Bell, 'Shooting the Past? Found Footage Filmmaking and Popular Memory', Kinema, Spring 2004
  

• Chris Berry, 'Chinese left cinema in the 1930s: Poisonous weeds or national treasures', from Jump Cut, no. 34, March, 1989, pp. 87-94
  

• Michael Chanan, 'The Changing Geography of Third Cinema, originally published in Screen Special Latin American Issue (edited by Catherine Grant and Jackie Stacey), Volume 38 number 4 Winter 1997

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

• Michael Chanan, 'Latin American Cinema in the 90s. Representational Space in Recent Latin American Cinema', E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)
  

• Michael Chanan, Cinema in Latin America (1930-1960) and New Cinemas in Latin America (1960-1995)Two chapters on Latin American cinema from The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith, OUP, 1996

• Michael Chanan, 'Screen Memory in Cuban Cinema', [as Word file] International Institute for the Study of Cuba, Guest Seminar, London Metropolitan University, February, 2008

• Michael Chanan, 'Remembering Titón [Tomás Gutiérrez Alea]', from Jump Cut, no. 41, May 1997, pp. 126-129

• Saayan Chattopadyhay, 'Framing Frontiers: The Suspended Step towards Visual Construction of Geopolitical Borders', Sarai Reader 2007: Frontiers
  

• Ngwarsungu Chiwengo, 'Memory, Ideology, and Exile: J. M Kibushi's Mwana Mboka', Reconstruction 8.2 (2008)
  

• Armando Cristóbal, 'Documentary in Cuba: Santiago Alvarez, a Paradigm', cubanow.net, 2007
  

• Ann Cross, 'Contemporary Cuban cinema', The International Journal of Cuban Studies, Issue 1, June 2008

• Manthia Diawara, 'Sub-Saharan African film production: Technological paternalism', from Jump Cut, no. 32, April 1987, pp. 61-65

• Hyginus Ekwuazi, 'Towards the Decolonization of the African Film', Africa Media Review Vol. 5 No. 2.1991
  

• Thomas Elsaesser, "Hyper-, Retro-, or Counter-: European Cinema and Third Cinema Between Hollywood and Art Cinema," J. King, A. Lopez, M. Alvarado (eds.), Mediating Two Worlds: The Americas and Europe 1492-1992 (London: BFI Publishing, 1992) 119-135

• Julio García Espinosa, 'Long journey towards the light', translated by Stephen Hart, The International Journal of Cuban Studies, Issue 1, June 2008 [in Nicola Miller and Stephen Hart (eds) When Was Latin America Modern? Palgrave Macmillan, 2007]
  

• Leonardo García-Pabón, 'The Clandestine Nation: Indigenism and national subjects of Bolivia in the films of Jorge Sanjinés', translated from the Spanish by Maura Furfey, from Jump Cut, no. 44, Fall 2001 (and 2 3 of this essay)

• Michel Gobat, 'The Legacies of Revolutionary Filmmaking in Sandinista Nicaragua [review of Jonathan Buchsbaum, Cinema and the Sandinistas: Filmmaking in Revolutionary Nicaragua, Austin: University of Texas Press, 2003]', A Contra corriente: A Journl on Social istory and Literature in LatinA America, Vol. 3, No. 2, Winter 2005 / Invierno 2005, pp. 156-166
  

• Trevor Griffey, 'Internal Colonies, Third World Revolution, and the Culture of the Left in the 1960s and 1970s [Review of Cynthia Young. Soul Power: Culture, Radicalism, and the Making of a U.S. Third World Left. Durham, NC: Duke University Press, 2006]', HNet ONline, May 2007
  

• Clifford Hilo, 'Negotiating Global/Local Identities: Jia Zhang-ke's The World', Mediascape, Spring 2007
  

• David E James, 'An Impossible Cinema? The Proletarian Avant-Garde in Los Angeles', Filmint., Issue 2, Reprinted from Looking for Los Angeles: Architecture, Film, Photography, and the Urban Landscape, eds. Charles G. Salas and Michael S. Roth, Issues & Debates (Los Angeles: Getty Research Institute, 2001)
  

• Chuck Kleinhans, 'Third world media: introduction', from Jump Cut, no. 32, April 1987, p. 56
  

• Chuck Kleinhans and Manji Pendakur, 'Learning together: Synthesizing economic and cultural analysis in the Marxist study of Third World film and video', from Jump Cut, no. 33, Feb. 1988, pp. 82-90
  

• Samuel Lelièvre, 'Review of Frank N. Ukadike. Questioning African cinema: questioning African filmmakers. Minneapolis, London: University of Minnesota Press, 2002', Screening the Past, December 2004
  

• Julia Lesage, 'The Other Francisco: Creating history', from Jump Cut, no. 30, March 1985, pp. 53-58 and contd. here

• Chris List, 'El Norte: Ideology and immigration', from Jump Cut, no. 34, March, 1989, pp. 27-31

• Laura U. Marks, 'Loving a Disappearing Image', Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 8, n° 1-2, 1997, p. 93-
  111
  

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

• Nicola Marzano, 'Third Cinema Today', Offscreen Journal, Vol. 13, Issue 6, 2009
  

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

• Zinaid Meeran, 'Inch'Allah Dimanche vs. Lila dit Ca: Transnational Feminism Counters the Streamlining of Accented Cinema', Mediascape, Spring 2005

• Mariano Mestman, 'From Algiers to Buenos Aires: The Third World Cinema Committee (1973-1974)', New Cinemas Journal of Contemporary Film, Vol.1, Number 1, London, 2002; p.40-53

• John Mraz, 'Visual style and historical portrayal in Lucía', from Jump Cut , No. 19, 1978
  

• Lúcia Nagib, 'Reframing Utopia? Contemporary Brazilian Cinema at the turn of the century', P: PORTUGUESE CULTURAL STUDIES 0 Winter 2006
  

• LaShonda Naté Long, 'Evoking the Kuxa Kenema[1]: Reconstructing History and Memory through Cinema Novo in Mozambican Cinema', Powerlines, 2002

• James Neil, 'Third Cinema and the World: Some Stations on the Journey', Vertigo, Vol.3 No.9 - Spring / Summer 2008
  

• Onookome Okome, 'Introducing the Special Issue on West African Cinema: Africa at the Movies', Postcolonial Text, Vol 3, No 2 (2007)

• Joseph Palis, 'Of Non-Places and No Man’s Lands', aether: the journal of media geography, Vol. 1, November 2007
  

• Marcus Power,'Post-colonial cinema and the reconfiguration of Moçambicanidade', Lusotoipie 2004 : 261-278
  

• Charles Ramirez Berg, 'Strategies for Latino screenwriters: ¡Ya basta con the Hollywood paradigm!', from Jump Cut, no. 38, June 1993, pp. 96-104
  

• Robert A. Rosenstone, 'History in images/history in words: Reflections on the possibility of really putting history onto film', Screening the Past, April 1999 [First published American historial review 93, no.5 (December 1988): 1173-1185]
  

• Raúl Rubio, 'Political Aesthetics in Contemporary Cuban Filmmaking: Fernando Pérez’s Madagascar and La vida es silbar', Ciberletras, Vol. 13, July 2005

• Michael Sicinski, 'A Fragmented Epistemology: The Films of Abderrahmane Sissako', Cinemascope, Issue 29
  

• Antonio Sison, 'Perfumed Nightmare and Negative Experiences of Contrast: Third Cinema as Filmic Interpretation of Schillebeeck', JOurnal of Religion and Film, Vol. 6 No. 1 April 2002
  

• Antonio D. Sison, ' 3rd World Hero: Rizal and Colonial Clerical Power Through the Lens of Philippine Third Cinema', Senses of Cinema, no. 36, 2005

• Robert Stam, 'Hybridity and the Aesthetics of Garbage: the Case of Brazilian Cinema', E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)

• Hito Steyerl, 'Is a Museum a Factory?', e-flux, Journal 7, 06, 2009

• Helga Tawil, 'Coming Into Being and Flowing Into Exile: History and Trends in Palestinian Film-Making', Nebula 2.2, June 2005
  

• Clyde Taylor, 'One struggle, many fronts', from Jump Cut, no. 23, Oct. 1980, pp. 10-11

• Paul Ugor, 'Censorship and the Content of Nigerian Home Video Films', Postcolonial Text, Vol 3, No 1 (2007)
  

• Ravi S. Vasudevan, 'An Imperfect Public Cinema and citizenship in the ‘third world’, Sarai Reader 01: Public Domain, 2001

• Jerry White, 'LOCATION, LOCATION: Fatherlands - On Mahamat-Saleh Haroun, Africa and an evolving political cinema', Vertigo, Vol.3 No.5 - Spring 2007

• Paul Willemen, 'An Introduction to Framework', Framework 42, 1999

• Jing Yin, 'Toward a Confucian Feminism: A Critique of Eurocentric Feminist Discourse', China Media Research, 2(3), 2006
  

Miriam Makeba and South African Cinema

Zenzile Miriam Makeba (1932-2008)

Film Studies For Free was very sad to hear news of the death of Miriam Makeba.

As part of her monumental singing career she appeared in person and on the soundtrack of many films (including: Soul Power (2008); Bobby (2006); Transamerica (2005); Amandla! A Revolution in Four Part Harmony (2002); Sacred Sounds (2000); When We Were Kings (1996) Sarafina! (1992); Have You Seen Drum Recently? (1988); Amok (1982); and Come Back, Africa (1960), as discussed by Ntongela Masilela in a great 1991 article for Jump Cut).

She so often embodied the sound of global, cinematic South-Africanicity. And, thanks in part to all her film performances, she will sing on for us.

In memory of Makeba, some good (mainly South) African cinema web-links follow:

• Cinema of South Africa - Wikipedia
• Class and Ideology: Reflections in South African Cinema (Keyan G. Tomaselli for Critical Arts Journal)
• Jacqueline Maingard, South African Cinema in the 1940s: Reviewing Black Identities
• "Come Back Africa" and South African film history by Ntongela Masilela
• Sub-Saharan African film by Manthia Diawara
• Martin Mhando, "Approaches to African Cinema Study." Senses of-Cinema
• Francoise Pfaff, "New African Cinema." Cineaste v22, n4 (Fall, 1996):58
• Rod Stoneman, "African Cinema -- Addressee Unknown." Kinema, Spring 1994
• Mbye Baboucar Cham, "Film Text and Context: Reweaving Africa's Social Fabric Through Its Contemporary Cinema."
• The South African Film Industry: Fragmentation, Identity Crisis ... (Martin P. Botha)
• The Struggle for a South African Film Audience (Martin P. Botha)
• 110 Years of South African Cinema (Part 1) Martin P. Botha
• 110 Years of South African Cinema (Part 2) Martin P. Botha
• New Directing Voices in South African Cinema (Martin P. Botha)
• Haile Gerima: An African Film Master (Ntogela Masilela).
• Issues in the South African Cinema (Ntogela Masilela).
• Is there a South African National Cinema? (Ntogela Masilela)
• Thelma Gutsche: A Great South African Film Scholar (Ntogela Masilela).
• Kamran Rastegar, Arab and African Cinema’s Uncertain Future (Vertigo Magazine)
• The Cinema of Manie van Rensburg: Popular Memories of Afrikanerdom ...
• Culture, Communication and Media Studies - Cinema on the Periphery ...
• Homosexuality and South African Cinema
• UC Berkeley Library African Cinema Bibliography
• BFI African Cinema Bibliography
• UStanford Guide to African Films Movies and Video on the Internet
• Manthia Diawara, African Cinema: Politics & Culture (Google Books)
• CAS - Cambridge African Film Festival
• Africa in Motion, the Edinburgh African film festival
• Kamran Rastegar's article on Youssef Chahine (commissioned by Africa in Motion)
• Trevor Steele Taylor's article on AiM After Hours: African cinema off the tourist map (commissioned by Africa in Motion)
• Paula Callus's article on African animation (commissioned by Africa in Motion)
• N. Frank Ukadike, The Hyena's Last Laugh: A conversation with Djibril Diop Mambety
• Djibril Diop-Mambety’s Tales of Little People on DinaView (Dina Iordanova)
• From African Studies Centre, University of Leiden, FSFF obtained the following links to articles:
• Disarticulating Black Consciousness: a way of reading films about apartheid / Tomaselli, Keyan. In: Safundi: the Journal of South African and American Comparative Studies, no. 10 (April), 2003. See document
• African cinema: an interview with Mali's Souleymane Cissé / Cissé, Souleymane. In: Africa Update., vol. 9, no. 3 (Summer), 2002. See document
• Nigerian cinema revisited / Emeagwali, Gloria and Abiola, Mike. In: Africa Update, vol. 8, no. 4 (Fall), 2001. See document
• Interview with Nigerian actress Golda John on Nigerian film / Emeagwali, Gloria and John, Golda. In: Africa Update, vol 7, no. 2 (Spring), 2000. See document
• A confusion of cinematic consciousness: Southern Africa on film in the United States / Tomaselli, Keyan and Shepperson, Arnold. In: Safundi: the Journal of South African and American Comparative Studies, no. 3 (October), 2000. See document
• African cinema in the nineties / Cham, Mbye. In: African Studies Quarterly, vol. 2, no. 1,1998. See document
• Contemporary African film at the 13th Annual Carter Lectures on Africa: interviews with filmmaker Salem Mekuria and film critic Sheila Petty / Gearhart, Rebecca. In: African Studies Quarterly, vol. 2, no. 1, 1998. See document
• Framing post-Third-Worldist culture: gender and nation in Middle Eastern/North African film / Shohat, Ella. In: Jouvert, vol. 1, no. 1, 1996. See document
• How Francophone African cinema reflects social and political reality / Doiron, Jeanne. In: Africa Update, vol. 2, no. 3 (Summer), 1995. See document
• Two online journals with lots of comparative studies of African cinema:
• Safundi: The Journal of South African and American Studies
• Jouvert: A Journal of Postcolonial Studies
• An article on 'African music' in cinema generally - The Film Score and the African Musical Experience: Some comments on a work in progress by Andrew L. Kaye
• And, finally, a brilliant discussion group and website: H-AfrLitCine [an H-Net Network discussing African Literature and Cinema]