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| Framegrab image of early action heroine “Fearless” Nadia (née Mary Ann Evans) in Miss Frontier Mail (Homi Wadia, 1936). Read Rosie Thomas’s 2007 article on this film. |
Today, Film Studies For Free focuses on, and links to, some remarkable film and digital media studies essays commissioned and edited by the Sarai Programme at the Centre for the Study of Developing Societies (CSDS), Delhi.
The Sarai Programme was initiated in 2000 by a group consisting of internationally renowned cinema scholar Ravi S. Vasudevan, Ravi Sundaram (both fellows at CSDS) and the members of the Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta), a Delhi based group of media practitioners, documentarists, artists and writers.
Sarai’s mission is to act as a platform for discursive and creative collaboration between theorists, researchers, practitioners and artists actively engaged in reflecting on contemporary urban spaces and cultures in South Asia. Its areas of interests include media research and theory, the urban experience in South Asia: history, environment, culture, architecture and politics, new and established media practices, media history, cinema, contemporary art, digital culture, the history and politics of technology, visual/technological cultures, free and open source software, social usage of software, the politics of information and communication, online communities and web-based practices.
The below collection of articles — painstakingly drawn from the numerous, openly accessible Sarai Readers produced by the collective — reflect the above interests, but have been curated here by FSFF because of their particular, potential relevance to scholars of cinema and related moving image and digital media studies.
- Rehan Ansari, ‘On Mushtaq Gazdar’s “History of Pakistani Cinema”’, Sarai Reader 2001: The Public Domain
- Kaushik Bhaumik, ‘Fear in Neo-Kaliyuga Epistemic Troubles in Techno-Smrti Times’, Sarai reader 08: Fear
- Franco La Cecla, Stefano Savona and Piero Zanini, ‘Light from the Box’, Sarai Reader 2006: Turbulence
- Saayan Chattopadhyay, ‘Framing Frontiers: The Suspended Step towards Visual Construction of Geopolitical Borders’, Sarai Reader 2007: Frontiers
- Keti Chukhrov, ‘Glamour as a Form of Culture in Post-Soviet Russia’, Sarai Reader 2007: Frontiers
- Rana Dasgupta, ‘Beyond the Apocalypse: An Unfinished Meditation on Ethics’, Sarai Reader 2003: Shaping Technologies
- Tushar Dhara, ‘The Khushboo Case File: Reverse Culture Jamming’, Sarai Reader 2006: Turbulence
- Deb Kamal Ganguly, ‘Pixels of Memory on the Hypertextualised ‘I’’, Sarai Reader 2006: Turbulence
- Shohini Ghosh, ‘Censorship Myths and Imagined Harms’, Sarai Reader 2004: Crisis/Media
- Nanna Heidenreich and Nicole Wolf, ‘Conversation on Locating Conflict’, Sarai Reader 08: Fear
- Menso Heus, ‘Innovating Piracy: The Bare Act of Stealing, and Shaping the Future’, Sarai Reader 2005: Bare Acts
- Hikari Hori, ‘Representing a Woman’s Story: Explicit Film and the Efficacy of Censorship in Japan’, Sarai Reader 2005: Bare Acts
- Lawrence Liang, ‘Porous Legalities and Avenues of Participation’, Sarai Reader 2005: Bare Acts
- Geert Lovink, ‘Surveillance, Performance, Self-Surveillance: Interview with Jill Magid’, Sarai Reader 2005: Bare Acts
- Geert Lovink, ‘The Typewriter of the Illiterate: Interview with János Sugár’, Sarai Reader 2003: Shaping Technologies
- Kristian Lukic, ‘Let us Become Children! Training, Simulations and Kids’, Sarai Reader 2004: Crisis/Media
- Lev Manovich, ‘New Media: A User’s Guide’, Sarai Reader 2001: The Public Domain
- Ranjani Mazumdar, ‘Cracks in the Urban Frame The Visual Politics of 9/11′, Sarai Reader 2004: Crisis/Media
- Ranjani Mazumdar, ‘Ruin And The Uncanny City Memory, despair and death in Parinda’, Sarai Reader 2002: The Cities of Everyday Life
- Media Researchers @ Sarai, ‘Complicating the City: Media Itineraries’, Sarai Reader 2005: Bare Acts
- Rahul Mukherjee, ‘A Reply to Terrorism on a Wednesday: A Citizen Vigilante’s Prescriptions for Governing Terrorism’, Sarai Reader 08: Fear
- Batul Mukhtiar, ‘Journey through a Disaster: A Filmmaker’s Account of the Gujarat Earthquake, 2001′, Sarai Reader 2004: Crisis/Media
- Kartik Nair, ‘Fear on Film The Ramsay Brothers and Bombay’s Horror Cinema’, Sarai Reader 08: Fear
- Sandhya Devesan Nambiar, ‘Factoring Fear: Investigations into Media(ted) Fear’, Sarai Reader 08: Fear
- Warren Neidich, ‘The Neurobiopolitics of Global Consciousness’, Sarai Reader 2006: Turbulence
- Matteo Pasquinelli, ‘Warporn Warpunk! Autonomous Videopoesis in Wartime’, Sarai Reader 2005: Bare Acts
- Manuel Ramos Martínez, ‘Betrayed Borders: Double Agents and the Crisscrossing of Conflicts’, Sarai Reader 2007: Frontiers
- Pooja Rangan, ‘Transitions, Transactions: Bollywood As a Signifying Practice’, Sarai Reader 2007: Frontiers
- Raqs Media Collective, ‘Dreams and Disguises, As Usual [on Fantômas]‘, Sarai Reader 2005: Bare Acts
- Janko Röttgers, ‘P2P: Power to the People’, Sarai Reader 2004: Crisis/Media
- Chandak Sengoopta, ‘Art without Frontiers? Satyajit Ray and the Constraints of Universality’, Sarai Reader 2007: Frontiers
- Debjani Sengupta, ‘Mechanicalcutta: Industrialisation, new media in the 19th century’, Sarai Reader 2002: The Cities of Everyday Life
- Bhrigupati Singh, ‘Screening Injustice: Race, violence and media flows’, Sarai Reader 2002: The Cities of Everyday Life
- Radhika Subramaniam, ‘Urban Physiognomies’, Sarai Reader 2002: The Cities of Everyday Life
- Ravi Sundaram, ‘Recycling Modernity: Pirate electronic cultures in India’, Sarai Reader 2001: The Public Domain
- Anand Vivek Taneja, ‘Begum Samru and the Security Guard’, Sarai Reader 2005: Bare Acts
- Kuhu Tanvir, ‘Myth, Legend, Conspiracy Urban Terror in Aamir and Delhi-6‘, Sarai Reader 08: Fear
- Hansa Thapliyal, ‘Evictions – Projections Watching Dharmendra in Suburban Lagos’, Sarai Reader 2004: Crisis/Media
- Rosie Thomas, ‘Miss Frontier Mail: The Film That Mistook Its Star for a Train’, Sarai Reader 2007: Frontiers
- Ravi S. Vasudevan, ‘An Imperfect Public Cinema and citizenship in the “third world”‘, Sarai Reader 2001: The Public Domain
- Ravi S. Vasudevan, ‘The Exhilaration Of Dread Genre, narrative form and film style in contemporary urban action films’, Sarai Reader 2002: The Cities of Everyday Life
- Ravi Vasudevan, ‘Disreputable and Illegal Publics Cinematic Allegories in Times of Crisis’, Sarai Reader 2004: Crisis/Media
- Slavoj Žižek in conversation with Shuddhabrata Sengupta, ‘From Anxiety to Enthusiasm’, Sarai Reader 08: Fear
Screen Attachments: new Issue of SCREENING THE PAST
December 14, 2011
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| Framegrab from Nuovo cinema Paradiso/Cinema Paradiso (Giuseppe Tornatore, 1988), a film which is the starting point of film theorist Francesco Casetti in his new article “Cinema Lost and Found“ |
Film Studies for Free rushes you the wonderful news that a special issue (no. 32) of Screening the Past has just gone online. The issue treats the topic of Screen Attachments and is edited by Catherine Fowler and Paola Voci.
The obvious highlight is a brilliant article by Francesco Casetti, but a quick glance at all the other articles indicates a very high quality issue indeed. FSFF‘s own favourite is Fowler and Voci’s study ‘Brief Encounters: Theorizing Screen Attachments Outside the Movie Theatre’, with its compelling use of Sara Ahmed‘s notion of orientation.
The Classics and Reruns section also has some real gems.
- “Screen Attachments: An Introduction” by Paola Voci and Catherine Fowler
- “Cinema Lost and Found: Trajectories of Relocation” by Francesco Casetti
- “DVD Screen Culture for Children: Theories of Play and Young Viewers” by Karin Beeler
- “Brief Encounters: Theorizing Screen Attachments Outside the Movie Theatre” by Catherine Fowler and Paola Voci
- “Fingers, Futures, Fates: Viewing Interactive Cinema in Kinoautomat and Sufferrosa”by Jenna Ng
- “Waterbodies: Moving-image installations at Termemilano Spa” by Adriano D′Aloia
- “A Minoritarian Digital Poetics of YouTube” by Eu Jin Chua
- “Rethinking Screen Encounters: Cinema and Tamil Migrant Workers in Singapore” by Vijay Devada
- The Artist as Ecologist by Gene Youngblood
- Cerebrum: Intermedia and the Human Sensorium by Gene Youngblood
- Intermedia Theatre by Gene Youngblood
- What is Digital Cinema? by Lev Manovich
- The Fall of Buster Keaton by Anna Gardner
- Guy Debord: Revolution in the Service of Poetry by David Ehrenstein
- Goodbye Cinema, Hello Cinephilia: Film Culture in Transition by Daniel Fairfax
- Television as Digital Media by Gin Chee Tong
- Twilight of the Idols by Jonathan Auerbach
- Drawn To Sound: Animation Film Music and Sonicity by Johnny Milner
- Terry Gilliam (British Film Makers) by Josh Nelson
- Cinema Beyond Film: Media Epistemology in the Modern Era by Meredith A. Bak
- The Documentary: Politics, Emotion, Culture by Mas Generis
- Scotland: Global Cinema: Genres, Modes and Identities by Miriam Ross
- Beyond Dolby (Stereo): Cinema in the Digital Sound Age by Mike Walsh
- The Right to Play Oneself: Looking Back on Documentary Film by Patricia Aufderheide
- Steven Soderbergh by Paul Ramaeker
- Celluloid Symphonies: Texts and Contexts in Film Music History by Roger Hillmann
- Marketing Modernity: Victorian Popular Shows and Early Cinema by Tom Salek
- Dark Borders: Film Noir and American Citizenship by Tony Williams
- Counter-Archive. Film, the Everyday, and Albert Kahn’s Archives de la Planète by Jan-Christopher Horak
- Yellow Future: Oriental Style in Hollywood Cinema by Gerald Sim
>Routledge Film Studies free online: Celebrity and Stardom; European Cinema; Race and Film; and Audience and Spectatorship
August 20, 2010
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| 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.
>In-Sight from Excursions: action movies, neuroscience, dreamscapes, intermediality and spectatorship
August 10, 2010
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| 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
- 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
>Seeing the join: on film editing
April 16, 2010
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Film Studies For Free presents a much requested links list today, one to openly accessible, high quality scholarly studies of film editing. Without further ado, let’s jump cut straight to it:
- ‘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 – PDF containing:
- Søren Kolstrup, ‘The notion of editing’
- Sidsel Mundal, ‘Notes of an editing teacher’
- Mark Le Fanu, ‘On editing’
- Vinca Wiedemann, ‘Film editing – a hidden art?’
- Edvin Kau, ‘Separation or combination of fragments? Reflections on editing’
- Lars Bo Kimersgaard, ‘Editing in the depth of the surface. Some basic principles of graphic editing’
- Martin Weinreich, ‘The urban inferno. On the æsthetics of Martin Scorsese’s Taxi Driver‘
- Scott MacKenzie, ‘Closing arias: Operatic montage in the closing sequences of the trilogies of Coppola and Leone’
- Claus Christensen, ‘A vast edifice of memories: the cyclical cinema of Terence Davies’,
- Richard Raskin, ‘Five explanations for the jump cuts in Godard’s Breathless‘
- Noël Carroll, ‘Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland’, Journal of Dramatic Theory and Criticism, Spring 1992
- Ils Huygens, ‘Deleuze and Cinema: Moving Images and Movements of Thought’, Image [and] Narrative, Issue 18, September 2007
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Volume 13, Number 1-2, Automne 2002, p. 69-107 (for other articles on montage and editing in the same journal issue in French see here)
- Gabrielle Murray, ‘Knowing Icons and Transforming Experience: Sergei Eisenstein’s ¡Que Viva México! (1932)’, Senses of Cinema, Issue 52, 2009
- Tim J. Smith, ‘An Attentional Theory of Continuity Editing’, PhD thesis, University of Edinburgh, 2005 (see also descriptive statement here)
- Martin Stollery, ‘Review of Film Editing: The Art of the Expressive by Valerie Orpen’, Scope, Issue, February 2005
Participations: Studying Cinema Audiences
November 24, 2009
- On Phillip Goldstein & James L. Machor (eds.), New Directions in American Reception Study Mark R. Adams
In-between-isms: Winnicottian film, media, and cultural studies
November 9, 2009
‘As the first credit [of Michael Haneke's 1989 film Der Siebente Kontinent/The Seventh Continent] rolls, the view shifts to the inside of a car [as above]. It is a shot from the rear: a man and woman are seated in the front, towards the left and right edges of the frame, their heads silhouetted against the windscreen. Immobile, silent, they stare straight ahead, neither speaking to nor looking at one another. With its hold on that image, Haneke’s long take does its work. Taking its time, The Seventh Continent centres its audience in the space between two, in the place where a look, or a word, that might happen does not [...]‘Vicky Lebeau, ‘The arts of looking: D.W. Winnicott and Michael Haneke’, Screen, 50:1 Spring 2009
‘Part of [Vicky] Lebeau’s work [previewing her forthcoming book The Arts of Seeing: the cinema of Michael Haneke (Reaktion)] focuses on Haneke’s use of absence and duration in his ubiquitous lingering shots, which Haneke himself has suggested (echoed by Lebeau) are not so much meditations on death, but unlived lives. Lebeau illustrated by examining the opening sequence of The Seventh Continent (1989), in which the camera is fixed in the back seat of a car, looking forward through the windscreen as the vehicle travels through a car wash. In her analysis of this scene and Haneke’s work in general, Lebeau evoked Donald Winnicott‘s discussion of infantile gazing and the horror of the reflection-less specular image, and ultimately challenges us to consider cinema itself as a form of aural and visual thinking.‘ Davide Caputo, ‘Conference Report: Emergent Encounters in Film Theory: Intersections between Psychoanalysis and Philosophy’, Scope, Issue 14, June 2009
‘Freud did not have a place in his topography of the mind for the experience of things cultural. He gave new value to inner psychic reality, and from this came a new value for things that are actual and truly external. Freud used the word “sublimation” to point the way to a place where cultural experience is meaningful, but perhaps he did not get so far as to tell us where in the mind cultural experience is.’ D.W. Winnicott in The Location of Cultural Experience
“The concept of transitional phenomena, introduced by the object-relations psychoanalyst D.W. Winnicott, stems from his ‘discovery’ of transitional objects–the ubiquitous first possessions of young children that belong both to the child and to the outside world, and which occupy an intermediate position between fantasy (inner world) and reality (outer world). Importantly, while transitional objects have a physical existence, they are also pressed into the service of inner reality. Winnicott used the term ‘potential space’ to refer to the intermediate zone inhabited by transitional phenomena. For the child, playing inhabits this ‘intermediate zone’, which is consequently significant in developmental processes. Winnicott argued that this grounds all kinds of adult cultural experience, which is located in ‘the potential space between the individual and the environment’, a space of ‘maximally intense experiences’.
This model has much to offer by way of understanding of how we might engage with the world at a public level without setting aside our inner lives, our emotions and psychical investments. In the context of T-PACE, it offers new directions for the cultural researcher interested in exploring interaction between the psychical and the social/cultural, between our inner (psychical) and our outer (material) worlds, aiding understanding of key aspects of the way we relate to, consume, produce and use cultural resources, cultural objects and texts of different kinds.” Annette Kuhn, T-PACE Project website (hyperlinks added by FSFF)
‘Roger Silverstone’s approach to television relies on the insights of D.W. Winnicott for whom the social subject emerges in the “potential space” between the individual and the environment in relation to a transitional object. It is here, in this potential space, that the subject acquires agency, attempts to fulfill its needs, and begins to master space. That process, however, is never complete, and the subject spends much of its life searching for “ontological security” through the appropriation of other transitional objects—such as television—which help ground its experience of time and place and satisfy its needs and desires.’ Bryan Ray Fruth, Media Reception, Sexual Identity and Public Space, PhD Thesis, University of Texas at Austin, August 2007 (citing Roger Silverstone, Television and Everyday Life (New York: Routledge, 1994), 9 and 10-12)
Today, Film Studies For Free focuses its attention on some of the highly promising turns taken by the particular branches of film, media, and cultural studies that have been inspired and informed by the work of the British object-relations theorist and psychoanalyst Donald Woods Winnicott.
As FSFF‘s links-list below testifies, there is an extremely rich vein of openly-accessible Winnicottian film and media research and scholarship online, much of it, happily, authored by the pioneers in, and/or champions of, this field, including the late Roger Silverstone, Annette Kuhn, Victor Burgin, Susannah Radstone and Matt Hills.
Those interested in this field of work should definitely visit the website of the Transitional Phenomena and Cultural Experience (T-PACE) project based at Queen Mary, University of London, convened by Annette Kuhn, with fellow members Matt Hills, Patricia Townsend, Tania Zittoun, and Phyllis Creme. Here, you will find an excellent bibliography of offline research as well as other useful research resources.
At the foot of the post, FSFF has embedded a short and snappily informative video from the excellent Arts and Humanities Research Council-funded collaborative research project Media and the Inner World. The project is directed by Caroline Bainbridge (Roehampton University) with Candida Yates (UEL). MiW brings together academics, psychoanalysts, psychotherapists and media figures for a series of discussions about the role of emotion and ideas of therapy in popular culture, and is always keen to attract new writer-contributors for its website: you just have to be interested in the psychocultural aspects of popular culture.
‘The close-up has objectified in our world of perception our mental act of attention and by it has furnished art with a means which far transcends the power of any theatre stage’, Hugo Münsterberg, The Photoplay: A Psychological Study (1916), p. 56
‘Good close-ups are lyrical; it is the heart, not the eye, that has perceived them’, Béla Balázs, ‘Theory of the Film’ in Gerald Mast & Marshall Cohen (ed), Film Theory and Criticism, Oxford: Oxford Uni Press (1979), pp. 288-298. p. 289
‘[T]he close-up does not tear away its object from a set of which it would form part, of which it would be a part, but on the contrary, it abstracts it from all spatio-temporal co-ordinates, that is to say it raises it to the state of Entity’, Gilles Deleuze, Cinema 1: The Movement-Image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: U of Minnesota P, 1986, pp. 95-96
‘[T]he space of the narrative, the diegesis, is constructed by a multiplicity of shots that vary in terms of both size and angle- hence this space exists nowhere; there is no totality of which the close up could be a part’, Mary Ann Doane, ‘The Close Up: Scale and Detail in the Cinema’, differences: A Journal of Feminist Cultural Studies, September 22, 2003 p. 108
- The Close-up Blog-a-thon (Oct. 12-21, 2007) at the House Next Door (great index to numerous brilliant blog posts on the close-up, from Matt Zoller Seitz)
- Amy Coplan, ‘Catching Characters’ Emotions: Emotional Contagion Responses to Narrative Fiction Film’, Film Studies, Issue 8, Summer 2006 (See also Murray Smith, ‘Empathy and the Extended Mind’, University of Kent, Aesthetic Research Group Seminar Series 2006-7 Research Papers)
- Therese Davis, The face on the screen: death, recognition and spectatorship (London: Intellect, 2004) (Google Books Limited Preview)
- Gilles Deleuze, ‘The Affection-image: Face and Close-up’, Cinema 1: The Movement-Image. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: U of Minnesota P, 1986 (Google Books Limited Preview)
- Mary Ann Doane, ‘Scale and the Negotiation of “Real” and “Unreal” Space in the Cinema’, NTU Studies in Language and Literature, Number 20 (December 2008), 1-38 (scroll down in pdf)
- Mary Ann Doane, ‘The Close Up: Scale and Detail in the Cinema’, differences: A Journal of Feminist Cultural Studies, September 22, 2003(excerpt free online)
Sensing cinema: phenomenological film and media studies
October 26, 2009
Film Studies For Free is using all of its searching senses today to bring you lots of links to perceptive film and media studies of the phenomenological kind, or to studies which at least touch meaningfully on issues of phenomenology, perception, and haptics.
Those especially interested in these topics might also like to experience the fascinating Cinesensory website once they’ve dipped into some of the wonderful, openly-accessible, scholarly resources below:
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Film Studies For Free was very sad to hear of the death at 58 of Eve Kosofsky Sedgwick, one of the founders of the discourse of ‘queer theory’, and an inspirational teacher and critic.
Like many other film researchers, some of FSFF‘s author’s own writing on queer films was deeply influenced by Sedgwick’s brilliant exploration of the epistemology of the closet.
In memory of Sedgwick, FSFF has assembled a webliography, below, of links to pieces of high quality, freely accessible, scholarly writing (or recordings/videos) on the web on the topic of queer/glbt films and/or queer film theory, a number of which, unsurprisingly, employ her critical insights. Further links added since original post: last updated June 2, 2009.
- John S. Bak, ‘Suddenly Last Supper: Religious Acts and Race Relations – Tennessee Williams’s ‘Desire’,Journal of Religion and Theatre, Vol. 4, No. 2, Fall 2005
- John Bannister, ‘Charles Hawtrey, Kenneth Williams, and Susan Sontag: Campaigners of Camp and the Carry On films’, Forum, Issue 4, Spring 2007
- Harry M. Benshoff, ‘Notes on Gay History/Queer Theory/Gay Film’
- Chris Berry, ‘East Palace, West Palace: Staging Gay Life in China’, from Jump Cut, no. 42, December 1998, pp. 84-89
- Chris Berry, ‘My Queer Korea: Identity, Space, and the 1998 Seoul Queer Film & Video festival’, Intersections: Gender, History and Culture in the Asian Context, Issue 2, May 1999
- Patrick S. Brennan, ‘Cutting through Narcissism: Queer Visibility in Scorpio Rising’, Genders 36, 2002
- Michael Bronski, ‘From The Celluloid Closet to Brokeback Mountain: The Changing Nature of Queer Film Criticism’, Cineaste, 2008
- Stella Bruzzi, ‘The Talented Mr Ripley’, EnterText 1.2, Spring 2001
- Norman Bryson, ‘Todd Haynes’s Poison and Queer Cinema’, Invisible Culture – An Electronic Journal for Visual Culture Issue 1, Winter 1999
- Kathy Burdette, ‘Queer Film Theory – Bibliography’
- Alain Chouinard, ‘Queering the Québécois and Canadian Child in Jean-Claude Lauzon’sLéolo’, Synoptique13, February 2009
- Lesley Chow, ‘The Double Standard: The Twins of Two-Faced Woman and Sylvia Scarlett,’ Bright Lights Film Journal, Issue 59, February 2008
- Rick Curnette, ‘Child’s Play: The Pixelvision Videos of Sadie Benning’, The Film Journal, Issue 4
- Belidson Dias & Susan Sinkinson, ‘Film spectatorship between queer theory and feminism: Transcultural readings’, Paper for InSEA on Bridge – 7 European Regional Congress 1st – 6th July 2004 Istanbul – Cappadocia
- Richard Dyer, ‘Homosexuality in Film Noir’, from Jump Cut, No. 16, 1977, pp. 18-21
- Tanfer Emin-Tunc and Nichole Prescott, ‘Glen or Glenda: Psychiatry, Sexuality, and the Silver Screen’, Bright Lights Film Journal, Issue 41, August 2003
- NEW Bryan Ray Fruth, ‘Media Reception, Sexuality Identity, and Public Space’, e-PhD Thesis, The University of Texas at Austin, 2007
- Jane Gaines, ‘Deviant Eyes, Deviant Bodies: Queering Feminist Film Theory’, from Jump Cut, no. 41, May 1997, pp. 45-48
- Stefan Jack Garel, ‘Queer Bodies and Settlements’, (e-PhD Thesis: University of Exeter, 2008)
- ‘Gays, Lesbian, and Transgendered People in Motion Pictures: A Bibliography of Materials in the UC Berkeley Library’
- David Gerstner, ‘Queer Modernism: The Cinematic Aesthetics of Vincente Minnelli’, Modernity, Vol. 2, 2000
- Michael Goddard, ‘Beauty Lies in the Eye (So Why Can’t I Touch It?)’, Film-Philosophy, Vol. 2, No. 25, 1998
- Andrew Grossman, ‘Twelve Tone Cinema: A Scattershot Notebook on Sexual Atonality’, Bright Lights Film Journal, Issue 43, February 2004
- Julie Grossman, “The Trouble with Carol: The Costs of Feeling [On Todd Haynes' Safe]‘, Other Voices 2.3 January 2005
- Adam Hartzell, ‘Queer Pal For The Straight Gal - Wanee & Junah and Queer Friendship’, The Film Journal, Issue 7
- Todd Haynes interviewed by Richard Dyer
Download: recording%20from%20the%20Tate%20Modern
, ‘Double Indemnity: Todd Haynes/Edward Hopper’ (4 June 2004) - Todd Haynes’s film: Superstar: The Karen Carpenter Story (1987)
- Zoë Heyn-Jones, ‘Eye and Brain, Torn Asunder: Reading Ideology in Sally Potter’s Orlando’, Synoptique, 11, March 12, 2008
- NEW In Media Res GLBT media-themed week, April 21-25, 2008
- Fiona Jenkins, ‘Grief’s Testimony: On Almodóvar’s All About My Mother’, Scan: Journal of Media Arts Culture, Vol. 4, Number 2, August 2007
- Jamie June, ‘Is it Queer Enough?: An Analysis of the Criteria and Selection Process for Programming Films within Lesbian, Gay, Bisexual, Transgender, and Queer Film Festivals in the United States’ (e-Thesis)
- Dmetri Kakmi, ‘Queer Cinema: A Reality Check’, Senses of Cinema, 2000
- Peter Kemp, ‘Bi-Polar Gender-Blender: Sylvia Scarlett,’ Senses of Cinema 22, Sept-Oct 2002
- Ewan Kirkland, ‘Romantic Comedy and the Construction of Heterosexuality’, Scope Issue 9, 2007
- Kevin B. Lee, ‘Madchen in Uniform (Leontine Sagan, 1931)’
- Dennis Lo, ‘The Politics and Aesthetics of “Asian American” Sexuality in Ang Lee’s Cross-Cultural Family Dramas: A Case Study on The Wedding Banquet and The Ice Storm‘, Stanford Journal of Asian American Studies, Vol. 1, 2008
- Patricia MacCormack, ‘Barbara Steele’s Ephemeral Skin: Feminism, Fetishism, and Film’, Senses of Cinema, September 2002
- Patricia MacCormack, Pleasure, Perversion and Death: Three Lines of Flight for the Viewing Body, Transmat Online Book
- James MacDowell, ‘What Value is There in Gus Van Sant’s Psycho?‘, Offscreen Journal, Vol. 9, Issue 7, 2005
- Stephen Maddison, ‘Pedro Almodóvar and Women on the Verge of a Nervous Breakdown: the Heterosocial Spectator and Misogyny’, Chapter 4 of Fags, hags, and queer sisters : gender dissent and heterosocial bonds in gay culture (New York : St. Martin’s, 2000)
- Joseph McBride, ‘George Cukor: The Valor of Discretion’, Bright Lights Film Journal, Issue 32, April 2001
- Deborah Mellamphy, ‘The Paradox Of Transvestism In Tim Burton’s Ed Wood‘, Wide Screen Journal, Vol. 1, No. 1, 2009
- Frann Michel, ‘The Incredibly True Adventure of Two Girls in Love‘, Cineaste, Vol. 21, No. 4, 1995
- D.A. Miller, ‘Anal Rope‘
- Daniel Mudie Cunningham, ‘Driving into the ‘Dustless Highway’ of Queer Cinema’, Film Journal, 2002
- Rebecca Panosky, ‘Dorothy Arzner and Gender Representation.” In: “International Female Film Directors: Their Contributions to the Film Industry and Women’s Roles in Society.” Chapter 4 of e-Thesis
- Susan Pelle and Catherine Fox, ‘Queering Desire / Querying Consumption: Rereading Visual Images of ‘Lesbian’ Desire in Lisa Cholodenko’s High Art’, Third Space, Vol. 6 Issue 1, Summer 2006
- Matthew Ogonoski, ‘Queering the Heterosexual Male in Canadian Cinema: An Analysis of Jean-Claude Lauzon’s Léolo’, Synoptique, 13, February 2009
- Ryan Powell, ‘Putting on the Red Dress: Performative Camp in Douglas Sirk’s All That Heaven Allows,’ Forum, Issue 4, Spring 2007
- Kate Rennebohm, ‘Queering Childhood: An Examination of Claude Jutra’s Dreamspeaker’, Synoptique 13, February 2009
- Elena del Rio, ‘Performing the Narrative of Seduction: Claire Denis’s Beau Travail‘, Kinoeye, Vol. 3, Issue 7, Spring 2003
- Julian Savage, ‘The Conscious Collusion of the Stare: The Viewer Implicated in Fassbinder’s Fear Eats the Soul,’ Senses of Cinema, 16, Sept-Oct 2001
- Heide Schlüpmann and Karola Gramman, ‘Mädchen in Uniform’, trans. Leonie Naughton, Screening the Past, 12 January 1998
- NEW Ian Scott Todd, ‘Outside/In: Abjection, Space, and Landscape in Brokeback Mountain’, Scope13, February 2009
- Neera Scott, ‘Sublime Anarchy in Gus Van Sant’s Elephant‘, Senses of Cinema, 2005
- Steven Jay Schneider, ‘A Tale of Two Psychos‘, Senses of Cinema, 2000
- Yael Sherman, ‘Tracing the Carnival Spirit in Buffy the Vampire Slayer: Feminist Reworkings of the Grotesque’, Third Space, Vol. 3, Issue 2, March 2004
- Anneke Smelik, ‘Gay and Lesbian Criticism’
- Anneke Smelik, ‘Art Cinema and Murderous Lesbians’
- Anneke Smelik, ‘The Carousel of Genders’
- Irini Stamatopoulos, ‘Ang Lee’s Cowboys’, Offscreen Journal, Volume 11, Issue 2 (February 28, 2007)
- K. E. Sullivan, ‘Ed Gein and the Figure of the Transgendered Serial Killer’, from Jump Cut, no. 43, July 2000, pp. 38-47
- Denise Tse Shang Tang, ‘A Dialogue on Intimacy with Chan Kwok Chan in Yau Ching’s Ho Yuk: Let’s Love Hong Kong‘, Intersections: Gender, History and Culture in the Asian Context Issue 14, November 2006
- Donato Totaro, ‘Psycho Redux’, Offscreen Journal, 2004
- Evangelos Tziallas, ‘Looking Beneath the Skin: Reconfiguring Trauma and Sexuality’, Stream: A Graduate Journal of Communication, Spring 2008 1(1)
- Justin Vicari, ‘Reading/Watching Fassbinder’, Film Journal, Vol. 1, No. 13, Winter 2006
- Amy Villarejo, ‘Interview with Tish Pearlman for Out of Bounds/Cornell University’ [about Queer film and queer film theory] RealPlayer file, 29 mins 30 seconds
- Nicholas de Villiers, ‘Glancing, Cruising, Staring: Queer Ways of Looking’, Bright Lights Film Journal, Issue 57, August 2007
- Nicholas de Villiers, ‘”The vanguard – and the most articulate audience”: Queer Camp, Jack Smith and John Waters‘, Forum, Issue 4, Spring 2007
- Adam P Wadenius, ‘The Monstrous Masculine: Abjection And Todd Solondz’s Happiness‘, Wide Screen Journal, Vol. 1, No. 1, 2009
- Tamsin Whitehead, ‘Rejecting the Margins of Difference: Strategies of Resistance in the Documentary Films of Pratibha Parmar’, Third Space, Vol. 7, Issue 2, Winter 2008
- Damon Young and Gilbert Caluya, ‘”A Vessel of Imagery”: An Interview with Gregg Araki’,Senses of Cinema, 2005
P.S. Another set of must-reads from the Reverse Shot website – just click on the film-title links below for some great reading on queer cinema and television:
Broken Sky by Michael Koresky
The Wire by Chris Wisniewski
Lan Yu by Andrew Chan
I Love You, Man and the Apatow Comedy Factory by Michael Joshua Rowin
Hairspray by Leo Goldsmith
Be Like Others by Joanne Nucho
Casino Royale and the new James Bond by Andrew Tracy
Brokeback Mountain, Milk, and the Queer Prestige Film by Matt Connolly
The House of Mirth by Jeff Reichert
Far from Heaven by Chris Wisniewski
Milk by Michael Koresky
