But, as it signs off on its seasonal break until the first few days of 2012, FSFF thought the time was right for a listing of links to its favourite, openly accessible, online Film Studies resources in 2011.
Thanks so much to all who worked hard to bring you these openly accessible treasures in the first place. And thanks also, dear readers, for being there to appreciate them.
FSFF very much looks forward to seeing you again in the New Year.
Top seven film and moving image studies history resources online in 2011:
Today, Film Studies For Free joyously tips the wink to its readers about the online availability of video recordings of papers from research events held at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) at the University of Cambridge.
These valuable online resources will clearly be added to in the coming months and years so while FSFF will keep its beady eye trained for the appearance of future recordings of note, its readers might like to do the same with their own beady eyes.
Diane Keaton has just published her memoirs. Reflecting on becoming a mother at 50 and kissing Jack Nicholson at 57, Keaton is ageing in her own unique way. On Friday 9 December Birkbeck, University of London, [held] a major research symposium exploring how stars including Keaton, Brigitte Bardot, Nicole Kidman and Elizabeth Taylor aged in the public eye.
This one-day research symposium, organised by Dr Janet McCabe and Dr Deborah Jermyn, [debated] two significant (and interlinked) issues; performance and ageing. Encompassing both historical and topical case studies, speakers [considered] a range of celebrities, stars and case studies drawn from different national and industrial contexts. The keynote speaker w[as] Professor Ginette Vincendeau (King’s College, University of London).
The co-organisers believe the time is right for new scholarship focussing on ageing and celebrity and for us to think anew about how we think about growing old. We hear endless reports of how age is becoming increasingly relative, ‘60 is the new 40’ and so on’. With the baby boomer generation going into retirement and being reluctant to be written off as ‘old’, there is a heightened demand for positive representations of ageing. At the same time, stars like Helen Mirren are re-writing the rules for older women working in Hollywood, says Jermyn. The symposium addresse[d] some of these issues and ask[ed]s just how much things are really changing, since women stars are still subjected to a much more critical eye as they age than are their male co-stars. ‘Growing old, and I do mean growing’ writes Diane Keaton, ‘requires reinvention’. I like this quote, says McCabe. We must adjust our ideas about how we age without talking exclusively about how we defy the ageing process. This symposium adopt[ed] different perspectives […] about how celebrity is changing our perceptions and attitudes toward ageing and getting older.
Babel sets out to be a new sort of film that attempts to create a “world cinema” gaze within a commercial Hollywood framework. I examine how it approaches this and ask whether the film succeeds in this attempt. I explore the tensions between progressive and conservative political agendas, and pay particular attention to the ways “other” cultures are seen in a film with “Third World” pretensions and U.S money behind it. I frame my analysis around a key question: does the Iñárritu-led outfit successfully create a paradigmatic “transnational world cinema” text that de-centers U.S. hegemony, or is this a utopian project doomed to failure in a film funded predominantly by major U.S. studios? I examine the ways in which the film engages with the tourist gaze and ask whether the film replaces this gaze with a world cinema gaze or merely reproduces it in new ways . [Deborah Shaw, “Babel and the Global Hollywood Gaze”, Situations, 4.1, 2011]
The issue has a global reach in its coverage of countries and regions of the world ranging from Hollywood’s own “Global Gaze,” to a placement of Nigerian Cinema as the equal of Africa’s modernist cinema, to Venezuela’s difficult negotiation of a Bolivarian cinema in a neoliberal context, to a questioning of the radical othering of Eastern European cinema whose concerns now seem much closer to those of the West, and, finally, to a tracing of a complex multiperspectival fashioning of the image of the Chinese peasantry in a moment when the distinction between city and country are rapidly fading. The global reach of the issue extends as well to the range of theoretical positions used to examine contemporary global cinema, be it: structural-materialist aspects of the questioning of the Israeli-Palestinian problematic; the integration of economic and aesthetic methodologies in a post-Adornian examination of the Cannes Film Festival; feminist and subaltern theory utilized to critique the patriarchal aspects of what is sometimes viewed as India’s most politically progressive cinema; a rereading and deconstruction of French radical workerist post-1968 cinema; and a linking of feminist and anti-colonial perspectives to highlight the way that in Iran Abbas Kiarostami’s Ten spotlights Muslim women’s emancipation.
Below are direct links to the contents, as per usual here at FSFF.
Hey readers…. A really quick link today, one specially for the end of a long and tiring teaching term. Film Studies For Free loves this Tumblr by girldetective and hopes that you will find it stimulating, too.
It is a truth almost certainly universally acknowledged that, in so far as Film Studies For Free is known at all, it is known for its content rather than for its distinctly generic design. But some (long-overdue) design and layout changes are definitely on the horizon in the new year.
This website will almost certainly be adopting what’s known in Blogger‘s jargon as a ‘Dynamic Views‘ format, just as soon as some of the gremlins and limitations of this new system are ironed out. The most pressing issue to resolve first will be to find out how to accommodate the veritable riches of FSFF‘s standalone pages and sidebar content in the new format.
In the meantime, FSFF would like to offer its readers the chance to express a preference for any of the basic options that it is considering for its makeover. If you click on the links below, you can see how this blog would look in the different dynamic views on offer.
Your own dynamic views on this matter would be most appreciated. So, if you have any preferences, or indeed any other thoughts to express about the future look and functionality of FSFF, please leave them in a comment below or email this blog.
Classic: A modern twist on a traditional template, with infinite scrolling and images that load as you go
Flipcard – Site photos are tiled across the page and flip to reveal the post title
Magazine – A clean, elegant editorial style layout
Mosaic – A mosaic mix of different sized images and text
Sidebar – An email inbox-like view with a reading page for quick scrolling and browsing
The journal of the US Popular Culture Association / American Culture Association in the South,SPC dates back, in its offline, print version, to 1977, making it one of the oldest, continuously published academic journals to treat audiovisual media.
SPC has been online since 2006 and is a wonderful example of how an online presence indicates no necessary lowering of the quality bar for a properly peer-reviewed journal.