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

• In search of ‘Sauve la vie (qui peut)’ by Michael Witt
• Oppositional banality: Watching ordinary Muslims in ‘Little Mosque on the Prairie’ by Jenifer Chao
• Dancing in the sun: The musical as touristic hook in ‘Honeymoon’ by Lidia Merás and Sarah Wright
• Feminist film studies 40 years after ‘Visual Pleasure and Narrative Cinema’, a triologue by Laura Mulvey, Anna Backman Rogers, and Annie van den Oever

Audiovisual essays:

• The audiovisual essay as art practice: An introduction by Cristina Álvarez López and Adrian Martin
• Carnal Locomotive by Catherine Grant
• Club Video by Philip Brophy

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

• Bergström, Annika: ‘The contexts of internet use: From innovators to late majority’
• Knight, Victoria: ‘Television, emotion and prison life: Achieving personal control’ 
• Matikainen, Janne: ‘Motivations for content generation in social media’ 
• Reinhard, CarrieLynn D. and Kevin Miller: ‘Men watching Sex and the City, My Little Pony, and Oklahoma: The interpretation of gender appropriateness in the reception of cross-gendered media products’
• Wroot, Jonathan: ‘Reviewing distinctive DVD experiences: NEO Magazine and the critical reception of Asian media distributors’
• Chambers, Amy C. and R. Lyle Skains: ‘Scott Pilgrim vs. the multimodal mash-up: Film as participatory narrative’

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

• Reason, Matthew and Kirsty Sedgman: ‘Editors’ general introduction: Themed Section on theatre audiences’
• Sedgman, Kirsty: Introduction to Part 1: ‘Be reasonable! On institutions, values, voices’
• Wilkinson, Julie: ‘Dissatisfied ghosts: Theatre spectatorship and the production of cultural value’
• Hadley, Bree: ‘Participation, politics and provocations: People with disabilities as non-conciliatory audiences’
• Schuitema, Karian: ‘A provocation: Researching the diverse child audience in the UK’
• Richardson, John M.: ‘Live theatre in the age of digital technology: “Digital habitus” and the youth live theatre audience’
• Pasquier, Dominique: ‘“The Cacophony of Failure”: Being an audience in a traditional theatre’
• Lindelof, Anja Mølle and Louise Ejgod Hansen: ’Talking about theatre: Audience development through dialogue’ 
• Johanson, Katya and Hilary Glow: ‘A virtuous circle: The positive evaluation phenomenon in arts audience research’
• Reason, Matthew: Introduction to Part 2: ‘Participations on Participation: Researching the “active” theatre audience’ 
• Gomme, Rachel: 
• ‘Not-so-close encounters: Searching for intimacy in one-to-one performance’
• Biggin, Rose: ‘Reading fan mail: Communicating immersive experience in Punchdrunk’s Faust and The Masque of the Red Death’ 
• Wozniak, Jan: ‘The value of being together? Audiences in Punchdrunk’s The Drowned Man’
• Wilson, Anna: ‘“Playing the Game”: Authenticity and invitation in Ontroerend Goed’s Audience’ 
• Gröschel, Uwe: ‘Researching audiences through Walking Fieldwork’
• Breel, Astrid: ‘Audience agency in participatory performance: A methodology for examining aesthetic experience’

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

• Gillespie, Marie and Ben O’Loughlin: ‘Editorial Introduction: International news, social media and soft power: The London and Sochi Olympics as global media events’
• Burchell, Kenzie and Ben O’Loughlin, Marie Gillespie and Eva Nieto McAvoy: ‘Soft power and its audiences: Tweeting the Olympics from London 2012 to Sochi 2014’ 
• Dennis, James, Marie Gillespie and Ben O’Loughlin: ‘Tweeting the Olympics: Towards a methodological framework for Big Data analysis of audience engagement during global media events’
• Procter, Rob, Alex Voss and Ilia Lvov: ‘Audience research and social media data: Opportunities and challenges’
• Willis, Alistair, Ali Fisher and Ilia Lvov: ‘Mapping networks of influence: Tracking Twitter conversations through time and space’
• Shreim, Nour: ‘Tweeting the Olympics: Transcending national, religious and gender identities on BBC Arabic’
• Voss, Alex and Marzieh Asgari-Targhi: ‘The inescapable history and politics of Anglo-Iranian relations: Audience engagement with BBC Persian on social media during the London 2012 Olympics’
• Aslan, Billur, James Dennis and Ben O’Loughlin: ‘Balding goes trolling? Cross-media amplification of controversy at the 2012 Olympics’ 
• Aslanyan, Anna and Marie Gillespie: ‘The Russian-language Twittersphere, the BBC World Service and the London Olympics’
• Hutchings, Stephen Marie Gillespie, Ilya Yablokov, Ilia Lvov and Alexander Voss: ‘Staging the Sochi Winter Olympics 2014 on Russia Today and BBC World News: From soft power to geopolitical crisis’ 
• Burchell, Kenzie: ‘Infiltrating the space, hijacking the platform: Pussy Riot, Sochi protests, and media events’

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

• Dickson, Lesley-Ann: ‘Section Introduction: Edinburgh International Film Audiences Conference, 2014’
• Ateşman, Özge Özdüzen: ‘The Politicisation and “Occupy”sation of the Istanbul Film Festival Audience’
• Dickson, Lesley-Ann: ‘“Ah! Other Bodies!”: Embodied spaces, pleasures and practices at Glasgow Film Festival’
• Martinez, Josu, Miriam Frances, Katixa Agirre and Miren Manias-Muñoz: ‘Zinegin Basque film festival: A non-existent audience revealed’
• Ralph, Sarah and Martin Barker: ‘What a performance! Exploring audiences’ responses to film acting’
• Saryusz-Wolska, Magdalena: ‘Watching films in the ruins: Cinema-going in early post-war Berlin’

Reviews

• Burland, Karen and Stephanie Pitts (eds.): Coughing and Clapping: Investigating Audience Experience (reviewed by Rose Biggin)
• Radbourne, Jennifer, Hilary Glow and Katya Johanson (eds.): The Audience Experience: A Critical Analysis of Audiences in the Performing Arts (reviewed by Kirsty Sedgman)

New CINEPHILE 8.2 on Contemporary Extremism

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

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

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

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

Articles

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

Report

• 'Extreme Vancouver' by Chelsea Birks and Dana Keller

LARGE PDF of whole issue

On Embodiment and the Body: New Issue of CINEMA: Journal of Philosophy and the Moving Image

Above, a recording of composer Simon Fisher Turner and sound artist Black Sifichi's live performance of SFT's score for Derek Jarman's 1994 film Blue at Glasgow's Tramway Theatre in 2008.  Below, a brief excerpt from Vivian Sobchack's article 'Fleshing out the image: Phenomenology, Pedagogy, and Derek Jarman's Blue', CINEMA: Journal of Philosophy and the Moving Image, No. 3 (2012) PDF]

Today, most graduate students are in such a hurry to “professionalize” and “talk the talk” of their disciplines that they often forget to attend to their own experience of “seeing” and “listening” — or they devalue it. Instead, they rush to quote others, and describe their objects of study through a range of “floating signifiers” that tend to overdetermine and foreclose their objects and their descriptions before the latter have even really begun. Hermeneutically sophisticated yet overly dependent upon “received knowledge,” these students are also secretly insecure and worried that everyone else ‘knows’ more than they do — and intellectually aware of “the death of the subject,” they are highly suspicious of their own “subjective” experience. They ignore, mistrust, and devalue it as trivial, mistaken, or irrelevantly singular — this last, a false, indeed arrogant, humility that unwittingly rejects intersubjectivity, sociality, and culture. Thus, ignoring the apodicticity (or initial certainty) and presence of their own lived-bodies engaged in being-in-the-world (and in the cinema), their thought about the world (and cinema) has no existential ground of its own from which to empirically proceed. Phenomenological inquiry affords redress to this contemporary situation: it insists we dwell on the ground of experience before moving on to more abstract or theoretical concerns, that we experience and reflect upon our own sight before we (dare I pun?) cite others. [From Vivian Sobchack, 'Fleshing out the image: Phenomenology, Pedagogy, and Derek Jarman's Blue', CINEMA: Journal of Philosophy and the Moving Image, No. 3 (2012) PDF]

Happy new year to all of Film Studies For Free's readers! FSFF has unfortunately been slowed up in its efforts to bring you its list of Best Online Film Studies Resources in 2012. That should now be published around the end of next week.

But, in the meantime, there are a few new journal-issues to catch up with, including a strong contender for the category of Best Single Issue of an Online Film Studies Journal in 2012: the below, latest offering from CINEMA: Journal of Philosophy and the Moving Image on Embodiment and the Body. And, in this blog's humble opinion, Vivian Sobchack's article, from which FSFF has cited above, would be a shoo-in for Best and certainly most important 2012 Article...

CINEMA: Journal of Philosophy and the Moving Image, No. 3 (2012) PDF

EMBODIMENT AND THE BODY edited by Patrícia Silveirinha Castello Branco

• EDITORIAL: CINEMA, THE BODY AND EMBODIMENT, 1-9 PDF 
• ABSTRACTS, 10-18 PDF

Articles

• FLESHING OUT THE IMAGE: PHENOMENOLOGY, PEDAGOGY, AND DEREK JARMAN’S BLUE, 19-38 PDF  by Vivian Sobchack
• SEDUCTION INCARNATE: PRE-PRODUCTION CODE HOLLYWOOD AND POSSESSIVE SPECTATORSHIP, 39-61 PDF by Ana Salzberg 
• A PHENOMENOLOGY OF RECIPROCAL SENSATION IN THE MOVING BODY EXPERIENCE OF MOBILE PHONE FILMS, 62-83 PDF by Gavin Wilson
• CINEMA OF THE BODY: THE POLITICS OF PERFORMATIVITY IN LARS VON TRIER’S DOGVILLE AND YORGOS LANTHIMO’S DOGTOOTH, 84-108 PDF by Angelos Koutsourakis
• THE BODY OF IL DUCE: THE MYTH OF THE POLITICAL PHYSICALITY OF MUSSOLINI IN MARCO BELLOCCHIO’S VINCERE, 109-123 PDF by Marco Luceri
• EIJA-LIISA AHTILA: THE PALPABLE EVENT, 124-154 PDF byAndrew Conio
• UPSIDE-DOWN CINEMA: (DIS)SIMULATION OF THE BODY IN THE FILM EXPERIENCE, 155-182 PDF by Adriano D’Aloia 
• EMBODYING MOVIES: EMBODIED SIMULATION AND FILM STUDIES, 183-210 PDF by Vittorio Gallese and Michele Guerra 
• EXISTENTIAL FEELINGS: HOW CINEMA MAKES US FEEL ALIVE, 211-228 PDF by Dina Mendonça 
• THE BODY AS INTERFACE: AMBIVALENT TACTILITY IN EXPANDED RUBE CINEMA, 229-253 PDF by Seung-hoon Jeong

Interview

• A PROPOS D’IMAGES (A SUIVRE): ENTRETIEN AVEC MARIE-JOSE MONDZAIN [FR.], 254-271 PDF Conducted by Vanessa Brito

Conference Reports

• CONFERENCE ROUND-UP SUMMER 2012: POWERS OF THE FALSE (INSTITUT FRANÇAIS, LONDON, 18-19 MAY), SCSMI CONFERENCE (SARAH LAWRENCE COLLEGE/NYU, NEW YORK, 13-16 JUN.), FILM-GAME-EMOTION-BRAIN (UNIVERSITY OF AMSTERDAM, 14-21 JUL.), AND FILM-PHILOSOPHY CONFERENCE (QUEEN MARY – UNIVERSITY OF LONDON/ KING’S COLLEGE LONDON/KINGSTON UNIVERSITY, 12-14 SEPT.), 272-283 PDF by William Brown

Special Section

• CÍRCULOS E POÉTICAS EM FILMES LITERÁRIOS DE FERNANDO LOPES, 284-300 PDF by Eduardo Paz Barroso

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:

• The relocation of cinema by Francesco Casetti
• MP3s, rebundled debt, and performative economics: Deferral, derivatives, and digital commodity fetishism in Lady Gaga’s spectacle of excess by Anne Kustritz
• Can you see yourself living here?: Structures of desire in recent British lifestyle television by James Zborowski
• Investigatory art: Real-time systems and network culture by Edward Shanken
• Beyond cognitive estrangement: The future of science fiction cinema by Stephen Zepke
• The care for opacity: On Tsai Ming-Liang’s conservative filmic gesture by Erik Bordeleau

Special Section: Tangibility

• Material properties of historical film in the digital age by Barbara Flueckiger
• Early cinema’s touch(able) screens: From Uncle Josh to Ali Barbouyou by Wanda Strauven
• Aporias of the touchscreen: On the promises and failures of a ubiquitous technology by Timo Kaerlein
• Questions of embodied difference: Film and queer phenomenology by Katharina Lindner
• The intangible ground: A neurophenomenology of the film experience by Adriano D’Aloia
• From subject-effect to presence-effect: A deictic approach to the cinematic by Pepita Hesselberth
• ‘The last ray of the dying sun’: Tacita Dean’s commitment to analog media as demonstrated through FLOH and FILM by Caylin Smith

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

• The Angels’ Share at the 2012 Cannes Film Festival review by David Archibald
• The 37th annual Toronto International Film Festival: Seeking the social in the virtual review by Sarah Dillard
• Alternative Film/Video Belgrade 2011 review by Maja Krajnc

Book Reviews:

• The good, the beautiful and the sublime review by Bavand Behpoor
• A multiplied medium: Reviewing recent publications on television’s transitions review by Markus Stauff
• European nightmares: Horror cinema in Europe since 1945 review by Francesco Di Chiara
• Cinema and experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno review by Malte Hagener

Exhibition Reviews:

• The Abramović Method, PAC Padiglione d’Arte Contemporanea, Milan (March-June 2012) review by Elena Biserna
• Non Non Non – Visiting the exhibition with Yervant Gianikian and Angela Ricci Lucchi review by Miriam De Rosa

Cinema, Experience, Vernacular Modernism: More on the Work of the late Miriam Bratu Hansen

Viewing (10:33): Miriam Bratu Hansen on her work, "Post-Cinema", and much else

"Miriam Bratu Hansen (1949–2011) was one of the great film scholars of our time.  She was also a friend and colleague to us at Critical Inquiry.  In celebration of the newly-published Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno, we are proud to present this short film [above] by Miriam's student Christina Petersen, along with a dossier of five major articles from our archives." [From a note at the Critical Inquiry website to accompany its "Dossier Miriam Hansen"]

"Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno—affiliated through friendship, professional ties, and argument—developed an astute philosophical critique of modernity in which technological media played a key role. [Hansen's last book] explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impressive archive of known and, in the case of Kracauer, less known materials and reveals surprising perspectives on canonic texts, including Benjamin’s artwork essay. Her lucid analysis extrapolates from these writings the contours of a theory of cinema and experience that speaks to questions being posed anew as moving image culture evolves in response to digital technology." [Publisher's note on Miriam Hansen's Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno, University of California Press, 2011]

On February 5, 2011, the hugely distinguished Film Studies scholar Miriam Bratu Hansen passed away. The next day Film Studies For Free published its appreciation of her career with links to other online tributes to her, and to examples of her work online. It is still this website's single most visited entry, a tiny sign of warm esteem in which she was held in our discipline.

Since the publication of her remarkable, final book Cinema and Experience, last year, three further, openly accessible items of great interest have appeared online.

Two of these are part of a Dossier on Hansen put together at the Critical Inquiry website: the above video about Hansen, and a collection of five major articles that Hansen published in that great journal. All are accessible at this webpage.

And you can also read the wonderful first chapter of Cinema and Experience -- on the work of Siegfried Krakauer --  at the University of California Press webpage. 

To further celebrate the above, FSFF has updated its links to useful online discussions or applications of Hansen's work, including, at the foot of this entry, a very recent video presentation.

• Chris Cagle, 'On Vernacular Modernism', Category D: A Film and Media Studies Blog, July 26, 2006
• Desley Deacon, 'World English? How an Australian Invented "Good American Speech"’, In Talking and Listening in the Age of Modernity: Essays on the History of Sound, edited by Damousi, Joy; Deacon, Desley. Canberra: ANU ePress, 2007 
• Desley Deacon, ‘Films as foreign offices’: transnationalism at Paramount in the twenties and early thirties', ‘Films as foreign offices: Transnationalism at Paramount in the twenties and earlythirties’. In Connected Worlds: History in Transnational Perspective, edited by Curthoys, Ann; Lake, 2005
• Alexander Des Forges, 'Shanghai Alleys, Theatrical Practice, and Cinematic Spectatorship: From Street Angel (1937) to Fifth Generation Film', in: Journal of Current Chinese Affairs, 39, 4, 2010: 29-51
• Stephanie Hanson, '“Electrical wonders of the present age”: cinema-going on the Far South Coast of NSW and rural discourses of modernity', Screening the Past, Issue 24, 2009
• Adrian Martin, 'Balance and Linkage : Robert Mulligan's The Man in the Moon', Film Journal, Issue 11
• Allen Meek, 'Benjamin, the televisual and the "fascistic subject", Screening the Past, September 1998
• W.J.T. Mitchell, 'Medium Theory: Preface to the 2003 Critical Inquiry Symposium', Critical Inquiry, Vol. 30, No. 22004-5
• Andrew Nelson, 'Cinema from Attractions: Story and Synergy in Disney’s Theme Park Movies', Cinephile, Vol. 4, Summer 2008
• Justus Nieland, 'Modernism's Laughter', Modernist Cultures, Issue 4, 2009
• Justus Nieland, 'Archives of Modernist Cinephilia', MODERNISM/Modernity, 14(2), 347-355, 2007
• Kyoko Omori, Detecting Japanese Vernacular Modernism: Shinseinen Magazine and the Development of the Tantei Shosetsu Genre, 1920-1931, PhD Thesis, Ohio State University, 2003 
• Pooja Rangan, 'Transitions, Transactions: Bollywood As a Signifying Practice', Sarai Reader 2007: Frontiers 
• Tytti Soila, 'Passion at the threshold: Doctor Glas the flaneur in the films of Rune Carlstén and Mai Zetterling', Journal of Aesthetics and Culture, Vol. 1, 2010
• Kirsten Strayer, Ruins and Riots: Transnational Currents in Mexican Cinema, PhD Thesis, University of Pittsburgh 2009 
• Michael Syrimis , 'From Nestoroff To Garbo: Pirandellian Humour in its Cinematic Vernacular', Quaderni d'italianistica : revue officielle de la Société canadienne, Volume XXIX, No. 2, 2008, 29-52
• Mike Walsh, '[Review of] Zhang Zhen, An amorous history of the silver screen: Shanghai cinema, 1896-1937. Chicago: University of Chicago Press, 2005', Screening the Past, 21, 2007
• Mark Wollaeger, 'Where and When is Modernism: Editing on a Global Scale', Kritika Kultura, 16, 2011 
• Chen Xiangyang, 'Technologizing the Vernacular: Cantonese Opera Films through The Legend of Purple Hairpin', David C. Lam Institute for East-West Studies (LEWI), Working Paper Series, No. 67, September 2007

'Paranoid Hermeneutics as Queer Cinematic Vernacular' by Catherine Grant.
A film studies presentation prepared for the "Queer Cinema and the Politics of the Global" Workshop held at the University of Sussex, May 12, 2012. The Workshop was part of series of events held by the Arts and Humanities Research Council-funded research network GLOBAL QUEER CINEMA based at Sussex, led by Rosalind Galt.

New FILM-PHILOSOPHY on Phenomenology and Psychoanalysis (Herzog, Solondz, Cronenberg, Streitfeld, Eisenstein, Antonioni, Tarkovsky, Zhang Yimou, Forgács)

Frame grab from Stalker (Andrei Tarkovsky, 1979). Read Adrian Ivakhiv's essay on this film in the latest issue of Film Philosophy

And the brilliant, online, film journal issues just keep on coming...

Film Studies For Free is delighted to bring you news of the latest offering from one of the highest quality e-journals of them all - Film-Philosophy.
 
FP, Vol 15, No 1 (2011) is a special issue on Phenomenology and Psychoanalysis, edited by David Sorfa. FSFF particularly liked Adrian Ivakhiv's 'ecocritical' essay which explores Tarkovsky's Stalker, along with Jacqueline Loeb's fine 'Foucauldian' study of sound in Zhang Yimou's Raise the Red Lantern. But there are other excellent contributions, too. 

Readers should also note that it is now possible to donate to the journal. Film-Philosophy is an independent Open Access academic journal operating without recurring financial support. Donations of any amount to the journal are gratefully received and provide a means for the editors to continue to provide a journal of the highest quality to its readers. Just click on the "Donations" link on the FP website.

For those of you who are interested in phenomenological film studies, do take a look, if you haven't already, at FSFF's previous gathering of links to online and openly accessible work on this topic.

Table of Contents 

Articles

• Kate Ince, 'Bringing Bodies Back In: For a Phenomenological and Psychoanalytic Film Criticism of Embodied Cultural Identity'  PDF
• Paula Quigley, 'Undoing the Image: Film Theory and Psychoanalysis ' PDF
• Greg Tuck, 'Sex, Dialectics and the Misery of Happiness' PDF 
• Kohei Furuya, 'Why Is Touch Sometimes So Touching?: The Phenomenology of Touch in Susan Streitfeld’s Female Perversions' PDF 
• Dylan Trigg, 'The Return of the New Flesh: Body Memory in David Cronenberg['s The Fly] and Merleau-Ponty' PDF
• Laszlo Strausz, 'On the River: History as a Palimpsestic Narrative in The Danube Exodus' PDF
• Adrian J. Ivakhiv, 'The Anthrobiogeomorphic Machine: Stalking the Zone of Cinema' PDF
• Julia Vassilieva, 'Between Utopia and Event: Beyond the Banality of Local Politics in Eisenstein'  PDF
• Christine Henderson, 'The Trials of Individuation in Late Modernity: Exploring Subject Formation in Antonioni's Red Desert' PDF  
• William Verrone, 'Transgression and Transcendence in the Films of Werner Herzog' PDF  
• Jacqueline Loeb, 'Dissonance Rising: Subversive Sound in Zhang Yimou's Raise the Red Lantern' PDF

Interviews

• 'Brecht Today: Interview with Alexander Kluge' PDF by Angelos Koutsourakis

Film Festival Reports

• Venice Film Festival 2010: The Mad and the Bad and the Dangerous to Know PDF by John Bleasdale
• Berlin International Film Festival - Berlinale 2011 PDF Alison Elizabeth Frank

Book Reviews

• Mark T. Conard, ed. (2009) The Philosophy of the Coen Brothers PDF by Taylor Benjamin Worley
• Frederick Wasser (2010) Steven Spielberg’s America PDF  by Steven Rybin
• Claire Molloy (2010) Memento; Geoff King (2010) Lost in Translation; Gary Needham (2010) Brokeback Mountain. American Indies Series PDF by John Bleasdale 
• Sidney Gottlieb and Richard Allen, eds. (2009) The Hitchcock Annual Anthology: Selected Essays from Volumes 10-15 PDF by Tifenn Brisset 
• Richard Abel, ed. (2010) Encyclopedia of Early Cinema PDF by Carrie Giunta 
• Jim Ellis (2009) Derek Jarman's Angelic Conversations PDF by Jason Wakefield 
• Christopher Lindner, ed. (2009) The James Bond Phenomenon: A Critical Reader. 2nd Edition PDF by Lucy Bolton

Sensing cinema: phenomenological film and media studies

Image from Ta'm e guilass/Taste of Cherry (Abbas Kiarostami, Iran, 1997)

Film Studies For Free is using all of its searching senses today to bring you lots of links to perceptive film and media studies of the phenomenological kind, or to studies which at least touch meaningfully on issues of phenomenology, perception, and haptics.

Those especially interested in these topics might also like to experience the fascinating Cinesensory website once they've dipped into some of the wonderful, openly-accessible, scholarly resources below:

• Henry Bacon, 'Synthesizing Approaches in Film Theory', The Journal of Moving Image Studies, Volume 4, 2005
  

• Jennifer M Barker, 'Chapter 1: Skin', The Tactile Eye: Touch and the Cinematic Experience (Berkeley: University of California Press, 2009)

• Melinda Barlow, 'Review of TOUCH: SENSUOUS THEORY AND MULTISENSORY MEDIA Laura U. Marks Minneapolis: University of Minnesota Press, 2002', Canadian Journal of Film Studies, Fall 2003
  

• Tammy L. Bennington and Geri Gay, 'Mediated Perceptions: Contributions of Phenomenological Film Theory to Understanding the Interactive Video Experience', Journal of Computer-Mediated Communication 5 (4) June 2000
  

• Martha Blassnigg, 'Review of Documentary Time: Film and Phenomenology by Malin Wahlberg [University of Minnesota Press, Minneapolis, 2008]', Leonardo on-line, July 2008
  

• Jay David Bolter, 'Digital Media and Cinematic Point of View',Telepolis (14.02.1997)

• Havi Carel, 'A phenomenology of tragedy: illness and body betrayal in The Fly', SCAN, vol. 4, number 2 august 2007
  

• Josh Cohen, 'Phenomenology, History and the Image: A Reply to Kathleen Fitzpatrick', Film-Philosophy, vol. 3 no. 11, March 1999
  

• Sarah Cooper, 'Mortal Ethics: Reading Levinas with the Dardenne Brothers', Film-Philosophy, Vol. 11, No. 2, 2007

• Glorianna Davenport and Brian Bradley, 'Everyone's Cinema: Towards the Future of Cinematics', Oberhausen Film Festival - April 28, 199
  

• Trevor G. Elkington, 'Between Order and Chaos: On Peter Greenaway's Postmodern/Poststructuralist Cinema', Film-Philosophy, vol. 8 no. 2, January 2004
  

• Kathleen Fitzpatrick, 'Images of/and the Postmodern', Film-Philosophy, vol. 3 no. 8, February 1999
  

• Daniel Frampton, 'The Way that Movements Speak [on Damnation and Werckmeister Harmonies by Bela Tarr, and Last Resort by Pawel Pawlikowski]', Film-Philosophy, Vol. 5, No. 10, 2001

• Alex Gerbaz, 'Direct Address, Ethical Imagination, and Errol Morris’s Interrotron', Film-Philosophy, Vol. 12, No. 2, December 2008

• Sam B. Girgus, 'Beyond Ontology: Levinas and the Ethical Frame in Film', Film-Philosophy, Vol. 11, No. 2, August 2007
  

• Julien Guillemet, 'Painting/Cinema: A Study on Saturated Phenomena', Film-Philosophy, Vol. 12, No. 2, September 2008
  

• Jan Holmberg, 'Ideals of Immersion in Early Cinema, Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 14, n° 1, 2003, p. 129- 147
  

• Robert Hopkins, 'Pictures and Film; Philosophy and the Empirical Disciplines: A Reply to Dean', Film-Philosophy, vol. 3 no. 27, June 1999
  

• Mike Jones, 'Composing Space: Cinema and Computer Gaming - The Macro-Mise en Scene and Spatial Composition', Imaginary Worlds: Image and Space International Symposium, Sydney, 14 October 2005
  

• Marcia Landy, 'Traveling in Film Theory: Giuliana Bruno's Atlas of Emotion', Film-Philosophy, vol. 7 no. 44, November 2003

• Abigail Loxham, 'Veo, veo; Leo, Leo?: A re(-)viewing of haptic and visual discourse in Bigas Luna’s Bilbao (1978)', Studies in European Cinema, Vol. 4, No. 3, 2007

• Laura U. Marks, 'Haptic Visuality: Touching with the Eyes', Framework" the Finnish Art Review, No. 2, 2004

• Laura U. Marks, 'Information, secrets, and enigmas: an enfolding-unfolding aesthetics for cinema', 2009

• Laura U. Marks, 'Multisensory Culture', 2008

• Laura U. Marks, 'Mohamed Soueid's Cinema of Immanence', Jump Cut, 49, 2007

• Laura U. Marks, 'Asphalt Nomadism', 2006

• Laura U. Marks, 'Enfolding and Unfolding: An Aesthetics for the Information Age',
  
  An interactive essay produced in collaboration with designer Raegan Kelly in Vectors: Journal of Culture and Technology in a Dynamic Vernacular, 2006.
  
  
  

• Douglas Morrey, 'Bodies that Matter - Review: Vivian Sobchack (2004) Carnal Thoughts: Embodiment and Moving Image Culture', Film-Philosophy, Vol. 10, No. 2, 2006

• Douglas Morrey, 'Open Wounds: Body and Image in Jean-Luc Nancy and Claire Denis', Film-Philosophy, Vol. 12, No. 1, 2008

• Edward R. O'Neill, 'Apprehending Deleuze Apprehending Cinema [on Der Film bei Deleuze/Le cinema selon Deleuze, edited by Fahle & Engell], Film-Philosophy, Vol. 2, No. 2, January 1998
  

• Per Persson, 'Chapter 1: Understanding and Dispositions', Understanding Cinema: A Psychological Theory of Moving Imagery (Cambridge University Press, 2003
  

• Dominic Michael Rainsford, 'Tarkovsky and Levinas: Cuts, Mirrors, Triangulations', Film-Philosophy, Vol. 11, No. 2, 2007

• Elena del Río, “Antonioni’s Blowup: Freeing the Imaginary from Metaphysical Ground”, Film-Philosophy, vol. 9, no. 32, June, 2005
  

• Jason Kelly Roberts, 'Review of The Virtual Life of Film by D.N. Rodowick [London: Harvard University Press, 2007]', Scope, Issue 13, February 2009

• Anne Rutherford, 'Cinema and Embodied Affect', Senses of Cinema, 2002

• Anne Rutherford, 'Precarious Boundaries: Affect, Mice en Scene, and the Senses in Angelopoulos' Balkan Epic', Senses of Cinema 2004
  

• Philipp Schmerheim, ‘Film, not Sliced up into Pieces, or: How Film Made me Feel Thinking: Review of Filmosophy’, Film-Philosophy, vol. 12, no. 2, 2008

• Vivian Sobchack, 'Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime', Millennium Film Journal No. 34 (Fall 1999): The Digital

• A. Soltani, 'Cinesensory: A Filmic Design for Mapping Haptic Space', International Design and Cinema Conference, Istanbul, November 2009

• David Sterritt, 'Taste of Kiarostami,' Senses of the Cinema, Issue no. 9, Sept-Oct. 2000

• David Sullivan, 'Noemata or No Matter?: Forcing Phenomenology into Film Theory', Film-Philosophy, vol. 1 no. 3, July 1997

• Melanie Swalwell, 'The Senses and Memory in Intercultural Cinema [on Laura U. Marks's The Skin of the Film]', Film-Philosophy, Vol. 6, No. 32, 2002

• Donato Totaro, 'Deleuzian film Analysis: The Skin of the Film', Offscreen Journal, June 30, 2002
  

• Saige Walton, '“Cinema as I see-I hear-I feel”: Review of The Material Image: Art and the Real in Film by Brigitte Peucker', Senses of Cinema, Issue 45, 2007

• Robert E. Wood, 'Toward an Ontology of Film: A Phenomenological Approach', Film-Philosophy, Vol. 5, No. 24, 2001

• Benjamin Wurgaft, 'How Heavy Light Can Be', Film-Philosophy, vol. 6 no. 9, May 2002
  

• Kevin Wynter, 'Of depth and surfaces; notes on Watchmen and other reflections on phenomenological film experience', CineAction, Summer, 2009
  

• Daniel Yacavone, ‘Towards a Theory of Film Worlds’, Film-Philosophy, vol. 12, no. 2, 2008

• Christopher S. Yates, 'A Phenomenological Aesthetic of Cinematic "Worlds"', Contemporary Aesthetics, Oct 22, 2006
  

Coming at you! 3-D Studies

Stereo Wiggle by Kieff

Film Studies For Free brings you a very rounded links list today on the terribly topical subject of 3-D cinema and other media.

It's a big subject area, encompassing debates on and research about film realism, media industry history, film technology (practice and theory), film spectatorship and reception, and human/media interactivity. If you want a good place to begin before you start dipping into the list below, check out the following, excellent, Wikipedia entries on 3-D film, stereoscopy and 3D audio effect.

• Jay David Bolter, 'Digital Media and Cinematic Point of View',Telepolis (14.02.1997)

• David Bordwell, 'Coraline, cornered', Observations on Film Art, February 23, 2009

• David Cairns, ''Excelsior! [on Up]', Shadowplay, October 19, 2009

• Tobey Crockett, 'Building a Bridge to the Aesthetic Experience: Artistic Virtual Environments and Other Interactive Digital Art', Intelligent Agent, 5.1., 2005
  

• Glorianna Davenport and Brian Bradley, 'Everyone's Cinema: Towards the Future of Cinematics', Oberhausen Film Festival - April 28, 1997
  

• Roger Ebert, 'D-Minus for 3-D', Chicago Sun-TImes, August 16, 2008

• Dana Goodyear, 'Man of Extremes: The Return of James Cameron', The New Yorker, October 2009

• John Hayes, '“You see them WITH glasses!”… A Short History of 3D Movies', Wide Screen Movies Magazine, Part One: The 1800s to the 1950s, February 1, 2009

• Jan Holmberg, 'Ideals of Immersion in Early Cinema, Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 14, n° 1, 2003, p. 129- 147
  

• Mike Jones, 'Composing Space: Cinema and Computer Gaming - The Macro-Mise en Scene and Spatial Composition', Imaginary Worlds: Image and Space International Symposium, Sydney, 14 October 2005

• Pete Kozachik, '2 Worlds in 3 Dimensions [on Coraline]', The American Cinematographer, February 2009
  

• Harold A. Layer, 'Stereoscopy: Where Did It Come From? Where Will It Lead?', updated version published originally in: EXPOSURE: 17:3 Fall 1979
  

• Lenny Lipton, 'The Last Great Innovation: The Stereoscopic Cinema', SMPTE Motion Imaging Journal, November/December 2007

• María Lorenzo Hernández, 'The Double Sense of Animated Images. A View on the Paradoxes of Animation as a Visual Language', Animation Studies, January 27, 2008
  

• Lev Manovich, 'Global Algorithm 1.3: The Aesthetics of Virtual Worlds: Report From Los Angeles', CTheory.net, May 1996

• Lev Manovich, 'Assembling Reality: Myths of Computer Graphics', manovich.net, 1992

• Lev Manovich, 'Synthetic Realism and its Discontents', manovich.net, 1992, revised 1999

• Mekado Murphy, ''Buzz and Woody add a dimension', The New York Times, October 4, 2009 (plus related audio interview with Toy Story director Jon Lasseter here)

• Angela Ndalianis, 'Architectures of Vision: Neo-Baroque Optical Regimes and Contemporary Entertainment Media', MIT Communications Forum, December 19, 1999
  

• Michael Nitsche, 'Games, Montage, and the First Person Point of View', Digital Games Research Association, 2007

• Dan North, 'Toy Story 3D', Spectacular Attractions, October 9, 2009

• Dan North, 'Magnificent Bodyguards: Jackie Chan in 3D, 1978', Spectacular Attractions, July 20, 2009

• Per Persson, 'Chapter 1: Understanding and Dispositions', Understanding Cinema: A Psychological Theory of Moving Imagery (Cambridge University Press, 2003

• Seth Porges, 'Are 3D Movies Finally Ready for Their High-Tech Close-up?', Popular Mechanics, July 21, 2008

• Bob Rehak, 'Titles on the Fringe', Graphic Engine, September 12, 2008

• Paolo Teobaldelli, 'Cinema and Special Effects Seen From a Non- Dual Based Approach to Communication', Applied Semiotics, No. 14, 2004
  

• Kristin Thompson, 'Has 3-D already failed?', Observations on Film Art, September 17, 2009

• HarryTuttle, ‘You’ve Never Seen Anything Like This on Television!’ CNN’s Election Night Hologram', Rouge, 13, April 2007
  

• Todd VanDerWeff, 'A Pixar Week Compendium', The House Next Door, October 11, 2009

• Gary De Wan, '3D', originally published Motion Picture Projectionist, February 1954, republished Wide Screen Movies Magazine, October 7, 2007
  

• Ke Colin Zheng et al, 'Parallax Photography: Creating 3D Cinematic Effects from Stills', Graphics Interface 2009
  

• Ray Zone's The 3-D Zone website

• Ray Zone, Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952 (University Press of Kentucky, 2007: Google Books - Limited Preview)

Follow Film Studies For Free on Twitter