In-Sight from Excursions: action movies, neuroscience, dreamscapes, intermediality and spectatorship

Bruce Willis as John McClane in Die Hard (John McTiernan, 1988)

The image seems to be a way of marking such a potential separation between exterior and interior while belonging to both. Moreover, that condition of holding ‘in sight’, as a means of externalisation as belonging to the image, is realised in the easy conceptual slippage from ‘in sight’ to ‘insight’- originally ‘internal sight’ or seeing with the eyes of the mind, that later becomes a seeing into a thing or subject. To bring an object within sight is to affect the ‘inner eye’, to re-formulate the relationship of the visible to the invisible, presence to absence.  Lindsay Smith, 'Foreword: In-Sight', Excursions, Vol. 1, Issue 1 (June 2010), i-ii

Thanks to the regular updates to Jurn, the excellent search-engine that Film Studies For Free uses in its every waking hour (and then dreams of every night), FSFF found its way to a newish e-journal -- Excursions -- with a first issue replete with interesting and, yes, insightful items on film.

Its Mission Statement reads as follows:

Excursions is an invitation to journey into the unfamiliar, a space in which to reflect upon the travels of concepts, beyond the boundaries of one’s discipline. An on-line peer-reviewed journal, Excursions is designed to showcase high-quality, innovative and inventive postgraduate research. Run by postgraduates in the School of English at the University of Sussex, we aim to encourage work that plays with the permeable nature of academic disciplines. As such, our interest lies in the interdisciplinary. Each issue of the journal has a theme which contributors can interpret as they see fit. We welcome critical papers or creative pieces and seek to place cultural, political, artistic and scientific discourses together in surprising combinations and illuminating moments of collision.

And here is the table of contents:

Articles

• Foreword Lindsay Smith

• The Eye, the Brain, the Screen – What Neuroscience Can Teach Film Theory Paul Elliott

• Hard bodies and sidelong looks: Spectacle and fetish in 1980s action cinema Nicky Falkof

• Through the Arendtian Lens: Developing Statelessness through Gregor Schneider's 'Weisse Folter' Suzy K. Freake

• Waking Life: The Destiny of Cinema’s Dreamscape; or the Question of Old and New Mediations Markos Hadjioannou

• The Embodied Spectator and the Uncomfortable Experience of Watching Romance and The Piano Teacher Sara Elisabeth Sellevold Orning

• Invoking The Spectral Body: A Study of Potential Corporealities in the Work of Marina Abramovic and Francesca Woodman  Prema Purigali Prabhakar

• The Problem of Film Theatre Intermediality in Jesus of Montreal Laura Sava

• Writing the world: photographing the text of the landscape Gina Wall

"Bollywood" for Beginners and Beyond: Introductions to Popular Hindi Cinema Studies

Kajol and Shahrukh Khan in  Dilwale Dulhaniya Le Jayenge / The Big Hearted Will Take the Bride (Aditya Chopra, 1995)

With a wary eye on the fast-approaching (in many places at least) and not-so-mellow fruitfulness of a new academic year, Film Studies For Free today brings you its handy guide to online introductions to popular Hindi cinema.

Not all of the wonderful, openly accessible resources linked to below the embedded video are designed for those new to this core academic film studies subject, but all are clearly written, and thus very accessible, as well as highly informative to those at many different stages in their scholarly fascination with this most popular of world cinemas.

Talking of fascination, a nice place to start might be Jonathan Torgovnik's wonderful online portfolio of photographs: Bollywood Dreams (Phaidon Press, 2003).

 

The Seductive World of Indian Cinema (2007)

Discussion between author Anupama Chopra, leading filmmaker Vidhu Vinod Chopra, and Bollywood expert and Assistant Professor of Anthropology at NYU Tejaswini Ganti. The discussion is moderated by Richard Allen, Chair of Cinema Studies at the Tisch School of the Arts.

• A Guide to South Asian Cinema, ImagineAsia: British Film Institute, 2002
• Anustup Basu, Mantras of the Metropole: Geo-televisuality and Contemporary Indian Cinema, PhD e-thesis, University of Pittsburgh, 2005
• Gregory D. Booth, 'Traditional Content and Narrative Structure in the Hindi Commercial Cinema', Asian Folklore Studies, Volume 54, 1995: 169-190
• Devon Burk, 'What's A Kiss: The Unchaste Chastity of Bollywood', The Virginia Review of Asian Studies, Vol. XI, Fall 2008
• Corey Creekmur, 'The Devdas Phenomenon', Philip's fil-ums, University of Iowa (date unknown)
• Patrick Colm Hogan, 'Hindi Cinema as a Challenge to Film Theory and Criticism', Projections, Volume 3, Number 2, Winter 2009 , pp. v-ix(1)
• Aniruddha Dutta, 'Nation, Liberalisation And Film Songs: Technology And Hybridisation In Contemporary Hindi Film Music', Wide Screen Journal, 1.16, April 2009
• Faiza Hirji, 'When Local Meets Lucre: Commerce, Culture and Imperialism in Bollywood Cinema', Global Media Journal 4.7, Fall 2005
  
• Wendy F. Hsu, 'Between Narrative and Expressive, Fantasy and Melodrama in Bombay (Bollywood) Film', Virginia Review of Asian Studies, July 2003
• Tabish Khair, 'The ironies of Bollywood', 16:9,  7.31, April 2009
• Mark Lorenzen and Florian Arun Taeube, 'Breakout from Bollywood? Internationalization of Indian Film Industry', DRUID Papers, 07-06
• Philip Lutgendorf with Corey Creekmur, Philip's Fil-Ums: Notes on Indian popular cinema, University of Iowa (date unknown)
• Vijay Mishra, 'Bollywood Cinema: A Critical Genealogy', Asian Studies Institute, 2006
• Anna Morcom, 'The Cinematic Study of Hindi Film Songs', Hindi Film Songs and the Cinema (Ashgate Publishing, 2007) 
• Shammi Nanda,'Censorship and Indian Cinema: The Case of War and Peace', Bright Lights Film Journal, Issue 38, November 2002
• Sheila J Nayar, 'The values of fantasy: Indian popular cinema through Western scripts', Journal of Popular Culture; Summer 1997; 31, 1  
• Ally Ostrowski, 'Found in Translation: From Hollywood Hits to Bollywood Blockbusters', Journal of Religion and Film, Vol. 11, No. 2 October 2007
• Heidi Pauwels, '“The Woman Waylaid at the Well” or Paṇaghaṭa-līlā An Indian Folk Theme Appropriated in Myth and Movies', Asian Ethnology, Volume 69, Number 1, 2010, 1–33
• Aswin Punathambekar and Anandam Kavoori, 'Introduction', Global Bollywood, edited by Anandam P. Kavoori and Aswin Punathambekar (NYU Press, 2008)
• Anjali Ram, 'Framing the feminine: diasporic readings of gender in popular Indian cinema', Women's Studies in Communication, March 22 2002
• Shakuntala Rao, 'The Globalization of Bollywood: An Ethnography of Non-Elite Audiences in India', The Communication Review, 10: 57–76, 2007
• Amrita Sen, 'Maqbool and Bollywood Conventions', Asian Shakespeares on Screen: Two Films in Perspective, special issue, edited by Alexander C. Y. Huang, Borrowers and Lenders 4.2 (Spring/Summer 2009)
• Brian Shoesmith, '[Review of] Sangita Gopal and Sujata Moorti (eds), Global Bollywood: Travels of Hindi Song and Dance. Minneapolis: University of Minnesota Press, 2008', Screening the Past, Issue 25, 2009
• Sangita Shresthova, 'Strictly Bollywood? Story, Camera and Movement in Hindi Film Dance', MSc e-thesis, Princeton, 2003
• Neelam Sidhar Wright, Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema, DPhil Thesis, University of Sussex, 2010 
• Neelam Sidhar Wright, '"Tom Cruise? Tarantino? E.T.? ...Indian!": Innovation through Imitation in the Cross-cultural Bollywood Remake', Cultural Borrowings: Appropriation, Reworking, Transformation, edited buy Iain Robert Smith, Scope, Issue 15, 2010
• Lakshmi Srinivas, 'The active audience: spectatorship, social relations and the experience of cinema in India', Media, Culture & Society, Vol. 24: 155–173, 2002

Good Fella: Martin Scorsese Studies

Updated August 19, 2010

Ray Liotta as Henry Hill in Goodfellas (Martin Scorsese, 1990)

Charlie Rose - An hour with Martin Scorsese (1998)

(Persevere beyond the opening few minutes - it's worth it)

Here's a not so little links list that Film Studies For Free has been concocting for tanto tempo... It's a collection of mostly academic, and all great quality, studies of the work of American filmmaker Martin Scorsese, one of the most utterly beloved of all directors among Film Studies undergraduates. And with Afterhours, Goodfellas and The Age of Innocence among this blog's author's favourite films, who is FSFF to disagree with such intensity?

Suggestions for any high-quality additions to this list would be most welcome.

• Marc Abramson, 'Mountains, Monks and Mandalas: Kundun and Seven Years in Tibet', Cineaste, Vol. XXIII, No. 3, 1998

• Daniel Balderston, 'Borges and The Gangs of New York', Variaciones Borgianas, 16, 2003 

• Bruce Alistair Barber, Trans/actions: Art, Film and Death, PhD Thesis, European Graduate School, August 2005 

• Todd Berliner, 'Visual Absurdity in Raging Bull', Preprint of Chapter in Raging Bull: A Cambridge Film Handbook. Ed. Kevin Hayes. Cambridge, U.K. and New York: Cambridge University Press, 2005

• David Bordwell, 'Scorsese, 'pressionist', Observations on Film Art, April 21, 2010 

• Lenay Breeland, 'A Hieroglyphic World: Representations of Repression in Scorsese’s Age of Innocence',  in Fixing a Hole: Bridging the Gap between Text and Performance, State University of West Georgia, 2001 (scroll to p. 21 in PDF) 

• Aaron V. Burton, Jesus in the Movies: A Rhetorical Analysis of Selected Films from 1912-2004, PhD Thesis, Bowling Green State University, May 2008

• Andre Caron, 'Last Temptation of Travis Bickle', Offscreen Journal, September 1997

• Robert Castle, 'Average Nobodies: The Dark Knights of Goodfellas', Bright Lights Film Journal, issue 32, April 2001

• James A. Clapp, '‘‘Are You Talking to Me?’’—New York and the Cinema of Urban Alienation', Visual Anthropology, 18, 2005

• Adrian Danks, 'Who’s That Knocking at My Door', Senses of Cinema, Issue 54, 2010 

• Russell E. Davis, Alice Doesn't Live Here Anymore: Under the comic frosting', from Jump Cut, no. 7, 1975

• Jonathan Dawson, 'After Hours', Senses of Cinema, Issue 54, 2010

• Rebecca Dawson, And Staring as Jesus Himself: Cultural Context and Images of Christ in North American film, PhD Thesis, Bowling Green State University, August 2007 

• Carolyn D’Cruz and Glenn D’Cruz, 'The body of Christ: Blasphemy as a necessary transgression?', Negotiating the Sacred II: Blasphemy and sacrilege in the arts, pp. 93-101, ANU E Press, 2008

• Christopher Robert Deacy, 'Redemption and Film: Cinema as a Contemporary Site of Religious Activity', WACC Archive, 2001

• Cristina Degli-Esposti Reinert, 'Martin Scorsese's Invisible City in Bringing Out the Dead', Film-Philosophy, Vol. 4, No. 12, May 2000

• Roger Ebert, 'Introduction', Scorsese by Ebert (University of Chicago Press, 2008) 

• Rebecca Feasey. 'Stardom and Distinction: Sharon Stone and the Problem of Legitimacy', Scope, May 2004

• Christopher Garbowski, 'The Catholic Imagination in Martin Scorsese's The Last Waltz', Journal of Religion and Film Vol. 5, No. 2 October 2001

• Luis M. García-Mainar, « Contemporary Hollywood Crime Film and the New Individualism », European journal of American studies, 2, 2009

• Paul A. Gilje, 'Gangs, the Five Points, and the American Public', Common-Place, Vol. 3, No. 4, July 2003

• Paul E. Graham III, Violence and the Scapegoat in American Film: 1967-1999, PhD Thesis, Louisiana State University and Agricultural and Mechanical College, December 2002

• New Leighton Grist, Authorship and Context: the Films of Martin Scorsese, 1963-1977, PhD Thesis, University of Warwick, 1996

• Leighton Grist,  'Masculinity, Violence, Resistance: A New Psychoanalytic Reading of Raging Bull', Atlantis Journal, 29.1, June 2007

• Peter Hourigan, 'Scorsese Missing In Action: Martin Scorsese’s America by Ellis Cashmore Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture Wars by Thomas R. Lindlof', Senses of Cinema, Issue 54, 2010 

• Christine Hoff Kramer, 'Wrestling with Flesh, Wrestling with Spirit: The Painful Consequences of Dualism in The Last Temptation of Christ', Journal of Religion and Popular Culture, Vol. 8, Fall 2004 

• Peter Hutchings, '[Review of] A Personal Journey with Martin Scorsese Through American Movies by Martin Scorsese and Michael Henry Wilson, London: Faber, 1997', Scope, August 1999

• Matthew J. Iannucci, 'Postmodern Antihero: Capitalism and Heroism in Taxi Driver', Bright Lights Film Journal,Issue 47, February 2005

• Karyn Kay and Gerald Peary, 'Alice Doesn't Live Here Anymore: Waitressing for Warner's', Jump Cut, no. 7, 1975

• David Kelly, 'Model Citizens: The Irish Films of Martin Scorsese', Australasian Journal of American Studies, Vol. 26, No. 1, July 2007

• Tammie Kennedy, '(Re)Presenting Mary Magdalene: A Feminist Reading of The Last Temptation of Christ', Journal of Religion and Popular Culture, Vol. 9, Spring 2005

• Robert P Kolker, 'Algebraic Figures: Recalculating the Hitchcock Formula', in Horton, Andrew, and Stuart Y. McDougal, editors Play It Again, Sam: Retakes on Remakes (Berkeley:  University of California Press, 1998)

• Robert P. Kolker, 'The Moving Image Reclaimed', Postmodern Culture, 5.1, September 1994 

• Ekkehard Knörer, "Why Martin Scorsese's "The Departed" does not live up to [...] "Internal Affairs"', Signandsight.com, January 2007

• Joseph Jon Lanthier, 'Outstanding Defense Mechanisms: The Phrenology of Martin Scorsese’s Shutter Island', Bright Lights Film Journal, Issue 68, May 2010

• Maximilian Le Cain, 'Orphans of the Storm: Martin Scorsese's Gangs of New York', Senses of Cinema, Issue 25, 2003

• Karli Lucas, 'Creative Visions: (De)Constructing “The Beautiful” in Scorsese's The Age of Innocence', Senses of Cinema, Issue 25, 2003

• Brian McIlroy, 'Exodus, Arrival & Return: The Generic Discourse of Irish Diasporic and Exilic Narrative Films' [First published in Keeping It Real: Irish Film and Television, eds. Ruth Barton and Harvey O’Brien (London: Wallflower Press, 2004): 69-77

• Duncan McLean, 'The Evolution of the Term ‘New Hollywood’, NEO, 2009

• Eve L. Mullen, 'Orientalist Commercializations: Tibetan Buddhism in American Popular Film', Journal of Religion and Film, Vol. 2, No. 2 October 1998 

• Kartik Nair, 'Aura, Auteurism and the Key to Reserva', Widescreen Journal, No. 2, 2010

• Josh Nelson, '[Review of] Roger Ebert, Scorsese by Ebert. Chicago and London, The University of Chicago Press, 2008', Screening the Past, Issue 26, 2009

• Richard Oestreicher, 'How Should Historians Think about ‘The Gangs of New York’?', History Workshop Journal, Issue 56, 2003

• Colm O’Shea, 'Review: Thomas R. Lindlof (2008) Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture Wars. Lexington, KY: The University Press of Kentucky', Film-Philosophy, 14.1, 2010

• Steven Peacock, 'Holding onto moments in The Age of Innocence', Film Studies, Volume 9, Winter 2006

• Åke Persson, 'The Mafia in the Drawing Room: Martin Scorsese’s Film Adaptation of Edith Wharton’s The Age of Innocence', Nordic Journal of English Studies, Vol 7, No 2 (2008)

• Linda Petříkova, 'Review: Mark T. Conard (ed.) (2007) The Philosophy of Martin Scorsese Lexington: University Press of Kentucky', Film-Philosophy, 11.3, December 2007

• Patrick Phillips, 'Genre, star and auteur critical approaches applied to Martin Scorsese’s New York, New York', in Jill Nelmes' (ed), Introduction to Film Studies, 4th edition (London: Routledge, 2007) 

• Mark C. Pilkinton, 'The True Temptation of Christ: "To Suffyr temptacion it is grett peyn"', The Journal of Religion and Theatre, Vol. 3, No. 1, Summer 2004

• G. Thomas Poe, '(Beyond) The Pleasures of the Hollywood Musical Film: A Re Viewing of Martin Scorsese's New York, New York', Journal of Dramatic Theory and Criticism, Vol. IV, No. 2: Spring 1990

• Marc Raymond, 'Martin Scorsese', Senses of Cinema, May 2002

• Constanza del Río Álvaro, 'Genre and Fantasy: Melodrama, Horror, and the Gothic in Martin Scorsese’s Cape Fear (1991)', Atlantis Journal, 26.1, June 2004

• Wieland Schwanebeck, 'From Shakespeare’s Kings to Scorsese’s Kingpins: Contemporary Mob Movies and the Genre of Tragedy', ASPeers, Issue 3, 2010 

• Martin Scorsese: "Discusses Film-Making" at Princeton University, May 4 1999 (scroll down page for videocast)

• Martin Scorsese, 'Pinewood Dialogues', Moving Image Source, November 9, 2002

• Kaile Shilling, 'Servant of the Story: Judas as Tragic Hero in Film', Journal of Religion and Film. 8 (2): October 2004  

• Matthew Sorrento, 'Scorsese by Ebert by Roger Ebert', Senses of Cinema, Issue 51, 2009

• Katherine Spring, 'After Hours on the Miracle Mile: The Logic of Nightmares in Film', 16:9, No. 11, November 2007

• David Sterritt, 'Six Books about Scorsese', Film Quarterly, Vol. 63, no. 2, 2009

• John Thurman, 'Citizen Bickle, or the Allusive Taxi Driver: Uses of Intertextuality', Senses of Cinema, Issue 37, 2005

• Daniel J. Walkowitz, ‘The Gangs of New York’: the Mean Streets in History', History Workshop Journal, Issue 56, 2003

• Teena Webb and Betsy Martens, 'Alice Doesn't Live Here Anymore: A Hollywood liberation', Jump Cut, no. 7, 1975

• Martin Weinreich, 'The urban inferno. On the æsthetics of Martin Scorsese's Taxi Driver', 'The Art of Film Editing', Special Issue of P.O.V: A Danish Journal of Film Studies, edited by Richard Raskin, Number 6 December 1998 (scroll down in PDF) 

• M.C. Zenner, 'Bringing Out the Dead', Senses of Cinema, Issue 7, 2000

MOVIE: A Journal of Film Criticism

MOVIE: A Journal of Film Criticism is a refereed academic publication whose aim is to create a forum for the range of analysis, debate and discussion that only a journal devoted to a detailed film criticism can adequately provide. We are committed to publishing rigorous but accessible critical writing, at a variety of lengths, that is responsive to the detailed texture and artistry of film and television, old and new. We also welcome articles that illuminate concepts, analytical methods and questions in film aesthetics that are of significance to film criticism. The journal is published on a bi-annual basis.

Film Studies For Free is jumping for joy!  MOVIE, the legendary film magazine (1962-2000) published and designed by the late, and much lamented, Ian Cameron (1937-2010) and source of some of the most brilliant and influential writing on film ever, has inspired the beautiful birth of Movie: A Journal of Film Criticism, an online and openly accessible scholarly periodical, with a website hosted by the University of Warwick. 

Many of the same people central to MOVIE's earlier incarnation are involved this time around (Victor Perkins, Douglas Pye, Jim Hillier, Charles Barr, Deborah Thomas, Ed Gallafent, Michael Walker) together with a whole host of some of the best and brightest younger film writers (Andrew Klevan, James Macdowell, John Gibbs, Kathrina Glitre). 

FSFF hasn't read it yet, but wanted to rush you the news. So, as usual, the table of contents (with direct links to PDF files) is pasted in below. 

Wow, wow, wow...

Issue 1, 2010

• Editorial

• Ian Cameron: a Tribute V. F. Perkins

• Films, Directors and Critics Ian Cameron, reprinted from Movie 2

• Access and Excess in The Texas Chain Saw Massacre Lucy Fife Donaldson

• Sleeping with Half Open Eyes: Dreams and Realities in The Cry of the Owl John Gibbs

• Fugitive Physicality and Female Performance in Rainer Werner Fassbinder’s The Marriage of Maria Braun, Veronika Voss and Lola Kate Leadbetter

• Notes on Quirky James MacDowell

• At the Border: the Limits of Knowledge in The Three Burials of Melquiades Estrada and No Country for Old Men Douglas Pye

• Limbo: Frustrated Narration Deborah Thomas

• Acting Ordinary in The Shop Around the Corner George Toles

• The Rhetoric of The Wire James Zborowski

• Review: Giornate del Cinema Muto, Pordenone, 3 – 10 October 2009 Michael Walker

• Robin Wood and Ian Cameron

This issue edited by Edward Gallafent and John Gibbs, with grateful acknowledgement of the contributions of Lucy Fife Donaldson and James MacDowell.

"Roots of Third Cinema" and other Michael Chanan films and videos online

Roots of Third Cinema from Michael Chanan on Vimeo 
(made available for teaching and private viewing only)

As regular readers of this blog will know, Film Studies For Free is a fervent admirer of the work of filmmaker and academic writer Michael Chanan, Professor of Film at Roehampton University. Chanan has been making his work accessible online for a long time now. And now his professional website and his great blog Putney Debater have been joined by a Vimeo account where he is gradually archiving some marvellous audiovisual work from an impressive back catalogue.

FSFF has embedded one of its favourite items above, Roots of Third Cinema which has been extracted and re-edited from Chanan's enormously important and influential documentary New Cinema of Latin America (Channel Four, 1983). This is an incredibly rich and useful scholarly resource, FSFF is sure you will agree.

Written, produced, and directed by Chanan with photography by Peter Chappell, part I of New Cinema of Latin America traced the origins and development of the new cinema movement in the countries of Latin America from the early 1950s to the present and examines its political and social themes. In part II the political and cultural dimensions of the new cinema since the 1960s were explored in greater detail. The film examined the new cinema's political concerns, its desire to give expression to the traditional cultures, national identities, and everyday experiences of Latin Americans, and the growing prominence of feminist cinema. Both parts included commentary by directors and others active in the new cinema movement and excerpts from numerous films.

[FSFF has devoted a number of previous entries to online and openly accessible resources on Third Cinema in the past. See especially this bumper post.]

On Japanese Cinema

Last updated: August 3, 2010

Film Studies For Free wanted to make sure its readers didn't miss the video embedded above. It's another great offering from Fora.tv, this time a very entertaining and informative interview with Donald Richie about his internationally celebrated work on Japanese cinema and culture. FSFF heard of this via David Hudson and the Japan Society Film Blog.

In addition, FSFF has assembled some links below to openly accessible and very high quality scholarship on Japanese cinema (including numerous full-length studies), with work by Donald Richie, and many other excellent items which are indebted to his studies of Japanese cinema.

This was quite a broad category to research online, so FSFF will inevitably have missed some good resources: suggestions for any high quality additions are, therefore, even more welcome than usual! (Update: See comments  below for some of these, including the tip to link to Eigagogo's bookmarks at Delicious which lists some further great resources).

•  Kaori Ashizu, 'Kurosawa’s Hamlet?', Shakespeare Studies 33 (1995): 71-99

• Sarah M. Ball, The Uncanny in Japanese and American Horror Film: Hideo Nakata’s Ringu and Gore Verbinski’s Ring, MA thesis, North Carolina State University, 2006  

• Colette Balmain, 'Inside the Well of Loneliness: Towards a Definition of the Japanese Horror Film', Electronic Journal of Contemporary Japanese Studies, Discussion Papers, 2006 

• Colette Balmain, '“Vengeful Virgins in White”: Female Monstrosity in Asian Cinema', in Niall Scott (ed), Monsters and the Monstrous: Myths and Metaphors of Enduring Evil (Oxford: Inter-Disciplinary Press, 2004) [scroll down through pdf to p. 123]

• David Bordwell, Ozu and the Poetics of Cinema (Princeton: Princeton University Press, 1988)

• David Bordwell, 'Review of Noël Burch's "To the Distant Observer"', Wide Angle vol. 3, no. 4 (1980): 70–73

• Mio Bryce, Christie Barber, James Kelly, Siris Kunwar and Amy Plumb, 'Manga and Anime: Fluidity and Hybridity in Global Imagery', Electronic Journal of Contemporary Japanese Studies, 2010

• Noël Burch, To the Distant Observer: Form and Meaning in the Japanese Cinema (London : Scholar Press, 1979)

• Robert Castle, 'The Radical Capability of Rashomon', Film-Philosophy, Vol. 7 No. 33, October 2003

• Ryan Cooke, 'Review of Jay McRoy, Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam and New York: Editions Rodopi B.V., 2008', Screening the Past,Issue 23, 2008

• Christopher J. Coyne, 'Culture, Common Knowledge and Post-Conflict Reconstruction', Journal of Intercultural Communication, No 13 (2007)

• Darrell William Davis, Saving Face: Spectator and Spectacle in Japanese Theatre and Film (LEWI Working Paper Series/David C. Lam Institute for East-West Studies, October 2004)

• Darrell William Davis, 'Reigniting Japanese Tradition with Hana-Bi', Cinema Journal 40, No. 4, Summer 2001

• Rayna Denison, 'On Susan J. Napier's From Impressionism to Anime: Japan as Fantasy and Fan Cult in the Mind of the West', Participations, Volume 6, Issue 2 (November 2009)

• Freda Freiberg, 'The Unkindest Cut of All? Some Reflections on the Recent Cinematic Release of the Uncut Version of Nagisa Oshima's Ai no corrida', Senses of Cinema, Issue 12, Feb-Mar 2001

• Freda Freiberg, 'Pale Flower', Senses of Cinema, Issue 55, 2010

• Freda Freiberg, 'Miyazaki's Heroines', Senses of Cinema, Issue 55, 2010

• New Jinshi Fujii, 'Films That Do Culture : A Discursive Analysis of Bunka Eiga, 1935-1945', Iconics 6, Japan Society of Image Arts and Sciences, 2002

• New Hideaki Fujiki, 'Dual Persona : Onoe Matsunosuke as Japan's Early Cinema Star', Iconics 7, Japan Society of Image Arts and Sciences, 2004

• Tag Gallagher, 'Mizoguchi and freedom', Screening the Past, Issue 13, 2001

• Aaron Gerow, 'One print in the age of mechanical reproduction: film industry and culture in 1910s Japan', Screening the Past, 2000 (11), 11 January 2000

• New Aaron Gerow, 'The Benshi's New Face : Defining Cinema in Taisho Japan', Iconics 3, Japan Society of Image Arts and Sciences, 1994

• Andrew Grossman, 'Gohatto-or the End of Oshima Nagisa?', Bright Lights Film Journal, Issue 33, 2001 July

• New Masato Hase, 'Cinemaphobia in Taisho Japan : Zigomar, delinquent boys and somnambulism', Iconics 4, Japan Society of Image Arts and Sciences, 1998

• New Kyoko Hirano, 'The Banning of Japanese Period Films by the American Occupation,' Iconics 1, Japan Society of Image Arts and Sciences, 1987

• Lori Hitchcock, 'Third Culture Kids: A Bakhtinian Analysis of Language and Multiculturalism in Swallowtail Butterfly', Scope, February 2004

• Hikari Hori, 'Representing a Woman’s Story: Explicit Film and the Efficacy of Censorship in Japan', Sarai Reader 2005: Bare Acts

• Yuwen Hsiung, 'Kurosawa's Throne of Blood and East Asia's Macbeth', CLCWeb: Comparative Literature and Culture 6.1 (2004)

• Lee Wood Hung, 'Natural Culturalism in The Ballad of Narayama: A Study of Shohei Imamura's Thematic Concerns', Asian Cinema, Spring/Summer 2003

• Timothy Iles, 'Are We There Yet? Travelling Toward the Self in Contemporary Japanese Cinema', Electronic Journal of Contemporary Japanese Studies, 2007

• Mizuko Ito, 'The Gender Dynamics of the Japanese Media Mix', A position paper prepared for the workshop and conference on Girls 'n' Games, May 8-9, University of California, Los Angeles, 2006

• New Kenji Iwamoto, 'Film Criticism and the Study of Cinema in Japan：A Historical Study', Iconics 1, Japan Society of Image Arts and Sciences, 1987

• Brian Jarvis, 'Anamorphic allegory in The Ring, or, seven ways of looking at a horror video', The Irish Journal of Gothic and Horror Studies, 3, 2007

• Lei Jin, 'Silence and Sound in Kurosawa's Throne of Blood', CLCWeb: Comparative Literature and Culture 6.1 (2004) 

• Journal of the Imaginary and Fantastic Vol. 1.  No. 2.:  The Films of Hayao Miyazaki

• Sato Kenji, 'More animated than life', Japan Echo, Dec 1997; 24, 5; International Module pg. 50

• Chika Kinoshita, '"Choreography of desire: analysing Kinuyo Tanaka's acting in Mizoguchi's films', Screening the Past, Issue 13, 2001

• New Futoshi Koga, 'A Review of Pornographic Images in the 1970s in Japan: Centered Around Nikkatu Roman Porno Film"', Iconics 2, Japan Society of Image Arts and Sciences, 1992

• Colleen A. Laird, 'Japanese cinema, the classroom, and Swallowtail Butterfly', Jump Cut, No. 52, Summer 2010

• Annie Manion, 'Discovering Japan: Anime and Learning Japanese Culture', A Master's Thesis Submitted to the East Asian Studies Center, USC

• Dolores Martinez, 'Where the human heart goes astray: Rashomon, Boomtown and subjective experience', Film Studies, Issue 11, Winter 2007

• Yuji Matson, The Word and The Image: Collaborations between Abe Kôbô and Teshigahara Hiroshi, Masters Thesis, University of Victoria, 2007 

• Bonnie Melchior, 'King Lear and Ran: Identity Translated and Transformed', East-West Connections: Review of Asian Studies Volume 5, Number 1 (2005) [scroll to p. 41 in PDF]

• New Kiseko Minaguchi, 'Yamamoto Satsuo's Haha no kyoku (Mother's Melody) : Making a Father's Story of Stella Dallas', Iconics 6, Japan Society of Image Arts and Sciences, 2002

• Gary Morris, 'The Spirit Moves: The World of Kenji Mizoguchi',  Bright Lights Film Journal, Issue 22, 1999

• New Hisashi Nada, 'An Aspect of the Reception of Avant Garde Films in Japan', Iconics 2, Japan Society of Image Arts and Sciences, 1992

• New Hisashi Nada, 'The Little Cinema Movement in the 1920s and the Introduction of Avant-Garde Cinema in Japan', Iconics 3, Japan Society of Image Arts and Sciences, 1994

• Lindsay Nelson, 'Ghosts of the Past, Ghosts of the Future: Monsters, Children, and Contemporary Japanese Horror Cinema', Cinemascope, Issue 13, July-December 2009

• Eimi Ozawa , 'Remaking Corporeality and Spatiality: U.S. Adaptations of Japanese Horror Films, 49th Parallel, Conference Special Edition, Autumn 2006

• Chris Payne, 'Burying the Past: Nihonjinron and the Representation of Japanese Society in Itami's The Funeral', Graduate Journal of Asia-Pacific Studies, 1: 1 (2003), 13-20

• Michael Francis Phillips, 'A Cinematic Challenge to Modernity Critical Theory in Postwar Japanese Cinema: An Introduction to Fukasaku Kinji', eCommons@Texas State University, May 2009

• Donald Richie, Japanese Cinema: Film Style and National Character (New York: Anchor Books, 1961; Michigan Electronic Reprint 2004)

• Donald Richie, 'Expressionism in Film', Tokyo - Berlin / Berlin - Tokyo Exhibition Catalogue, Mori Art Museum, 2006

• Donald Richie, 'The Daughter of the Samurai: a German-Japanese co-production', Tokyo - Berlin / Berlin - Tokyo Exhibition Catalogue, Mori Art Museum, 2006

• Donald Richie, writer and film critic, Conversations With History: "Writing, Film, and Japan: An Expatriate's View," 9/21/01

• Juneko J. Robinson , 'Review: Jay McRoy (2007) Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam: Rodopi', Film-Philosophy, 14.1, 2010 

• Caroline Ruddell, 'Breaking Boundaries The Representation of Split Identity in Anime', Animation Studies – Vol.2, 2007

• Chi-Yun Shin, 'Art of branding: Tartan "Asia Extreme" films', Jump Cut, No. 50, spring 2008

• Greg M. Smith, 'Critical reception of Rashomon in the West', Asian Cinema, Fall/Winter 2002

• Ayumi Suzuki, 'A nightmare of capitalist Japan: Spirited Away', Jump Cut, No. 51, spring 2009

• Donato Totaro, 'Tokyo Sonata: Flirting with the Fantastic: Kiyoshi Kurosawa, 2008', Offscreen Journal,Vol . 13, Issue 5, 2009

• William Tsutsui, 'Godzilla And Postwar Japan', East-West Connections: Review of Asian Studies Volume 5, Number 1 (2005) [Scroll to p. 1 in PDF]

• Paul Waley, 'Re-scripting the city: Tokyo from ugly duckling to cool cat', Japan Forum 18(3) 2006: 361–380

• Gregory A. Walle, Narrating the new Japan: Biograph's The Hero of Liao-Yang (1904) Screen 2006 47: 43-65

• Craig Watts, 'Blood Spear, Mt. Fuji: Uchida Tomu's Conflicted Comeback from Manchuria', Bright Lights Film Journal, Issue 33, July 2001

• Erica Lee Zilleruelo, Shakespeare by Any Other Word? Shakespeare's King Lear and Macbeth Reivented in the Films of Akira Kurosawa, Masters Thesis, Wichita State University, 2002

Mapping the Lost Highway: New Perspectives on David Lynch (TATE Modern Event)

Image from Mulholland Drive (David Lynch, 2001)

Film Studies For Free has taken the trouble to gather together in one (hopefully) very easily navigable setting the twelve videos (embedded below) that recorded for posterity a really excellent symposium that took place last year on October 30 2009 at London's Tate Modern. The symposium provided a space in which artists and film theorists insightfully discussed the work of filmmaker David Lynch in a range of theoretical and artistic contexts, including psychoanalysis, philosophy, prosthetics and photography.

One of cinema’s most compelling and innovative directors, David Lynch remains a major influence on contemporary art, film and culture. In this landmark event, Tate Modern [brought] together leading artists, academics and writers from around the world to offer a series of new perspectives on Lynch’s films.

[...] Speakers [included] the visual artists Gregory Crewdson, Daria Martin, and Jane and Louise Wilson, and there [were also] contributions from the writers and academics Parveen Adams, Sarah Churchwell, Simon Critchley, Roger Luckhurst, Tom McCarthy, and Jamieson Webster. A specially commissioned video interview with Lynch himself [was] screened, and an accompanying film programme [took] place at Tate Modern and the Birkbeck Cinema. 

If you have difficulty playing the videos below, try visiting the Tate Website's gathering of them.

PART 1: Marko Daniel: Welcome; Richard Martin: Introduction

PART 2: The Body: Roger Luckhurst

PART 3: The Body: Tom McCarthy

PART 4: The Body: Q+A (chaired by Marko Daniel)

PART 5: The Eye 1: Gregory Crewdson

PART 6: The Eye 1: Q+A (chaired by Sarah Churchwell)

PART 7: The Eye 2: Daria Martin

PART 8: The Eye 2: Louise Wilson

PART 9: The Eye 2: Q+A (chaired by Stuart Comer)

PART 10: The Mind: Parveen Adams

PART 11: The Mind: Q+A (chaired by Richard Martin)

PART 12: The Ear: Chris Rodley responds to the day's presentations in conversation with Sarah Churchwell. Followed by a Q+A with the symposium's speakers and the public