Thursday Links (Renoir's Toni, Akerman's Jeanne Dielman, McElhaney's Minnelli)

Still from Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles
(Chantal Akerman, 1975)

And on it goes... That is to say, some more, assorted, quality links to online, openly-accessible, film studies material of note, today, from the relatively indefatigible Film Studies For Free.

This blog is preparing for a legendary links post on Monday, its first birthday, so please come back for that. Until then, do enjoy the below gems:

• Matthew Flanagan's blog Landscape Suicide (named for James Benning's 1986 film) goes from strength to strength with an astonishingly beautiful post on Jean Renoir's hugely influential 1934 film Toni: 'Toni & Boating, or: Realism(s) #1'. Here's looking forward to '#2'!
• There's another good essay on Toni by Michael Campi for Senses of Cinema (2006). And you must read Charles Musser's brillant article 'Social Roles / Political Responsibilities: Jean Renoir's Search for Artistic Integrity, 1928-1939 'Film-Historia, Vol. IV, No. 1 (1994): 3-30.

• Over at The Auteurs, you can find a good, short essay by Ivone Margulies (author of Nothing Happens: Chantal Akerman’s Hyperrealist Everyday ): 'A Matter of Time: Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles'. A little taster:
  

Despite their apparent simplicity, Akerman’s assured framing and narrative, built out of blocks of real time intercut by radical ellipses, are not easily replicated. Rather, the film’s impact is indirectly evident in the emergence of a new phenomenological sensibility and approach to observation and the weight of time in the work of contemporary filmmakers as diverse as Abbas Kiarostami, Gus van Sant, Pedro Costa, Apichatpong Weerasethakul, Todd Haynes, Jia Zhangke, and Tsai Ming-liang.

• You can read another excellent Akerman essay online by Margulies: 'La Chambre Akerman: The Captive as Creator' at Rouge 10, 2006.
  
• See a great essay by Maria Fosheim Lund, 'Deja-Vu Melodrama: An Iconographical and Iconological Analysis of "Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles"' at Out 1 Film Journal (January 27, 2009).
• And you can read Ed Henderson's thoughtful review of 'Jeanne Dielman' for Slant Magazine, June 8, 2003.
  

• Joe McElhaney's fantastic edited collection on director Vincente Minnelli (Vincente Minnelli: The Art of Entertainment, Detroit: Wayne State University Press, 2009) has been deservedly garnering a lot of online attention (see Girish Shambu here; Jonathan Rosenbaum here; and some other review snippets here) and it certainly looks like an excellent book to own. Film Studies For Free wanted you to know, however, that some of McElhaney's hugely important work on this Hollywood director has already very generously been made available online for free: see his overview essay 'Vincente Minnelli' at Senses of Cinema. Also see The Band Wagon by Joe McElhaney, Cabin in the Sky by Rick Thompson, Putting on a Show, or The Ghostliness of Gesture by Lesley Stern (Includes discussion of performance in The Band Wagon); and Some Came Running by Dana Polan at the same journal.
  
• And you can also read McElhaney's brilliant article 'Medium Shot Gestures: Vincente Minnelli and Some Came Running' at 16:9, June 2003 (as well as his 2006 essay for the same journal on Fritz Lang HERE).
  

FourDocs' fabulous documentary films and resources online

Still from O Dreamland (Lindsay Anderson, UK 1953, shown as part of first Free Cinema programme in 1956)

Film Studies For Free wanted to flag up for its readers the existence of FourDocs, the great (British) Channel 4 documentary website. That is to say, it wanted to flag up its continued but not everlasting existence, that is...

According to the FourDocs weblog, the site

was set up in 2005 to provide a platform for new filmmakers to showcase their own short documentaries, receive feedback from leading industry experts and discuss them with each other. The site functioned as an online film school, with video guides covering everything from structure and lighting to editing choices. The archive timeline contextualised 30 or so definitive documentaries, such as Listen to Britain, The Lift and The Boy Who’s Skin Fell Off, and perhaps most inspirational were the interviews with award winning directors like Molly Dineen and Paul Watson.

The FourDocs site is currently 'on hold', and probably being 'reconceived' even as FSFF writes; we eagerly await information about the new form it will take.

In the meantime, Film Studies For Free urges you to take advantage of all the great resources on offer at the site while you still can, in particular its fantastic archive which includes a library of full length documentaries representing some of the best filmmaking of the past century.

See below for FSFF's A-Z list of direct links to viewable films, including classics of 1920s and 1930s British documentary, several spectacular examples of Free Cinema, and wonderful, recent documentary filmmaking. National accessibility to the films might vary, however; to be sure, once you've pressed 'play' at the site's pages, remember also to click on the arrow pointing to the bottom right hand corner of the mini video player.

FSFF thinks, though, that there are plenty of other worthwhile resources on the films accessible via these links even if there turn out to be some international restrictions on viewing. Enjoy!

• A Visit to..., George Cricks 1906 -- A Visit to Peek Frean & Co's Biscuit Works. A promotional film that turned mechanical tedium into industrial lyricism

• Babitsky's War, Paul Yule 2000 -- An investigation into the disappearance of a journalist in Chechnya
  

• The Battle of Orgreave, Mike Figgis/Jeremy Deller 2001 -- Reconstructing miners clashing with the police in Yorkshire and looking back at the decline of coal mining in the 80s
  

• Before Hindsight, Jonathan Lewis/Elizabeth Taylor-Mead 1977 -- Examining editorial attitudes in the non-fiction British cinema and newsreels of the thirties towards the rise of Fascism
  

• The Boy Whose Skin Fell Off, Patrick Collerton 2003 -- Hugely-influential story of a man with a rare disease that led to his skin peeling off, and his last days of life
  

• The Dinner Party, Paul Watson 1997 -- Conservative voters in the home counties come together to discuss their politics.
  

• Divorce Iranian Style, Kim Longinotto 2001 -- Documentary about women and divorce in Iran set in a family law court in Tehran.
  

• The Drifters, John Grierson 1929 -- The lives of herring fisherman of the North Sea, as portrayed by John Grierson.
  

• The Dying Room, Kate Blewett 1995 -- In 1995, Brian Woods and Kate Blewett uncovered the systematic neglect of abandoned babies in China.
  

• The Firing Line, Nicholas Cohen 1996 -- Army cadets from a private school take their end of year training tests.
  

• The Girl Chewing Gum, John Smith 1976 -- Pretending to direct an everyday 1970s East End street scene
  

• The Grave, Belinda Giles 1997 -- A team of forensic archeologists try to piece together what happened in a massacre during the Yugoslav conflict.
  

• Heart of Britain, Humphrey Jennings 1941 -- Made by Humphrey Jennings and the Ministry for Information, this film is a tribute to the workers of Britain during World War Two.
  

• Housing Problems, A. Elton/E. Anstey 1935 -- Provocative depiction of living conditions in the slums in South London.
  

• Industrial Britain, J.Grierson/R.Flaherty 1933 -- This film about British Industry in the 1930s portrays the industrial worker as a heroic figure, championing the craftsmanship of the individual behind the dehumanizing façade of the industrial landscape.
  

• Julia's Baby, Marilyn Gaunt 1994 -- A deaf blind mother fights with social services to be able to bring up her baby.
  

• The Leader..., Nick Broomfield 1991 -- The Leader, His Driver and the Driver's Wife. Documentary about the South African neo-Nazi leader Eugene Terreblanche, and Nick Broomfield's attempts to get an interview with him.
  

• The Lift, Marc Isaacs 2001 -- Marc Isaacs' award winning film set in a lift in some council flats.
  

• Listen to Britain, H.Jennings/S.McAllister 1942 -- Documentary showing a Britain united in the war effort through a montage of various scenes of daily life.
  

• London, Patrick Keiller 1992 -- A surreal and imaginative portrait of a depressed London in 1992, as the city lurched from one crisis to another
  

• Making Wheels For Automobiles, US National Archives 1930 -- Teaching farm boys how to make Ford wheels in an instructional doc
  

• Manhunter, Witold Starecki 1996 -- Rabbi Gordon's job is to track down wayward husbands and force them to divorce their wives.
  

• The Man Who..., Joseph Bullman 2000 -- The Man Who Bought Mustique. The story of Lord Glenconner from Scotland, who bought an island in the Caribbean and then lost it.
  

• Momma Don't Allow, T. Richardson/K. Reisz 1956 -- A celebration of the free spirit of youth and Teddy Boys, particularly in London's 1950s working class.
  

• O Dreamland, Lindsay Anderson 1956 -- The start of the Free Cinema movement, the iconic Margate funfair as a metaphor for the shabbiness of modern life
  

• Operation Hurricane, Ronald Stark 1953 -- Documentary recording the construction and testing of Britain's first atomic bomb.
  

• P Company, Ian Taylor 1992 -- The never seen before and brutal four week selection test for the elite parachute regiment.
  

• Seven Days in Hell, Sue Bourne 1993 -- Businessmen go on an outward bound course that makes P Company look like a picnic.
  

• Soldat, Paul Jenkins 2001 -- Documentary about the once great but now decaying Russian Army and the soldiers forced to endure it.
  

• Sunday Sport, Norman Hull 1997 -- Inside the newsroom of the newspaper that everyone pretends they don't buy.
  

• Terminus, John Schlesinger 1961 -- Observational film looking at the comings and goings of London's Waterloo railway station.
  

• This is a True Story, Paul Berczeller 2003 --Investigating the mysterious death of a Japanese girl in Fargo, USA
  

• The Unforgiving, Clive Gordon 1993 -- Documentary about the conflict in former Yugoslavia.
  

• The Valley, Dan Reed 1999 -- The plight of the Albanian population in Kosovo.
  

• The Wet House, Penny Woolcock 2002 -- Observing Providence Row refuge for the alcoholic homeless, a place where the residents can drink as much as they like
  

This and that (Perkins, Rich on Kuchar Bros, Westerns, Fan Videos, Timecode, Kubrick and the Coens)

Trailer for It Came From Kuchar - As Alexandra Juhasz writes at Media Praxis: '[This] documentary does little more than let the brothers, their films, and fans speak for themselves. And what more do we need? Inventive, life-long bohemians making their work outside dominant structures and to an international fanbase of crazed cineastes. As I implied regarding Fig Trees recently: it becomes an increasingly rare pleasure to see work that resides outside the dumbed down regime of the popular.'

Having been briefly out of action, Film Studies For Free is sorting through its in-tray and to-do lists. Below are some assorted bits of online news and links that it wanted you not to miss:

• Film Studies For Free was delighted to hear from VF Perkins who generously offered up some frame stills to help illustrate the first of the two sequence analyses in his online essay "You Only Live Once" which FSFF linked to some weeks back (also see HERE). FSFF has posted the stills in three sections, one HERE, two HERE and three HERE.
• Listen to B Ruby Rich on the Kuchar Brothers (also see video above) in a great podcast interview for Outtake:

In this audio interview Emmy Winner Charlotte Robinson talks with B Ruby Rich, American Scholar and Film Critic about Director Jennifer M. Kroot’s documentary “It Came From Kuchar.” Long before YouTube, there were the outrageous, no-budget movies of underground, filmmaking twins George and Mike Kuchar. George and Mike grew up in the Bronx in the 1950’s. At the age of twelve, they became obsessed with Hollywood melodramas and began making their own homespun melodramas with their aunt’s 8mm camera. They used their friends and family as actors and their Bronx neighborhood as their set. Early Kuchar titles featured in this film include “I Was A Teenage Rumpot” and “Born of the Wind”. In the early 1960’s, alongside Andy Warhol, the Kuchar brothers shaped the New York underground film scene. Known as the “8mm Mozarts”, their films were noticeably different than other underground films of the time. They were wildly funny, but also human and vulnerable. Their films have inspired many filmmakers, including John Waters, Buck Henry, Atom Egoyan, Guy Maddin and Wayne Wang (all are interviewed in this film). Despite having high profile fans, the Kuchars remain largely unknown because they are only ambitious to make movies, not to be famous.

• Thanks to David Hudson's indispensable Twitter feed for The Auteurs Daily, FSFF was happy to hear of a great blog about Westerns -- Decisions at Sundown -- by Joseph "Jon" Lanthier, Ed Howard, Kevin J. Olson, Tony Dayoub, and Tommy Salami. You must read Ed Howard's lovely piece on Rio Bravo.
• Karen Hellickson has a nice essay on some 'fairly high profile transformative fan artworks': '“The Hunt for Gollum” and “Battlestar Redactica”'.
• Do check out Nick Davis's innovative approaches to Mike Figgis's Timecode (2000). Also see HERE (it works best on Firefox).
• And two interesting English-language film articles from the latest special issue of online journal Image [&] Narrative (Vol.X, issue 2 (25.) June 2009), devoted to 'The author and his imaginary: the development of particularity': Elizabeth Mullen's 'Do you speak Kubrick? Orchestrating Transgression and Mastering Malaise in The Shining' (for those interested in Kubrick, please also see The Kubrick Site and Kubrick Multimedia Archive - thanks to Jason Sperb) and Arne De Boever's 'The Politics of Retirement: Joel and Ethan Coen's No Country for Old Men after September 11'
  

Reverse Shot Symposium on Claire Denis

Home recovering from the flu (yes, that flu), Film Studies For Free wanted to let its readers know of some great new essays published by Reverse Shot, the quarterly, independently published film journal, on the work of French director Claire Denis (a firm-favourite filmmaker of this blog and its author). Links to the written essays and interview are below. But there's also a beautifully put-together video essay on Denis's film L'Intrus (2004) by Kevin B. Lee that FSFF also highly recommends.

• Reverse Shot 25: Claire Denis—The Art of Seduction Introduction to the Symposium and to Denis's work by Michael Koresky and Jeff Reichert

• Claire Denis's Early Career by Leo Goldsmith

• Chocolat by Elbert Ventura

• No Fear No Die by Nicolas Rapold

• I Can't Sleep by Michael Koresky

• U.S. Go Home by Ryland Walker Knight

• Nénette et Boni by Matt Connolly

• Beau travail: Take One by Andrew Chan

• Beau travail: Take Two by Jeff Reichert

• Trouble Every Day by Kristi Mitsuda

• Friday Night by Eric Hynes

• L'Intrus by Genevieve Yue

• Vers Mathilde by Sarah Silver

• 35 Shots of Rum by Adam Nayman

• An Interview with Claire Denis by Adam Nayman

• The music videos of Claire Denis: “Incinerate” and “Jams Run Free” by Damon Smith

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Expanded Cinema and Video Art: Tate Video and Essays from REWIND (Cubitt, Atherton, Hatfield)

Expanded Cinema: Activating the Space of Reception. A Tate Video - Works identified as Expanded Cinema often open up questions surrounding the spectator's construction of time/space relations, activating the spaces of cinema and narrative as well as other contexts of media reception. In doing so it offers an alternative and challenging perspective on filmmaking, visual arts practices and the narratives of social space, everyday life and cultural communication.

Today, Film Studies For Free brings you more choice links to valuable resources on the topics of 'expanded cinema' and video art. Not only the wonderful Tate Video embedded above but also, courtesy of a great scholarly website -- REWIND - Artists' Film & Video in the 70s and 80s -- the following essays:

• 'Greyscale Video and the Shift to Colour' by Prof. Sean Cubitt, University of Melbourne, Australia. View a pdf of the Essay in 'Art Journal', Fall 2006 edition here. A video essay version of the paper is viewable here.
  

• 'Projection: Vanishing and Becoming' by Prof. Sean Cubitt, University of Melbourne, Australia. In Grau, Oliver, Eds. MediaArtHistories, pages pp. 407-422. MIT Press. View a pdf of the Essay here.

• 'The Trouble with Video Art' by Kevin Atherton, Head of Media, National College of Art & Design, Dublin. View a pdf of the Essay here.

• 'Expanded Cinema - And the "Cinema of Attractions"' by Dr. Jackie Hatfield. (Published in Filmwaves, Issue 27/1/2005). View a pdf of the Essay here.

• 'The Subject in Expanded Cinema' by Dr. Jackie Hatfield. (Published in Filmwaves, Issue 24/2/2004). View a pdf of the Essay here.

An addendum: if you live in London, or care about cinema in that city, Film Studies For Free urges you, please, to visit the website of the Picture Palace Campaign for the regeneration of the former art deco cinema, now bingo hall, soon to be (possibly) evangelical church, at 25 Church Road, SE19 (Crystal Palace). It was originally built in 1928 as a cinema and the beautiful interior was designed by the renowned cinema architect George Coles (see also here).

Back from vac with Notre Dame Philosophical Reviews

Back from its screen-free holidays to one of its favourite places (the very gorgeous Andalucía, in case you were wondering), a rested and refreshed Film Studies For Free today brings you some links to high-quality, film studies-related, book reviews from that very worthy e-organ Notre Dame Philosophical Reviews. Do please scroll down for those.

There are plenty more Openly Accessible film-studies delights coming up in the next days and weeks, so do please come back to this blog soon, but thanks for the toneladas of email correspondence in FSFF's absence. Free (and legal) films online and Victor Perkins are as deservedly popular as ever, FSFF is happy to note.

Oh... and those early to middle adopters among you might like to know that this (always later to the party) blog has succumbed to the delights of Twitter - partly in order to be able to follow David Hudson's brillant new film-on-the-web updates for The Auteurs Daily.

Christoper Grau (ed.)
Philosophers Explore The Matrix
Reviewed by Allan Hazlett, Texas Tech University
2006.01.15

Dan Flory
Philosophy, Black Film, Film Noir
Reviewed by Angela Curran, Carleton College
2009.03.10

Eyal Peretz
Becoming Visionary: Brian De Palma's Cinematic Education of the Senses
Reviewed by Gregg Lambert, Syracuse University
2008.03.11

Ronald Bogue
Deleuze's Wake: Tributes and Tributaries
Reviewed by Todd May, Clemson University
2004.05.07

Irving Singer
Ingmar Bergman, Cinematic Philosopher: Reflections on His Creativity
Reviewed by Thomas E. Wartenberg, Mount Holyoke College
2008.05.23

John Mullarkey
Refractions of Reality: Philosophy and the Moving Image
Reviewed by Joseph Mai, Clemson University
2009.06.26

Giorgio Agamben
Profanations
Reviewed by Jeffery Geller, University of North Carolina, Pembroke
2008.06.35

Keith Ansell-Pearson
Philosophy and the Adventure of the Virtual: Bergson and the Time of Life
Reviewed by Daniel W. Smith, Purdue University
2002.07.14

Bernd Herzogenrath (ed.)
Deleuze/Guattari & Ecology
Reviewed by Eugene Holland, The Ohio State University
2009.07.22

Peter Hallward
Out of This World: Deleuze and the Philosophy of Creation
Reviewed by John Protevi, Louisiana State University
2007.08.03

J. M. Bernstein
Against Voluptuous Bodies: Late Modernism and the Meaning of Painting
Reviewed by Daniel Herwitz, University of Michigan
2006.09.18

Nathan Widder
Reflections on Time and Politics
Reviewed by Dorothea Olkowski, University of Colorado at Colorado Springs