Hiển thị các bài đăng có nhãn film festivals. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn film festivals. Hiển thị tất cả bài đăng

Thứ Năm, 11 tháng 6, 2015

New Issues of NECSUS on 'Animals', Godard, Sobchack, Mulvey, Musicals, Documentary, Feminisms, and PARTICIPATIONS on film festivals, internet, television, Twitter, film and theatre audiences



A concise video primer by Catherine Grant on phenomenological film theory as well as a tribute to the works of René Clément, Henri Decae, Vivian Sobchack, Steven Shaviro and Claude Lévi-Strauss. Published in NECSUS: European Journal of Media Studies, Spring, 2015, where you can also read an accompanying text: "Film studies in the groove? Rhythmising perception in Carnal Locomotive."

Today, Film Studies For Free brings very glad tidings of two newly published, open access journal issues, from NECSUS: European Journal of Media Studies (still rolling out, and which, alongside its regular features and sections, offers a special dossier on 'animals') and PARTICIPATIONS: Journal of Audience and Reception Studies. All the contents are listed and linked to below.

If you're attending the annual gathering of the Network of European Cinema and Media Studies (NECS) in Łódź, Poland, have fun! It's a great conference. This year, FSFF's author is presenting instead at the U.S. National Endowment for the Humanities-funded workshop on Scholarship in Sound and Image, taking place from next week at Middleburg College in Vermont, U.S.A. from which some wonderful (and certainly open access) things will soon come.


NECSUS: European Journal of Media Studies, Spring 2015

All the below contents are linked to here: http://www.necsus-ejms.org/portfolio/spring-2015_animals/ 


Features:
Editorial Necsus

Audiovisual essays:

Special section: Animals (rolling out shortly)
  • Animals, anthropocentrism, media by Barbara Creed and Maarten Reesink
  • Why not look at animals? by Anat Pick
  • When Lulu met the Centaur: Photographic traces of creaturely love by Dominic Pettman
  • Tasmanian tigers and polar bears: The documentary moving image and (species) loss by Belinda Smaill
  • Cinematic slowness, political paralysis?: Animal life in ‘Bovines’, with Deleuze and Guattari by Laura McMahon
  • Horseplay: Equine performance and creaturely acts in cinema by Stella Hockenhull
  • Cows, clicks, ciphers, and satire by Tom Tyler

Book reviews:

(edited by Lavinia Brydon and Alena Strohmaier [NECS Publication Committee])

  • Television studies reloaded: From history to text review by Massimo Scaglioni
  • The documentary film book review by Malin Wahlberg 
  • Storytelling in the media convergence age: Exploring screen narratives review by Emre Caglayan
  • Education in the school of dreams: Travelogues and non-fiction films review by Adam Freeman

Festival reviews:

(edited by Marijke de Valck and Skadi Loist [Film Festival Research Network])
  • Dossier: International Film Festival Rotterdam 2015 edited by Marijke de Valck
  • Dispatches from the dark: A conversation with Neil Young at the International Film Festival Rotterdam 2015 by Daniel Steinhart
  • Hollywood legacies and Russian laughter: Le Giornate del Cinema Muto / Pordenone Silent Film Festival 2014 review by Gert Jan Harkema
  • We can haz film fest!: Internet Cat Video Festival goes viral review by Diane Burgess

Exhibition reviews:

(edited by Miriam De Rosa and Malin Wahlberg [NECS Publication Committee])
  • Too much world: A Hito Steyerl retrospective review by Paula Albuquerque
  • McMansion of media excess: Ryan Trecartin’s and Lizzie Fitch’s SITE VISIT review by Lisa Åkervall
  • Reaching out!: Activating space in the art of Olafur Eliasson review by Olivia Eriksson
  • David Reeb: Traces of Things to Come review by Leshu Torchin


PARTICIPATIONS 12. 1, May 2015

All the below contents are linked to here: http://www.participations.org/Volume%2012/Issue%201/contents.htm


Editorial: Barker, Martin (Editor): 'Thinking differently about "censorship"''


Articles

Themed Section 1: 'Theatre Audiences' (Guest editors: Matthew Reason and Kirsty Sedgman)

Themed Section 2: 'Tweeting the Olympics: International broadcasting soft power and social media' (Guest editors: Marie Gillespie and Ben O'Loughlin)


Themed Section 3: 'EIFAC 2014' (Guest editors: Lesley-Ann Dickson)


Reviews

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Thứ Hai, 16 tháng 9, 2013

FILMICON: The New Journal That Will Launch a Thousand (Plus) Greek Film Studies


Film Studies For Free is delighted to announce the launch of Filmicon: Journal of Greek Film Studies. A peer-reviewed, open access and cross-cultural project, its mission (excerpted from, below) is a refreshing, important and timely one, indeed.

The lively and original contents of its first issue are also linked to below. FSSF would particularly like to flag up Olga Kourelou's brilliantly useful English-language bibliography on Greek Cinema (2010-13), which contains links to numerous online and open access items of further interest, and Deb Verhoeven's excellent study of the Greek film circuit in Australia

FSFF wishes Filmicon the very best of luck: Καλὴ τύχη! 

Screen shot of Filmicon's mission


Filmicon: Journal of Greek Film Studies, Issue 1, September 2013 

EDITORIAL: Creating an Open-Access, Cross-cultural Home for Greek Film Studies


ARTICLES
BOOK REVIEWS

FILM REVIEWS

BIBLIOGRAPHY
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    Thứ Tư, 5 tháng 6, 2013

    NECSUS #3 The GREEN Issue

    Frame grab from Shrek 2 (Andrew Adamson, Kelly Asbury and Conrad Vernon, 2004). Read Brady Hammond's article in the new issue of NECSUS, which explores 'green skin' in contemporary Hollywood cinema

    Things have been a little busy in Film Studies For Free's offline universe and so rather quiet in its online one. But it's back with an ecologically sound bang, in the form of some updates about excellent, recent, open access journal issues.

    First up is Issue 3 of NECSUS, the European Journal of Media Studies. Its last issue touched on 'Tangibility’. This time round its focus is on ‘"Greenness" in a broader pallet of media-related issues, from sustainable media production to the use of the colour green in a variety of films.'


    NECSUS #3_Spring 2013_’Green’

    Articles:

    Special Section: Green

    Book Reviews:

    edited by the NECS Publication Committee

    Festival Reviews:

    edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network

    Exhibition + Website + Conference Reviews:
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    Thứ Hai, 28 tháng 1, 2013

    Queer Film Festival Studies

    Click here to visit the full interactive version of the above map.

    As identity-based festivals, queer film festivals have a specific relationship to the audience to which they cater. More specifically, most of these festivals have had a strong connection to the political and social movement behind the lesbian and gay/queer agenda and try to maintain this relationship between cultural event and political framework [...]. Because of this history, queer film festivals have a strong tradition of a nuanced critical inquiry into the interconnections of cultural event management, community politics, nation state politics, funding and marketing strategies, and organizational structures [...]. [From Skadi Loist and Marijke de Valck, 'LGBT / Queer Film Festivals', Film Festival Research Network, last updated November 2012]
    Festivals are the primary markets for international queer film, but they do not simply acquire and screen the films they show; they actually create the economic conditions that enable their production. This is not to imply that queer internationalism is merely inauthentic or commercial and thus without any kind of political viability. Rather, what it indicates is that scholars, activists, and festival directors must begin to look at the economy of queer cultural production as an essential element of queer collectivities and the institutions they form. Conceiving of an international queer community through cultural circulation and consumption begs significant questions about how U.S. audiences understand the role of the festival in defining a gay and lesbian class identity within this global economy. [From Ragan Rhyne, 'The Global Economy of Gay and Lesbian Film Festivals', GLQ: A Journal of Lesbian and Gay Studies, Volume 12, Number 4, 2006]
    As the above two scholarly excerpts indicate, the subject of film festivals is one which raises numerous issues of central importance to cultural studies more generally. For this reason, as well as to celebrate the work of scholars who have shared their findings in particular corner of this field online, Film Studies For Free is delighted to announce that the latest set of links to open access queer film studies that it has created for its sibling Global Queer Cinema website is devoted to the topic of Queer Film Festival Studies. You can visit numerous earlier FSFF entries on film festival studies by clicking here.

    This most recent collection in the GQC Resources section includes a link to the full, interactive, version of the map at the top of this entry, created by pioneering film festival scholar Skadi Loist (co-founder, with Marijke de Valck,  of the Film Festival Studies Network), which shows 256 LGBT/queer film festivals existing globally since 1977.

    For live-link access to all the below resources, please visit this webpage.

    • Chris Berry, 'My Queer Korea: Identity, Space, and the 1998 Seoul Queer Film & Video festival', Intersections: Gender, History and Culture in the Asian Context, Issue 2, May 1999
    • Noa Ben-Asher, 'Screening Historical Sexualities: A Roundtable on Sodomy, South Africa, and Proteus',Pace Law Faculty Publications, 2005. Paper 589
    • Kaucyila Brooke, 'Dividers and Doorways [on the locational politics of Los Angeles's Gay and Lesbian film festival]', Jump Cut, no. 42, December 1998, pp. 50-57
    • Phillip B. Cook, 'Gay Sundance 2013: The Year Ahead in Independent Queer Cinema', The Blog, Huff Post Gay Voices, January 17, 2013
    • Michael Guillén, The Evening Class blog, 2006-present
    • Mel Hogan, '21 years of image & nation: legitimizing the gaze', Nouvelles «vues» sur le cinéma québécois, no. 10, Hiver 2008-2009
    • Jamie June, 'Is it Queer Enough?: An Analysis of the Criteria and Selection Process for Programming Films within Lesbian, Gay, Bisexual, Transgender, and Queer Film Festivals in the United States', MA Thesis, University of Oregon, August 2003
    • Alice Kuzniar, 'Schwul-lesbisches Kino aus Deutschland', in: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg, ed. by Dorothée von Diepenbroick and Skadi Loist (Hamburg: Maennerschwarm Verlag, 2009)
    • Hui-Ling Lin, Bodies in Motion: The Films of Transmigrant Queer Chinese Women Filmmakers in Canada, PhD Thesis, University of British Columbia, 2011
    • Skadi Loist, 'Precarious cultural work: about the organization of (queer) film festivals', Screen, 52.2, 2011
    • Skadi Loist and Marijke de Valck (2010). “Film Festivals / Film Festival Research: Thematic, Annotated Bibliography: Second Edition.” Medienwissenschaft / Hamburg: Berichte und Papiere 91 (2010). (19. May. 2010 (sections: 1. Film Festivals: The Long View; 2. Festival Time: Awards, Juries and Critics; 3. Festival Space: Cities, Tourism and Publics; 4. On the Red Carpet: Spectacle, Stars and Glamour ; 5. Business Matters: Industries, Distribution and Markets; 6. Trans/National Cinemas; 7. Programming; 8. Reception: Audiences, Communities and Cinephiles; 9. Specialized Film Festivals; 10. Publications Dedicated to Individual Film Festivals; 11. Online Resources; Contact / Bio), 2008
    • Skadi Loist, 'Queer Film and the Film Festival Circuit', In Media Res, September 14, 2010
    • Skadi Loist, 'Das Queer Cinema und die Bedeutung lesbisch-schwuler Filmfestivals: Monika Treut im Interview mit Skadi Loist'n: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg. Eds. Dorothée von Diepenbroick, and Skadi Loist. Hamburg: Männerschwarm, 2009. pp. 12–20
    • Skadi Loist and Marijke de Valck, 'Film Festival Studies: An Overview of a Burgeoning Field', in: Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova and Ragan Rhyne. St. Andrews: St. Andrews Film Studies, 2009. pp. 179–215
    • Scott McKinnon, 'Taking the Word ‘Out’ West: Movie Reception and Gay Spaces', Participations, Volume 7, Issue 2 (November 2010) 
    • Kelly McWilliam, 'We're Here All Week': Public Formation and the Brisbane Queer Film Festival. Queensland Review 14(2), 2007:pp. 79-91
    • Jenni Olson, 'Film Festivals', GLBTQ: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture. 2002. 24 February 2007
    • Ricardo Peach, Queer Cinema as a Fifth Cinema in South Africa and Australia, PhD Thesis, University of Technology, Sydney 2005
    • Renee Penney, Desperately Seeking Redundancy? Queer Romantic Comedy and the Festival Audience, PhD Thesis, University of British Columbia, 2010
    • Mel Pritchard, 'the big queer film festival list', QueerFilmFestivals.org
    • Marc Siegel, 'Spilling Out onto Castro Street', Jump Cut No. 41 (May), 1997
    • Amy Watson, Being Inappropriate: Queer Activism in Context, MA Thesis, Central European University 2009
    • Gerald J. Z. Zielinski, Furtive, Steady Glances: On the Emergence and Cultural Politics of Lesbian and Gay Film Festivals, PhD Thesis, McGill University, August 2008
    • Ger Zielinski, 'On the production of heterotopia, and other spaces, in and around lesbian and gay film festivals', Jump Cut, No 54, Fall 2012
    • Ger Zielinski, '"Queer Film Festivals." LGBTQ America Today: An Encyclopedia. Eds. John C. Hawley, and Emmanuel S. Nelson. Westport, CT: Greenwood Press, 2009. pp. 980–984
    • Ger Zielinski in Conversation with Stephen Kent Jusick, Executive Director of MIX Festival of Queer Experimental Film and Video, FUSE Art Culture Politics (summer issue, 2010), pp. 16-23 

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    Chủ Nhật, 7 tháng 10, 2012

    New JUMP CUT: gender, globalization, Third Cinema, history, political activism, racial representation, cinematic form, melodrama, genre, new media, and media institutions

    Frame grab from La nación clandestina/The Hidden Nation (Jorge Sanjinés, 1989). Read a great selection of new and translated articles on this Bolivian filmmaker among the numerous essays just published in the latest issue of JUMP CUT
    Film Studies For Free welcomes with wide open e-arms the fabulous new issue of JUMP CUT. Just look at all that high quality content, the links to which stretch out below, almost as far as the mouse can scroll.  

    JUMP CUT truly goes from strength to strength with its focus on contemporary and international cinema, media, aesthetics, reception and politics. FSFF hasn't digested the entire issue yet, but so far particularly likes the dossier on Third Cinema filmmaker Jorge Sanjinés, Ian Murphy's article on two films by Claire Denis, and Diane Waldman's very thoughtful review of Vicki Callahan's important edited collection, Reclaiming the Archive: Feminism and Film History together with Suzanne Leonard's great study of Fatal Attraction.

    Its brilliant and hardworking editors -- John Hess, Chuck Kleinhans and Julia Lesage -- deserve our admiration and sincere thanks for all the excellent, politically and ethically engaged research they help to bring into the public domain in our disciplines. Their stance and efforts are as crucial now as they have ever been.

    Finally, in the week that brought the very sad news of the death of Octavio Getino, best known for co-founding, along with Fernando Solanas, the Grupo Cine Liberación as well as for elaborating with Solanas and others the notion of Third Cinema, and in memory of this great film theorist and practitioner, interested readers might like to be reminded of FSFF's earlier related entries (see below), which contain links to numerous, past JUMP CUT offerings, and also check out Michael Chanan's tribute to Getino and historian Eric Hobsbawm here.


    THE FIRST WORD
    ASIAN CINEMA AND TV DRAMA
    • “Family” in Li Yang’s Blind Shaft and Blind Mountain by Amanda Weiss. A look at globalization and the family in Li Yang's migrant films Blind Shaft (2003) and Blind Mountain (2007).
    • Migrant workers, women, and China’s modernization on screen 
by Jenny Kwok Wah Lau.
 Even though China's migrant workers constitute the biggest human migration in the world at this time the life circumstances of these workers receive little attention in Chinese cinema. This article explores how visual media, including installation arts, documentary films, and narrative films expose the often neglected issues of women migrants.
    • Defining the popular auteur, or what it means to be human within the machine 
by Caroline Guo.
 Review of Director in Action: Johnnie To and the Hong Kong Action Film by Stephen Teo. 
Stephen Teo tackles Johnnie To’s multifaceted role in the Hong Kong film industry: this review picks up where his monograph leaves off to grapple with the filmmaker’s ongoing evolution and rethink the notion of the “popular auteur.”
    • Negotiating censorship: Narrow Dwelling as social critique
 by Wing Shan Ho.
 Housing crisis and extra-marital affair—this essay explores how the TV drama Narrow Dwelling skillfully critiques social inequalities under the censor’s eye.
    • Digital pleasure palaces: Bollywood seduces the global Indian at the multiplex 
by Manjunath Pendakur. 
Malls, multiplexes and digital cinemas are symbols of the fast-modernizing, neoliberal India of the 21st century and, in these turbulent conditions, Bollywood is expanding its audiences at home and abroad while the political-economic-technological changes have resulted in new conflicts and a reshaping of the film industry's internal structure and operation.
    • Chokher Bali: a historico-cultural translation of Tagore
 by Srimati Mukherjee
. Bengali director Rituparno Ghosh challenges the moribund aspects of cultural tradition and shows that mobilization in and out of the “fixed” space of the widow is possible.
    LATIN AMERICAN MEDIA
    Articles on Bolivian filmmaker, Jorge Sanjinés
    • Andean realism and the integral sequence shot 
by David M.J. Wood. 
Bolivian filmmaker Jorge Sanjinés’ radical film theory and praxis: an Andean take on the critique of mainstream cinema and the redemptive power of realism.
    • The impossibility of mestizaje in The Hidden Nation: 
emblematic constructions in the cinema of Jorge Sanjinés
 by Alber Quispe Escobar, translated with explanatory notes by Keith John Richards.
    • The all-encompassing sequence shot
by Jorge Sanjinés, translated by Cecilia Cornejo and Dennis Hanlon.
Jorge Sanjinés' 1989 essay explains the development of the "Andean sequence shot" and why it is consonant with indigenous Andean concepts of community and time. A key piece of Third Cinema theory never before translated into English.
    • The “new” and the “old” in Bolivian cinema
 by Verónica Córdova S., translated by Amy L. Tibbitts. 
Verónica Córdova S. remarks on the motivations of the New Latin American Cinema movement of the 60s as contrasted with current trends and concerns of present-day Bolivian filmmakers. Using the films of Jorge Sanjinés as a model, Córdova explains how new technological advances in filmmaking are influencing Bolivian film production, while, hopefully, remaining in dialogue with the past generation of filmmakers.
    • A cinema of questions: a response to Verónica Córdova 
by Martín Boulocq, translated by Amy L. Tibbitts. 
Martín Boulocq responds to Verónica Córdova's comments regarding the motivation of past and present Bolivian filmmakers, offering an entirely unique perspective on what motivates filmmakers to make films.
    • Insurgentes: the slight return of Jorge Sanjinés 
by Keith John Richards.
 Jorge Sanjinés’ most recent film, Insurgentes, has aroused differences of opinion within Bolivia; this review examines the film in the context of recent developments in the country.
    THEMES IN HOLLYWOOD AND OTHER CINEMAS
    1. Race/ethnicity
    2. The Mideast
    3. History
    4. Institutions: Law, Production, Exhibition
    5. Queering the entertainment
    DOCUMENTARY
    EXPERIMENTAL and NEW MEDIA
    CRITICAL ANALYSES
    THE LAST WORD
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    Chủ Nhật, 27 tháng 11, 2011

    New Todd Haynes' Masterclass

    Todd Haynes' masterclass given on November 12, 2011, on the occasion of a retrospective of his films at the XIIth Queer Film Festival MEZIPATRA in Prague. Coproduced by MEZIPATRA, MIDPOINT and FAMU. Todd Haynes speaks about all his films with the Variety critic Boyd Van Hoeij.

    Film Studies For Free heard about the above, enjoyable and hugely insightful video thanks to San Francisco based film critic Michael Guillén.

    FSFF has a longstanding soft spot for Haynes, a great filmmaker whose work has a compelling relationship with film theory, as well as with Film Studies as a discipline, as the above video indicates time and again.

    Interested readers can find earlier FSFF entries on Haynes (with links to lots of online studies of his works) here and here, and also on queer film theory here.
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    Thứ Năm, 10 tháng 11, 2011

    The Future of Cinema: Discussion with David Bordwell, Simon Field, Andréa Picard and Alan Franey



    A very quick post at Film Studies For Free today to bring you a fascinating futurological film and film studies resource: the video of a very well informed panel discussion on where cinema is going.

    It features, among others, film scholar extraordinaire David Bordwell, who, as a phenomenal researcher of (practically) the entirety of cinema's past and present, is definitely one of the best qualified people in the world to comment on cinema's future.

    The video is a must see if you're interested in the future of film technologies of production and especially of distribution and exhibition. It is part of the 2011 Vancouver International Film Festival collection at Vimeo.

    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 Hai, 8 tháng 8, 2011

    Latest five volumes of REFRACTORY: A Journal of Entertainment Media




    Frame grab from Spider (David Cronenberg, 2002). Read Samatha Lindop's 2011 article on this film here. For another interesting, psychiatrically-informed account of Cronenberg's film, see here

    Thanks to Adrian Martin (whose video version of his Ritwik Ghatak talk is now online, by the way), Film Studies For Free heard about the latest issue of the online Australian journal Refractory: A Journal of Entertainment Media. And thanks to that, FSFF realised it hadn't really mentioned an issue of Refractory since Volume 14, 2009 in its entry on "Split Screens". So, below are direct links to all of the contents of this great journal since that issue. And FSFF promises not to be quite so pommily slow next time this journal publishes one of its characteristically excellent collections of film and media studies...

    Refractory, Volume 19, 2011
    1. Blockbusters for the YouTube Generation: A new product of convergence culture – Kristy Hess and Lisa Waller

    2. ‘Out wiv the old ay plumma?’ The Uncanny Marginalized Wastelands of Memory and Matter in David Cronenberg’s Spider – Samantha Lindop

    3. A Moving Image Experience: Il Cinema Ritrovato, Bologna, June-July, 2010 – Wendy Haslem

    4. “A series of emotional remembrances”: Echoes of Bernard Herrmann -Daniel Golding

    5. Don Draper On The Couch: Mad Men and the Stranger to Paradise – Mark Nicholls

    Refractory, Volume 18, 2011
    1. Editorial: Transitions in Popular Culture – Matthew Sini and Angie Knaggs  

    2. “Never my soul”: Adaptations, Re-makes and Re-imaginings of Yeşilçam Cinema – Can Yalcinkaya  

    3. Looking Past Seeing: Imaginative Space and Empathetic Engagement in The Treasure of the Sierra Madre and There Will Be Blood – Elliott Logan

    4. Struggling to find their place: Indigenous youth, identity, and storytelling in Beneath Clouds and Samson and Delilah – Samantha Fordham

    5. Transgeneric Tendencies in New Queer Cinema – Matthew Sini

    6. Before Priscilla: Male-to-Female Transgender in Australian Cinema until the 1990s – Joanna McIntyre

    7. From Night and Day to De-Lovely: Cinematic Representations of Cole Porter – Penny Spirou

    8. (Em)Placing Prison Break: Heterotopic Televisual Space and Place – Angie Knaggs

    9. “Think Smart”: multiple casting, critical engagement and the contemporary film spectator – Nicole Choolun

    Refractory, Volume 17, 2010
    1. From Cult Texts to Authored Languages: Fan Discourse and the Performances of Authorship – Karolina Agata Kazimierczak

    2. The Pinball Problem – Daniel Reynolds

    3. The Invisible Medium: Comics Studies in Australia – Kevin Patrick

    4. Acculturation of the ‘Pure’ Economy: Sci Fi, IT and the National Lampoon – Rock Chugg

    5. Subversive Frames: Vermeer And Lucio Fulci’s SETTE NOTE IN NERO – Alexandra Heller-Nicholas

    6. Ringu/ The Ring: Tracing the Analog Spirit in a Digital Era – Michael Fisch

    7. Keaton and the Lion: A Critical Re-evaluation of The Cameraman, Free and Easy and Speak Easily – Anna Gardner

    8. Rosy-Fingered Dawn: The Natural Sublime in the work of Terrence Malick – Dimitrios Latsis

    Refractory, Volume 16, 2009
    1. Editorial ‘All Your Base Are Belong to Us’: Videogames and Play in the Information Age : Tom Apperley and Justin Clemens

    2. A Critique of Play – Sean Cubitt

    3. ‘The code which governs war and play’: Computer games, sport and modern combat – Jeff Sparrow

    4. Being Played: Games Culture and Asian American Dis/identifications – Dean Chan

    5. “I’m OK”: How young people articulate ‘violence’ in videogames – Gareth Schott

    6. How to Do Things With Images – Darshana Jayemanne

    7. Myths of Neoconservatism and Privatization in World of Warcraft – Kyle Kontour

    8. Babelswarm -Justin Clemens, Christopher Dodds and Adam Nash

    Refractory, Volume 15, 2009

    Double Issue: General Issue and Television Issue, Editors: Angela Ndalianis and Lucian Chaffey
    1. Reality is in the performance’: Issues of Digital Technology, Simulation and Artificial Acting in S1mOne – Anna Notaro

    2. The Neo-baroque in Lucha Libre - Kat Austin

    3. Ryan Is Being Beaten: Incest, Fanfiction, and The OC – Jes Battis

    4. Mobile Content Market: an Exploratory Analysis of Problems and Drivers in the U.S. – Giuseppe Bonometti, Raffaello Balocco, Peter Chu, Shiv Prabhu, Rajit Gadh

    5. Televisual control: The resistance of the mockumentary – Wendy Davis

    6. The Classic Hollywood Town at the Dawn of Suburbia - Stephen Rowley

    7. Digital Intervention: Remixes, Mash Ups and Pixel Pirates – Amanda Trevisanut

    8. The Bill 1984 – 2009: Genre, Production, Redefinition - Margaret Rogers

    9. Guiding Stars – Carly Nugent

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    Thứ Tư, 27 tháng 4, 2011

    New Issue of Screening the Past

    Image from The Party (Blake Edwards, 1968). Read Charles Barr's article on this film, reprinted in issue 30 of Screening the Past
    Film Studies For Free rushes you news, via Adrian Martin, that not only has Screening the Past, that wonderful, A* rated, online journal of screen history, theory and criticism, posted its latest issue, but it has changed URL, and is in the process of upgrading its website.

    All the new contents are listed below. FSFF hasn't read everything yet, but is enjoying STP's tributes to Blake Edwards, as well as the Open Access reprint of Chris Berry's wonderful essay China’s New “Women’s Cinema”.

    First Release

    Tribute to Blake Edwards

    Classics and Re-runs

    Reviews

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    Thứ Hai, 14 tháng 2, 2011

    Film Festival Studies Redux

    Thai filmmaker Apichatpong Weerasethakul enjoys some festival fun as he receives the 2010 Palme D'Or for his film Uncle Boonmee Who Can Recall His Past Lives at the Cannes Film Festival

    Film Studies For Free has been catching up with some great resources lately. One set which should really not pass its readers by is In Media Res's recent collection of work on 'Diversity of Film Festivals in East Asia' curated by Dina Iordanova and Ruby Cheung. All items are linked to directly below.

    Here's a little excerpt from Iordanova and Cheung's curators' note:
    Like their counterparts in the West, film festivals in East Asia have proliferated [...]. While the oldest festival in the region, the Asia-Pacific Film Festival, has been running since 1954, many younger ones have come into being in the 1990s and 2000s; at least four new festivals came into being in 2010, and a new festival in China’s capital will have its inaugural edition later in 2011. Are these festivals just mimicking the West? Red carpet glamour is not solely confined to the most important A-list film festivals in the West, its symbolism has been taken up by high profile festivals like those in Pusan and Shanghai [...]. Their booming film markets that take place in parallel here bring together filmmakers, buyers and sellers from around the world to establish networks and carry out intra-Asia transactions that successfully bracket out Hollywood. The West is only just beginning to wake up to the importance of these film festivals to global film distribution.

    Not only are there some fascinating considerations of these issues in prose but, as is In Media Res's wont,  there are some fantastic video resources, too - valuable work, indeed.

    For more on festivals, do please check out an earlier FSFF post on Film Festival Studies and have a read of the following assorted, high quality studies:
    And for some more inspiring viewing watch
    • Researchers' Tales: Richard Dyer (8 Mar 2010): The writer and academic discusses his instrumental role in the creation of the BFI London Lesbian and Gay Film Festival, one of the world's most prestigious celebrations of queer cinema.
    In Media Res: 'Diversity of Film Festivals in East Asia'

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