Film Studies For Free only just heard about the Spring 2010 issue of online journal Cinephile (Vol. 6 No. 1). So, while technically FSFF is ‘rushing you the news’, it red-facedly admits that it arrived a little late to this particular, openly accessible, Film Studies party…
Anyhoooo, it’s an excellent issue on ‘Sound on Screen’, available as one large PDF. The contents are given below.
FSFF earnestly promises to keep its e-ears closer to the ground next time an issue is due…
Table of Contents
One of the most distinctive filmmakers of our time, Werner Herzog has been called the “romantic visionary” of the New German Cinema movement. His edgy, larger-than-life films fuse the epic with the intimate, redefining the scale and scope of filmmaking to include more than 60 works shot on every continent. He appeared in conversation with acclaimed author and essayist, Pico Iyer at UC Santa Barbara on October 25, 2010. (download the video here)
A 10 minute fragment from a ‘masterclass’ with Werner Herzog. For 7 Planete Doc Review, with Pamela Cohn with Michałem Chacińskim, 2010. Also see this video.
Film Studies For Free hopes its Werner Herzog-obsessive readers will have a few hours to spare. They’ll need them to watch the above embedded (and linked to) videos, some of the more recent, and most worthwhile of freely accessible online encounters with LA’s most interesting resident filmmaker.
These videos, and the critical and scholarly reading below, will help time pass before the Spring 2011 premiere of Herzog’s latest (3D) film, Cave of Forgotten Dreams (trailer, related video, second related video). Don’t say that FSFF isn’t looking out for you, Herzog-ites!
Scholarly online writing about Herzog:
Film Studies For Free shamelessly contemplates its own hypertextual, pedagogical, navel today, but it blushingly hopes, nonetheless, that the above embedded document will be of interest to some of its fellow educator readers. Just click on this link to transport yourself to a better-sized version for reading (and downloading).
The above document, authored by film researcher and filmmaker Charalambos Charalambous (Χαράλαμπος Χαραλάμπους) of the University of Kent’s School of Arts (Film Studies) in 2010, describes itself as
A study of Web 2.0 as an actualization of the concept of the Borgesian Library: a critical evaluation of WEB 2.0 technology in reference to the academic blog Film Studies For Free authored by Dr. Catherine Grant.
It was based in part on a research questionnaire filled in by FSFF‘s author, and, in the opinion of the latter, is a fascinating and very well-informed reflection on the pedagogical possibilities of the kinds of anthologizing, virtual librarianship (or digital curation) that this blog so adores, and which are completely made possible by Web 2.0 technology.
The study will shortly be permanently stored at FSFF‘s page dedicated to discussion of Open Access, Digital Scholarship and the Digital Humanities.
In the meantime, FSFF would like to thank Charalambos for his thoughtful words, which have made its little digital body swell with pride!
“I have chosen images rather than words for the act of naming myself an artist and a lesbian because the level of meanings possible for images and image conjunctions seemed richer and held more ramifications” Barbara Hammer
Film Studies For Free today presents a tribute to the remarkable American, experimental filmmaker and activist Barbara Hammer. The tribute takes the form of a listing of online videos and scholarly links to studies of Hammer’s work, as well as of related queer film and politics.
Hammer is seventy-one years old, still making films and still protesting against injustice and censorship. In 2010, she published her wonderful autobiography, HAMMER! Making Movies Out of Sex and Life, which addressed her personal history and philosophies on art (see a review here).
FSFF says, “Thank you, but… keep it up, please, Barbara! Your work and activism is needed now more than ever.” (This blog can be a rather greedy and merciless task-mistress at times…)
Film Studies For Free loves a good vampire movie, like the two relatively unconventional examples of the genre pictured above.
In fact, FSFF doesn’t turn its nose up at bad vampire movies, either. Let’s face it: this blog is just not that fussy when it comes to vampire movies.
Both kinds of films are represented below, in a fairly short, but terrifyingly good, list of scholarly and other online studies of the recent flourishing of teen and pre-teen varieties of undead cinema (along with their literary sources).
Please note that the list does not dabble in studies of the televisual versions of the genre. For those, you could no better than to visit the complete archive of Slayage articles on, inter alia, Buffy the Vampire Slayer, Angel, and Firefly.
- Stacey Abbott, ‘Urban Vampires in American Films of the Eighties and Nineties, in Vampires: Myths and Metaphors of Enduring Evil Conference Proceedings Budapest, Hungary May 22-24 2003, ed. by Carla T. Kungl (Oxford: Inter-Disciplinary.Net, 2003) scroll to p. 133
- Jennifer Stevens Aubrey, ‘ Contemplating the Franchise, the Fandom and the Celebrity Juggernaut of the Twilight Saga’, In Media Res, July 2, 2010
- Simon J. Bacon, ‘Fangs for the memory’: can the American cinematic vampire be equated with Pierre Nora’s idea of the ‘lieux de memoire’ ? Masters thesis, Institute of Germanic and Romance Studies, University of London, 2009
- Courtney Brannon Donoghue, ‘ “Twilight is a license to print money”: Selling the Female Film Franchise’, June 30, 2010
- Glennis Byron, ‘©Branding and Gothic in Contemporary Popular Culture: the case of Twilight’, The Gothic Imagination, December 31, 2010
- Melissa Click, ‘“Rabid”, “obsessed”, and “frenzied”: Understanding Twilight Fangirls and the Gendered Politics of Fando’, FlowTV, December 18, 2009
- Martin Fradley, ‘Review of Contemporary Gothic, by Catherine Spooner’, Journal of Transformative Works, Vol. 4, 2010
- Rebecca Housel, ‘ Eclipsing the “Real”: Twilight & Simulacra’, In Media Res, July 1, 2010
- Erich Kuersten, ‘Someone to Fight Over Me: Feminism, SandM, and the Daemonic in Twilight’, Bright Light Film Journal, 68, May 2010
- Stephanie Leach, ‘Vampires Go to University: Academic Fads and the (Non)Future of the Humanities in the Neoliberal Academy’, Graduate Student Essay, McMaster University, 2010 (Word Document) (published by Dr David L. Clarke)
- Benny LeMaster, ‘Queer Imag(in)ing: Liminality as Resistance in Lindqvist’s Let the Right One In’, Summer 2009
- Anders Marklund, ‘Old fangs into new viewers: the American poster to Let the Right One In’, Journal of Scandinavian Cinema, 1.1, 2010
- Pramod Nayar, ‘How to Domesticate a Vampire: Gender, Blood Relations and Sexuality in Stephenie Meyer’s Twilight’, Nebula, 7.3, September 2010
- Maggie Park, ‘Twilight: The Multi-Media Marketing Machine’, In Media Res, June 28, 2010
- Julia Pearlman, ‘Happily (For)ever After: Constructing Conservative Youth Ideology in the Twilight Series’, Senior Thesis, Wesleyan University, 2010
- Leonie Margaret Rutherford, ‘Industries, Artsists, Friends and Fans: Marketing Young Adult Fictions Online’, First Monday, Volume 14, Number 4 – 6 April 2009
- Matt Zoller Seitz, ‘Scene of the Year: Let Me In’, Salon.com, December 31, 2010
- Kirsten Stevens,’Meet the Cullens: Family, Romance, and Female Agency in Buffy the Vampire Slayer and Twilight’, Slayage, 29, 8.1, Spring 2010
- Catherine Strong, ‘“…it sucked because it was written for teenage girls” — Twilight, anti-fans and symbolic violence’, Papers of The Australian Sociological Association 2009 Annual Conference
- Natalie Wilson, ‘ Twilight Fandom: Taking a Bite Out of Gendered Backlash’, In Media Res, June 29, 2010
- Michael Wood, ‘At the Movies: Let the Right One In’, London Review of Books, 31.9, 2009
- Rochelle Wright, ‘Vampire in the Stockholm suburbs: Let the Right One In and genre hybridity’, Journal of Scandinavian Cinema, 1.1, 2010
Film Studies For Free is happy to announce that a new issue of Participations, a journal devoted to developing the broad field of study of cultural and media audiences, is now available online.
The table of contents is reproduced below. The issue includes an excellent selection of articles devoted to the topic of audience responses to screen dance, but there are also notable essays, among others, on moviegoing in the USA in the 1930s and 40s, ‘bad films’, and the reception of ‘gay movies’ in Sydney.
Particip@tions: Volume 7, Issue 2 (November 2010)
Special Edition: Screen Dance Audiences – why now?