On the Issue of Collaboration in Film Production Education

Image from La Nuit américaine/Day for Night (François Truffaut, 1974)

Film Studies For Free was thrilled to find not only that the internationally renowned scholarly Journal of Film and Video had published a recent, excellent special collection of articles on the often thorny issue of teaching collaboration in film production collaboratively, but also that this collection was freely available online.

The full table of contents is given below.

Now, please get into groups and read the articles...

Journal of Film and Video
Volume 61, Number 1, Spring 2009

Guest Editor: Rob Sabal

• Introduction by Rob Sabal

Excerpt: The impulse for this special issue on teaching about and through collaboration comes from a shared search for answers to the question, "how might production students work more productively and more harmoniously with others—peers, professionals, and members of the community?" The search is spurred by the recognition that, as a field, we are not doing much to address this facet of production education. Drawn together by a mutual concern for providing a rich and lasting education for our students, the authors included in this issue, along with fellow members of the University Film and Video Association, formed an informal collaboration interest group and have, for several years, been sharing stories, ideas, information, and resources about teaching collaboration and conflict resolution.
      The implicit question running through this special issue is, "what is the purpose of a film production education?" This seems to be a particularly important question to ask of undergraduate production programs because the traditional value of a liberal arts education is its breadth and its focus on inquiry and methods, which gives it its enduring value over a person's lifetime. What do we teach in a traditional production class that is of abiding value? Certainly nothing related to physical production, where technology, process, storytelling structures, exhibition, and distribution outlets continue to change rapidly. The enduring value of production classes has to be that as each student develops his or her artistic identity, he or she also comes to a clear and truthful understanding of him- or herself, develops an ability to see and appreciate the talents of others, learns to constructively negotiate conflict, and extends this ability to work positively with others into their institution and their community.

• HTML Version

• PDF Version (45k)

• The Individual in Collaborative Media Production by Rob Sabal

• HTML Version

• PDF Version (174k)

• Film Collaboration and Creative Conflict by Carroll Hodge

• HTML Version

• PDF Version (174k

• Notes on Collaboration: Assessing Student Behaviors by Ted Hardin

• HTML Version

• PDF Version (2239k)

• Intercollegiate and Community Collaboration: Film Productions for Students and Community Volunteers by Emily Edwards

• HTML Version 

• PDF Version (442k)

• Documentary and Collaboration: Placing the Camera in the Community by Elizabeth Coffman

• HTML Version

• PDF Version (1795k)

Cinema Journal

Ethel Waters in Pinky (Elia Kazan, 1949). 

(For a good study of Waters' work in this film see Brian Herrera's blogpost on the actress)

On and on and on it goes...


Film Studies For Free continues its dogged exploration of the legions of free sample issues of subscription only journals. Lots more posts on that coming up over the next weeks, months, years... 

But today's post flags up the online free sample issue of one of the best film studies journals in the world, the organ of the US based Society of Cinema and Media Studies

Cinema Journal is a periodical to which academics in many anglophone countries frequently have automatic access, that is, if they are lucky enough to be able to use well-funded university libraries, or to be individual members of SCMS (as FSFF's author is proud and fortunate enough to be).

This post, then, is dedicated to just about everyone else, in other words, to those who probably make up the majority of FSFF's international readership.

Cinema Journal

46, Number 1, Fall 2006 


CONTENTS

• John Nichols, Countering Censorship: Edgar Dale and the Film Appreciation Movement [Access article in HTML] [Access article in PDF]
  Abstract:
  
  In 1933 Ohio State University education professor Edgar Dale published How to Appreciate Motion Pictures for use in high school film appreciation classes. Configuring the adolescent as a reformer, Dale's text offered an alternative to the Production Code's stark theory of film reception, which predicated censorship on immature film viewers.

• Margaret T. McGehee, Disturbing the Peace: Lost Boundaries, Pinky, and Censorship in Atlanta, Georgia, 1949-1952
  [Access article in HTML] [Access article in PDF]
  Abstract:
  
  This article investigates the reasons behind Atlanta film censor Christine Smith's 1949 banning of Lost Boundaries (Alfred Werker) and her approval, with cuts, of Pinky (Elia Kazan), examining in particular the representations of segregation and integration in each film, the studio support behind the films, and the characterization of Pinky as a "woman's picture."

• John Sedgwick, Cinemagoing in Portsmouth during the 1930s
  [Access article in HTML] [Access article in PDF]
  Abstract:
  
  This paper uses the recently discovered box-office ledger of the first-run cinema the Regent in Portsmouth, U.K., to test the POPSTAT methodology for measuring film popularity in the general absence of such data. In order to do this a dataset of the film programs of all twenty-one cinemas screening films in the city in 1934 has been constructed from which a clear picture of film distribution and popularity emerges.

• Melanie Williams,"The most explosive object to hit Britain since the V2!": The British Films of Hardy Kruger and Anglo-German Relations during the 1950s
  [Access article in HTML] [Access article in PDF]
  Abstract:
  
  
  This article investigates the brief British career of the German actor Hardy Kruger during the 1950s. It examines his popularity with British audiences, focusing on his appeal to younger cinemagoers, especially women. It also discusses how his star persona and screen performances reflected wider tensions in contemporary Anglo-German relations.

Film Critics of Tomorrow, Yesteryear and Today: Two Competitions

"Notes for a David Lynch adaptation of [Michael Jackon's autobiography] Moonwalk" 
by Steven Boone 

(If you'd like to help with Boone's next venture, click here).

Film Studies For Free begins its rather atypical post with the following questions: does FSFF have any film fanatical/cinephile, teenage readers? Or, do any of its venerable, film-academic readers have any film fanatical/cinephile, teenage relatives? If so (and if they are UK based), please read/get them to read about the "Film Critic of Tomorrow" competition - all details given at the foot of this post. Do please fondly remember this potentially life-changing blog-post if any of you or yours win...

Secondly, FSFF would like to help whip up some timely interest in the work one of the more talented, cinema-inspired, video essayists working today, New-York based Steven Boone, in order to help him make some more films. So, it proudly presents its first ever competition (and there's no age restriction, unlike the Film Critic of Tomorrow comp, as set out at the foot of this post)!

Here are the rules: write a piece of film criticism, in 200-400 words, about Boone's video "Notes for a David Lynch adaptation of [Michael Jackon's autobiography] Moonwalk" embedded above. Submit your entry by email to this address by next Thursday, July 1st (deadline extended), 17.00 hours GMT.

The most interesting entries received (and hopefully there will be some...) will be published in a future FSFF post. And the author of the most insightful and well-crafted will be mailed the more pristine copy (of the two in FSFF's possession) of Scott Balcerzak and Jason Sperb's important and fascinating 2009 collection of essays Cinephilia in the Age of Digital Reproduction: Film, Pleasure and Digital Culture, Vol. 1. . Let the competition commence! (And thank you for your kind indulgence).

Finally, today's FSFF post exists to exhort you, were such exhortation really necessary, to read David Bordwell's latest brilliant blogpost: "Glancing backward, mostly at critics".

You may not believe it, but magical things will happen if you do. Indeed, it was while she was doing just that, that FSFF's author noticed for the first time an item in Bordwell and Kristin Thompson's wonderful list of freely accessible research items (in the upper left hand column of the site): a link to a PDF file of the introductory chapter to Bordwell's magnificent opus The Way Hollywood Sees It: Story and Style in Modern Movies [Berkeley: University of California Press, 2006]). If you haven't read this before, you must. And now you easily can!

Here’s looking at you kids......

VIRGIN MEDIA and JAMES KING LAUNCH SEARCH FOR THE FILM CRITIC OF TOMORROW

Virgin Media has joined forces with broadcaster, James King [a Film and Television Studies graduate from the University of Warwick's brilliant degree programme], in searching the country for aspiring young film critics, to join the judging panel for the third annual Virgin Media Shorts competition.

As one of the industry’s finest film critics, James has already secured his place on the Virgin Media Shorts judging panel and is now looking for one lucky teenager to join him, alongside follow judges:

-          Award-winning British film actress, Thandie Newton

-          Film director, Duncan Jones, best known for his directorial debut Moon

-          Film director, Mike Newell, director of Four Weddings and a Funeral

-          Executive director of digital entertainment at Virgin Media, Cindy Rose

-          Senior production executive at the UK Film Council, Chris Collins

As part of the judging panel, the lucky teen will work with the expert panel to select the Grand Prize Winner from the short-listed films entered into this year’s competition. The winner will also get the Hollywood treatment, receiving an all expenses paid trip to London to attend the red carpet awards ceremony and mingle with the star-studded judging panel. Following in the footsteps of last year’s winner, 14-year old Jordan Campbell from Glasgow, who described the experience as feeling as popular as Susan Boyle!

Speaking about the competition, James King said: “Virgin Media Shorts already offers a fantastic opportunity for British film-making talent – shining a light on new and established individuals. However, what I am most looking forward to is discovering the talent of tomorrow. The search for a young film critic to join me on the Virgin Media Shorts judging panel will open the door to a once-in-a-lifetime opportunity for one aspiring youngster. And, I may even pick up some tips from them too!”

Entry is open to film fanatics aged between 13-19 years old and who think they’ve got what it takes to impress James. To enter, young film fans should visit www.virginmediashorts.co.uk/vipjudge and fill out the simple entry form. Deadline for entries is 5pm on Wednesday 30^th June when all entries will be reviewed and one teenager crowned the overall winner.

For more information about Virgin Media Shorts and to view some of this year’s entries, visit www.virginmediashorts.co.uk

On Citizen Kane: film-critical and film-historical video essays

Paul Malcolm's Notes Towards a Project on Citizen Kane (2007) [8 mins 14 secs - be sure to watch right through to the end for valuable reflections on the critical video essay form]

Film Studies For Free today showcases two video approaches to Orson Welles's Citizen Kane (1941). The below video is a recording of film historians and writers Leo Braudy and David Thompson speaking at length about the film in a symposium entitled "Citizen Kane in Retrospect" held at the Academy of Motion Picture Arts and Sciences, San Marino, CA, on May 31, 2008 [51 minutes long].

The video embedded above takes an entirely different tack in studying Welles's film. But it is one of the most successful examples yet, FSFF believes, of the emerging form of the online film-critical video essay.

Paul Malcolm's wonderful work came to this blog's attention entirely thanks to a comment left by Christian Keathley (who knows rather a lot about these matters) in a fascinating and valuable discussion stream still going on at Girish Shambu's blog on the subject of DVD audio commentaries and video essays. The discussion has, in part, been fuelled by a FILMKRANT column just published by the peerless film critic (and frequent DVD commentarist) Adrian Martin, in which he raised some very important doubts about these (in the case of audio commentaries, necessarily) very 'word-centred' forms.

Film Studies For Free has a whole stack of video essays in production which are each negotiating, in different ways, some of the issues Martin has raised, but it won't be too long now, hopefully, before they can be posted at this blog... More on that very soon.

"Citizen Kane in Retrospect" with Leo Braudy, David Thompson and William Deverell

Stanley Cavell by Mulhall and Rothman: Online Colloquium

"The Melodramatic Reality of Film and Literature: Cavell and Diamond, Coetzee and Hughes" by Stephen Mulhall

"The Double Existence of Cavell’s Philosophical Prose" by William Rothman

Thanks to HarryTuttle at Screenville, Film Studies For Free was  absolutely bouleversé to discover online the exceptionally excellent talks, embedded above, on the work of (film) philosopher Stanley Cavell, a frequent topic of conversation at this blog (see FSFF's large links list “Why is this as it is?”: The Question of Cavellian Film Studies for further information, as well as the entry Film 'Conversations With History': Stanley Cavell, Oliver Stone, Robert Wise, and others).

Tuttle links to many more, brilliant, French language videos from this colloquium -- Hommage à Stanley Cavell - l'écran de nos pensées : Philosophie et cinéma -- held at l'École normale supérieure de Lyon, May 4-7, 2010.  It's a real treasure trove for film scholars.


Merci Harry!

Wide Screen Journal: on film analysis, film and history, Scorsese, Altman, Panahi, and much more

An image of Lily Tomlin as Linnea Reese in Nashville (Robert Altman, 1975).

Read Chris Louis Durham's new article on this film

Film Studies For Free is delighted to announce that the second issue of the online and Open-Access film studies journal Wide Screen has been published, with a characteristically broad spread of good quality essays.  FSFF particularly enjoyed Caroline Bainbridge and Candida Yate's very original Winnicottian study of DVD Culture, and Zélie Asava's essay on Todd Haynes's film I’m Not There (2007).

Below is a list of direct links to each of the main articles. And FSFF has pasted in their abstracts, too, because there's absolutely nothing that this blog likes to do more than to encourage and inform online film-studies reading, even on sunny Saturdays like the one currently tempting its author away from her computer screen...

• Editorial - Kuhu Tanvir

• On Not Being a Fan: Masculine Identity, DVD Culture and the Accidental Collector - Caroline Bainbridge, Candida Yates 
• Abstract: Recent work on DVD and home cinema technologies, audience and the context of reception has tended to focus on fandom, privileging the fanaticism that underpins the etymology of that term. This article is premised on focus group work that suggests, in counterpoint, that many contemporary collectors of DVDs do not see themselves as ‘fans’. What does this mean for the discourses that are developing around the consumption of new media technologies and their role in everyday life? Drawing on interview material, this article discusses the relationship between Western masculinity and the phenomenon of DVD collection. It considers the pleasures of this activity alongside the spaces of resistance it produces and we argue that commentary that interprets such phenomena in terms of fetishism does not account fully enough for what is at stake. Drawing on object relations psychoanalysis, we suggest that the material object of the DVD works in tandem with its psychical equivalent to produce new spaces of exploration and creativity for men. Against the backdrop of the commonplace assumption that masculinity is in ‘crisis’, we suggest that men make use of technologies to forge new spaces of interaction with one another, arguing that this creates new formations through which to think about the cultural structuration of homosociality and its creative potential.

• Aura, Auteurism and the Key to Reserva - Kartik Nair 
• Abstract: This essay revisits some of the most significant and enduring debates over the status of cinema as a popular form. The first debate is over the ‘aura’ and film. In “The Work of Art in the Age of Mechanical Reproduction” (1935), Walter Benjamin celebrated the democratic moment when technical reproducibility— culminating with film—abolished the centuries-old ‘aura’ of art. Conversely, in “The Culture Industry” (1944), Theodor Adorno lamented the anti-enlightenment standardization wrought by the assembly line under monopoly capitalism, and the movies were for him a primary example of this mindlessness. Arguably, auteurism emerged in the crossfire of the legacies of Benjamin and Adorno. Since it sought to cordon films off from the undistinguished mass of studio ‘product’ by elevating certain film-makers into the rarefied air of individual expression, ‘auteur theory’ may be said to have conferred a plenitude on its chosen few, a plenitude akin to aura. The second debate that I revisit is therefore that between Andrew Sarris and Pauline Kael, a debate surrounding the Americanization of the auteur.
      Finally, the essay concludes with a brief focus on the short film The Key to Reserva (2007), directed by Martin Scorsese. It is a playful 9-minute experiment – part mockumentary, part homage – in which Scorsese attempts to ‘preserve’ a script Hitchcock developed but left unfilmed. I shall attempt to stage The Key To Reserva as an exciting flashpoint for discussions not only of the status of Hitchcock and Scorsese in Hollywood viz. auteur theory, but also as a flashpoint for discussions of mass reproduction and cinema; the commodity form and advertising; standardization and style; anonymity, authorship, and aura.

• Multiculturalism and Morphing in I’m Not There - Zélie Asava 
• Abstract: ‘Passing’ narratives question fixed social categorisations and prove the possibility of self-determination, which is why they are such a popular literary and cinematic trope. This article explores ‘passing’ as a performance of identity, following Judith Butler’s (1993) idea of all identity as a performance language. The performance of multiple roles in I’m Not There (Haynes, 2007) draws our attention not only to ‘passing’, ‘morphing’ and cultural hybridity, but also to the nature of acting as inhabiting multiple identities.
  I’m Not There is a biopic of the musician Bob Dylan. It is a fictional account of a real man who, through his ability to plausibly ‘pass’ for a range of personae, has achieved legendary status. It uses four actors, an actress and a black child actor to perform this enigma.
      The performance of multiple identities in this film explores the ‘moral heteroglossia’, that is, the variety and ‘many-languagedness’ (as Mikhael Bakhtin put it) of identity, through its use of multiply raced and gendered actors. But the film’s use of representational strategies is problematic. Ella Shohat and Robert Stam (1994) note that mixed-race and black representations are often distorted by a Eurocentric perspective. And, as Aisha D. Bastiaans notes, representation is a process which operates ‘in the absence or displaced presence, of racial and gendered subjects’ (2008: 232). This article argues that I’m Not There, like Michael Jackson’s Black or White (1991) video, exploits racial and gendered difference through ‘passing’ and ‘morphing’ narratives, to reinforce the white-centrism of American visual culture.

• Urban Imagination and the Cinema of Jafar Panahi - Sarah Niazi 
• Abstract: The city in Iranian cinema acquires a character of its own. This paper through the exploration of the fabric of Jafar Panahi’s films attempts to evaluate the claims of this statement and deduce in his cinema an ‘aesthetic of veiling’1 as a narrative and enunciative coordinate that defines the post- revolutionary cinema in Iran. Working through a Benjaminian analysis of the urban experience located in the flaneur; the essay will attempt to understand the cinematic flanerie of Panahi’s camera, the perceptual prowess of his children in The White Balloon (1995) and The Mirror (1997) and the adventures of his flaneuse in The Circle (2000) and Offside (2006) as a desire to map the experiential realm of Tehran that is located within the marvellously mundane and the monumental everyday.

• Visual Story Telling and History As A Great Toy in The Lives of Others - Gerry Coulter 
• Abstract: The Lives of Others is an important film for two reasons: 1) it is a striking example of how cinema tells a story by visual means as much as the script (which in this case is much weaker); and 2) the film raises extremely important questions for history in our virtual era, a time when the reach and influence of film makers far extends that of the historian.

• Film Analysis: A Comparison among Criticism, Interpretation, Analysis and Close Analysis - Elisa Pezzotta 
• Abstract: The first aim of this article is to summarize and discuss the definitions of film analysis reported in some of the more well known texts about this subject which were and/or are published in France, Italy, the United Kingdom and the United States and which are directed to undergraduate and graduate students. Because film analysis is a broad field, firstly, I will distinguish between analysis and criticism and among interpretation, analysis and close analysis. Then, I will underline what are the relationships between analysis and close analysis, what are the main instruments of close analysis, the assumptions of analysis and the goals of both close analysis and analysis.
      This discussion is not exhaustive, but it furnishes a guide to an essential bibliography of film analysis and can aid students to undertake their own analyses with more awareness of their tasks. Finally, I strongly wish to have raised some important questions about the future of film analysis.

• “Bhagat Singh Topless, Waving In Jeans”: Melancholia Through Mimesis In Rang De Basanti - Kshama Kumar 
• Abstract: How is history mapped on the topography of twenty first century India? It seems apt to study the idea through modern India’s largest popular culture industry: Bollywood. This paper will examine the interaction between history and modern India in Rang de Basanti/Paint it Yellow (2006). The film employs history to understand the present. This paper, therefore, seeks to understand the different processes by which the film accomplishes this goal.It will involve a detailed study of the melancholia within the film which allows history and the present to co-exist. Temporal and spatial fluidity is afforded in the film through the mimetic process of the meta-drama, which will also then be studied to better understand the melancholic condition. The melancholic and the mimetic in the film, allow for an examination of the socio-political condition that the film seeks to represent. The film, this paper will argue also employs a critique of modern day governance. The paper will thus come full circle and examine modern day politics as a system of political history in action: pre-colonial politics in a postcolonial world.

• Loss and Mourning: Cinema's 'Language' of Trauma in Waltz with Bashir - Natasha Jane Mansfield 
• Abstract: This paper seeks to analyse Ari Folman’s 2008 animated film Waltz with Bashir from the perspective of psychoanalysis. The aim with any form of story telling is to meaningfully convey a narrative to an intended audience. This paper seeks to address the ways in which the audio/visual characteristics of film allow it to present narrative in terms that are unavailable to the written word. In this case, the form and style specific to animation, provides further avenues for exploration with regard to the narration of trauma. The focus of this paper is the representation of traumatic memory, from the perspective of middle aged men, recalling their teenage experiences of war: in this case the 1982 Israeli invasion of Beirut. The organising framework of Waltz with Bashir is the exploration of memory. It reconstructs experiences of war from a distance of approximately twenty years, using multiple perspectives in order to regain a sense of history. As a result, there are many strategies the film employs to try to weave together the various different narratives into an impression of events coherent enough to engage the audience and lead to some clarification of memory, and yet disparate enough to retain the idea of history as shifting and personal. The analysis also questions the difference in perception between the distance created by an artistic representation of reality through the talents of animators, and the distance created through the lens of a camera.

• “We must be doing something right to last two hundred years”: Nashville, or the American bicentennial as viewed by Robert Altman - Chris Louis Durham 
• Abstract: In this paper, I will discuss Robert Altman’s Nashville (1975) in the context of its relationship to bicentennial-era American socio-political culture, contemporary American filmmaking, and other films by Altman. In particular, I will argue that Nashville is typical in its problematic representation of “America,” echoing similarly problematic representations of contemporary America found in a number of films of the period. American society in 1975 anticipated the upcoming bicentennial and presidential election in 1976, but a sense of positive American renewal was complicated by very recent memories of the withdrawal from Vietnam (a matter of weeks before Nashville’s release), Watergate, and the pervasive ideological polarization of the late 1960s onward. Nashville is characterized by both the dystopic narrative structure and the fragmentary visual style common to Altman’s films and numerous “New Hollywood” films of the 1960s and 1970s, and which was symptomatic of a period which for many American filmmakers underlined the inapposite nature of utopian fantasies and the desirability of rejecting the traditionally more ordered, invisible and “objective” style of filmmaking that defined much of the American cinematic past. Nashville’s conscious representation of contemporary America – an America defined in terms of polarized communities, a bankrupt political culture, and the threat of random violence - ensures the film’s resonance as a cultural document, and as such one that merits considered analysis.

A monstrous talent: Blue Velvet Studies in Memory of Dennis Hopper

R.I.P. Dennis Hopper, 1936 - 2010

"Why are there people like Frank?"

"A truly Bad Bad Guy is not believable and impossible to connect with. That is unless your whole story world is twisted and strange in itself; Like Dennis Hopper's truly Bad Bad Guy in David Lynch's Blue Velvet." Sune Liltop, 'Good Guy / Bad Guy',  P.O.V. No.28, 2009

"...the conflict between smoothness and pent-up rage that defines Hopper's roles in films like David Lynch's Blue Velvet [1986]" Adrian Danks, "Nice 'N' Easy: Speaking Frankly about The Night We Called it a Day', Senses of Cinema, Issue 28, 2003

As Film Studies For Free is sure all of its readers will have learned by now, American movie actor, director and artist Dennis Hopper died yesterday. Some remarkable tributes to him have appeared in the last weeks, few if any better than those by filmmaker-critic Matt Zoller Seitz (see his video essay here; and a further written tribute here). Since the news of his death was made public, David Hudson has been collecting a full list of online tributes to Dennis Hopper here.

For FSFF's author, while she has a big soft spot for The Hot Spot (1990) as well as Easy Rider (1969), two films directed by Hopper, his most memorable contribution to the cinema was, in her view, his performance as the raging psychopath Frank Booth in David Lynch's 1986 film Blue Velvet. So this masterful film forms the (usually main) subject of each of the notable resources linked to in the scholarly webliography offered up today.  

Rest in peace, Mr Hopper.

• Jason Bainbridge, 'Soiling Suburbia: Lynch, Solondz and the Power of Dirt', M/C Journal, Vol. 9, Issue 5, 2006 

• Jenny Barrett, ''You've Made Mistress Very, Very Angry': Displeasure and Pleasure in Media Representations of BDSM'', Participations, Volume 4, Issue 1, 2003

• Michael Bloom, 'Rhetoric of Excess: Hyperbolical Irony as Transcendence in Blue Velvet', Offscreen Journal, Volume 13, Issue 9, 2009  

• Barbara Creed, 'A Journey through Blue Velvet: Film, Fantasy and the Female Spectator', New Formations, Number 6 Winter I988

• Stephan Gullatz, 'The Enigmatic Mr. Lynch', Offscreen Journal, Vol. 13, Issue 10, 2009

• Bernd Herzogenrath, 'On the Lost Highway: Lynch and Lacan, Cinema and Cultural Pathology', Other Voices, v.1, n.3 (January 1999)

• Randolph Jordan, Starting from scratch : turntables, auditory representation, and the structure of the known universe in the films of David Lynch, Masters thesis, Concordia University, 2003

• Valtteri Kokko, 'Psychological Horror in the Films of David Lynch',Wider Screen, 1, 2004 

• Stephanie Lam, 'David Lynch’s Blue Velvet: The Use of Binary Oppositions and Space', Offscreen Journal, Vol. 13, Issue 10, 2009

• Andrew Leggett, 'Violence Against Civility and the Destruction of Fantasy: The Waning of the Oedipus Complex in David Lynch’s "Blue Velvet"’, Croosroads, Rhizomes Conference 2008 Issue, Volume 111, Issue 11, 2009

• Clare Nina Norelli, 'Suburban Dread: The music of Angelo Badalamenti in the films of David Lynch', SOUND SCRIPTS Volume 2 (2009), Edited by Cat Hope and Jonathan W. Marshall, Published by Western Australian Academy of Performing Arts Faculty and Education Edith Cowan University and the Australian Music Centre (Scroll to p. 38)

• Matt Pearson, Authorship and the Films of David Lynch, e-book, BritishFilm.org.uk, 1997

• Fred Pfeil, 'Revolting Yet Conserved: Family "Noir" in Blue Velvet and Terminator 2', Postmodern Culture, Vol. 2, No. 3, May 1992 

• David Roche, 'The Death of the Subject in David Lynch’s Lost Highway and Mulholland Drive', E-rea, 2.2 | 2004