Links on videographical film criticism, editing, ‘intensified continuity’, ‘chaos cinema’, ‘hapticity’ and (post) cinematic affect

A FILMANALYTICAL video collage, made by Catherine Grant

TOUCHING THE FILM OBJECT? offers a brief audiovisual exploration of issues of sensuous proximity, contiguity or contact in experiencing or studying films – what theorist Laura U. Marks called ‘hapticity’. It quotes from Marks’ essay ‘Haptic Visuality: Touching with the Eyes‘ [in FRAMEWORK: the Finnish Art Review, No. 2, 2004, pp. 79-82], as well as from Ingmar Bergman’s 1966 film PERSONA (cinematography by Sven Nykvist). The music is excerpted from Robert Lippok and Beatrice Martini’s BRANCHES, available at the Free Music Archive under a Creative Commons Attribution-Noncommercial 3.0 Unported License. You can read an accompanying written essay about this video and videographic film studies here.

A ragbag of links, today, at Film Studies For Free. But this blog wanted to flag up some recently published, and curiously related, audiovisual items of possible interest, together with some associated written resources.

First up, is the video above, the latest of FSFF‘s videographic film studies experiments. Compared with FSFF’s other videos, this film-theoretical one turned out to be a close kin of two earlier video ‘primers‘ (on Gilda, film noir, gender and performance and on Elizabeth Taylor, framing and child stardom/performance). As befits primers, rather than

aiming to generate completely new insights, [these ‘rich text objects’ attempt], within the time-space of the average YouTube fan clip, to assemble and combine quotations from existing film scholarship on [their topics] with sequences from the film in question in order to provide a meaningful, scholarly and affective, immersive experience. [FSFF, April 7, 2011]

If you are beginning to be invested in, or just mildly curious about, the possibilities of videographic film criticism and film theory, then do read ‘Touching the Film Object? Notes on the ‘Haptic’ in Videographical Film Studies‘ by Catherine Grant at FSFF‘s sister blog Filmanalytical, and also check out further links and thoughts here.

Next up, a pointer to an exciting, film-theory related, theme week at the great website In Media Res on Steven Shaviro’s Post-Cinematic Affect, running between August 29 – Sept. 2, 2011.

There are a couple of interesting entries up already, with very lively comments streams. Further links will be added below as the posts go live. In the meantime, you can read a lengthy excerpt from Shaviro’s book on Post-Cinematic Affect here. And do visit his blog where you will find lots more material from this work.

Finally, FSFF wanted to make sure that its own readers were alerted to a very lively debate on ‘intensified continuity’ and ‘chaos cinema’ in relation to the action film (broadly defined) that has sprung up online as a result of the publication of a two part video essay on those topics at the wonderful new (video-essay-rich) website PressPlay, curated by film critic and video essayist extraordinaire Matt Zoller Seitz. The ‘Chaos Cinema‘ essay, embedded below, is by a young film scholar Matthias Stork and is well worth a look.

Below the videos, FSFF has linked to related online, scholarly and journalistic items treating substantially similar issues as ‘Chaos Cinema’, published before his essay, as well as to ones produced directly in response to Stork’s work.


The video essay Chaos Cinema, administered by Indiewire’s journalistic blog PRESS PLAY, examines the extreme aesthetic principles of 21st century action films. These films operate on techniques that, while derived from classical cinema, threaten to shatter the established continuity formula. Chaos reigns in image and sound. Part 1 contrasts traditional action films with chaotic ones and takes a close look at the “sound” track, especially its use in car chases.
Part 2 takes a look at the chaotic style in dialogue scenes, musicals, “shaky-cam” extravaganzas and mourns the rich history of early cinema.

‘Unseen Film’ Dossier from SCREEN MACHINE

Framegrab from Christian Marclay‘s The Clock a 24-hour compilation of time-related scenes from movies that debuted at London’s White Cube gallery in 2010. Read Daniel Fairfax’s great essay on this film

[…] In these five essays we explore the notion of the unseen film, and how questions of not seeing, seeing nothing (as in Dorian Stuber’s essay), writing without seeing (as in the essays by myself, Daniel Fairfax and Goda Trakumaite) or the unseen films that seen films produce (as in the essay by Josefina Garcia Pullés) allow us to pose new questions both of the cinema and of its others, the latter encapsulated in [Joseph] McBride’s scorned “something else”: the others of cinema, the thoughts it provokes, creates, distorts or obfuscates, whose pursuit may finally be of greater value than ‘seeing’ […]. – [Conall Cash, introducing the Screen Machine Dossier on Unseen Films]

A really quick little post from Film Studies For Free today to bring you tidings of some brilliantly stimulating new reading at the Melbourne-based periodical website Screen Machine – the ‘Unseen Films’ Dossier which FSFF heard of thanks to Brad Nguyen. Enjoy!

University of Sussex Film and Moving Image Studies Research Online

A (bordering on) recursive Film Studies For Free screengrab

It is Film Studies For Free‘s 3rd birthday today. So, time for a little self-indulgent reflection and celebration…

A lot has changed in the last year, most notably that this blog has had to vie with a Film Studies For Pay job for its author’s attention… Entries have indeed slowed a little. But, despite this, FSFF‘s readership has continued to grow rather astonishingly, with ‘unique visits’ exceeding 300,000, and ‘page views’ just about to reach half a million. Thank you, dear readers!

While there will be big developments at this blog in the coming year — some of those linked to an exciting new, MA in Film Studies course its author will teach on Curating Film Culture next Spring — its essential mission and qualities won’t change: viva Open Access!

Onwards and upwards, but please remember you can follow FSFF in its various incarnations at Twitter, at Facebook, and at Vimeo, and you can keep up with its videographic film studies curations at Audiovisualcy (also on Twitter and Facebook).

Film Studies at the University of Sussex has been such a welcoming, fruitful and stimulating workplace for this blog‘s author. So, today’s entry gratefully gathers links to openly accessible, online, film and moving image studies research and scholarship produced by the very wonderful staff and doctoral students/graduates at that rather venerable (50 years old, itself, next month) and pretty cool institution (as well as by FSFF‘s own scrivener).

Double Vision: Links in Memory of Raúl Ruiz, a Filmmaking Legend

Updated Sunday August 21, 2011
The late Raúl Ruiz in conversation with Kriss Ravetto-Biagioli at the University of Aberdeen in 2007. One of the most prolific directors of the last 50 years, having written over 100 plays before starting in the cinema, Ruiz films have been characterized as ironic, surrealistic and deeply experimental.

Here is my own theoretical fiction: in the waking dream that is our receiving the film, there is a counterpart; we start projecting another film on the film. I have said to project and that seems apt. Images that leave me and are superimposed on the film itself, such that the double film – as in the double vision of Breton traditions – becomes protean, filled with palpitations, as if breathing. [Raúl Ruiz, ‘The Face of the Sea (In Place of an Epilogue)’, Poetics of Cinema 2]

Every time that a general theory or a fiction is elaborated I have the impression that … there is a painting stolen, a part of the story or puzzle missing. The final explanation is no more than a conventional means of tying together all the paintings. It’s like the horizon: once you reach it, there is still the horizon.  [Raúl Ruiz in L’Hypothèse du Tableau Volé/The Hypothesis of the Stolen Painting (Ruiz, 1979)]

… Raul Ruiz’s comments on filmmaking outside metropolitan centres are revealing. He tells us how, when he was studying theater and film in Santiago with the aid of American textbooks, he was surprised to find “that the films we loved the most were badly made” – because they were not made according to the set of assumptions about action and behaviour in Central Conflict Theory.” This led him to strategise that “every film is always the bearer of another, a secret film” and that “the strong points [of the inexplicit film] are found in the weak points of the apparent one.” This argument seems to be not just about how fascination presents itself in film; it also suggests that fascination (Ruiz calls it “the gift of double vision that we all possess”) is not just an aesthetic project: It is, above all, a social and political project. [MA Abbas, ‘Dialectic of Deception’, Public Culture, 1999, v. 11 n. 2, p. 347-363, p. 360 citing Ruiz, A Poetics of Cinema, trans. by Brian Holmes, (Paris: Editions Di Voir, 1995); p. 11, 111, and 109 respectively:]

Film Studies For Free is very sad to pass on news of the death of Chilean film director Raúl Ruiz in Paris after a long illness. 

Film critic Dave Kehr points to the report in Le Monde in which Ruiz’s producer, François Margolin, informed the French newspaper that the director “was in the midst of finishing the editing of a film he has shot on his childhood in Chile … And he was preparing another film in Portugal, on a famous Napoleonic battle.”  Perhaps we will get to see the first of these tantalising projects. FSFF very much hopes so.

Below is this blog’s sincerely felt tribute to the brilliant Ruiz, one of the most memorable and talented of prolific filmmakers (and one of the most prolific of filmmakers against the odds): a list of links to online studies of the director’s work, as well as to interviews with him, and writing by him. Further links will continue to be added here in the days and weeks to come.

Links to posthumous tributes to Ruiz, along with other material about his films, are being gathered by David Hudson at the Mubi Notebook.

Update (August 21, 2011): The list below was expanded with many additional entries, including, at the foot of the post, a number of documentaries about (and/or recordings of) Ruiz. Of particular note is the documentary Exiles: Raoul Ruiz Chilean Film Director (BBC, 1988, directed by Jill Evans), which contains many marvellous excerpts from Ruiz’s films. 

Also see Jonathan Rosenbaum’s marvellous tribute to Ruiz, Ruiz Hopping and Buried Treasures: Twelve Selected Global Sites’.

You can watch Ruiz’s Three Crowns of a Sailor (1983, circa 117 mins) online at present for free, too!

And Girish Shambu has just posted “A Ghost at Noon”,  a remarkable and very personal tribute to Ruiz by Adrian Martin (author or editor of many of the essays below).

Centre for Modern Thought, University of Aberdeen: Tuesday 13th June 2006, Mr Raoul Ruiz, the distinguished film director spoke to us in broad terms about his work in film (he has directed almost 100 films) and film theory (he is the author of a multi-volume book entitled “The Poetics of Cinema”).

Laughing at Austerity Britain? Ealing Comedy Studies

The year 1949 was a pretty miserable time in Britain. Postwar austerity was at its height. Many city centres were still largely bomb sites. The cold war was getting chillier. The British film industry was in crisis after the Labour government had imposed a punitive tax on American films, which led to Hollywood studios withholding their product. Then suddenly, in the early summer, three pictures opened on consecutive weeks that together defined what we now know as “the Ealing comedy“. The films got darker and Ealing Studios‘ reputation greater as the month wore on. [Philip French, ‘Whisky Galore – Review’, The Observer, July 31, 2011]

[Michael] Powell after A Matter of Life and Death gives us three intriguing variations on the trauma picture, in which, intertwined are the central landmarks of British life after 1945: the end of war, the end of empire and the birth of a new consumer age.
       Before that, however, we should note that Ealing comedy of the period inverts the trauma film completely.
       If Ealing Studios produced the keynote Dead of Night, it also produced a triple antithesis in the post-war years: anti-trauma comedy in the form of [Robert] Hamer’s Kind Hearts and Coronets (1949) and Alexander Mackendrick’s scintillating double act, Whisky Galore (1949) and The Ladykillers (1955). Indeed, the best of Ealing comedy is premised very precisely on this inversion, where what might well be traumatic turns out to be the exact opposite.
       Hamer’s Kind Hearts and Coronets is biting social satire, in which the serial killer, Louis (Dennis Price), as outcast of the family and excluded by the vacuous rich, is more sympathetic than any of his eccentric aristo victims (all played by Alec Guinness). As they fall like ninepins one after the other, we can all have a good laugh and applaud Louis’ elegant cunning. A perfect picture, you could argue, for a new social democracy.
       The wartime Whisky Galore, set on the remote island of Todday (toddy?), also plays on inversion: this time on the fear of occupation – an anti-The Next of Kin (Thorold Dickinson, 1942) or Went the Day Well? In Mackendrick’s film, the fear of invasion is now past but the Scottish island is ‘occupied’ by an English Home Army captain, Waggert (Basil Radford), who has marshalled customs officials to try and prevent the looting of a wrecked cargo ship carrying whisky. It is a comic version of Anglo-Scots antagonism, with its famous montage sequence of the looted alcohol being hidden by the islanders in rain-butts, water tanks, hot-water bottles and under a baby’s cot before bemused officials arrive to discover absolutely nothing. The gradual social exclusion of Waggert from the island has an edge and a cruel streak that prevents any lapse into sentimentality.
       Sentimentality is equally absent from The Ladykillers, where Mackendrick completely inverts the trauma-effects of Gothic expressionism. A motley gang of train robbers posing as a musical ensemble takes lodgings near Kings Cross station to prepare the next heist. At the landlady’s door, the figure of Professor Marcus (Alec Guinness) casts a dark shadow – shades of the opening to The Lodger: A Story of the London Fog (Alfred Hitchcock, 1927) – but thereafter the threat becomes internal as the eccentric old landlady ([Katie Johnson]), in her parody of a haunted house, has the gang tearing their hair out in annoyance and frustration at her blithe eccentricities. In Gothic melodrama, we expect villains to terrify, but here they are traumatised to the extent that, when found out, they are prepared to kill off each other rather than kill the ‘harmless’ old landlady. She who should be terrified is oblivious to the threat; those who should terrify show a collective failure of nerve and eliminate each other instead. Gothic melodrama morphs into dark comedy. And Ealing comedy runs happily on in a parallel world to David Lean and Michael Powell. [John Orr, ‘The Trauma Film and British Romantic Cinema 1940-1960’, Senses of Cinema, Issue 51, 2009 ]

Ealing Studios, the oldest continuously working film studio in the world, is marking its 80th anniversary, according to a couple of enjoyable videos at the Channel 4 and BBC websites. A remarkable achievement, indeed, thinks Film Studies For Free, one of the finest in the history of British cinema.

Founded in economically austere and politically troubled times, the studios escaped relatively unscathed from the recent riots in London (Ealing was a particularly tragically affected area). They seem set to continue to produce their distinctly transnational brand of cinematic goods for the UK film industry well into the future. 

The current anniversary of the establishment of the sound stages at Ealing, and a number of other connected anniversaries coming up (e.g. 2012 marks the 100th anniversary of the Scottish-American director Alexander Mackendrick’s birth, one of Britain’s greatest, and most undervalued, filmmakers) have felicitously ‘coincided’ with the latest cinematic and DVD release of three of the greatest products of those studios: the Ealing comedies Kind Hearts and Coronets (Robert Hamer, 1949), The Lavender Hill Mob (Charles Crichton, 1951), and Whisky Galore (Mackendrick, 1949).

FSFF loves a mildly subversive chuckle from time to time, and is particularly partial, thus, to a good Ealing comedy. So, in fond celebration of that wonderful cycle of movies, below is its little list of links to online studies of those films, as well as to other items of related, scholarly interest.


New online film journal LOLA launches with an issue on "Histories" !!

Framegrab from Ohayo/Good Morning (Yasujiro Ozu, 1959), an image of the ‘in-between’ as analysed by Andrew Klevan in the inaugural issue of LOLA.

A big day! Film Studies For Free is delighted to relay the news that Girish Shambu has just published at his blog: LOLA, a new online film journal edited by Adrian Martin and Shambu, has just launched.

Below, FSFF also reproduces the wonderful table of contents which include some very hotly anticipated items, among many other must-read essays… So that’s what FSFF is heading off to do now: it must read them!

For once, the links below don’t take you straight to the item, but, instead, to the entry at girish‘s where you can find the full links as well as a brief summary of each article.

Congratulations, and many thanks, Adrian and Girish. Let all film scholars and cinephiles bless the birth of LOLA and all who sail in her!


Bodies Politic/Body Politics
“Your body is a microcosm of all existence.” – On Michelle LeBrun’s Death: A Love Story: Bodies Politic/Body Politics: The Political and the Personal in Contemporary Film Essays by Matt Brennan
Film Studies For Free continues to catch up with August’s bumper crop of new online journal issues. Over the weekend, it has been thoroughly enjoying the lively and eclectic brilliance of Bright Lights Film Journal‘s latest offering of very savvy, and sometimes sassy, articles.

They may not be ‘peer reviewed’ in the strict scholarly sense, but film studies academics and cinephiles will miss these at their peril.

The entire table of contents for Issue 73 is thus reproduced below. And don’t miss Bright Lights After Dark, BLFJ‘s fabulous film blog for further, essential, movie musings. 

Bright Lights Film Journal, August 2011 | Issue 73

From the Editor
Short Features
  • They Live, by Jonathan Lethem. Reviewed by Chad Trevitte


Image from After the Rainbow (2009), a two screen video installation by Soda_Jerk, the Australian artist sisters Dom and Dan Angeloro, as discussed inThe Colour of Nothing: Contemporary Video Art, SF and the Postmodern Sublime’ by Andrew Frost

[C]inema is surely a paradoxical object: its medium-specific possibility seems to have been well and truly overrun by its tendency to intermediality, its fundamental impurity. That is where its true materiality-effect, today, is situated: in the palpable aura of a mise en scène that is always less than itself and more than itself, not only itself but also its contrary, ever vanishing and yet ever renewed across a thousand and one screens, platforms and dispositifs. [Adrian Martin, ‘Turn the Page: From Mise en scène to Dispositif ‘, Screening the Past, Issue 31, 2011]

Below, Film Studies For Free presents the table of contents to the latest online issue of Screening the Past.

It’s a special issue on the ‘intermediality’ of cinema, guest-edited by the brilliant and influential Australian film critic and scholar Adrian Martin. It begins with a marvellous contribution by him to the topic. There’s also an unmissable ‘rerun’ of Nicole Brenez’s remarkable essay ‘Incomparable Bodies‘.

Admirers of Martin’s work should also be more than excited by the news that the first issue of LOLA, a new film journal edited by him and the film writer and blogger extraordinaire Girish Shambu, is “coming soon“…

Screening the Past, Issue 31 – Cinema Between Media 
(Incorporating U-matic to YouTube, a selection of papers from a National Symposium celebrating three decades of Australian Indigenous Community Filmmaking edited by Therese Davis).


Latest five volumes of REFRACTORY: A Journal of Entertainment Media

Frame grab from Spider (David Cronenberg, 2002). Read Samatha Lindop’s 2011 article on this film here. For another interesting, psychiatrically-informed account of Cronenberg’s film, see here

Thanks to Adrian Martin (whose video version of his Ritwik Ghatak talk is now online, by the way), Film Studies For Free heard about the latest issue of the online Australian journal Refractory: A Journal of Entertainment Media. And thanks to that, FSFF realised it hadn’t really mentioned an issue of Refractory since Volume 14, 2009 in its entry on “Split Screens”. So, below are direct links to all of the contents of this great journal since that issue. And FSFF promises not to be quite so pommily slow next time this journal publishes one of its characteristically excellent collections of film and media studies…

Refractory, Volume 19, 2011

  1. Blockbusters for the YouTube Generation: A new product of convergence culture – Kristy Hess and Lisa Waller
  2. ‘Out wiv the old ay plumma?’ The Uncanny Marginalized Wastelands of Memory and Matter in David Cronenberg’s Spider – Samantha Lindop
  3. A Moving Image Experience: Il Cinema Ritrovato, Bologna, June-July, 2010 – Wendy Haslem
  4. “A series of emotional remembrances”: Echoes of Bernard Herrmann -Daniel Golding
  5. Don Draper On The Couch: Mad Men and the Stranger to Paradise – Mark Nicholls

Refractory, Volume 18, 2011

  1. Editorial: Transitions in Popular Culture – Matthew Sini and Angie Knaggs  
  2. “Never my soul”: Adaptations, Re-makes and Re-imaginings of Yeşilçam Cinema – Can Yalcinkaya  
  3. Looking Past Seeing: Imaginative Space and Empathetic Engagement in The Treasure of the Sierra Madre and There Will Be Blood – Elliott Logan
  4. Struggling to find their place: Indigenous youth, identity, and storytelling in Beneath Clouds and Samson and Delilah – Samantha Fordham
  5. Transgeneric Tendencies in New Queer Cinema – Matthew Sini
  6. Before Priscilla: Male-to-Female Transgender in Australian Cinema until the 1990s – Joanna McIntyre
  7. From Night and Day to De-Lovely: Cinematic Representations of Cole Porter – Penny Spirou
  8. (Em)Placing Prison Break: Heterotopic Televisual Space and Place – Angie Knaggs
  9. “Think Smart”: multiple casting, critical engagement and the contemporary film spectator – Nicole Choolun

Refractory, Volume 17, 2010

  1. From Cult Texts to Authored Languages: Fan Discourse and the Performances of Authorship – Karolina Agata Kazimierczak
  2. The Pinball Problem – Daniel Reynolds
  3. The Invisible Medium: Comics Studies in Australia – Kevin Patrick
  4. Acculturation of the ‘Pure’ Economy: Sci Fi, IT and the National Lampoon – Rock Chugg
  5. Subversive Frames: Vermeer And Lucio Fulci’s SETTE NOTE IN NERO – Alexandra Heller-Nicholas
  6. Ringu/ The Ring: Tracing the Analog Spirit in a Digital Era – Michael Fisch
  7. Keaton and the Lion: A Critical Re-evaluation of The Cameraman, Free and Easy and Speak Easily – Anna Gardner
  8. Rosy-Fingered Dawn: The Natural Sublime in the work of Terrence Malick – Dimitrios Latsis

Refractory, Volume 16, 2009

  1. Editorial ‘All Your Base Are Belong to Us’: Videogames and Play in the Information Age : Tom Apperley and Justin Clemens
  2. A Critique of Play – Sean Cubitt
  3. ‘The code which governs war and play’: Computer games, sport and modern combat – Jeff Sparrow
  4. Being Played: Games Culture and Asian American Dis/identifications – Dean Chan
  5. “I’m OK”: How young people articulate ‘violence’ in videogames – Gareth Schott
  6. How to Do Things With Images – Darshana Jayemanne
  7. Myths of Neoconservatism and Privatization in World of Warcraft – Kyle Kontour
  8. Babelswarm -Justin Clemens, Christopher Dodds and Adam Nash

Refractory, Volume 15, 2009

Double Issue: General Issue and Television Issue, Editors: Angela Ndalianis and Lucian Chaffey

  1. Reality is in the performance’: Issues of Digital Technology, Simulation and Artificial Acting in S1mOne – Anna Notaro
  2. The Neo-baroque in Lucha Libre – Kat Austin
  3. Ryan Is Being Beaten: Incest, Fanfiction, and The OC – Jes Battis
  4. Mobile Content Market: an Exploratory Analysis of Problems and Drivers in the U.S. – Giuseppe Bonometti, Raffaello Balocco, Peter Chu, Shiv Prabhu, Rajit Gadh
  5. Televisual control: The resistance of the mockumentary – Wendy Davis
  6. The Classic Hollywood Town at the Dawn of Suburbia – Stephen Rowley
  7. Digital Intervention: Remixes, Mash Ups and Pixel Pirates – Amanda Trevisanut
  8. The Bill 1984 – 2009: Genre, Production, Redefinition – Margaret Rogers
  9. Guiding Stars – Carly Nugent

Forty more film and moving image studies theses online

Frame grab from Diary of a Country Priest (Robert Bresson, 1951), a film discussed in Andrew Klevan’s PhD thesis Disclosure of the Everyday

Film Studies For Free brings you its latest roundup of links to online and openly accessible film and moving image studies theses. These links (all of them to theses stored in European research repositories) will very shortly be added to FSFF‘s permanent listing of already more than 150 theses (the vast majority of them at PhD level, though one or two high quality MPhils are also included).

Particular highlights in this roundup, in FSFF‘s view, are the recent online publication of Andrew Klevan’s 1996 thesis Disclosure of the everyday, Catherine Fowler’s The films of Chantal Akerman (1995), Martin Stollery’s 1994 Alternative empires on Soviet montage cinema, the British documentary movement and colonialism, Ximena Triquell’s 2000 socio-semiotic approach to cinematic representations of the Argentine military dictatorship (1976-1983),  and David Martin-Jones’ 2002 Becoming-other in time: the Deleuzian subject in cinema.

If any of FSFF‘s esteemed readers know that their own thesis is available online but not yet added to these listings, please email this blog with a link.

    1. Aaltonen, Minna-Ella, Touch, taste and devour: phenomenology of film and the film experiencer in the cinema of sensations, MPhil Thesis, University of Glasgow, 2011
    2. Archibald, David, The Spanish Civil War in cinema, PhD Thesis, University of Glasgow, 2004
    3. Baker, Rosemari Elizabeth, Shklovsky in the Cinema, 1926-1932, PhD Thesis, Durham University, 2010
    4. Berridge, Susan, Serialised sexual violence in teen television drama series, PhD thesis, University of Glasgow, 2010
    5. Bissell, Laura, The female body, technology and performance: performing a feminist praxis. PhD thesis University of Glasgow, 2011
    6. Bourkiba Larbi, Abdelrhaffar, Parody and ideology: The case of Othello, PhD Thesis, Universitat de València, 2005
    7. Carrasco, Rocio, Of men and cyborgs: the construction of masculinity in contemporary U.S. science fiction cinema, PhD Thesis, Universidad de Huelva, 2010
    8. Chalkou, Maria, Towards the creation of ‘quality’ Greek national cinema in the 1960s, PhD thesis, University of Glasgow, 2008
    9. Copsey, Dickon, Race, gender and nation : the cultural construction of identity within 1990s German cinema, PhD Thesis, University of Glasgow, 2004 
    10. Dymek, Mikolaj, Industrial Phantasmagoria : Subcultural Interactive Cinema Meets Mass-Cultural Media of Simulation, PhD Thesis, KTH, Sweden, 2010
    11. Ferguson, Laura E., Kicking the Vietnam syndrome? Collective memory of the Vietnam War in fictional American cinema following the 1991 Gulf War, PhD Thesis, University of Glasgow, 2011 
    12. Fowler, Catherine, The films of Chantal Akerman: a cinema of displacements, PhD Thesis, University of Warwick, 1995
    13. Goode, Ian, Voices of inheritance: aspects of British film and television in the 1980s and 1990s, PhD Thesis, University of Warwick, 2000
    14. Heeren, Catherine Quirine van, Contemporary Indonesian film : spirits of reform and ghosts from the past, PhD Thesis, Leiden University, 2009
    15. Hibberd, Lynne A., Creative industries policy and practice. a study of BBC Scotland and Scottish Screen, PhD thesis, University of Glasgow, 2009
    16. Hinchliffe, Alexander, Contamination and containment: representing the pathologised other in 1950s American cinema, PhD Thesis, University of Nottingham, 2010
    17. Johnston, Cristina, The use of the spoken word in contemporary French minority cinema, with specific reference to banlieue and gay cinema (1990-2000), PhD Thesis, University of Glasgow, 2005
    18. Joo, Chang-Yun, The interpretative positions of the audience and the invitations of television drama, PhD thesis, University of Glasgow, 1997 
    19. King, Martin S., “Running like big daft girls.” A multi-method study of representations of and reflections on men and masculinities through “The Beatles”, PhD thesis, University of Huddersfield 2009
    20. Kiss, Robert James, The Doppelganger in Wilhelmine cinema (1895-1914) : modernity, audiences and identity in turn-of-the-century Germany, PhD Thesis, University of Warwick, 2000 
    21. Klevan, Andrew, Disclosure of the everyday : the undramatic achievements in narrative film, PhD Thesis, University of Warwick, 1996
    22. Lehin, Barbara, Cinema and society: Thatcher’s Britain and Mitterand’s France, PhD Thesis, University of Warwick, 2003 
    23. Martin-Jones, David, Becoming-other in time: the Deleuzian subject in cinema, PhD Thesis,  University of Glasgow, 2002 
    24. Morris, Julia, An investigation into subtitling in French and Spanish heritage cinema, PhD Thesis,  University of Birmingham, 2010
    25. Natzén, Christopher, The Coming of Sound Film in Sweden 1928-1932 : New and Old Technologies, PhD Thesis, Stockholm University, 2010 
    26. Newsinger, Jack, From the grassroots: regional film policy and practice in England, PhD Thesis, University of Nottingham, 2010
    27. Pescetelli, M., The art of not forgetting: towards a practical hermeneutics of film restoration, PhD Thesis, University College London, 2011 
    28. Pigott, Michael, Time and film style, PhD Thesis, University of Warwick, 2009
    29. Ragazzi, Rossella, Walking on uneven paths : the transcultural experience of migrant children in France and Ireland, PhD Thesis, Dublin Institute of Technology, 2005
    30. Robinson, Rebecca Grace, Scottish television comedy audiences, PhD thesis, University of Glasgow, 2002
    31. Shand, Ryan John, Amateur cinema: history, theory and genre (1930-80), PhD thesis, University of Glasgow, 2007  
    32. Shields, Ryan John, Amateur cinema: history, theory and genre (1930-80), PhD Thesis, University of Glasgow, 2007
    33. Smit, Alexia Jayne, Broadcasting the body: affect, embodiment and bodily excess on contemporary television, PhD thesis, University of Glasgow, 2010
    34. Smith, Sarah, A complicitous critique: parodic transformations of cinema in moving image art,  PhD thesis, University of Glasgow 2007
    35. Sorrentino, Giuseppe, The Disappearance of the Real – Mass Media in Thomas Pynchon, Don DeLillo and Cormac McCarthy, PhD Thesis, Università degli studi Roma, 2008
    36. Stollery, Martin, Alternative empires : Soviet montage cinema, the British documentary movement and colonialism, PhD Thesis, University of Warwick 1994
    37. Thomas, Sarah, Face-maker : the negotiation between screen performance, extra-filmic persona and conditions of employment within the career of Peter Lorre, PhD Thesis, University of Warwick, 2008
    38. Triquell, Ximena, Projecting history: a socio-semiotic approach to the representations of the military dictatorship (1976-1983) in the cinematic discourses of Argentine democracy, PhD Thesis, University of Nottingham, 2000
    39. Walsh, John, A Space and Time Machine: Actuality Cinema in New York City, 1890s to c. 1905, PhD Thesis, University of Nottingham, 2005
    40. Yam, Chi-Keung, Study of popular Hong Kong cinema from 2001 to 2004 as resource for a contextual approach to expressions of christian faith in the public realm after the reversion to Chinese sovereignty in 1997, PhD Thesis, University of Edinburgh, 2008