Jean-Louis Comolli in Buenos Aires, 2010, speaking on the subject of the ‘democratization of filmmaking’ in the digital era (in French with Spanish subtitles) Transcript in Spanish here. Google translation of transcript here
It’s a fascinating collection of work, and very wide-ranging: from part one of an interview with, and an article by, Jean-Louis Comolli, film theorist and Cahiers du cinéma editor in possibly its most political period (1966-1978) through Murray Pomerance on Hitchcock to a number of articles on the Oscar-laden French film The Artist (Michel Hazanavicius, 2011).
Links to all the great contents are given below.
- An Interview with Jean-Louis Comolli (Part 1) by Daniel Fairfax. Part 2 will be published in issue 63.
- Jean-Louis Comolli on La belle journée
- Zafar Masud on The Artist and the MacMahon Factor
- Andrew Gilbert on The Death of Film and the Hollywood Response
- Joseph Natoli on The Artist
- Murray Pomerance on the Architectonics of a Hitchcockian Shot
- Robert Alpert on Movie Love in the Classic and Post-Modernist Traditions
- Daniella Gitlin on Song of Ceylon
- Eloise Ross on Sounds from the City in Film Noir
- Gabrielle Ringuet, All Visual and No Sound Would Make Jack a Dull Boy
- David Martin-Jones on Colombiana
- Max Nelson on Maurice Pialat
- Richmond B. Adams on John Ford’s The Sun Shines Bright
- Daniel Fairfax on Artavazd Pelechian
- Bérénice Reynaud on Sundance and the Pan African Film and Arts Festival and AFI/AFM
- Dirk de Bruyn on Bangkok Experimental
- Daniel Fairfax on Rotterdam
- Mattias Frey on Berlin
- Celluloid Liberation Front on Rotterdam
- Barbara Wurm on Viennale and Venice
- Courtney Sheehan on the International Documentary Festival Amsterdam
- Graham Dasseler on Pauline Kael: A Life in the Dark
- Susan Rowland on Wild/Lives
- Todd Herzog on New Austrian Film
- Marcin Wisniewski on the Queer Film Classics series
- Joseph Valle on Reframing Bodies
- Cerise Howard on Into the Past and Playing With Memories
- James Bennett on New Zealand Cinema
- Mithuraaj Dhusiya on Better off Dead
- Matt Hawkins on The 21st Century Screenplay and Screenwriting: History, Theory and Practice
- Adrian Danks on America America
- Arthur Rankin on Splendor in the Grass
- Michael Da Silva on East of Eden
- Carlota Larrea on American Friend
- Brian Darr on Wild Night in El Reno
- Christopher Lupke on Flowers of Shanghai
- Stephen Teo on The Man from Hong Kong
- Christopher Sharrett on L’eclisse
- Jonathan Dawson on The Passenger
- Deane Williams on Helen Levitt
- Gwendolyn Audrey Foster on A Man Escaped
- Bill Mousoulis on Mouchette and Au Hasard, Balthazar
- Rick Thompson on Pickpocket
- José Sarmiento on Proces de Jeanne D’Arc
- Adrian Miles on L’argent
- Majari Kaul on Les Dames du Bois de Boulogne
- Pasquale Iannone on I Magliari
- Darragh O’Donoghue on Salvatore Giuliano
- Pasquale Iannone on Lucky Luciano
- Peter H. Kemp on The Scarlet Empress
- William “Bill” Blick on The Docks of New York
- Wheeler Winston Dixon on Shanghai Express
- Robert Keser on The Epic That Never Was
- Shari Kizirian on The Last Command
[Jean Epstein, quoted in Ian Christie, "French Avant-Garde Film in the Twenties," in Film as Film (London: Arts Council of Great Britain, 1979), 38]
Sequences from La Chute de la maison Usher/The Fall of the House of Usher (Jean Epstein, 1928)
In the early twentieth century scientists recognized cinematic slow motion, along with its opposite, time-lapse photography, as providing major tools for observation and demonstration. Enabling through cinema the extension and compression of the flow of time respectively, these techniques revealed aspects of the world that human vision could not otherwise see, and yet they did not distort the world into an aesthetic image. Rather they opened up a new visual dimension. Epstein’s manipulation of time in cinema revealed a different rhythm to the universe, a ballet of matter. Thus, the intuition of Roderick Usher, the protagonist of Poe’s story, that matter itself may have a sentient and animate dimension was visualized in Epstein film’s La Chute de la maison Usher through the use of slow motion. The constant vibration of the material world, whether the flowing of fabric caught in the breeze or the cascade of dust falling from a suddenly struck bell does not simply provide a visual metaphor for the haunted house of Usher. Rather, they capture a universal vibration shared by the soul of things and the structures of the psyche, invoking the senses of both vision and sound (and even touch) placed before us on the screen. In his penultimate masterpiece from 1947, Le Tempestaire, Epstein not only used slow motion to display the currents of ocean surf as he had in his earlier silent films made in Brittany, but innovatively introduced the timbre and resonance of slowed down recorded sound, enfolding us as auditors not simply in defamiliarized sonority, but allowing us to dwell within an extended soundscape filled with the uncanny echoes of nature. [Tom Gunning, 'Preface', to Jean Epstein: Critical Essays and New Translations, edited by Sarah Keller and Jason N. Paul (Amsterdam: Amsterdam University Press, 2012)]
As Jean Epstein went on to say, the camera is the veridical artist. But the role of this veridical artist can be understood in two ways, as can the relation between its artistic power and its veridicality. On the one hand, the camera is the artist, because it produces a kind of writing, and more precisely because it has an impersonal power in it—the light—which writes. The sensory milieu, then, is one in which light and movement constitute a new writing. Yet, on the other hand, it is a veridical artist insofar as it does not write anything, insofar as all it yields is a document, pieces of information, just as machines yields them to men who work on machines and are instrumentalized by them, to men who must learn from them a new way of being but also domesticate them for their own use. [Jacques Rancière, 'What Medium Can Mean', Translated by Steven Corcoran, Parrhesia, 11, 2011: 35-43]
Epstein, at the beginning of his career, claimed that cinema has nothing to do with logic or any other kind of intellectual reasoning. He relegated films to the realm of the so-called emotional reflex, fundamentally irrational in its premises. At the same time, however, he elaborated his own notion of photogénie as an almost mystical increase in the meaning of a cinematic image. A photogenic image, according to him, is not simply one transformed by the camera lens, but it is also purified and abstracted. Thus, a photogenic image belongs to the world of the intellect as well as the world of physical phenomena:
This is why the cinema is psychic. It offers us a quintessence, a product twice distilled. My eye presents me with an idea of a form; the film stock also contains an idea of a form, an idea established independently of my awareness, an idea without awareness, a latent, secret but marvelous idea; and from the screen I get an idea, my eye’s idea extracted from the camera; in other words, so flexible is this algebra, an idea that is the square root of an idea.
This abstracting of an image allows Epstein to explore the subject of cinematic logic that will come to occupy a dominant place in his later film theorizing [...]. In his books starting from 1946 (L’intelligence d’une machine), Epstein claims that cinema is not beyond logic but develops its own logic, whose laws are still obscure and mysterious. Epstein calls this logic ‘la pensée méchanique’ – mechanical thought. This thought is not human, but is produced by the cinematic machine itself. [...] According to Epstein, cinema produces thinking because it generates forms of time and space. [Mikhail Iampolski, 'The Logic of an Illusion Notes on the Genealogy of Intellectual Cinema', in Allen, Richard, Malcolm Turvey (eds), Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson (Amsterdam University Press, 2004), pp. 44-45]
Filmmaker and theoretician Jean Epstein profoundly influenced film practice, criticism and reception in France during the 1920s and well beyond. His work not only forms the crux of the debates of his time, but also remains key to understanding later developments in film practice and theory. Epstein’s film criticism is among the most wide-ranging, provocative and poetic writing about cinema and his often breathtaking films offer insights into cinema and the experience of modernity.
This collection – the first comprehensive study in English of Epstein’s far-reaching influence – arrives as several of the concerns most central to Epstein’s work are being reexamined, including theories of perception, realism, and the relationship between cinema and other arts. The volume also includes new translations from every major theoretical work Epstein published, presenting the widest possible historical and contextual range of Epstein’s work, from his beginnings as a biology student and literary critic to his late film projects and posthumously published writings. [Blurb for Jean Epstein: Critical Essays and New Translations, edited by Sarah Keller and Jason N. Paul (Amsterdam: Amsterdam University Press, 2012)]
Film Studies For Free today celebrates the publication of a wonderful, and hugely important, new book on a wonderful, and hugely important, old figure in film history: Jean Epstein: Critical Essays and New Translations edited by Sarah Keller and Jason N. Paul.
Epstein has been a very neglected figure in anglophone film scholarship. Unduly so, as Tom Gunning writes (in his preface to Keller and Paul’s collection),
To my mind Jean Epstein is not only the most original and the most poetic silent filmmaker in France, surpassing impressive figures like Abel Gance, Jacques Feyder, Marcel L’Herbier and even Louis Feuillade; I also consider him one of the finest film theorists of the silent era, worthy to be placed alongside the Soviet theorists (Eisenstein, Vertov and Kuleshov) and the equal of the extraordinary German-language cinema theorist, Béla Balázs. [Gunning, 'Preface'; hyperlinks added by FSFF]
The book, available for purchase in print, has also been made openly accessible online thanks to its publisher Amsterdam University Press‘s laudable partnership with the online OAPEN library (Open Access Publishing in European Networks). The volume is part of the AUP series Film Theory in Media History, published in cooperation with the Permanent Seminar for the History of Film Theories (read FSFF’s post on the Permanent Seminar), and edited by Prof. Dr. Vinzenz Hediger (Frankfurt), Dr. Trond Lundemo (Stockholm), and Prof. Dr. Oliver Fahle (Bochum).
explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a historical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship. Combining the book form with open access online publishing the series reaches the broadest possible audience of scholars, students, and other readers with a passion for film and theory.
FSFF is very excited by the prospect of subsequent open access publications in this series. Below, it has reproduced the table of remarkable contents of the AUP volume. As it always likes to add scholarly value in its entries, below the table of contents, there are direct links to further wonderful Open Access resources on Epstein.
Jean Epstein: Critical Essays and New Translations, edited by Sarah Keller and Jason N. Paul (Amsterdam: Amsterdam University Press, 2012)
Table of Contents
- ‘Preface’ by Tom Gunning
- ‘Introduction’ by Sarah Keller
- ‘Epstein’s Photogénie as Corporeal Vision: Inner Sensation, Queer Embodiment, and Ethics’ by Christophe Wall-Romana
- ‘Novelty and Poiesis in the Early Writings of Jean Epstein’ by Stuart Liebman
- ‘The Cinema of the Kaleidoscope’ by Katie Kirtland
- ‘Distance Is [Im]material: Epstein Versus Etna’ by Jennifer Wild
- ‘“The Supremacy of the Mathematical Poem”: Jean Epstein’s Conceptions of Rhythm’ by Laurent Guido
- ‘The “Microscope of Time”: Slow Motion in Jean Epstein’s Writings’ by Ludovic Cortade
- ‘A Different Nature’ by Rachel Moore
- ‘Cinema Seen from the Seas: Epstein and the Oceanic’ by James Schneider ‘A Temporal Perspective: Jean Epstein’s Writings on Technology and Subjectivity’ by Trond Lundemo
- ‘Ultra-Modern: Jean Epstein, or Cinema “Serving the Forces of Transgression and Revolt”’ by Nicole Brenez
- ‘Thoughts on Photogénie Plastique’ by Érik Bullot
- ‘Introduction: Epstein’s Writings’
- La Poésie d’aujourd’hui, un nouvel état d’intelligence (1921); Introduction / Sarah Keller; Cinema and Modern Literature
- Bonjour Cinéma (1921) Introduction / Sarah Keller; Continuous Screenings
- La Lyrosophie (1922) Introduction / Katie Kirtland Excerpts from La Lyrosophie
- Le Cinématographe vu de l’Etna (1926) Introduction / Stuart Liebman; The Cinema Seen from Etna; On Certain Characteristics of Photogénie; Langue d’Or; The Photogenic Element; For a New Avant-Garde; Amour de Charlot; Amour de Sessue;
- L’Intelligence d’une machine (1946) Introduction / Trond Lundemo Excerpts from L’Intelligence d’une machine; Le Cinéma du diable (1947) Introduction / Ludovic Cortade Indictment To a Second Reality, a Second Reason
- Introduction to Esprit de cinéma and Alcool et Cinéma / Christophe Wall-Romana
Esprit de cinéma; The Logic of Images; Rapidity and Fatigue of the Homo spectatoris; Ciné-analysis, or Poetry in an Industrial Quantity; Dramaturgy in Space; Dramaturgy in Time; Visual Fabric; Pure Cinema and Sound Film; Seeing and Hearing Thought; The Counterpoint of Sound; The Close-up of Sound; The Delirium of a Machine
- The Slow Motion of Sound; The Fluid World of the Screen; Alcool et cinéma; Logic of Fluidity; Logic of Variable Time
- ‘Afterword: Reclaiming Jean Epstein’ by Richard Abel
Filmography; Select Bibliography; Notes on Contributors; Index of Names; Index of Films and Major Writings by Jean Epstein; Index of Films
Further Open Access Epstein Studies
- Robert Farmer, ‘Jean Epstein’, Senses of Cinema, 57, 2010
- Mikhail Iampolski, ‘The Logic of an Illusion Notes on the Genealogy of Intellectual Cinema’, in Allen, Richard, Malcolm Turvey (eds), Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson (Amsterdam University Press, 2004)
- Darin D. Kerr, ‘From This Moment on: The Dialectics of Modernism’, The Projector: Film and Media Journal, 19.2, Fall 2009
- Stuart Liebman, ‘Visitings of Awful Promise The Cinema Seen from Etna’, in Allen, Richard, Malcolm Turvey (eds), Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson (Amsterdam University Press, 2004)
- Jacques Rancière, ‘A Thwarted Fable’, Rouge, 8, 2006
- Jacques Rancière, ‘What Medium Can Mean’, Translated by Steven Corcoran, Parrhesia, 11, 2011: 35-43
The femme fatale is a product of the male imaginary, which emerges in literature and the visual arts under contingent socio-political conditions as a challenge to coherent and stable identities. [...]
The emergence of the femme fatale motif in literature, art and cinema generally coincides with periods of social or political instability and is not specific to a culture, society or era, but exhibits countless masks as she may manifest herself in diverse historical or geo-political contexts, and through a variety of artistic and literary forms. She embodies traces of a myriad of powerful, as well as menacing, historical, biblical and mythical female figures, such as Cleopatra, Salome, or the Sirens; yet this wicked and barren creature is always imbued with an alluring beauty and rapacious sexuality that is potentially deadly to man. The femme fatale figure is a recurrent patriarchal construct, a projection of all that exists beyond that which is normal, familiar, or safe. As Rebecca Stott observes, she is a multiple sign, or ‘the Other around whom the qualities of all Other collect in the male imagination’ (1992: 39). As such, her appearances are always symptomatic of a society in crisis. [Eva Bru-Domínguez, 'The Body as a Conflation of Discourses: The femme fatale in Mercè Rodoreda’s Mirall trencat' (1974)', Journal of Catalan Studies 2009]
[I]s it possible that the tangled webs of violence, sexuality, pathology, and intrigue at the core of certain film noir offer moments of reversal and exception which challenge women’s role as eternal victim? How is an anti-feminist backlash or male anxiety around women’s power projected into these paranoid film scenarios? To what extent can such disruptions be contained through conventional “happy family” closure – or through the violent death of the (anti-)heroine whose glittering image lingers as the credits rolls? Working against the inescapable grain of the “repressive rule” of female victimhood, I choose here to seize on the exceptional figure of the “fatale femme.” While the exception may help define the rule, she also keeps alive the possibility, the inevitability, of transformation in gendered relations of power. [Julianne Pidduck, The "fatal femme" in contemporary Hollywood film noir: reframing gender, violence, and power, Masters Thesis, Concordia University, 1993: 6-7]
Rather than promoting images of women that emphasize their spirit and unknowable power, and rather than promoting images of women that rely on their bodies, finally, we need to illustrate the contexts that inform women’s experience. I want to suggest some of the reasons why we’ve grown accustomed to identifying film noir’s “femme fatale” without examining these contexts that inform her presence in film noir, by doing just that: examining the settings—social, psychological, political, physical, and geographical—that define her experience, which is, I want strongly to suggest, a far better thing to define than “woman” herself.
This study seeks to modify the tone of feminist discussions about film noir’s women by reorienting our attention to the narrative, social contexts, and mise-en-scene that show the relationship between women’s powers and the limits placed on them by social rules. Both the view of the “femme fatale” as misogynist projection and the view of the “femme fatale” as opaque yet transgressive female force emphasize her status as object or symbol (as object of scorn or as the mysterious and opaque “other” that threatens to destroy the male subject). My aim is to adjust our focus on film noir and gender so that we illuminate these women’s narratives rather than mystifying women as objects or images. [Julie Grossman, Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up (London: Palgrave/BFI, 2009): 5. Book info.]
If you are a film goer you know her kind. She is attractive, alluring, enigmatic, enticing, teasing, siren-like. Totally tautological. You might come across her dancing in a cinematic cabaret or show, smoking in a private detective’s office, gracing a film noir alleyway, or haunting a difficult to decipher flashback. Or turning up like a beautiful but bad penny, provoking your scopophilia (and/or your epistemophilia), just about anywhere in almost every period of international film history.
Just what is it about these cinematic women? There certainly isn’t one answer to that question, but the studies linked to below might very well help you to begin to tackle it.
If there are any important online resources that FSFF has missed, please do list them in the comments thread.
- Rihab Kassatly Bagnole, Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950, PhD, Ohio State University, 2005
- Linda Berkvens, ‘From Below to Above the Title: The Construction of the Star Image of Barbara Stanwyck, 1930-1935′, Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol 2, No 1 (2009)
- Rebecca H. Bias, From golden age to silver screen: French Music-Hall Cinema from 1930-1950, PhD, Ohio State University, 2005
- John J. Blaser and Stephanie L.M. Blaser, Film Noir Studies (dozens of essays and clips), 2008
- Dan Callahan, ‘Fatal Instincts: The Dangerous Pout of Gloria Grahame.” Bright Lights Film Journal, Issue 61, August 2008
- Derek Dubois, ‘Silent Subversions : Exploring the Enigma of Female Spectatorship in Silent Cinema’, Master’s Theses, Dissertations and Graduate Research Overview. Paper 32, 2009
- Richard Dyer, ‘Homosexuality in Film Noir’, from Jump Cut, No. 16, 1977, pp. 18-21
- Maura Edmond, ‘Fashionable Attractions: Fashion Parades in Popular Entertainment from Lady Duff-Gordon to Lady Gaga’, SCAN, 7.2, November 2010
- Catherine Gomes, “‘The Era Of Lustrous Screen Sirens Lives On, Thousands Of Miles From Hollywood’: The Cross-Cultural Reception Of Chinese Martial Arts Cinema’s Sword-welding Actresses,” Reception: Texts, Readers, Audiences, History, Vol 1, The Reception Study Society, 2008
- Julie Grossman, Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up (London: Palgrave/BFI, 2009) Book info.
- Melissa Jane Hardie, ‘Loose Slots: Figuring the Strip in Showgirls’, Xtext 1 (1996): 24-35
- Lee Horsley, ‘Fatal Women in the Hard-Boiled Fifties’ An extract from The Noir Thriller (Palgrave, 2001; 2009)
- Thomas Kiely, ‘Erendira: A not-so-innocent film’, from Jump Cut, no. 31, March 1986
- Naomi King, ‘Male Identity and the Threat of the Feminine’, Crimeculture, 2002
- Aspasia Kotsopoulos and Josephine Mills, ‘The Crying Game: Gender, genre and “postfeminism”‘, from Jump Cut, no. 39, June 1994
- Elizabeth Lee, ‘The Femme Fatale as Object’, Victorian Web, 1997
- Scott Loren, ‘Self-fashioning, Freedom, and the Problem of His-story: the return of noir’, European Journal of American Studies, 1, 2008
- Maree Macmillan, ‘Beyond the femme fatale: The mythical Pandora as cathartic, transformative force’, in Illuminating the Dark Side: Evil, Women and the Feminine, edited by Andrea Ruthven and Gabriela Mádlo (InterDisciplinary.net, 2010)
- Maasilta Mari, African Carmen. Transnational Cinema as an Arena for Cultural Contradictions, PhD Thesis, University of Tampere, 2007
- Michael Mills, ‘High Heels on a Wet Pavement: Film Noir and the Femme Fatale’, Modern Times (date unknown)
- Daniel Morgan, ‘Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement, Critical Inquiry, Autumn 2011
- Laura Mulvey, ‘Visual pleasure and narrative cinema’, Screen, 1975
- Fred Nadis, ‘Mechanical Dolls and Rank Ladies’, Left History,Vol 7, No 1 (2000)
- Rebecca Claire Naughten, Spain Made Flesh: Reflections and projections of the national in contemporary Spanish stardom, 1992-2007, PhD Thesis, University of Newcastle, 2010
- Sheila O’Malley, ‘Five Things About Peggy Cummins in Gun Crazy‘, The Sheila Variations, February 19, 2011
- Anne Helen Petersen, The Gossip Industry: Producing and Distributing Star Images, Celebrity Gossip, and Entertainment News, 1910 – 2010, PhD Thesis, University of Texas at Austin, 2011
- Julianne Pidduck, The “fatal femme” in contemporary Hollywood film noir: reframing gender, violence, and power, Masters Thesis, Concordia University, 1993
- Patricia Pisters, ‘Lili and Rachel: Hollywood, History and Women in Fassbinder and Verhoeven’ in Kooijman, Jaap, Patricia Pisters, Wanda Strauven (eds), Mind the Screen: Media Concepts According to Thomas Elsaesser (Amsterdam University Press, 2008)
- Barbara L. Romanczuk, Screening Zola’s women, PhD, Ohio State University, 2002
- Sarah Sik, ‘[Review of] Evil by Design: The Creation and Marketing of the Femme Fatale by Elizabeth K. Menon (Urbana and Chicago: University of Illinois Press, 2006), Nineteenth Century Art Worldwide, 2012
- Cheryl Inez Simon, Gender, genre and globalization : discourses of “Femininity” in the popular culture of the 1990′s. PhD thesis, Concordia University, PhD Thesis, Concordia University, 1998
- Scott Snyder, ‘Personality Disorder and the Film Noir Femme Fatale’, Journal of Criminal Justice and Popular Culture, 8(3) (2001)
- Jamie L. Stuart, The Business and Pleasure of Filmic Lesbians Performing Onstage, PhD, Bowling Green State University, 2006
- Yvonne Tasker, Spectacular bodies: gender, genre and the action cinema, PhD Thesis, University of Warwick, 1995
- Deborah Walker, ‘Re-reading the Femme Fatale in Film Noir: an evolutionary perspective’, The Journal of Moving Image Studies, Vol. 5, No. 6
- Emma Whiting, ‘Dangerous Women and the Abject in the Noir Thriller’, Crimeculture, 2005
Research in progress by Joanna Callaghan for the fourth long format film in the series ‘Ontological Narratives’ which will take Jacques Derrida‘s epistolary novel The Post Card as starting point.
In this research film, the possibility of a deconstructive film is discussed with world leading experts on Derrida using a range of clips as counterpoints.
Ontological Narratives is an Arts and Humanities Research Council funded project led by Callaghan in collaboration with Martin McQuillan. [Also see 'The Post Card - Adaptation'; for more on this project see here and here]. See also Callaghan and McQuillan’s important film on the current convulsive state of UK Higher Education, “I melt the glass with my forehead“.
We can therefore turn this [film theory/film practice divide] debate into an explicitly philosophical issue, by not presupposing that knowing that and knowing how simply overlap; they are two different types of knowledge whose relationship needs to be thought through. It is the theorization of the link/overlap between the two types of knowledge that seems to be missing. [Warren Buckland, Film-Philosophy Discussion List, January 31, 2012]
[The debate about film theory and practice] has a history which, in the UK at least, goes back to the 1970s, when the art colleges taught experimental film making, and the then polytechnics and a few new universities began to include film-making in their undergraduate film courses. Film theory as such was still taking shape, and video was in its earliest stages. In an atmosphere charged with radical intellectual fervour, the theoretical input led to much experimentation in colleges of creative practice—the watchword of the time was deconstruction. The paradigm for the infusion of theory into practice could be found in the work, for example, of Laura Mulvey and Peter Wollen, who established themselves on screen and on page, together and separately, as leading denizens of both. Some of the people emerging from this habitus made the break and went on to successful careers in the mainstream, but independent film-making informed by theoretical critique remained in the margins. [Michael Chanan, 'Revisiting the Theory/Practice Debate', Putney Debater, February 15, 2012 (hyperlinks added)]
Audiovisual works, it may be argued – films, videos or some other form – are already discursively articulated, they not only incorporate language (as dialogue, voice-over, intertitle, and so on) but are quasi-linguistic in their very form. The analogy between language and cinema, for example, has been explored with particular rigour in structuralist film theory, not least in the work of Christian Metz. It might be argued that if audiovisual forms are inherently discursive, then an intellectual argument can equally well be presented in the form of a film or video as in a more conventional written form. [Victor Burgin, 'Thoughts on 'research' degrees in visual arts departments', Journal of Media Practice, Vol. 7, No. 2, 2006] (hyperlink added)]
The misgivings about the legitimacy of practice-based research degrees in the creative and performing arts arise mainly because people have trouble taking research seriously which is designed, articulated and documented with both discursive and artistic means. The difficulty lurks in the presumed impossibility of arriving at a more or less objective assessment of the quality of the research – as if a specialised art forum did not already exist alongside the academic one, and as if academic or scientific objectivity itself were an unproblematic notion. In a certain sense, a discussion is repeating itself here that has already taken place (and still continues) with respect to the emancipation of the social sciences: the prerogative of the old guard that thinks it holds the standard of quality against the rights of the newcomers who, by introducing their own field of research, actually alter the current understanding of what scholarship and objectivity are. [Henk Borgdorff, 'The debate on research in the arts', The Sensuous Knowledge Project, 2006]
And so begins a mini-series of posts here at Film Studies For Free on the practical possibilities for, and the critical debates about, audiovisual film studies research and ‘publication’.
Below, in this first instalment, FSFF links to freely-accessible, online resources relating to the notion of film practice as a form of film/video theorising, in other words, as a reflexive and/or affective meditation on the ontological qualities of film or video (a ‘felt framing‘, in Julian Klein‘s great phrase to describe artistic research). It’s certainly a good excuse to showcase some of the burgeoning, open access work (and open access publications, or free publishers’ samples) in the very healthy field of Moving Image Practice as Research (aka ‘Research by Practice’ or ‘Practice-Led research).
Some studies of Practice-Led Research
- Desmond Bell, ‘Is there a doctor in the house? A riposte to Victor Burgin on practice-based arts and audiovisual research’, Journal of Media Practice, 9.2, 2008
- Michael A.R. Biggs, “The Role of ‘the Work’ in Research” (Paper presented at the PARIP 2003 Conference, 11-14 September 2003.) Bristol, UK
- Christin Bolewski, ‘Practice as Research: Philosophy and Aesthetics of Chinese Landscape Painting Applied to Contemporary Western Film and Digital Visualisation Practice’, The Art of Research Processes, Results and Contributions, Conference at the University of Art and Design Helsinki, 24 – 25 November 2009
- Henk Borgdorff, ‘The debate on research in the arts’, The Sensuous Knowledge Project, 2, 2006
- Henk Borgdorff, ‘The Conflict of the Faculties On Theory, Practice and Research in Professional Arts Academies’, Revised Version of ‘The Conflict of the Faculties: on Sense and Nonsense in Art Research) in the arts, culture and policy journal’, Boekman (58/59, Spring 2004, p. 191-96
- Victor Burgin, ‘Thoughts on ‘research’ degrees in visual arts departments’, Journal of Media Practice, Vol. 7, No. 2, 2006
- Michael Chanan, ‘Revisiting the Theory/Practice Debate’, Putney Debater, February 15, 2012
- Charlotte Crofts, ‘Bluebell, Short Film and Feminist Film Practice As Research: Strategies for Dissemination and Peer Review’, a pre-print of an article in Journal of Media Practice, 2007 (See an excerpt from this work here)
- Steve Dixon, ‘Digits, Discourse, and Documentation: Performance Research and Hypermedia’, The Drama Review 43, 1 (T161), Spring 1999
- Julian Klein, ‘The Other Side of the Frame, Artistic Experience as Felt Framing: Fundamental principles of an artistic theory of relativity’, originally in: S. Flach and J. Söffner, (eds.), Habitus in Habitat II – Other Sides of Cognition (Bern: Peter Lang, 2010)
- Friederike Krishnabhakdi-Vasilakis, ‘Transforming the Rhetoric: Making Images as Practice-Led Research’, ACUADS 2009 CONFERENCE: Interventions in the Public Domain
- Nicholas Rowe and Susan Carter, ‘Ways of Knowing: PhDs with creative practice’, MAI Review, 2011, 2, Te Kokonga
- Deborah Smith-Shank and Karen Keifer-Boyd, ‘Editorial: AutoEthnography and Arts-Based Research’, Visual Culture and Gender, Vol. 2, 2007
- Lindsay Vickery, ‘The Problem of Objectivity and the Artistic Conception of the Participant Observer: thoughts on using Lacan’s psychological model of representation in the documentation of creative arts practice as research’, Creative Connections Symposium @ BEAP2004
- Helen L. Yeates, ‘Embedded engagements: the challenge of creative practice research to the humanities’, The International Journal of the Humanities, 7(1), 2009. pp. 139-147
Two Open Access journals for AV/media practice work:
- The Journal of Media practice: SCREENWORKS (Vol. 1 and Vol. 2 [on AVPhD practice work])
- The Journal for Artistic Research
Two free publishers journal samples:
- Sar Maty Ba and Will Higbee, ‘Free Content Re-presenting diasporas in cinema and new (digital) media: Introduction’
- Hamid Naficy, ‘Free Content Multiplicity and multiplexing in today’s cinemas: Diasporic cinema, art cinema, and mainstream cinema’
- John Akomfrah, ‘Free Content Digitopia and the spectres of diaspora’
- Rajinder Dudrah, ‘Free Content Haptic urban ethnoscapes: Representation, diasporic media and urban cultural landscapes’
- Edward George and Anna Piva, ‘Free Content Astro Dub Morphologies’
- Roshini Kempadoo, ‘Free Content Interpolating screen bytes: Critical commentary in multimedia artworks’
- Coco Fusco, ‘Free Content Operation Atropos’
- Erika Balsom, ‘Brackhage’s Sour Grapes’ on the place of experimental cinema in the contemporary museum
- David E. James, ‘Letter to Paul Arthur’ on the relationship between ‘hipster’ cinema and private sponsorship.
- Sean Cubitt, Daniel Palmer and Les Walkling, ‘Reflections on Medium Specificity Occasioned by the Symposium “Digital Light: Technique, Technology, Creation”, Melbourne, 2011′.
- Maeve Connolly, ‘Apperception, Duration and Temporalities of Reception: The Repetition Festival Show’ on the Dublin show.
- Nick Fitch and Anne-Sophie Dinant, ‘The emergence of Video Art in Brazil in the 1970s’.
- Maria Walsh, ‘Re- enacting Cinema at the Crossroads: Nicky Coutt’s Passing Place‘
- Round Table Discussion on ‘The affects of the abstract image in film and video art’ chaired by Maxa Zoller with contributions from Bridget Crone, Nina Danino, Jaspar Joseph-Lester, RUBEDO (Vesna Petresin Robert and Laurent-Paul Robert).
- Eu Jin Chua, ‘The Film-work Recomposed into Nature: From Art to Noise in Four Minutes and Thirty-Three Seconds’ on recent work by Manon de Boer.
- JJ Charlesworth on ‘Doug Fishbone: Elmina’ at Tate Britain.
- Pryle Behrman on ‘David Claerbout: The Time that Remains’ at Wiels Contemporary Art, Brussels.
- Catherine Elwes on ‘Peter Campus: Opticks’ at BFI Southbank Gallery, London.
- Claire Flannery on ‘Miroslaw Balka: Between Honey and Ashes’ at Douglas Hyde Gallery, Dublin.
- Honor Beddard on Hilary Lloyd at Raven Row, London.
- Colin Perry on ‘Modern Women: Single Channel’ at MOMA PS1, New York.
- Adam Kossoff on ‘William Raban: About Now MMX’, Tate Modern and touring.
- Michael Szpakowski review of ‘One Minute Volumes 1-4′, DVD series touring internationally.
- Alice Haylett Bryan, book review of ‘Hiroshima After Iraq: Three Studies in Art and War’ by Rosalyn Deutsche (Columbia University Press).
|Image from Grbavica: Land of My Dreams/Esma’s Secret: Grbavica (Jasmila Žbanić , 2006), an example of ‘global women’s cinema’ as explored by Patricia White in a 2008 lecture and in a forthcoming book (you can see a clip from this film about 36 minutes into White’s talk, and the film’s website is here)|
Thanks to the website of the Permanent Seminar on the Histories of Film Theory, which Film Studies For Free featured yesterday, FSFF heard about another highly worthwhile online resource (although one that appears not to be being updated, currently): the website of Advanced Research Team for the History and Epistemology of Moving Image Study (ARTHEMIS).
ARTHEMIS is dedicated to the study of the evolution of film studies as a discipline. Based at the Mel Hoppenheim School of Cinema in Concordia University and initiated by Martin Lefebvre, it gathers scholars from Canada, the United States and Europe. The group organizes, among other things, monthly seminars related to the different axes of research. [Some] are available on this site. We invite you to listen to the conferences and submit your comments. In addition, you will find on this site an evolving bibliography and book reviews.
The ARTHEMIS project also investigates the study of film and moving images by looking at three of its most important ‘possibility conditions’: Conceptual conditions; Institutional conditions; Material Conditions.
There are plenty of items worth exploring at ARTHEMIS. But FSFF was most struck by the series of online lectures from 2008/9 that are archived at the site. Here’s the list of links to these – some truly wonderful items. FSFF particularly liked Patricia White’s lecture on “Globalizing Women’s Cinema”.
- Anne Friedberg, Conversation on her book “The Virtual Window” Video Lecture, 2008-09-23
- Christophe Dupin, BFI (part 1) Video Lecture, 2008-09-24
- D.N. Rodowick, An Elegy for Theory Video Lecture, 2008-09-24
- Dominique Chateau – Do Film Studies Form a Discipline Video Lecture, 2009-06-18
- Geoffrey Nowell-Smith, BFI (part 2) Video Lecture, 2008-09-24
- Jacqueline Stewart, The Politics of Film Archiving (part one) Video Lecture, 2009-04-14
- Jacqueline Stewart, The Politics of Film Archiving (part two) Video Lecture, 2009-04-14
- Keepers of the frame (J.Stewart presentation) Video Lecture, 2008-12-09
- Lee Grieveson, Cinema Studies and the Conduct of Conduct Video Lecture, 2008-09-24
- Marc Furstenau, Design and Use Video Lecture, 2008-09-23
- Michael Zryd, Experimental film as Pedagogical Cinema Video Lecture, 2008-10-21
- Patricia White, Globalizing Women’s Cinema Video Lecture, 2008-09-24
|Image from Unforgiven (Clint Eastwood, 1992), a film explored by Tim Groves in ‘Cinema/Affect/Writing’|
Emotion is a phenomenon that, according to [Sergei] Eisenstein, “is completely identical with the primary phenomenon of cinema. [In cinema] movement is created out of two motionless cells. Here, a movement of the soul, i.e. emotion (from the Latin root motio = movement), is created out of the performance of a series of incidents.” ([Towards a Theory of Montage] 145, emphasis in original). Properly structured as a series of uncompleted incidents, montage calls on us to finish the actions mentally, and for Eisenstein this internal movement of filling in the gaps is emotion, a movement of the soul. [Greg M. Smith, Moving Explosions: Metaphors of Emotion in Sergei Eisenstein's Writings', Quarterly Review of Film and Video 21.4 (October-November 2004) 303-315 citing Eisenstein, Towards a Theory of Montage. Trans. Michael Glenny. Ed. Michael Glenny and Richard Taylor. London: BFI Publishing, 1991; hyperlinks added]
[H]ow to write about specific, personal affective experiences of the cinema? [...]
It is difficult for me to articulate, but I was affected [in Unforgiven] by the conjunction of lighting, costuming, and the melancholy, homicidal figure of [Clint] Eastwood in the final shootout in Greely’s. The mise en scène of this confrontation repeats that of the night of Will’s beating at the hands of Sheriff Little Bill Daggett (Gene Hackman). The lack of contrast in lighting and the orange and brown colours of both the characters’ costumes and saloon setting cause the characters to merge into their surroundings. It is literally difficult to see what is happening. While William Munny and the Eastwood persona are constructed as unforgiven in this scene, somewhere in the gloom I found a metaphor for the ambivalence of their forgiveness across the entire film. As a result, I declined to judge this “notoriously vicious and intemperate” figure, as he is labelled in [the film]. Instead I forgave him. I saw his thinning hair and the wounds engraved on his face, and reached out to tend to them. Forgiveness was the punctum which I found in Unforgiven and which is already there in the text, if ambiguously. [...]
But I cannot write your cinema/sadness . . . [Tim Groves, 'Cinema/Affect/Writing', Senses of Cinema, February 2003 hyperlinks added]
Film Structure and the Emotion System is concerned with this emotion system’s structure, rather than with particular emotions themselves. This is not a book about sadness or joy; instead it deals with the foundational structures that make such emotions possible. Culturally nuanced work on particular emotions certainly needs to be done, but we should make sure that we first understand the basic principles of how the emotion system is constructed. [Greg M. Smith, 'An Invitation to Feel', Film Structure and the Emotion System (Cambridge: Cambridge University Press, 2004) hyperlinks added]
The elicitation of affect in the audience stands firmly at the core of the film-going experience, figuring into the poetics, aesthetics, rhetoric, and ideology of film viewing. If our goal is to understand how mainstream viewers experience films, if we want to explore the cultural role of movies, if we wish to expand our conception of the poetics of the cinema, then we cannot ignore the place of emotion elicitation and affective experience within film viewing. [Carl Plantinga, 'Disgusted at the Movies', Film Studies, Volume 8, Summer 2006 hyperlinks added]
In their work, [Torben] Grodal, [Greg M.] Smith, and [Carl] Plantinga all rely on a “downstream flow” of perception, cognition, emotional processing in narrative film. It is a uni-directional flow; the viewers see, they comprehend, they experience emotion. However, underlying all of their work are Silvan Tomkins’s foundational studies of affect from the 1960s. Tomkins’s analyses make possible a more complicated multi-directional understanding of affect [...]. Tomkins explored affect as located in the voice, skin, autonomic nervous system, hand, body, and most extensively, the face. Rather than perceive affect and emotion as developing outward from the inner organs as Henri Bergson, William James, or Carl Lange had suggested, Tomkins and his colleagues Carrol Izard and Paul Ekman focused mostly on the face as “an organ for the maximal transmission of information, to the self and to others” and concluded that “the information it transmits is largely concerned with affects.” This is the point on which narrative film studies has focused. [Randall Halle, 'Toward a Phenomenology of Emotion in Film: Michael Brynntrup and The Face of Gay Shame', MLN, Vol. 124, No. 3, April 2009 (German Issue), pp. 683-707; hyperlinks added]
AFFECT/AFFECTION. Neither word denotes a personal feeling (sentiment in Deleuze and Guattari). L’affect (Spinoza’s affectus) is an ability to affect and be affected. It is a prepersonal intensity corresponding to the passage from one experiential state of the body to another and implying an augmentation or diminution in that body’s capacity to act. L’affection (Spinoza’s affection) is each such state considered as an encounter between the affected body and a second, affecting, body … [Brian Massumi, 'Introduction' to Deleuze and Guattari's A Thousand Plateaus, xvi, cited by Eric Shouse, 'Feeling, Emotion, Affect', M/C Journal, 8.6, 2005]
Films and music videos, like other media works, are machines for generating affect, and for capitalising upon, or extracting value from, this affect. As such, they are not ideological superstructures, as an older sort of Marxist criticism would have it. Rather, they lie at the very heart of social production, circulation and distribution. They generate subjectivity and they play a crucial role in the valorisation of capital. Just as the old Hollywood continuity editing system was an integral part of the Fordist mode of production, so the editing methods and formal devices of digital video and film belong directly to the computing-and-information-technology infrastructure of contemporary neoliberal finance. [...]
What does it mean to describe such processes in terms of affect? Here I follow Brian Massumi ([Parables for the Virtual: Movement, Affect, Sensation (Durham: Duke University Press] 2002, 23-45) in differentiating between affect and emotion. For Massumi, affect is primary, non-conscious, asubjective or presubjective, asignifying, unqualified and intensive; while emotion is derivative, conscious, qualified and meaningful, a ‘content’ that can be attributed to an already-constituted subject. Emotion is affect captured by a subject, or tamed and reduced to the extent that it becomes commensurate with that subject. Subjects are overwhelmed and traversed by affect, but they have or possess their own emotions. [Steven Shaviro, 'Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales', Film-Philosophy, 14.1, 2010]
There is not one ‘affect’, nor even one economy, ecosystem or ecology of affect(s); just as there is not one reading of one text. Post-cinematic effects, yes; Shaviro makes an important observation. But affects? I’m not so sure why or how they would be different from everything that postmodern theorists have long been saying about postmodernity. The ultimate question, to me, is whether approaching the world in terms of affect offers anything specific for cultural theory and the understanding of culture and politics. [Paul Bowman, 'Post-Cinematic Effects', In Media Res Theme Week on Steven Shaviro's Post-Cinematic Affect (August 29 - Sept. 2, 2011)]
It is almost too easy to speak of affect—as if, by using this term, one had cleansed all the embarrassment and messiness from the experience. To use “affect” in the sense defined by Deleuze and Guattari, that is, as non-conscious and non-linguistic experience of intensity, appears not to be useful if one wants to explore the overlap of rationality and emotionality, as well as insist on the textual and self-reflexive—that is, self-augmenting and self-attenuating—character of emotionality. [Katrin Pahl, 'Emotionality: A Brief Introduction', Modern Language Notes, Volume 124, Number 3, April 2009 (German Issue)]
Today, Film Studies For Free makes one of its regular, little, curatorial contributions to a particular Film Studies theoretical debate. This time, it’s the turn of an exploration of some much-fought-over keywords pertaining to film and media theories of feelings and related bodily and psychological experiences and behaviours – most notably, the terms ‘Affect’ and ‘Emotion’.
The ‘Affective Turn‘ is a rich, if at times rather complex or befuddling, vein of film studies thinking, with an array of approaches ranging from the historical-political (e.g. von Moltke’s article), to the cognitivist (for example, see Carl Plantinga and Greg M. Smith) through the psychoanalytic (for example, see Groves’ essay) and the (post-)Deleuzo-Guattarian (for a good, clear introduction, read Anna Powell’s article).
As always, in the below list of links to openly accessible online studies, the ever pluralist FSFF doesn’t come down on any one theoretical side. But this collection does go out especially to all those who have been curious about, or confused and dumbfounded by, the undoubted buzzword quality, particularly, of ‘affect’ in Film and Media Studies in the last ten to fifteen years.
- Maria Angel and Anna Gibbs, ‘ Media, Affect and the Face: Biomediation and the Political Scene’, Southern Review 38.2 (2006)
- Philip Bell, ‘Cultural Studies as Neo-Psychology: Comments on B. Massumi, Parables for the Virtual (2002)’, Porceedings of Hawaian International Conference on Social Sciences, 2003
- Lisa Blackman and John Cromby, ‘Affect and feeling’, International Journal of Critical Psychology, 21, 5-22 (2007)
- Will Brooker, ‘Brief Tears I: Gin Talking’ in Michele Byers and David Lavery (eds), On the Verge of Tears: Why the Movies, Television, Music, Art, Popular Culture, Literature, and the Real World Make Us Cry (Cambridge: Cambridge Scholars Press, 2010)
- Giuliana Bruno, ‘Atlas of Emotion: Journeys in Art, Archictecture and Film’, Talk at Institut de la Ville en Mouvement, 2001(?)
- Sarah Cefai, ‘Unhappy Families [Review of Sara Ahmed, The Promise of Happiness , 2010]‘, Cultural Studies Review, 17.1, March 2011
- Hsiao-hung Chang, ‘Transnational Affect: Cold Anger, Hot Tears, and Lust, Caution’, Concentric: Literary and Cultural Studies 35.1 March 2009: 31-50
- Eu Jin Chua, ‘[Review of] Sianne Ngai, Ugly Feelings. Cambridge: Harvard University Press, 2005.’, BMRCL, 6.2, Fall 2007
- Annabel Cohen, ‘Music as a Source of Emotion in Film’, in J. Sloboda and (Eds.). Music and emotion (Oxford: Oxford University Press, 2001), 245-268
- Amy Coplan, ‘Catching Characters’ Emotions: Emotional Contagion Responses to Narrative Fiction Film’, Film Studies, Vol. 8, Summer 2006
- Eric Crosby, ‘An Aesthetic of Wonderment: IMAX and Affect‘, Journal of Moving Image Studies, Vol. 6, 2007
- 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)
- Kathrin Fahlenbrach, ‘The Emotional Design of Music Videos. Approaches to Audiovisual Metaphors’, Journal of Moving Image Studies, Vol. 4, 2005
- Jonathan Frome , ‘Representation, Reality, and Emotions Across Media’, Film Studies, Vol. 8, Summer 2006
- Patrick W. Galbraith, ‘Moe: Exploring Virtual Potential in Post-Millennial Japan’, Iowa Journal of Cultural Studies, October 31, 2009
- Wendy Gan, “0.01cm: Affectivity and Urban Space in Chungking Express.” Scope: An Online Journal of Film Studies, November 2003
- Anna Gibbs, ‘Contagious Feelings: Pauline Hanson and the Epidemiology of Affect’, Australian Humanities Review, December 2001
- Jeremy Gilbert, ‘Signifying Nothing: “Culture”, “Discourse” and the Sociality of Affect’, Culture Machine, Vol. 6, 2004
- Alessandro Giovannelli, Artistic and Ethical Values in the Experience of Narratives, PhD Thesis, University of Maryland, 2004
- Rebecca Gordon, ‘Remakes, Genre, and Affect: The Thriller-Chiller-Comedy as Case Study’ Paper at MLA Conference, 2007
- Sneja Gunew, ‘Subaltern Empathy: Beyond European Categories in Affect Theory’, Concentric: Literary and Cultural Studies 35.1 March 2009: 11-30
- Torben Grodal , ‘The PECMA Flow: A General Model of Visual Aesthetics’, Film Studies, Vol. 8, Summer 2006
- James J. Gross and Robert W. Levenson, ‘Emotion elicitation using films’, Cognition and Emotion, Vol. 9, No. 1. (1995), 87-108
- Tim Groves, ‘Entranced: Affective Mimesis and Cinematic Identification’, Screening the Past, Issue 20, 2006
- William Hope, Excerpt from Giuseppe Tornatore: Emotion, Cognition, Cinema (Cambridge: Cambridge Scholars Press, 2006)
- In Media Res Theme Week on Steven Shaviro’s Post-Cinematic Affect [August 29 - Sept. 2, 2011]
- Anu Koivunen & Susanna Paasonen (eds), Conference proceedings for Affective Encounters: Rethinking Embodiment in Feminist Media Studies (Media Studies, Turku 2000)
[Contents: Anu Koivunen, Preface: The Affective Turn?; Sara Ahmed, Communities that feel: Intensity, Difference and Attachment; Ana Paula Baltazar, Architecture as Interface: Forming and Informing Spaces and Subjects; Jennifer Lyon Bell, Character and Cognition in Modern Pornography; Rosemary Betterton, Spaces of Memory: Photographic Practices of Home and Exile; Joanna Bouldin, The Body, Animation and The Real: Race, Reality and the Rotoscope in Betty Boop; Hannu Eerikäinen, Love Your Prosthesis Like Yourself: ‘Sex’, Text and the Body in Cyber Discourse; Taru Elfving, The Girl in Space-time Encounters with and within Eija-liisa Ahtila’s Video Installations; Amy Herzog, Affectivity, Becoming, and the Cinematic Event: Gilles Deleuze and the Futures of Feminist Film Theory; Katarina Jungar and Elina Oinas, Inventing “African Solutions”, HIV Prevention and Medical Media; Sanna Karkulehto, Effects and Affects of Queer as Folk; Martta Kaukonen, ”I Must Reveal a Shocking Secret” Transvestites in American Talk Shows; Jane Kilby, Tracking Shock: Some Thoughts on TV, Trauma, Testimony; Emmy Kurjenpuu, Women’s Magazines Meet Feminist Philosophy; Minna Lahti, “I Thought I Would Become a Millionaire” – Desire and Disillusionment in Silicon Valley, California; Mari-Elina Laukkanen, Ladies for Sale. The Finnish Press as a Profiteer; Ilmari Leppihalme, Do Muscles Have a Gender? A Female Subject Building her Body in the Film Pumping Iron II: The Women; Justine Lloyd and Lesley Johnson, The Three Faces of Eve:the Post-war Housewife, Melodrama and Home; Tapio Mäkelä, Re-reading Digitality through Scientific Discourses of Cybernetics: Fantasies of Disembodied Users and Embodied Computers; Norie Neumark, E/motional Machines: Esprit de Corps; Kaarina Nikunen, Dangerous Emotions? Finnish Television Fans and Sensibilities of Fandom; Sanna Ojajärvi, Visual Acts - Choreography of Touches, Glances and Movements between Hosts and Assistants on Television; Susanna Paasonen, Best Wives are Artefacts? Popular Cybernetics and Robot Women in the 1970s; Megan D. Pincus, Must They Be Famous Vaginas? The Effect and Affect of Celebrity on The Vagina Monologues and V-Day 2001; Liina Puustinen, Gender for Sale, Advertising Design as Technologies of Gender; Leena-Maija Rossi, Why Do I Love and Hate the Sugarfolks in Syruptown? Studying the Visual Production of Heteronormativity in Television Commercials; Christine Ross, Depression and Video Art at the Turn of the Millennium: The Work Of Diana Thater; Janne Rovio, The Vintage Van Damme Look; Moira Sullivan, Lesbographic Pornography; Rebecca Sullivan, Biotechnological Embodiment: Gender and Scientific Anxiety in Horror Films; Heidi Tikka, Missing the Point - Situated User Experience and the Materiality of Interaction; Julia Turnock, A Cataclysm of Carnage, Nausea, and Death: Saving Private Ryan and Bodily Engagement; Pasi Väliaho, An Audiovisual Brain: Towards a Digital Image of Thought in Jean-Luc Godard’s Histoire(s) du cinéma; Hans Wessels, The Positioning of Lou Reed from a Profeminist Perspective; Jennifer Willet, Imagining the Self]
- Tarja Laine, ‘Chapter 1: Intersubjectivity in Film Studies’, in Shame and Desire: Emotion, Intersubjectivity, Cinema (Peter Lang Publishing, 2007)
- Marcia Landy, ‘Traveling in Film Theory: Giuliana Bruno’s Atlas of Emotion’, Film-Philosophy, vol. 7 no. 44, November 2003
- Petri Lankoski, ‘Goals, Affects, and Empathy in Games’, Paper at the Conference on the Philosophy of Computer Games, Modena reggio Emilia, Italy, January 25-27, 2007
- Amparo Lasén, ‘Mobile Media and Affectivity: Some Thoughts about the notion of Affective Bandwidth’, in Höflich, Joachim R. / Kircher, Georg F. / Linke, Christine / Schlote, Isabel (eds.) Mobile Media and the Change of Everyday Life (New York: Peter Lang, 2010)
- David Lavery, ‘The Crying Game’, in Michele Byers and David Lavery (eds), On the Verge of Tears: Why the Movies, Television, Music, Art, Popular Culture, Literature, and the Real World Make Us Cry (Cambridge: Cambridge Scholars Press, 2010)
- Scott D. Lipscomb and D. E. Tolchinsky, ‘The role of music communication in cinema’, in D. Miell, R. MacDonald, and D. Hargreaves’ (Eds.), Musical Communication. Oxford: Oxford University Press, 2005 [pre-publication draft]
- Patricia MacCormack, ‘A Cinema of Desire: Cinesexuality and Guattari’s Asignifying Cinema’, Women: A Cultural Review, 2005
- Brian Massumi, ‘REALER THAN REAL: The Simulacrum According to Deleuze and Guattari’, Originally published in Copyright no.1, 1987
- Brian Massumi, ‘EVERYWHERE YOU WANT TO BE: Introduction to Fear’, in The Politics of Everyday Fear (Minneapolis: University of Minnesota Press, 1993)
- Benjamin Meade, ‘Emotional Response to Computer Generated Special Effects: Realism Revisited’, Journal of Moving Studies, Vol. 1, 2002
- David S. Miall, ‘Feeling from the Perspective of the Empirical Study of Literature’, JLT 1: 2 (2007), 377–393
- Johannes von Moltke, ‘Sympathy for the Devil: Cinema, History, and the Politics of Emotion – A Feeling for History’, New German Critique 102, Vol. 34, No. 3, Fall 2007
- Christopher M. Moreno, ‘Affecting and Affective Social/Media Fields’, Aether Vol. 1, 39–44, October 2007
- Angela Ndalianis, ‘[Review of] PARABLES FOR THE VIRTUAL: Movement, affect, sensation by Brian Massumi. Duke University Press, Durham and London, 2002′, Leonardo Digital Reviews, February 2003
- Brian L. Ott, ‘The Visceral Politics of V for Vendetta: On Political Affect in Cinema’, eventually published in Critical Studies in Media Communication, Volume 27 Issue 1, March 2010
- Katrin Pahl, ‘Emotionality: A Brief Introduction‘, Modern Language Notes, Volume 124, Number 3, April 2009 (German Issue)
- Constantina Papoulias and Felicity Callard, ‘Biology’s Gift: Interrogating the Turn to Affect’, Body and Society, 2010, 16: 29
- Carl Plantinga and Greg M. Smith, ‘Introduction’ in Plantinga and Smith (eds), Passionate Views: Film, Cognition, and Emotion (Chicago: Johns Hopkins University Press, 1999)
- Carl Plantinga and Ed Tan, ‘Running head: Interest and unity in the emotional response to film‘, Journal of Moving Image Studies, Vol. 5, 2006
- Carl Plantinga, ‘Film Theory and Aesthetics: Notes on a Schism’, The Journal of Aesthetics and Art Criticism, 53.1, Summer 1993
- Carl Plantinga and Ed Tan, ‘Is an overarching theory of affect in film viewing possible?’, Journal of Moving Image Studies 4 (2007)
- Anna Powell, ‘Ripper’s Bodies–without–Organs: Affect and Psychogeography under the scalpel in From Hell’, Irish Journal of Gothic and Horror Studies, Issue 7, December 2009
- John Protevi, ‘[Review of] Melissa Greeg and Gregory J. Seigworth (eds), The Affect Theory Reader (Durham: Duke University Press, 2010)’, Culture Machine, July 2011
- Effie Rassos, ‘Everyday Narratives: Reconsidering Filmic Temporality and Spectatorial Affect Through the Quotidian,’ PhD, University of New South Wales, 2005
- Gopalan Ravindran, ‘The Matrix of Visual Culture: Working with Deleuze in Film Theory’,Bright Lights Film Journal, 63, February 2009
- Karen Renner , ‘Repeat Viewings Revisited: Emotions, Memory, and Memento‘, Film Studies, Volume 8, Summer 2006
- Elena del Río, ‘Ararat and the Event of the Mother’, Canadian Journal of Film Studies, 17.2, Fall 2008
- ‘Roundtable Discussion: The Post-Cinematic in Paranormal Activity and Paranormal Activity 2 (with Julia Leyda, Nicholas Rombes, Steven Shaviro, and Therese Grisham)’, La Furia Umana, 10, 2011
- Shelley Day Sclater, Candida Yates, Heather Price and David W. Jones, ‘Introducing PsychosocialStudies of Emotion’, in Sclater, Yates, Price and Jones (eds), Emotion: New Psychosocial Perspectives(London: Palgrave, 2009)
- Steven Shaviro, ‘Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales’, Film-Philosophy, 14.1, 2010
- Steven Shaviro, ‘Excerpt from Post-Cinematic Affect (I): Gamer’, La Furia Umana, 10, 2011
- Steven Shaviro, ‘Excerpt from Post-Cinematic Affect (II): Coda’, La Furia Umana, 10, 2011
- Steven Shaviro, ‘Emotion Capture: Affect in Digital Film’, Projections, Volume 1, Issue 2, Winter 2007: 63-82
- Robert Sinnerbrink, ‘Time, Affect, and the Brain: Deleuze’s Cinematic Aesthetics’, Film-Philosophy, 12.1, 2008
- Greg M. Smith, ‘An Invitation to Feel’, Film Structure and the Emotion System (Cambridge: Cambridge University Press, 2004)
- Greg M. Smith, Moving Explosions: Metaphors of Emotion in Sergei Eisenstein’s Writings’, Quarterly Review of Film and Video 21.4 (October-November 2004) 303-315
- Greg M. Smith, ‘Reflecting on the Image: Sartrean Emotions in the Writings of André Bazin’, Film and Philosophy, 10 (2006)
- Greg M. Smith, ‘Local Emotions, Global Moods, and Film Structure’ in Carl Plantinga and Greg M. Smith (eds), Passionate Views: Film, Cognition, and Emotion (Chicago: Johns Hopkins University Press, 1999)
- Murray Smith, ‘Empathy and the Extended Mind’, University of Kent, Aesthetic Research Group Seminar Series 2006-7 Research Papers
- Monica Swindle, ‘Feeling Girl, Girling Feeling: An Examination of “Girl” as “Affect”‘, Rhizomes, 22 2011
- John D. Teasdale et al, ‘Functional MRI Study of the Cognitive Generation of Affect’, American Journal of Psychiatry, 156, February 1999
- Imogen Tyler, ‘Methodological Fatigue and the Politics of the Affective Turn’, Feminist Media Studies, Vol. 8, No. 1, 2008
- Cam Nhung Vu, Regarding Vietnam: Affects in Vietnamese and Vietnament Disasporic Literature and Film, PhD Thesis, University of Southern California, May 2010
- Imanol Zumalde-Arregi , ‘The filmic emotion. A comparative analysis of film theories’, Revista Latina de Comunicación Social, 66, 2011, 326-349