Routledge Film Studies free online: Celebrity and Stardom; European Cinema; Race and Film; and Audience and Spectatorship

Update at 14.33 BST: The PDF files linked to here are currently not working. Will sort out and update as soon as possible. Apologies for any inconvenience.

Cate Blanchett as Galadriel in the The Lord of the Rings film trilogy.

While it is often the emergence of exceptions that proves rules, the very existence of Film Studies For Free shows that there might occasionally be such a thing as a free lunch.

At the same time, this wily blog is certainly no purist when it comes to campaigning for Open Access in scholarly publishing. FSFF's inbuilt pragmatism means that it is always very happy to pass on news of the experiments of otherwise 'closed' or 'subscription only' academic publishers with marketing strategies involving limited free online access to their scholarly publications.

While there is, as yet, no challenger on the horizon to Intellect's extensive championing of the Film Studies freebie, publishing giant Routledge is currently offering up occasional free 'article collections' for particular subjects. Their Film Studies collection is focused on the following four key themes: Celebrity and Stardom; European Cinema; Race and Film; and Audience and Spectatorship.

Free access to the below articles in their current collection will last until December 31, 2010, so do be sure to download them before then.

• Daniel Allington, '“How Come Most People Don't See It?”: Slashing the Lord of the Rings', Social Semiotics, 17: 1, 2007: 43 — 62

• Matthias De Groof, 'Black Film Label: Negritude and Cinema', Third Text, 24: 2, 2010: 249 — 262

• Chris Holmlund, (2010) 'Celebrity, ageing and Jackie Chan: middle-aged Asian in transnational action', Celebrity Studies, 1: 1, 2010: 96 — 112

• Luke McKernan, 'A fury for seeing: Cinema, audience and leisure in London in 1913', Early Popular Visual Culture, 6: 3, 2008: 271 — 280

• Andrew L. Mendelson, 'On the function of the United States paparazzi: mosquito swarm or watchdogs of celebrity image control and power', Visual Studies, 22: 2, 2007: 169 — 183

• Dorota Ostrowska, 'Languages and Identities in the Contemporary European Cinema', Journal of Contemporary European Studies, 15: 1, 2007: 55 — 65

• Stephen Sharot, 'The ‘New Woman’, star personas, and cross-class romance films in 1920s America', Journal of Gender Studies, Vol. 19, No. 1, March 2010, 73–86'

• Darko Štrajn, 'Identity in a notion of the Eastern and Western European cinema', New Review of Film and Television Studies, 6: 1, 2008: 41 — 50

• Keyan G. Tomaselli, 'Class and Ideology: Reflections in South African Cinema', Critical Arts, 1: 1, 1980: 1 — 13

A Fistful of "Spaghetti Western" Studies

BFI Researcher's Tales: Sir Christopher Frayling on Spaghetti Westerns 
(Frayling is author of Spaghetti Westerns: Cowboys and Europeans From Karl May to Sergio Leone [London: I.B.Tauris, 1981, 1998]; Sergio Leone: Something To Do With Death [London: Faber and Faber, 2000]; and
Sergio Leone: Once Upon a Time in Italy [London: Thames and Hudson, 2005]).

It was the spaghetti Westerns… that first eliminated the morality-play dimension and turned the Western into pure violent reverie [...] What made these [...] popular was that they stripped the Western form of its cultural burden of morality. They discarded its civility along with its hypocrisy. In a sense, they liberated the form: what the Western hero stood for was left out, and what he embodied (strength and gun power) was retained. Abroad, that was probably what he had represented all along.

Pauline Kael, Killing Time, in Karl French (ed.), Screen Violence (London: Bloomsbury, 1974), pp. 171-178: 172.

Today, to accompany its list of links to openly accessible scholarly studies of the Spaghetti (or Italian, or Euro) Western, and related topics, the normally garrulous Film Studies For Free was going to treat its readers to an improbable, digital impersonation of  Clint Eastwood's performance as the Man With No Name in what is often called "The Dollars Trilogy" directed by Sergio Leone.

Sadly, no dice: while it looks good in a poncho, not only does FSFF fall short in performing moral ambiguity, but it's also fairly hopeless when it comes to capturing taciturnity. 

Dammit. 

Do please enjoy the links, anyway. Grazie.

• Spaghetti Western Database

• Jenna Bond, 'Homosexuality and the Italian Spaghetti Western', Offscreen Journal, Vol. 11, Issue 11, November 2007

• Mark Brownrigg, 'Chapter 4: Music and the Western', Film Music and Film Genre, PhD Thesis, University of Stirling, 2003

• Timothy Campbell, 'The Corrupting Sea, Technology and Devalued Life in Sergio Leone’s Spaghetti Westerns', California Italian Studies Journal 1.1, 2010

• Rolando Caputo, 'Aldrich, Leone and Vera Cruz: style and substance over the border', Screening the Past, June 30, 2000

• Paul Coughlin, '[Review of] Christopher Frayling, Sergio Leone: something to do with death. London: Faber and Faber., 2000', Screening the Past, November 1, 2000

• Vera Dika, 'An East German Indianerfilm: the bear in sheep's clothing', Jump Cut, No. 50, Spring 2008

• Chris Durham, 'Absent Heroism: Reconsidering Clint Eastwood's Star Persona', Scope, Issue 7, 2007

• Robert J. Edmonstone, 'Beyond “Brutality”: Understanding the Italian Filone’s Violent Excesses', PhD Thesis, University of Glasgow, 2008

• Daniel Edwards, 'Sergio Leone', Senses of Cinema, 2002

• Austin Fisher, 'A Marxist's Gotta Do What a Marxist's Gotta Do: Political Violence on the Italian Frontier', Scope,  Issue 15, November 2009

• Brad D. Foster, 'Constructing Heroic Identities: Masculinity and the Western Film', Masters Thesis, Oregon State University, July 2007

• Luis M. García Mainar, 'Authorship and Identity in the Cinema of Clint Eastwood', ATLANTIS 29.2 (December 2007)

• Howard Hughes, Excerpts from Aim from the Heart: The Films of Clint Eastwood (London: IB Tauris, 2009)

• Emily Anne Kausalik, A Fistful of Drama: Musical Form in the Dollars Trilogy, Masters Thesis, Bowling Green State University, 2008

• Kyle Keough, 'Cowboys and Shoguns: The American Western, Japanese Jidaigeki, and Cross-Cultural Exchange', DigitalCommons@University of Rhode Island, 2008

• Evert Jan van Leeuven, 'Gothic Eurowesterns: A Grotesque Perspective on a Hollywood Myth',  BRight Lights Film Journal, Issue 60, May 2008

• Scott MacKenzie, 'Closing arias: Operatic montage in the closing sequences of the trilogies of Coppola and Leone', P.O.V. 'The Art of Film Editing', edited by Richard Raskin, Number 6 December 1998 - (scroll down in large PDF)

• John Nudge, 'Wild East Productions: Spaghetti Westerns', first published in Imagesjournal.com, 1998

• Walter Przybylowski, 'The European Western', Dialogues, Vol. 5, Fall 2006

• Richard Raskin, 'Jack Elam and the Fly in Once Upon a Time in the West', P.O.V. No.24 - The Western, December 2007

• Alireza Vahdani, 'European Western vs. American Western', Offscreen Journal,  January 31, 2010

• Jeannette Vaught, 'Deserting the Desert, Salvaging the Southland: The Re-Location of the American Hero and Cultural Identity in 1970s Outlaw Movies', TPP VII (2009): 9-28

• Tony Williams, 'A Fistful of Dollars', Senses of Cinema , Issue 28, 2003

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.]