Hiển thị các bài đăng có nhãn digital aesthetics. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn digital aesthetics. Hiển thị tất cả bài đăng

Thứ Hai, 28 tháng 7, 2014

End of July Round Up! Grusin and Kara on the post-cinematic, new ALPHAVILLE, WORLD PICTURE and ANIKI, Keathley, Bellour, Mittell, and Wasko videos, and lots more!

               Do you ever get confused about movies, television, life? You are not alone...
SFR (Swiss Family Robinson [Ken Annakin, 1960]) by Christian Keathley on Vimeo.

Film Studies For Free is delighted to present its latest handy round up of links to great online, open access items of film and media scholarly interest! 

New SEQUENCE One essays:
SEQUENCE is delighted to announce the publication of two further individual responses -- by Richard Grusin and Selmin Kara -- to Steven Shaviro’s magisterial article “MELANCHOLIA, Or The Romantic Anti-Sublime”, SEQUENCE 1.1 (2012), the launch essay for PLANET MELANCHOLIA, the inaugural issue of SEQUENCE, REFRAME‘s experimental, peer-reviewed, media, film and music studies serial publication.
    Following Rupert Read’s engagement with Shaviro in SEQUENCE 1.2, which offered a personal, affective (and deeply philosophical) account of Lars von Trier’s 2011 film Melancholia, in their very fine, equally philosophically-informed, contributions Grusin and Kara turn their detailed attention to the questions of "post-cinematic atavism" and "primordigitality" raised by the hybrid analog/digital technical and aesthetic contexts of a number of recent films, including Melancholia as well as Michel Hazanavicius's The Artist (2011), Martin Scorsese's Hugo (2011), Terrence Malick’s The Tree of Life (2011), Benh Zeitlin’s Beasts of the Southern Wild (2012), and Patricio Guzmán’s Nostalgia for the Light (2010) .
    SEQUENCES continues to invite further responses to Shaviro’s article as well as to those which have followed it in the SEQUENCE One thread, as well as to the second issue of SEQUENCE: ‘We Need to Talk about the Maternal Melodrama'.

Video essay on the documentaries of late Brazilian filmmaker Eduardo Coutinho by Michael Chanan

Video essay on Editing Space and Time in Satoshi Kon's films by Tony Zhou

Network of European Cinema and Media Studies 2014 conference videos and audio:

New issue of ALHAVILLE, Issue 7, 2014, on Corporeal Cinema

New issue of WORLD PICTURE, 9, 2014, on 'Serious'

Great new issue of the Portuguese film studies journal ANIKI (1.2, 2014) w/ LOTS of research published in English, including a dossier on art and cinema, an interview with Jia Zhang-ke and Marshall Deutelbaum's article on Raúl Ruiz's Mysteries of Lisbon.

Updates at David Bordwell and Kristin Thomspon's Observations on Film Art website:

Girish Shambu's latest blog entry 'On Video Essays, Cinephilia and Affect', which includes lots of great suggestions for further reading and an excellent comments thread

Check out all the updates to Wikipedia as a result of the #SheMustBeWiki, feminist film studies wiki writing event at the Institute for Contemporary Arts, London, July 25, 2014:

Excellent video on Brian De Palma's cinematic art of looks and looking by Cristina Álvarez López and Adrian Martin:

Barbara Flueckiger's important update about her wonderful open access project on Film Colors

Desistfilm Issue 6, 2014
  • Online here: http://desistfilm.com/category/issue-006/
  • PETER WHITEHEAD: REVOLUTION, REVELATION – PINK FLOYD LONDON 1966-1967 By Lu Juejing
  • EMBRACING BY NAOMI KAWASE By Adrian Martin
  • SHAKING TRACKS: THE DOCUMENTARY WAYS IN THE WORK OF KORE-EDA HIROKAZU By Claudia Siefen
  • ON Hi-8/DIGITAL AND THE INTIMATE: THE FILM DIARIES OF ALAIN CAVALIER By José Sarmiento Hinojosa
  • DAY IS DONE DE THOMAS IMBACH Por Mónica Delgado
  • A REAL DEAD RINGER FOR LOVE. VIDEO FOOL FOR LOVE By Adrian Martin
  • DIALOGUE WITH A WOMAN DEPARTED BY LEO HURWITZ By José Sarmiento Hinojosa
  • ROUTE ONE/USA DE ROBERT KRAMER Por Nicolás Carrasco
  • VARIACIONES DEL “FILMADOR” EN ALGUNAS PELÍCULAS INDEPENDIENTES Y EXPERIMENTALES DE AMÉRICA LATINA Por Mónica Delgado
  • FEATURED FILMMAKER: JENNIFER REEDER By José Sarmiento Hinojosa
  • EL DIARIO FÍLMICO EN ESPAÑA, HOY Por Ricardo Adalia Martin
  • NEARSIGHT BY SAUL LEVINE By José Sarmiento Hinojosa

Check out this fantastic resource on the work of Chris Marker, including IMMEMORY, Guillaume sightings worldwide, and other gems (link via Via Genevieve Yue and Nico Baumbach):

Innovative, Canada-based, film studies publisher caboose has launched the collaborative on-line project Planetary Projection, introducing some of the world’s remarkable film projectionists. We invite you to help us find a few more, in every corner of the globe, so that they might tell us their stories

Online extract from Madelon Sprenthnether's remarkable book Crying at the Movies:

Great video in which director John Akomfrah talks to Baroness Lola Young about The Stuart Hall Project, which paints a sensitive and emotionally charged portrait of the celebrated cultural theorist.  

For a few more days, enjoy temporary free online access to many articles from Routledge Film and Cinema Studies journals

'I Have to Trust My Intuition': A 40-Minute Chat Between Ingmar Bergman & AFI Film Students at NoFilmSchool:
The "Motherhood Archives" - Irene Lustzig's epic multimedia essay on institutionalization of birth and motherhood:
New ADA: A JOURNAL OF GENDER, NEW MEDIA AND TECHNOLOGY issue on Queer Feminist Media Praxis:
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Thứ Ba, 1 tháng 10, 2013

Celebrating Laura Mulvey: Or, Film Studies with Poetic License



 
A fascinating and informative excerpt from the audio commentary track on the British Film Institute's brand new Dual Format Edition of RIDDLES OF THE SPHINX (Laura Mulvey and Peter Wollen, 1977). You can find more information about this new video version of the film here and read a new interview with Mulvey about its making here.
Riddles of the Sphinx was made in 1976-7. The film used the Sphinx as an emblem with which to hang a question mark over the Oedipus complex, to illustrate the extent to which it represents a riddle for women committed to Freudian theory but still determined to think about psychoanalysis radically or, as I have said before, with poetic license. Riddles of the Sphinx and Penthesilea, our previous film, used ancient Greece to invoke a mythic point of origin for Western civilization, that had been critically re-affirmed by high culture throughout our history. [... S]ome primitive attraction to the fantasy of origins, a Gordian knot that would suddenly unravel, persisted for me in the Oedipus story, and its special status: belonging to very ancient mythology and to the literature of high Greek civilization, chosen by Freud to name his perception of the founding moment of the human psyche. My interest then concentrated on breaking down the binarism of the before/after opposition, by considering the story as a passage through time, a journey that could metaphorically open out or stretch the Oedipal trajectory through significant details and through its formal, narrational, properties. [Laura Mulvey, 'The Oedipus Myth: Beyond the Riddles of the Sphinx', PUBLIC, 2, 1989, FSFF's emphasis]

Film Studies For Free proudly presents an entry in honour of one the most important, most brilliant, most influential and hardest-working film and moving image scholars of all time: Laura Mulvey, professor of film and media studies at Birkbeck, University of London, a Fellow of the British Academy, and recently, co-founder of the Birkbeck Institute for the Moving Image. Mulvey is the author of: Visual and Other Pleasures (Macmillan, 1989; second edition, 2009), Fetishism and Curiosity (British Film Institute, 1996; 2nd ed. 2013), Citizen Kane (in the BFI Classics series, 1996) and Death Twenty-four Times a Second: Stillness and the Moving Image (Reaktion Books, 2006). And she has made six films in collaboration with fellow film theorist and practitioner Peter Wollen including Riddles of the Sphinx (BFI, 1978) and Frida Kahlo and Tina Modotti (Arts Council, 1980) and with artist/film-maker Mark Lewis Disgraced Monuments (Channel 4, 1994)

FSFF's author has a pretty good record in celebrating Mulvey's influence on film studies already, having been lucky enough to take part, earlier this year, in a day devoted to this activity at Birkbeck's Institute of Humanities - an event recorded by Backdoor Broadcasting. The happy occasion for today's eFestschrift, however, is the British Film Institute's release of a new DVD/BluRay disk of Riddles of the Sphinx, the hugely significant and original feminist film Mulvey co-directed and produced in 1976/77 with her partner Wollen (the disk also contains their first film together: Penthesilea: Queen of the Amazons [1974]).

To accompany this entry FSFF was honoured to be able to produce a short, exclusive extract of a sequence of its choice from the DVD audio commentary accompanied version (as embedded above). FSFF warmly thanks Laura Mulvey herself, as well as Hannah Maloco and the BFI, whose Production Board thankfully funded Riddles of the Sphinx, for kindly allowing this blog to create such a memorable and instrumental item of openly accessible film studies.

Beneath the BFI's own Riddles of the Sphinx clip (embedded below) -- a commentary free version of substantially the same sequence -- you can find a wonderful listing of links to openly accessible online scholarly work by and about Laura Mulvey. It provides ample testimony, were it needed, as to why she has been, is, and always will be, one of the true greats of our subject - as Michel Foucault probably would have put, a veritable 'founder of discursivity' for our discipline... 




Online written work by Laura Mulvey: 

Online written work by Peter Wollen about Mulvey/Wollen's joint work: 

Online video/audio work by or featuring Laura Mulvey:

Online writing about Laura Mulvey's work:
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Thứ Năm, 4 tháng 7, 2013

Expanded Cinema Studies? Free eBook on Exhibiting Cinema in Contemporary Art


Whether it involves remaking an old Hollywood movie, projecting a quiet 16mm film, or constructing a bombastic multi-screen environment, cinema now takes place not just in the movie theatre and the home, but also in the art gallery and the museum. The author of this engaging study takes stock of this development, offering an in-depth inquiry into its genesis, its defining features, and the ramifications it has for art and cinema alike. Through the lens of contemporary art history, she examines cinema studies’ great disciplinary obsession – namely, what cinema was, is, and will become in a digital future. (blurb for Erika Balsom,  Exhibiting Cinema in Contemporary Art [Amsterdam: Amsterdam University Press, 2013])
Thanks to the legend that is Girish Shambu, Film Studies For Free heard of the latest, wonderful, freely accessible book from Amsterdam University Press: Erika Balsom's Exhibiting Cinema in Contemporary Art. The table of contents is below. It's a valuable addition to the burgeoning field of Expanded Cinema Studies. Read it for free but please order it for your libraries! It has been added to FSFF's permanent and regularly updated listing of online Open Access Film Studies e-Books

Another related resource: six video recordings have been uploaded online of all the sessions from the recent Mediamorphosis Symposium and Exhibition at the University of Sussex at which researchers, practitioners, artists (including filmmakers), designers, scientists were invited to submit, discuss, exchange and engage with analogue and digital practices as mediamorphosis. You can find links to the videos here. 

It's been so quiet around here that FSFF's readers probably won't even notice that it is going on holiday for two weeks (it will be taking Erika's book!). It promises to return refreshed, reinvigorated and possibly even sun-tanned after that, with LOTS of new Open Access items to link to. But, in the meantime, please check out this little video on a different kind of "expanded cinema studies" - it has one or two useful resources that you may find interesting.


Erika Balsom,  Exhibiting Cinema in Contemporary Art (Amsterdam: Amsterdam University Press, 2013)

Table of Contents
Introduction – The Othered Cinema 

Chapter 1 – Architectures of Exhibition
The Passages of Cinema Projection and Patrimony Black Box/White Cube The New Blockbusters The Myth of Activity Media at MoMA 

Chapter 2 – Filmic Ruins  
Post-medium Post-mortem Indexing the Past A Little History of 35mm Ruinophilia Analogue Aura

Chapter 3 – The Remake: Old Movies, New Narratives Ambivalent Appropriations The Four Operations Precursors The False Promises of the “Utopia of Use” Remaking Fandom “Room-for-Play” VCR Memories 

Chapter 4 – The Fiction of Truth and the Truth of Fiction Anti-anti-illusionism Hybrid Forms Rehabilitating Narrative A Return of the Real Two Images of Death 
Conclusion – “Cinema and...” 

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Thứ Ba, 27 tháng 11, 2012

On ’Tangibility’ and Relocating Cinema: NECSUS #2, Autumn 2012

To celebrate the new issue of NECSUS on tangibility, above is a reposting of TOUCHING THE FILM OBJECT? by Catherine Grant. Also see version with audio commentary

[A] media, singular, is not just its medium – it is not only a support or a device. A media is also and foremost a cultural form; it is defined by the way in which it puts us in relation with the world and with others, and therefore by the type of experience that it activates. By experience, I mean both a confrontation with reality (to gain experience) and the capacity to manage this relation and to give it meaning (to have experience). From its very beginnings, cinema has been based on the fact that it offers us moving images through which we may reconfigure the reality around us and our own position within it. Cinema has always been a way of seeing and a way of living – a form of sensibility and a form of understanding. [Francesco Casetti, 'The relocation of cinema', NECSUS, Issue 2, Autumn 2012]
A great second issue of NECSUS, the brilliant journal of NECS, the European Network for Cinema and Media Studies has been published. It boasts some superlative articles including Francesco Casetti's must-read article from which Film Studies For Free has excerpted above.

For those interested in hapticity, and our experience of the material properties of film, there's a very special section on that topic.

All in all (and all the contents are directly linked to below), some truly wonderful work. Well done and thank you NECSUS!

Editorial Necsus

Articles:
Special Section: Tangibility

Festival Reviews:
Edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network

Book Reviews:

Exhibition Reviews:
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Thứ Ba, 10 tháng 4, 2012

The Road to Digital - New AUP eBooks on Film Archives and Mobile Screens and a Video Lecture on Digital Cinematic Attractions


  • Digital Cinema Essay-Film-Lecture (for Film History and Criticism, University of Roehampton, 29 March 2012) by William Brown
    • Films mentioned in William Brown's essay-film-lecture, above: Arabesque (John Whitney, USA, 1975); TRON (Steven Lisberger, USA, 1982); Terminator 2: Judgement Day (James Cameron, USA, 1991); Jurassic Park (Steven Spielberg, USA, 1993); Forrest Gump (Robert Zemeckis, USA, 1994); The Incredibles (Brad Bird, USA, 2004); A Very Long Engagement (Jean-Pierre Jeunet, France/USA, 2004); Sleep Dealer (Alex Rivera, Mexico/USA, 2008); Day Watch (Timur Bekmambetov, Russia, 2006); The Host (Joon-ho Bong, South Korea, 2006); Panic Attack! (Fede Alvarez, Uruguay, 2009); O Brother, Where Art Thou? (Joel Coen, UK/USA, 2000); Making Of O Brother, Where Art Thou?; 300 (Zack Snyder, USA, 2006); Beowulf (Robert Zemeckis, USA, 2007); Singin' in the Rain Golf GTI Advert (Ne-o, 2005); Cloverfield (Matt Reeves, USA, 2008); Fight Club (David Fincher, USA, 1999); War of the Worlds (Steven Spielberg, USA, 2006); Spider-Man (Sam Raimi, USA, 2002); Avatar (James Cameron, USA, 2009); The Day After Tomorrow (Roland Emmerich, USA, 2004); The Matrix (Andy and Larry Wachowski, USA, 1999); Planet Terror (Robert Rodriguez, USA, 2007); The Lord of the Rings: The Return of the King (Peter Jackson, USA/New Zealand, 2003)
    • Academic texts mentioned in the above lecture: Bordwell, David (2002). ‘Intensified Continuity: Visual Style in Contemporary American Film’, Film Quarterly, 55:3 (Spring), pp. 16-28; Brown, William (2009). ‘Man Without a Movie Camera – Movies Without Men: Towards a Posthumanist Cinema?’ in Film Theory and Contemporary Hollywood Movies (ed. Warren Buckland), Abingdon/New York: Routledge/AFI, pp. 66-85;  Buckland, Warren (2006). Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster, London: Continuum; Elsaesser, Thomas, and Warren Buckland (2002). Studying Contemporary American Film: A Guide to Movie Analysis, London: Arnold; Gunning, Tom (1986). ‘The Cinema of Attraction, Early Film, Its Spectators and the Avant-Garde’, Wide Angle, 8:3-4, pp. 63-70; Manovich, Lev (2001). The Language of New Media, Cambridge, Mass.: MIT Press; Minnis, Stuart (1998). ‘Digitalisation and the Instrumentalist Approach to the Photographic Image,’ Iris, 25, pp. 49-59; Prince, Stephen (1996). ‘True Lies: Perceptual Realism, Digital Images, and Film Theory,’ Film Quarterly, 49:3 (Spring), pp. 27-37; Wood, Aylish (2002). ‘Timespaces in spectacular cinema: crossing the great divide between spectacle versus narrative,’ Screen, 43:4, pp. 370-386
 
Film Studies For Free presents a delightfully digital trove of film studies treasure today. Above, a fabulously illustrated, highly informative, and very wide-ranging, first year university lecture on Digital Cinema by University of Roehampton film scholar (and filmmaker) William Brown.  
 
And, below, links to two wonderful, openly accessible, online "digital film studies" books published by Amsterdam University Press, the best academic publisher ever, in FSFF's admittedly, somewhat biased view: Giovanna Fossati's 2009 From Grain to Pixel: The Archival Life of Film in Transition; and, just published, Nanna Verhoeff's 2012 Mobile Screens The Visual Regime of Navigation.  
 
Both have been added to FSFF's continuously updated list of openly accessible film studies books.
Film is in a state of rapid change, with the transition from analog to digital profoundly affecting not just filmmaking and distribution, but also the theoretical conceptualization of the medium of film and the practice of film archiving. New forms of digital archives are being developed that make use of participatory media to provide a more open form of access than any traditional archive has offered before. Film archives are thus faced with new questions and challenges. From Grain to Pixel attempts to bridge the fields of film archiving and academic research, by addressing the discourse on film ontology and analysing how it affects the role of film archives. Fossati proposes a new theoretization of film archival practice as the starting point for a renewed dialogue between film scholars and film archivists.
    • Table of Contents
      • Acknowledgements 9
      • Framing Film (in Transition): an Introduction    13
    • part one practice and theory of (archival) film
      • 1    Film Practice in Transition    33 
      • 2    Theorizing Archival Film    103
    • part two theorizing (archival) practice
      • 3    Film Archival Field in Transition    149
      • 4    Restoration Case Studies: Theorizing Archival Practice    211
      • A New Mindset for (Archival) Film in Transition: a Conclusion    255 
      • Notes 261 Glossary of Technical Terms    285 List of Illustrations    291 Filmography 293 Bibliography 297 Index 311
"Nanna Verhoeff’s new book is a must for anybody interested in visual culture and media theory. It offers a rich and stimulating theoretical account of the central dimension of our contemporary existence – interfacing and navigating both data and physical world through a variety of screens (game consoles, mobile phones, car interfaces, GPS devices, etc.) In the process of exploring these new screen practices, Verhoeff offers fresh perspectives on many of the key questions in media and new media studies as well as a number of new original theoretical concepts. As the first theoretical manual for the society of mobile screens, this book will become an essential reference for all future investigations of our mobile screen condition". – Lev Manovich
    • Table of Contents
      • Acknowledgements    9
      • List of Illustrations    11
        Introduction    13
      • 1. Panoramic Complex    27 Building Visions    28 Panoramic Desire    32 Movement in the Panorama    39 Modes of Viewing    42 The Gaze in Motion    44 A Panoramic Complex    46 The Windshield as Screen    48
      • 2. Self-Reflection    51 The Point of Self-Reflection    51 Meanings of the Screen    56 Spatial Attractions and Visual Deixis    57 Navigating the Screen    65 Navigation as Narration    68 Boundary-Crossings    70
      • 3. Theoretical Consoles    73 The Status of the Gadget: The Case of Nintendo DS    73 Portrait of the Gadget as a Theoretical Console    77 Touch Screen: Dirty Windows    82 Mobile Screen: Carrying, Sharing, Transporting    89 Double Screen: Split, Insert, Map    92 Gadgetivity    95
      • 4. Urban Screens    99 Places of Transit    99 Screenspace    104 Urban Transformation    107 Screen Practices    114 Installation    116 Programming Hybridity    124 Responsive Presence    129
      • 5. Performative Cartography Mobile Dispositif Contesting Cartography Performative Cartography Cartographic Interface Tagging, Plotting, Stitching Layering in Augmented Reality Haptic Engagement
      • Epilogue: You Are Here!
      • Notes Bibliography Index of Names and Titles Index of Terms
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Thứ Tư, 22 tháng 2, 2012

Pandora's Box? On Digital Conversions and Rebirths

Open Lecture and Workshop by FSFF's very own author
First of all, Film Studies For Free wanted to toot on its own trumpet today.

On Friday, its author will present at an event exploring the rapidly increasing take up in scholarly and online film studies of the distinct research methods of the digital humanities.

In the lecture that will open the event, she will explore whether and, if so, how these contexts and methods with their digital, multimedia tools and techniques (such as online film and film culture archiving, mining and metrics, digital video essays, digital publishing and networking) may be enabling productive moves away from the existing paradigms of purely text-based, or 'traditional' offline research, scholarship and pedagogy.  The focus in the main workshop part of the event will be on the film studies video essay form, that is, on the practice of using film as the medium of its own study and criticism.

A written version of the talk will be published online later this year as part of a wide ranging edited collection, with contributions by world-leading scholars and critics, on related aspects of the same important topics. This collection, commissioned, assembled and guest-edited by FSFF's supremo, will form the inaugural issue of a brand new, Open Access journal hosted by a certain Film Studies department in one of the UK's oldest and most revered universities. FSFF will bring you more precise, less teasing, news of this in due course....

But, staying with the digital theme, today's FSFF post also brings you rather more immediately phenomenal news of and links to David Bordwell's recent and hugely important online series of studies of the transition to digital cinematic projection at his and Kristin Thompson's peerless film studies website Observations on Film Art.

Not only are these unmissable discussions in their own right but they make themselves even more indispensable by linking to numerous further essential resources on these questions.

Below the list of links to these entries, for your convenience, FSFF has re-embedded the great videoed discussion of digital conversion issues in the film distribution and exhibition contexts at the Vancouver International Film Festival to which Bordwell and other luminaries contribute brilliantly.

  1. Pandora’s digital box: In the multiplex December 1, 2011 
  2. Pandora’s digital box: The last 35 picture show December 15, 2011 
  3. Pandora’s digital box: At the festival January 5, 2012 
  4. Pandora’s digital box: From the periphery to the center, or the one of many centers January 11, 2012
  5. Pandora’s digital box: Art house, smart house January 30, 2012
  6. Pandora’s digital box: Pix and pixels February 13, 2012
  7. Pandora’s digital box: Notes on NOCs [Network Operations Centers] February 16, 2012
  8. Pandora's digital box:from Films to Files February 28, 2012

                     Future of Cinema - Looking Forward After 30 Years

Future of Cinema - Looking Forward After 30 Years
Event description:
The first few chapter headings in a film we did not program at this year's [Vancouver International Film Festival] VIFF are: “Technology Is Great”, “The Industry Is Dead”, “Artists Have the Power”, and “The Craft Is Gone.” To which celluloid-loving film festival organizers might ask: Is it? Do they? Where on earth are we headed? And why?
VIFF has come a long way in its 30 years and never has the future of cinema--and VIFF's future--been more uncertain. Will it be bright and splendid and fair or will it move so quickly that a great deal of what is valuable will be lost before we know it? There are now dramatically more “film festivals” and “films” being made than ever, yet some fear that the industry may be dead. Filmmakers are acutely worried for funding, yet need to operate on a growing number of fronts. Given that the numbers of hours in a day and the numbers of days in a life remain fixed, what limits should we council for our own appetites? Why might we miss the Hollywood Theatre and Videomatica? Given that cultural agencies seemingly have shrinking resources but more new media and film festival applicants every year, will the centres hold or is babble ascendant? Will VIFF's function as an annual international universalist festival be superseded by myriad niche events?

Technology is indeed great in that it has put the means of creative motion picture production in almost everyone's hands, but will the best artists be the ones to be recognized? The entrepreneurial spirit tends to favour change in hopes that it may profit from it, but will artists have the power? When entrepreneurs benefit, will consumers benefit? Will cultural institutions that have taken years to build remain viable? Will cinema, metrics of quality and craftsmanship and, ultimately, quality of life be improved or even be sustainable? What do you personally care about for the future of cinema to offer? What should VIFF 2020 aim to be?

Here to wrestle with these sorts of questions—and yours—will be a distinguished group of panellists including: David Bordwell, film critic, academic and author of numerous books on cinema; Simon Field, film producer and former Director, International Film Festival Rotterdam; Andréa Picard, film critic and programmer, formerly of the Toronto International Film Festival and the Cinémathèque Ontario; Tom Charity, film critic and Vancity Theatre program coordinator; and Alan Franey, director, Vancouver International Film Festival.
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Thứ Ba, 3 tháng 1, 2012

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