>Double-Strength: Videos and Links in Celebration of Barbara Hammer

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Clip from Maya Deren’s Sink by Barbara Hammer (via UndergroundFilm at Vimeo)

Clip from NITRATE KISSES by Barbara Hammer

Clip from SANCTUS and other films from the 1980s by Barbara Hammer
(You can see Sanctus @ubuweb)

HAMMER! Making Movies Out of Sex and Life Book Performance, Barbara Hammer at British Film Institute, March 2010

“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…)

Modern Women: Barbara Hammer on her career and Feminist film

Modern Women: Barbara Hammer on Maya Deren

• Barbara Hammer Faculty page at European Graduate School 

• Barbara Hammer. Resisting Paradise. Video Lecture Documentary 2005 1/4, 2/4, 3/4, 4/4

• Barbara Hammer’s Video Channel at Vimeo (16 videos so far archived) 

• Barbara Hammer’s website

• Barbara Hammer interviewed in February 2010 about her research on medical science film ‘No bones about it!’

• Edith Becker, Michelle Citron, Julia Lesage, B. Ruby Rich, ‘Lesbians and film, p. 2’, from Jump Cut, no. 24-25, March 1981

• Sarah Boslaugh, ‘Getting Past the Stereotypes: Woman and Motorcycles in recent Lesbian Novels’, IJMS, March 2006

•  Martin P. Botha, ‘The New African Queer Aesthetics: the Portrayal of Homosexuality in International Cinema’, Kinema,

• Joan Braderman, ‘Feminism and Video: A View from the Village’, Camera Obscura, Volume 22, Number 1, 2007

• Julia Erhart, ‘Performing memory: compensation and redress in contemporary feminist first-person documentary’, Screening the Past, December 1, 2001

• Claudia Gorbman, ‘Barbara Hammer’s recent work: Body displaced, body discovered’, from Jump Cut, no. 32, April 1987

• John Hess, ‘Notes on U.S. radical film, 1967-8’, from Jump Cut, no. 21, Nov. 1979 

• Tricia Jenkins, ‘‘‘Potential Lesbians at Two O’Clock’’: The Heterosexualization of Lesbianism in the Recent Teen Film’, The Journal of Popular Culture, Vol. 38, No. 3, 2005 

• Chuck Kleinhans, ‘Teaching sexual images: some pragmatics’, from Jump Cut, no. 40, March 1996 

• Laura U. Marks, ‘Loving a Disappearing Image’, Cinémas : revue d’études cinématographiques / Cinémas: Journal of Film Studies, vol. 8, n° 1-2, 1997

• Susan E. McKenna, ‘Seeing lesbian queerly: visibility, community, and audience in 1980s Northampton, Massachusetts’, PhD Thesis, University of Massachusetts, September 2009

• Fiontán Moran, ‘Anatomies of Desire’, Afterall, May 2010

• Gary Morris, ‘Tender Fictions: Barbara Hammer’s Truth Club’, Bright Lights Film Journal, Issue 17, 1996

• Ricardo Peach, Queer Cinema as a Fifth Cinema on South Africa and Australia, PhD Thesis,University of Technology, Sydney, March 2005

• John Ramirez and Larry Horne, ‘UCLA Gay and Lesbian Media Conference’, from Jump Cut, no. 29, February 1984 

• Jennifer Beth Simmons, Visions of Feminist (Pom(o)nanism): Masturbating Female Postmodern Subjectivity in American Television and Film, MA Thesis, University of Florida, 2004

• Jamie L. Stuart, The Business and Pleasure of Filmic Lesbians Performing Onstage. PhD Thesis, Bowling Green State University, 2006 

• William C. Wees, ‘Carrying On: Leslie Thornton, Su Friedrich, Abigail Child and American Avant-Garde Film of the Eighties’, Canadian Journal of Film Studies, Vol. 10, No. 1, Spring 2001

• Andrea Weiss, ‘Women I Love. Double Strength : Lesbian Cinema and Romantic Love’ , from Jump Cut, no. 24-25, March 1981

• Jacquelyn Zita, ‘The films of Barbara Hammer: Counter-currencies of a lesbian iconography’, from Jump Cut, no. 24-25, March 1981

>Screening 9/11 and its aftermath in film and media studies

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Image from In America (Jim Sheridan, 2002), the first film to be (partly) shot in New York after the 9/11 terrorist attacks, according to Seán Crosson’s article “‘They can’t wipe us out, they can’t lick us. We’ll go on forever pa, ‘cause we’re the people’…” (2008)

The absence of the Twin Towers from the post-9/11 New York City skyline posed a number of dilemmas for the creators and producers of television shows and movies that were ‘symbolically’ set in New York City after 9/11. Whilst the World Trade Center towers had been destroyed, editors in studio lots in California faced the prospect of the late 2001 ratings season commencing with stock reels of New York City that prominently featured the Towers prior to 9/11. This posed an odd dilemma for the producers of television shows such as Friends, Sex and the City, and Spin City, programs in which the Twin Towers often appeared as a backdrop and a powerful signifier of being in New York City. The response seemed universal – the Twin Towers must be removed from the tele-visual pop-cultural locations. They needed to be purged, exorcised and air- brushed out of the shot. But by airbrushing out the Towers, the producers have purged post-9/11 television of more than just the steel and concrete of the iconic buildings. I suggest that this purging is powerful, a little odd, and deeply symbolic. In order to recover, perhaps some space – and some forgetting, if only temporary – was needed. But I argue that the missing Towers also represented a missing terror, a missing city. It was as though the creators and producers of some post-9/11 television believed that the world’s viewers would have no stomach for seeing images of a pre-9/11 New York City – a city that in many respects no longer existed. Perhaps the problem lies in how the destruction of the Twin Towers was witnessed – live on TV, in real-time, as heinous, immediate and real violence. It was ugly, sickening, horrific, terrifying. Yet it was also difficult to look away. [Luke John Howie, ‘Representing Terrorism: Reanimating Post-9/11 New York City’, International Journal of Žižek Studies, Vol 3, No 3 (2009)]

It is the eve of another anniversary of the 9/11 terrorist attacks in America.

Film Studies For Free respectfully remembers the tragic and traumatic events of nine years ago tomorrow, and other closely related ones since, with a list of links to important, insightful, and openly accessible studies of the cultural depiction and (re)media(tiza)tion of the 9/11 attacks, as well as of their aftermath.

• Marco Abel, ‘Don DeLillo’s “In the Ruins of the Future”: Literature, Images, and the Rhetoric of Seeing 9/11’, PMLA, 118.5, 2003 
• Raúl Álvarez Gómez, ‘Terrorism and Social Panic in British Fantastic Cinema’, in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 3 in pdf)
• Kari Andén-Papadopoulus, ‘The Trauma of Representation: Visual Culture, Photojournalism and the September 11 Terrorist Attack’, NORDICOM Review 24, No. 2 (December 2003): 89-104
• Francis A. Beer and G. R. Boynton, ‘Globalizing Terror’, Poroi, 2, 1, August, 2003
• James Brassett, ‘Cosmopolitan Sentiments After 9-11? Trauma and the Politics of Vulnerability’, Journal of Critical Globalisation Studies, Issue 2 (2010)
• Gordon V. Briggs, White Masculinity in the American Action Film Pre and Post 9/11, Masters Thesis, College of Fine Arts of Ohio University, June 2007
• Mary Caputi, ‘Ground Zero, an American Origin’, Poroi, 2, 1, August, 2003
• Steven Alan Carr, ‘Staying for Time: The Holocaust and Atrocity Footage in American Public Memory’, Violating Time: History, Memory and Nostalgia in Cinema. Christina Lee, ed. New York NY: Continuum, 2008
• Aimee Carrillo Rowe and Sheena Malhotra, ‘Chameleon Conservatism: Post-9/11 Rhetorics of Innocence’, Poroi, 2, 1, August, 2003 
• Dana L. Cloud, ‘Therapy, Silence, and War: Consolation and the End of Deliberation in the “Affected” Public’, Poroi, 2, 1, August, 2003
• David Crawford, ‘Realism vs. Reality TV in the War on Terror: Artworks as Models of Interpretation’, Geometer, January 19, 2009 
• Seán Crosson, “‘They can’t wipe us out, they can’t lick us. We’ll go on forever pa, ‘cause we’re the people’ – Misrepresenting death in Jim Sheridan’s In America (2003)”, Estudios Irlandeses: Journal of Irish Studies, Issue 3, (2008)
• Sven Cvek, 9/11: Event, Trauma, Nation, Globalization, PhD Thesis, University of Zagreb, 2009
• Marieke De Goede, ‘Beyond Risk: Premediation and the Post-9/11 Security Imagination’, Security Dialogue 2008; 39; 155
• Arne De Boever, ‘The Politics of Retirement: Joel and Ethan Coen’s No Country for Old Men after September 11’, Image and Narrative, 10.2, 2009 
• Elizabeth Ellsworth, ‘Media and the Un-Representable: The Brief Time of Audience-as-Witness to 9/11’, MIT3: Television in Transition International Conference, Cambridge, May, 2003
• Phoebe Fletcher, ‘Apocalyptic Machines: Terror and Anti-Production in the Post-9/11 Splatter Film’, in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 81 in pdf)
• Gabriel Garcia Mingorance, ‘Monsters, Feérie Fear, Threaten Global And the Uncanny in the Cinema of M. Night Shyamalan’, in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 23 in pdf)
• Silvia Herreros de Tejada, ‘Drumming the Horror Away’, in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 47 in pdf)
• Will Higbee, ‘Ungrounding the Narrative of Nation” – Review: David Martin-Jones (2006)’, Film-Philosophy, 13.1, April 2009 
• Luke John Howie, ‘Representing Terrorism: Reanimating Post-9/11 New York City’, International Journal of Žižek Studies, Vol 3, No 3 (2009)
• Luke Howie, ‘I’ll be there for you – the meanings and consequences of 9/11 in Friends’, TASA: Re-imagining Sociology, The University of Melbourne, December 2-5, 2008
• Carolyn Jess-Cooke, ‘Narrative and Mediatized Memory in Eternal Sunshine of the Spotless Mind’, Scope, Issue 8, June 2007 
• Jonathan Kahana, excerpt from Intelligence Work: The Politics of American Documentary (Columbia University Press, 2008)
• E. Ann Kaplan, ‘Feminist Futures: Trauma, the Post-9/11 World and a Fourth Feminism?’, Journal of International Women’s Studies Vol 4 #2 April 2003
• Mina Karavanta on C. Cilano’s From Solidarity to Schisms », European journal of American studies [Online], Reviews 2010-1, document 7, Online since 16 March 2010
• Laurie A. Manwell, ‘Faulty Towers of Belief: Part II. Rebuilding the Road to Freedom of Reason’, Journal of 9/11 Studies, August 2007
• Alan S. Marcus, ‘“It Is as It Was”: Feature Film in the History Classroom’, Social Studies, March/April 2005
• Peter Knight, ‘Conspiracy Theories about 9/11’, Centre for International Politics Working Paper Series, No. 34, August 2007
• Allen Meek, ‘Walter Benjamin and the Virtual: Politics, Art, and Mediation in the Age of Global Culture, Transformations, Issue No. 15, November 2007 
• William Merrin, ‘Total Screen: 9/11 and the Gulf War Reloaded’, International Journal of Baudrillard Studies,  Volume 2, Number 2 (July 2005)  
• Robin Marie Merrick Murphy, ‘Post-9/11 Rhetorical Theory and Composition Pedagogy: Fostering Trauma Rhetorics as Public Space, PhD Thesis, Bowling Green State University, August 2007
• John S. Nelson, ‘Rhetorics of Response to 9/11: The Aftermath of Terror’, Poroi, 2, 1, August, 2003
• John S. Nelson, ‘Four Forms for Terrorism: Horror, Dystopia, Thriller, and Noir’, Poroi, 2, 1, August, 2003
• Marc A. Ouellette, “I Hope You Never See Another Day Like This”: Pedagogy and Allegory in “Post 9/11” Video Games’, Game Studies, Vol. 8, Issue 1, 2008
• Chrysavgi Papagianni, ‘American Multiculturalism after 9/11: Transatlantic Perspectives, by Derek Rubin and Jaap Verheul’, European journal of American studies [Online], Reviews 2010-2, document 5, Online since 12 August 2010
• Isabel Pinedo, ‘Tortured logic: entertainment and the spectacle of deliberately inflicted pain in 24Battlestar Galactica‘, Jump Cut, No. 52, Summer 2010
• Maria Pramaggiore, ‘The global repositioning of the city symphony: sound, space, and trauma in 11’09”01—September 11′, Jump Cut, No. 52, 2010
• Susannah Radstone, ‘Trauma theory: Contexts, Politics, Ethics’, Paragraph 30 (1): 2007, 9-29
• Christina Rickli, ‘An Event “Like a Movie”? Hollywood and 9/11’, COPAS, 10.10, 2006
• Araceli Rodríguez Mateos, ‘Cinema and Social Trauma after Terrorist Attacks: the Spectatorship Perception. Approaching to the Spanish Case’, in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009
• Antonio Sánchez-Escalonilla, ‘Hollywood Under Siege: The Entrenched As a Dramatic Role in the Wake of 9/11’, in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 13 in pdf)
• Thomas Shevory, “From Censorship to Irony: Rhetorical Responses to 9/11,” Poroi: Vol. 2: Iss. 1, 2003: p. 8-4 
• Elisabeth Siegel, ‘“Stuff That Happened to Me”: Visual Memory in Jonathan Safran Foer’s Extremely Loud and Incredibly Close (2005)’, COPAS, 10.7, 2010
• Louise Spence, ‘Teaching 9/11 and Why I’m Not Doing It Anymore’, from Cinema Journal 43, No. 2, Winter 2004
• Lynn Spigel, ‘Entertainment Wars: Television Culture after 9/11’, American Quarterly, Vol. 56, No. 2 (June 2004)
• Kim Toffoletti and Victoria Grace, ‘Terminal Indifference: The Hollywood War Film Post-September 11’, Film-Philosophy, Vol 14, No 2 (2010)
• M. Karen Walker, ‘Analyses of Post-9/11 Media Coverage: A Review of the Communications Literature’, RhetoricaLens.info, July 17, 2006
• M. Karen Walker, ‘Visual Rhetoric: A Literature Review’, RhetoricaLens.info, July 17, 2006
• Cynthia Weber, ‘Fahrenheit 9/11: The Temperature Where Morality Burns’, Journal of American Studies, 40 (2006), 1, 113–131

>Immaturity Abides! On Teen, "Gross Out" and Dumbass Comedy

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Jonah Hill and Michael Cera in Superbad (Greg Mottola, 2007)

Film Studies For Free is two years old today. You go, blog!

In honour of its tentative entry into digital post-toddlerdom (and hopefully not the terrible twos), it wanted to celebrate online and openly accessible studies of what FSFF likes to think of (in its über-scholarly way) as those liminal film genres and cycles of comic immaturity, awkwardness, stupidity, and tastelessness — that is to say, all varieties of the teen (or arrested development) comedy (including the “teen sex comedy”, the “gross-out” comedy, comic “dude flicks” and “bromances“), as well as studies of related issues.

Today’s scattershot links list is partly an offshoot of FSFF‘s recent entry on the romantic comedy, and partly its first experiment in “crowdsourcing” via its blossoming Facebook page. Thanks so much to those who suggested items there.

If anyone else has any bright ideas for further additions, do please ‘fess up. FSFF earnestly promises that you won’t be ritually humiliated, or mercilessly laughed at, at all  :o)

• Joseph Aisenberg, ‘Here Come the Bromides: Living in the Era of the Bromantic Comedy’, Bright Lights Film Journal, Issue 65, August 2009

• Peter Alilunas, ‘Male Masculinity as the Celebration of Failure: the Frat Pack, Women, and the Trauma of “Victimization” in the “Dude Flick”‘, Mediascape,  Spring 2008/Fall 2009

• Steven W. Bender, ‘Knocked Down Again: An East L.A. Story on the Geography of Color and Colors’, Harvard Latino Law Review, Vol. 12, 2009

• Nick Burns, ‘Heathers: Scent of dominance’, from Jump Cut, no. 36, May 1991, pp. 32-36

• Zachary Campbell, ‘”Sorry About All the Gravity!” Anna Faris, Serious Respect for the Unserious’, Rouge, 13, 2009

• Isabel Sterling Clark, ‘The Challenge of Being Yourself: Adaptation, Adolescence, and Disguise in Teenage Romantic Comedy Films of the Late 1990s and Early 2000s’, Senior Thesis, Haverford College, 2009

• Evan Elkins, ‘Great Job?: Tim and Eric’s Comedy of Failure‘, FlowTV, August 8, 2008

• Caroline Haggod, ‘Bruno and Bromances: Modern Masculinity Goes to the Movies’, The Huffington Post, March 10, 2010

• Peter Hutchings , ‘Welcome to Royston Vasey: Grotesque bodies and the horror of comedy in The League of Gentlemen’, Intensities 4, December 2007

• Carmen Induráin Eraso, ‘Riding on divergent but similar roads: Airbag or the Spanish experience of the American Road Movie’, Estudios Ingleses de la Universidad Complutense 2005, vol. 13, 107-121

• Ewan Kirkland, ‘Romantic Comedy and the Construction of Heterosexuality’, Scope, Portals Special Issue, Issue 13, 2008

• Barbara Klinger, ‘Say It Again, Sam: Movie Quotation, Performance and Masculinity’, Particip@tions Volume 5, Issue 2 (November 2008)

• Zachary Lamm, ‘The Cinematic Shrews of Teen Comedy: Gendering Shakespeare in Twentieth-Century Film’, Genders On-Line, Issue 49, 2009

• Christina Lee, Beyond the Pink: (Post) Youth Iconography in Cinema, PhD Thesis, Murdoch University, 2005

• Christian Lorentzen, ‘Dicking Around’, N1FR Issue 1, August 2010

• James MacDowell, ‘Notes on Quirky’, MOVIE: A Journal of Film Criticism, 1.1, 2010

• James MacDowell, ‘Knocked Up’, Alternate Takes, November 14, 2007

• Gabrielle Moss, ‘ From the Valley to the Hellmouth: “Buffy”’s Transition from Film to Television’, Slayage: A journal of Buffy Studies, 1.2 [2], 2001 

• Joshua Louis Moss, ‘Historiography of the World Part 1: The Jewish Body, Historical Crisis and The Comedic Farce’, Mediascape,  Spring 2008/Fall 2009

• Scott Murray, ‘“Cameron Fry, this one’s for you.” Or: Why the Sausage King of Chicago Doesn’t Turn Up for Lunch at Chez Quis’, Senses of Cinema, Issue 51, 2009

• Diane Negra, “Where The Boys Are: Postfeminism and the New Single Man”, FlowTV April 14, 2006

• Jakob Isak Nielsen, ‘There’s something about comedy theory’, P.O.V. No.26, 2008

• Sharyn Pearce, ‘Sex and the cinema: What American pie teaches the young’, Sex Education: Sexuality, Society and Learning 6 (4) 2006: pp. 367-376

• Sina Rahmani, ‘Hollywood and Diversity: Subversion, Apologetic, or Both? Harold and Kumar Go to White Castle. Dir. Danny Leiner. New Line Cinema, 2004’, Colloquy, 9, 2005

• Michael Joshua Rowin, ‘I Love You, Man and the Apatow Comedy Factory’, Reverse Shot, Issue 24, 2009

• Philip Scepanski, ‘Out of the Mouths of Babes: Animated Sitcoms and Political Incorrectness’, Mediascape, Fall 2008

• Ethan de Seife, ‘Gremlins in the Mix’, 16:9, 6.25, 2008

• Carter Soles, Falling Out of the Closet: Kevin Smith, Queerness, and Contemporary Independent Film. PhD Thesis, University of Oregon, September 2008

• Carter Soles, ‘A Stalker’s Odyssey: Arrested Development, Gay Desire, and Queer Comedy in Chuck and Buck’, Jump Cut 49, Spring 2007

• Lesley Speed, ‘A World Ruled by Hilarity: Gender and Low Comedy in the Films of Amy Heckerling’, Senses of Cinema, Vol. 22, 2002

• Scott F. Stoddart, ‘Love and Death on Long Island (Dir. Richard Kwietniowski, 1998)’, Scope, Portals Special Issue, Issue 13, 2008

• Donato Totaro, ‘Screwballs: Teen Comedy Canadian Style’, Offscreen Journal, Vol. 13, Issue 8, 2009

• Lisa Trahair, ‘Comedy and Beyond: Geoff King’s Film Comedy’, Film-Philosophy, Vol. 8, No. 15, 2004
  

• Eric King Watts and Mark P. Orbe , ‘The Spectacular Consumption of “True” African American Culture: “Whassup” with the Budweiser Guys?’, Critical Studies in Media Communication Vol. 19, No. 1, March 2002, pp. 1–20

• Cynthia Weber, ‘”Oi, Dancing Boy!” Masculinity, Sexuality, and Youth in Billy Elliot’, Gender 37, 2003

• Jessica Winter, ‘Knocked Up’, Cinemascope, 31, 2008

http://focusfeatures.com/swf/vidplayer.swf

Video Essay on The Big Lebowski, Kevin. B. Lee with Karina Longworth, March 2010

http://books.google.com/books?id=KibNrpXbsDcC&lpg=PA255&ots=Ijc_1t_PQo&dq=celestino%20deleyto%20tamar%20jeffers%20mcdonald&pg=PA255&output=embed

http://books.google.com/books?id=kyvYBZgcmkQC&lpg=PA1996&ots=ahGKRqF6XT&dq=%22teen%20sex%20comedy%22&lr&pg=PA1996&output=embed

http://books.google.com/books?id=_2ZXBaDJ6DUC&lpg=PP1&pg=PA71&output=embed

>Good Fella: Martin Scorsese Studies

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Updated August 19, 2010

Ray Liotta as Henry Hill in Goodfellas (Martin Scorsese, 1990)

http://video.google.com/googleplayer.swf?docid=7760042583563448755&hl=en&fs=true

Charlie Rose – An hour with Martin Scorsese (1998)

(Persevere beyond the opening few minutes – it’s worth it)

Here’s a not so little links list that Film Studies For Free has been concocting for tanto tempo… It’s a collection of mostly academic, and all great quality, studies of the work of American filmmaker Martin Scorsese, one of the most utterly beloved of all directors among Film Studies undergraduates. And with Afterhours, Goodfellas and The Age of Innocence among this blog’s author’s favourite films, who is FSFF to disagree with such intensity?

Suggestions for any high-quality additions to this list would be most welcome.

• Marc Abramson, ‘Mountains, Monks and Mandalas: Kundun and Seven Years in Tibet’, Cineaste, Vol. XXIII, No. 3, 1998

• Daniel Balderston, ‘Borges and The Gangs of New York’, Variaciones Borgianas, 16, 2003 

• Bruce Alistair Barber, Trans/actions: Art, Film and Death, PhD Thesis, European Graduate School, August 2005 

• Todd Berliner, ‘Visual Absurdity in Raging Bull’, Preprint of Chapter in Raging Bull: A Cambridge Film Handbook. Ed. Kevin Hayes. Cambridge, U.K. and New York: Cambridge University Press, 2005

• David Bordwell, ‘Scorsese, ‘pressionist’, Observations on Film Art, April 21, 2010 

• Lenay Breeland, ‘A Hieroglyphic World: Representations of Repression in Scorsese’s Age of Innocence’,  in Fixing a Hole: Bridging the Gap between Text and Performance, State University of West Georgia, 2001 (scroll to p. 21 in PDF) 

• Aaron V. Burton, Jesus in the Movies: A Rhetorical Analysis of Selected Films from 1912-2004, PhD Thesis, Bowling Green State University, May 2008

• Andre Caron, ‘Last Temptation of Travis Bickle’, Offscreen Journal, September 1997

• Robert Castle, ‘Average Nobodies: The Dark Knights of Goodfellas‘, Bright Lights Film Journal, issue 32, April 2001

• James A. Clapp, ‘‘‘Are You Talking to Me?’’—New York and the Cinema of Urban Alienation’, Visual Anthropology, 18, 2005

• Adrian Danks, ‘Who’s That Knocking at My Door’, Senses of Cinema, Issue 54, 2010 

• Russell E. Davis, Alice Doesn’t Live Here Anymore: Under the comic frosting’, from Jump Cut, no. 7, 1975

• Jonathan Dawson, ‘After Hours’, Senses of Cinema, Issue 54, 2010

• Rebecca Dawson, And Staring as Jesus Himself: Cultural Context and Images of Christ in North American film, PhD Thesis, Bowling Green State University, August 2007 

• Carolyn D’Cruz and Glenn D’Cruz, ‘The body of Christ: Blasphemy as a necessary transgression?’, Negotiating the Sacred II: Blasphemy and sacrilege in the arts, pp. 93-101, ANU E Press, 2008

• Christopher Robert Deacy, ‘Redemption and Film: Cinema as a Contemporary Site of Religious Activity’, WACC Archive, 2001

• Cristina Degli-Esposti Reinert, ‘Martin Scorsese’s Invisible City in Bringing Out the Dead’, Film-Philosophy, Vol. 4, No. 12, May 2000

• Roger Ebert, ‘Introduction’, Scorsese by Ebert (University of Chicago Press, 2008) 

• Rebecca Feasey. ‘Stardom and Distinction: Sharon Stone and the Problem of Legitimacy’, Scope, May 2004

• Christopher Garbowski, ‘The Catholic Imagination in Martin Scorsese’s The Last Waltz’, Journal of Religion and Film Vol. 5, No. 2 October 2001

• Luis M. García-Mainar, « Contemporary Hollywood Crime Film and the New Individualism », European journal of American studies, 2, 2009

• Paul A. Gilje, ‘Gangs, the Five Points, and the American Public’, Common-Place, Vol. 3, No. 4, July 2003

• Paul E. Graham III, Violence and the Scapegoat in American Film: 1967-1999, PhD Thesis, Louisiana State University and Agricultural and Mechanical College, December 2002

• New Leighton Grist, Authorship and Context: the Films of Martin Scorsese, 1963-1977, PhD Thesis, University of Warwick, 1996

• Leighton Grist,  ‘Masculinity, Violence, Resistance: A New Psychoanalytic Reading of Raging Bull’, Atlantis Journal, 29.1, June 2007

• Peter Hourigan, ‘Scorsese Missing In Action: Martin Scorsese’s America by Ellis Cashmore Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture Wars by Thomas R. Lindlof’, Senses of Cinema, Issue 54, 2010 

• Christine Hoff Kramer, ‘Wrestling with Flesh, Wrestling with Spirit: The Painful Consequences of Dualism in The Last Temptation of Christ’, Journal of Religion and Popular Culture, Vol. 8, Fall 2004 

• Peter Hutchings, ‘[Review of] A Personal Journey with Martin Scorsese Through American Movies by Martin Scorsese and Michael Henry Wilson, London: Faber, 1997′, Scope, August 1999

• Matthew J. Iannucci, ‘Postmodern Antihero: Capitalism and Heroism in Taxi Driver‘, Bright Lights Film Journal,Issue 47, February 2005

• Karyn Kay and Gerald Peary, ‘Alice Doesn’t Live Here Anymore: Waitressing for Warner’s’, Jump Cut, no. 7, 1975

• David Kelly, ‘Model Citizens: The Irish Films of Martin Scorsese’, Australasian Journal of American Studies, Vol. 26, No. 1, July 2007

• Tammie Kennedy, ‘(Re)Presenting Mary Magdalene: A Feminist Reading of The Last Temptation of Christ’, Journal of Religion and Popular Culture, Vol. 9, Spring 2005

• Robert P Kolker, ‘Algebraic Figures: Recalculating the Hitchcock Formula’, in Horton, Andrew, and Stuart Y. McDougal, editors Play It Again, Sam: Retakes on Remakes (Berkeley:  University of California Press, 1998)

• Robert P. Kolker, ‘The Moving Image Reclaimed’, Postmodern Culture, 5.1, September 1994 

• Ekkehard Knörer, “Why Martin Scorsese’s “The Departed” does not live up to […] “Internal Affairs”‘, Signandsight.com, January 2007

• Joseph Jon Lanthier, ‘Outstanding Defense Mechanisms: The Phrenology of Martin Scorsese’s Shutter Island‘, Bright Lights Film Journal, Issue 68, May 2010

• Maximilian Le Cain, ‘Orphans of the Storm: Martin Scorsese’s Gangs of New York’, Senses of Cinema, Issue 25, 2003

• Karli Lucas, ‘Creative Visions: (De)Constructing “The Beautiful” in Scorsese’s The Age of Innocence’, Senses of Cinema, Issue 25, 2003

• Brian McIlroy, ‘Exodus, Arrival & Return: The Generic Discourse of Irish Diasporic and Exilic Narrative Films’ [First published in Keeping It Real: Irish Film and Television, eds. Ruth Barton and Harvey O’Brien (London: Wallflower Press, 2004): 69-77

• Duncan McLean, ‘The Evolution of the Term ‘New Hollywood’, NEO, 2009

• Eve L. Mullen, ‘Orientalist Commercializations: Tibetan Buddhism in American Popular Film’, Journal of Religion and Film, Vol. 2, No. 2 October 1998 

• Kartik Nair, ‘Aura, Auteurism and the Key to Reserva’, Widescreen Journal, No. 2, 2010

• Josh Nelson, ‘[Review of] Roger Ebert, Scorsese by Ebert. Chicago and London, The University of Chicago Press, 2008′, Screening the Past, Issue 26, 2009

• Richard Oestreicher, ‘How Should Historians Think about ‘The Gangs of New York’?’, History Workshop Journal, Issue 56, 2003

• Colm O’Shea, ‘Review: Thomas R. Lindlof (2008) Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture Wars. Lexington, KY: The University Press of Kentucky’, Film-Philosophy, 14.1, 2010

• Steven Peacock, ‘Holding onto moments in The Age of Innocence’, Film Studies, Volume 9, Winter 2006

• Åke Persson, ‘The Mafia in the Drawing Room: Martin Scorsese’s Film Adaptation of Edith Wharton’s The Age of Innocence’, Nordic Journal of English Studies, Vol 7, No 2 (2008)

• Linda Petříkova, ‘Review: Mark T. Conard (ed.) (2007) The Philosophy of Martin Scorsese Lexington: University Press of Kentucky’, Film-Philosophy, 11.3, December 2007

• Patrick Phillips, ‘Genre, star and auteur critical approaches applied to Martin Scorsese’s New York, New York’, in Jill Nelmes’ (ed), Introduction to Film Studies, 4th edition (London: Routledge, 2007) 

• Mark C. Pilkinton, ‘The True Temptation of Christ: “To Suffyr temptacion it is grett peyn”‘, The Journal of Religion and Theatre, Vol. 3, No. 1, Summer 2004

• G. Thomas Poe, ‘(Beyond) The Pleasures of the Hollywood Musical Film: A Re Viewing of Martin Scorsese’s New York, New York’, Journal of Dramatic Theory and Criticism, Vol. IV, No. 2: Spring 1990

• Marc Raymond, ‘Martin Scorsese’, Senses of Cinema, May 2002

• Constanza del Río Álvaro, ‘Genre and Fantasy: Melodrama, Horror, and the Gothic in Martin Scorsese’s Cape Fear (1991)’, Atlantis Journal, 26.1, June 2004

• Wieland Schwanebeck, ‘From Shakespeare’s Kings to Scorsese’s Kingpins: Contemporary Mob Movies and the Genre of Tragedy’, ASPeers, Issue 3, 2010 

• Martin Scorsese: “Discusses Film-Making” at Princeton University, May 4 1999 (scroll down page for videocast)

• Martin Scorsese, ‘Pinewood Dialogues’, Moving Image Source, November 9, 2002

• Kaile Shilling, ‘Servant of the Story: Judas as Tragic Hero in Film’, Journal of Religion and Film. 8 (2): October 2004  

• Matthew Sorrento, ‘Scorsese by Ebert by Roger Ebert’, Senses of Cinema, Issue 51, 2009

• Katherine Spring, ‘After Hours on the Miracle Mile: The Logic of Nightmares in Film’, 16:9, No. 11, November 2007

• David Sterritt, ‘Six Books about Scorsese’, Film Quarterly, Vol. 63, no. 2, 2009

• John Thurman, ‘Citizen Bickle, or the Allusive Taxi Driver: Uses of Intertextuality’, Senses of Cinema, Issue 37, 2005

• Daniel J. Walkowitz, ‘The Gangs of New York’: the Mean Streets in History’, History Workshop Journal, Issue 56, 2003

• Teena Webb and Betsy Martens, ‘Alice Doesn’t Live Here Anymore: A Hollywood liberation’, Jump Cut, no. 7, 1975

• Martin Weinreich, ‘The urban inferno. On the æsthetics of Martin Scorsese’s Taxi Driver‘, ‘The Art of Film Editing’, Special Issue of P.O.V: A Danish Journal of Film Studies, edited by Richard Raskin, Number 6 December 1998 (scroll down in PDF) 

• M.C. Zenner, ‘Bringing Out the Dead’, Senses of Cinema, Issue 7, 2000

>Christopher Nolan Studies

>

An image from Inception (Christopher Nolan, 2010)

Film Studies For Free knows only too well that there’s a time and a place for everything. Given that Christopher Nolan‘s Inception has just premiered to mostly great online acclaim, it is probably the right time and place for a bumper FSFF “Christopher Nolan Studies” entry (despite the fact that FSFF‘s author won’t actually see his new film till the weekend… No spoilers, people!).

Much more than all you need to know about the online discussion of Nolan’s latest film is linked to with customary wit and brevity by David Hudson. The below links, then, restrict themselves to online, openly accessible, and (pure-dead-brilliant) scholarly takes on Nolan’s film work, and related matters, to date.

• Robert Avery, ‘Violence as (Masculinist) Epistemic Rhetoric: the case of Memento’, Masters Thesis, University of Maine, August 2004

• Christopher Bodnar, ‘The Database, Logic, and Suffering: Memento and Random-Access Information Aesthetics’, Film-Philosophy, Vol. 7 No. 10, May 2003

• Holly Lynn Baumgartner, ‘Visualizing Levinas: Existence and Existents through Mulholland Drive, Memento, and Vanilla Sky’, PhD Thesis, Graduate College of Bowling Green State University, May 2005

• Jay David Bolter, ‘Transference and Transparency: Digital Technology and the Remediation of Cinema’, Intermédialités, n 6 automne 2005

• David Bordwell, ‘Niceties: how classical filmmaking can be at once simple and precise’, Observations on Film Art, March 22, 2009

• Matthew Campora, ”Review of Modular Narratives in Contemporary Cinema, by Allan Cameron, Palgrave Macmillan, Houndmills, Basingstoke, 2008′, Senses of Cinema, Issue 55, 2010

• Melissa Clark, ‘The Space-Time Image: the Case of Bergson, Deleuze, and Memento’, The Journal of Speculative Philosophy, Vol. 16, No. 3, 2002

• Michael Duffy, ‘Batman Begins’, Scope, Issue 3, November 2005

• Thomas Elsaesser, ‘The Mind-Game Film’ in Warren Buckland (ed), Puzzle Films (Oxford: Blackwell 2009)  

• Raoul Eshelman, ‘Performatism in the Movies (1997-2003)’, Anthropoetics 8, no. 2 (Fall 2002 / Winter 2003)

• Mark Fisher, ‘Gothic Oedipus: subjectivity and capitalism in Christopher Nolan’s Batman Begins’, ImageTexT, Vol. 2.2, 2006

• Domènec Font, ‘In the Fabric of Time’, Formats, No. 5, 2009

• Juan González Etxeberria, “Metamorphosing Words in the Cinema of the Fantastic”, Comparative Literature and Culture 10.4 (2008)

• Adrian Gargett, ‘Nolan’s Memento, Memory, and Recognition’, CLCWeb: Comparative Literature and Culture 4.3 (2002)

• Matt George, ‘On Forgetting Memento’, h2so4, 16, 2001

• Richard Grusin, ‘Dvds, video games, and the cinema of interactions’, Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Davin Heckman, ‘Unraveling Identity: Watching the Posthuman Bildungsroman’, CTHeory.net, 2008

• Ann Heilmann, ‘Doing It With Mirrors: Neo-Victorian Metatextual Magic in Affinity, The Prestige and The Illusionist’, Neo-Victorian Studies, 2:2 (Winter 2009/2010) pp. 18-42

• John Ip, ‘The Dark Knight’s War on Terrorism’, Social Science Research Network, May 2010Ohio State Journal of Criminal Law, Forthcoming) 

• Kathryn Muriel Kang, ‘Patch and reboot in Memento’, in Agnostic democracy : the decentred “I” of the 1990s, PhD Thesis, University of Sydney, 2006 (for full thesis click here)

• Vicki Karaminas, ‘Ubermen: Masculinity, Costume, and Meaning in Comic Book Superheroes’ in Peter McNeil and Vicki Karaminas (eds), The Men’s Fashion Reader, Berg, Oxford and New York, pp. 179-186 

• Vicki Karaminas, “No Capes!” Über Fashion and How “Luck Favours the Prepared”: Constructing Contemporary Superhero Identities in American Popular Culture’, International Journal of Comic Art (IJOCA), vol. 8, no. 1, pp. 478-508

• Zelda G Knight, ‘Monsters and Monstrous Acts: Exploring the Shadow Archetype in Batman: The Dark Knight’, Inter-Disciplinary.Net, 7th Global Conference, Oxford 2009

• Lutz Koepnick , ‘Photographs and Memories’, South Central Review 21.1 (Spring 2004): 94–129

• Jung-In Kwon, ‘Memory Simulated’, Journal of Moving Image Studies, Vol. 3, 2004

• Randolph Lewis, ‘The Dark Knight of American Empire’, Jump Cut, No. 51, 2009

• Patrick McEntaggart, ‘Once Upon a Paradigm Shift: Interactive Storytelling in a New Media Context’, Inter-Disciplinary.Net, 5th Global Conference, Salzburg, March 14, 2010

• Todd McGowan, ‘The Exceptional darkness of The Dark Knight’, Jump Cut, 51, 2009

• Todd McGowan, ‘The Violence of Creation in The Prestige’, International Journal of Žižek Studies, Vol 1, No 3 (2007)

• Walter Benn Michaels, ‘The Death of a Beautiful Woman: Christopher Nolan’s Idea of Form’, Electronic Book Review, October 2007

• John S. Nelson, ‘Realism as a Political Style: Noir Insights’, Poroi, 5, 2, November, 2008

• Stanley Orr, ‘Connected Guys: The Reconstructed Subject of 1990s Film Noir’, in Darkly perfect world : colonial adventure, postmodernism, and American noir (Ohio State University, 2010) scroll down in PDF to p. 198 

• Kimberly Ann Owczarski, ‘Batman, Time Warner, and Franchise Filmmaking in the Conglomerate Era’, PhD Thesis, University of Texas at Austin, May 2008

• Chris Pallant , ‘Review: Mark T. Conrad, ed. (2007) The Philosophy of Neo-Noir. Lexington, KY: University of Kentucky Press’, Film-Philosophy, 14.1, 2010

• Brock Poulin, ‘Dark time (s): non-linear narratives in the postmodern film noir’, Masters Thesis, University of British Columbia, April 2005 

• Karen Renner, ‘Repeat Viewings Revisited: Emotions, Memory, and Memento’, Film Studies, Issue 8, Summer 2006

• Thomas Riegler, ‘The “Mastermind”: Personifications of Evil in the Cinema’, Inter-Disciplinary.Net, 10th Global Conference, Salzburg, March 2009

• Torben Schmidt, ‘Christopher Nolan’s Memento – Analysis of the narrative structure of a noirish revenge film’, Seminar: “Decadence and Modernism in Late 20th Century American Cinema, 2003

• Ilana Shiloh, ‘Adaptation, Intertextuality, and the Endless Deferral of Meaning: Memento’, M/C Journal, Vol. 10, Issue 2, May 2007

• Giovanni Tiso, ‘Impossible Recollections: the Troubled Imaginary of Mediated Memory’, PhD Thesis, Victoria University of Wellington, 2006

• Gary Westfahl, ‘Magnificent Obsessions: A Review of The Dark Knight’, Locus Online, July 28, 2008

• Gary Westfahl, ‘Nolan’s Labyrinth: A Review of Inception’, Locus Online, July 18, 2010

>On Todd Haynes: Happy Independence Day!

>

Film Studies For Free is off on its annual holiday. 
Back in two weeks. Hasta entonces, lectores queridos

Director Todd Haynes discusses his film Far From Heaven following a screening in the Walker Cinema (November 19, 2005)

http://c.brightcove.com/services/viewer/federated_f9/42529797001?isSlim=1

Double Indemnity: Todd Haynes/Edward Hopper  

Richard Dyer, Professor of Film Studies at University of Warwick and author of White and The Matter of Images will join Todd Haynes to discuss issues raised by his work and the Hopper film programme at the Tate Modern, London, June 4, 2004.

http://www.cnettv.co.uk/embed/10000135

In the first of a two-part interview, Reel Report speaks to maverick American director Todd Haynes about his latest movie I’m Not There, an unconventional rock biopic about the life of music legend Bob Dylan. Haynes talks about the challenges of telling Dylan’s story, casting the six very different actors who play Dylan, and how he plans to take on the Bush administration with his next project (December 7, 2007).

http://www.cnettv.co.uk/embed/10000148

In the second part of Reel Report’s two-part interview with Todd Haynes, director of I’m Not There, the rock biopic about the life of Bob Dylan, we talk more generally about aspects of his filmmaking. In particular we ask him about his unique way of story-telling, his approach to the concept of film genres and whether his sexuality has an effect on his ability to interpret characters (December 18, 2007).

On this very appropriate day, Film Studies For Free honours Todd Haynes, a true and truly wonderful American independent filmmaker, with links, above and below, to great videos and many freely accessible and high quality online studies of his work.

Haynes is a big favourite at this blog, and why wouldn’t he be as one of the most “cinema-studies literate” filmmakers working today. Here’s looking forward to his forthcoming reworking of that Film Studies classic Mildred Pierce…

• Salomé Aguilera Skvirsky, The Price of Heaven: Remaking Politics in All That Heaven Allows, Ali: Fear Eats the Soul, and Far From Heaven’, in The Ethnic Turn: Studies in Political Cinema from Brazil and the United States, 1960-2002, PhD Thesis, University of Pittsburgh, 2009 (scroll to p. 194)
• Zélie Asava, ‘Multiculturalism and Morphing in I’m Not There’, Widescreen Journal, No. 2, 2010
• Norman Bryson, ‘Todd Haynes’s Poison and Queer Cinema’, Invisible Culture – An Electronic Journal for Visual Culture Issue 1, Winter 1999
• Rachel Carroll, ‘Toxic shock: Gendered environments and embodied knowledge in Don DeLillo’s White Noise and Todd Haynes’s [Safe]’, Transformations, Issue 14, March 2007
• Donald L. Carveth and Jean Hantman Carveth, ‘Fugitives From Guilt: Postmodern De-Moralization and the New Hysterias’, March 2007
• Adrian Danks,“… I’m Gone”; or Seven Characters in Search of an Exit: Some Reflections on Todd Haynes’ I’m Not There’, Senses of Cinema, Issue 46, 2008
• Amelia DeFalco, ‘A Double-Edged Longing: Nostalgia, Melodrama, and Todd Haynes’s Far From Heaven’, Iowa Journal of Cultural Studies 5 (2004)
• Anthony Enns, ‘”A Name in Search of a Disease”: Illness and Identity in Todd Haynes’ Safe’, Reconstruction, 7.3, 2007
• Laura E. Felschow, Todd Haynes: the Public, the Private, and the Performative, PhD Thesis, University at Buffalo, State University of New York, February 1, 2009
• Julie Grossman, “The Trouble with Carol: The Costs of Feeling [On Todd Haynes’ Safe]’, Other Voices 2.3 January 2005
• Todd Haynes’s film: Superstar: The Karen Carpenter Story (1987) 
  
• Lynne Joyrich, ‘Written on the Screen: Mediation and Immersion in Far from Heaven’, Camera Obscura, 57, Volume 19, Number 3, 2004
• Alexandra Juhasz, ‘From the Scenes to Queens: Genre, AIDS, and Queer Love’, 2007 
• Rose Ellen Lessy, ‘Feminist Treatment: Illness and Impasse in Todd Haynes’s Safe’, Studies in Gender and Sexuality, 7(4):291–308, 2006
• Niall Richardson, ‘Poison in the Sirkian System: The Political Agenda of Todd Haynes’s Far From Heaven’, Scope, Issue 6, October 2006
• Rebecca Scherr, ‘(Not) queering “white vision” in Far from Heaven and Transamerica’, Jump Cut, No. 50, spring 2008 
• David L. Smith, ‘True, Valid Death Off a Movie Screen: Todd Haynes’ I’m Not There’, Journal of Religion and Film,  Vol. 12, No. 2, 2008
• Sunny Stalter, ‘Down With Love/Far From Heaven’, Scope, May 2004
• Nick Stevenson, ‘What is Safe? Cultural Citizenship, Visual Culture and Risk’, Sociological Research Online, Volume 10, Issue 2, 2005
• Mary Traester, ‘Hysteria and Ruin: Feminine Immobility And the Problem of Representation in Todd Haynes’s Far from Heaven’, COLT Symposium, April 15, 2008
• Keith Uhlich, ‘Todd Haynes’, Senses of Cinema, July 2002
• Nicholas de Villiers, ‘Glancing, Cruising, Staring: Queer Ways of Looking’, Bright Lights Film Journal, Issue 57, August 2007
• Sharon Willis, ‘Politics of Disappointment: Todd Haynes Rewrites Douglas Sirk’, Camera Obscura, 54, Volume 18, Number, 2003

 Cornell Cinema events May 6, 2008

>A monstrous talent: Blue Velvet Studies in Memory of Dennis Hopper

>

R.I.P. Dennis Hopper, 1936 – 2010

“Why are there people like Frank?”

“A truly Bad Bad Guy is not believable and impossible to connect with. That is unless your whole story world is twisted and strange in itself; Like Dennis Hopper’s truly Bad Bad Guy in David Lynch’s Blue Velvet.” Sune Liltop, ‘Good Guy / Bad Guy’,  P.O.V. No.28, 2009

“…the conflict between smoothness and pent-up rage that defines Hopper’s roles in films like David Lynch’s Blue Velvet [1986]” Adrian Danks, “Nice ‘N’ Easy: Speaking Frankly about The Night We Called it a Day’, Senses of Cinema, Issue 28, 2003

As Film Studies For Free is sure all of its readers will have learned by now, American movie actor, director and artist Dennis Hopper died yesterday. Some remarkable tributes to him have appeared in the last weeks, few if any better than those by filmmaker-critic Matt Zoller Seitz (see his video essay here; and a further written tribute here). Since the news of his death was made public, David Hudson has been collecting a full list of online tributes to Dennis Hopper here.

For FSFF‘s author, while she has a big soft spot for The Hot Spot (1990) as well as Easy Rider (1969), two films directed by Hopper, his most memorable contribution to the cinema was, in her view, his performance as the raging psychopath Frank Booth in David Lynch‘s 1986 film Blue Velvet. So this masterful film forms the (usually main) subject of each of the notable resources linked to in the scholarly webliography offered up today.  

Rest in peace, Mr Hopper.

• Jason Bainbridge, ‘Soiling Suburbia: Lynch, Solondz and the Power of Dirt’, M/C Journal, Vol. 9, Issue 5, 2006 

• Jenny Barrett, ”You’ve Made Mistress Very, Very Angry’: Displeasure and Pleasure in Media Representations of BDSM”, Participations, Volume 4, Issue 1, 2003

• Michael Bloom, ‘Rhetoric of Excess: Hyperbolical Irony as Transcendence in Blue Velvet’, Offscreen Journal, Volume 13, Issue 9, 2009  

• Barbara Creed, ‘A Journey through Blue Velvet: Film, Fantasy and the Female Spectator’, New Formations, Number 6 Winter I988

• Stephan Gullatz, ‘The Enigmatic Mr. Lynch’, Offscreen Journal, Vol. 13, Issue 10, 2009

• Bernd Herzogenrath, ‘On the Lost Highway: Lynch and Lacan, Cinema and Cultural Pathology’, Other Voices, v.1, n.3 (January 1999)

• Randolph Jordan, Starting from scratch : turntables, auditory representation, and the structure of the known universe in the films of David Lynch, Masters thesis, Concordia University, 2003

• Valtteri Kokko, ‘Psychological Horror in the Films of David Lynch’,Wider Screen, 1, 2004 

• Stephanie Lam, ‘David Lynch’s Blue Velvet: The Use of Binary Oppositions and Space’, Offscreen Journal, Vol. 13, Issue 10, 2009

• Andrew Leggett, ‘Violence Against Civility and the Destruction of Fantasy: The Waning of the Oedipus Complex in David Lynch’s “Blue Velvet”’, Croosroads, Rhizomes Conference 2008 Issue, Volume 111, Issue 11, 2009

• Clare Nina Norelli, ‘Suburban Dread: The music of Angelo Badalamenti in the films of David Lynch’, SOUND SCRIPTS Volume 2 (2009), Edited by Cat Hope and Jonathan W. Marshall, Published by Western Australian Academy of Performing Arts Faculty and Education Edith Cowan University and the Australian Music Centre (Scroll to p. 38)

• Matt Pearson, Authorship and the Films of David Lynch, e-book, BritishFilm.org.uk, 1997

• Fred Pfeil, ‘Revolting Yet Conserved: Family “Noir” in Blue Velvet and Terminator 2’, Postmodern Culture, Vol. 2, No. 3, May 1992 

• David Roche, ‘The Death of the Subject in David Lynch’s Lost Highway and Mulholland Drive’, E-rea, 2.2 | 2004 

http://books.google.com/books?id=0BTV6s4cc0UC&lpg=PA3&ots=zzWIasZdxH&dq=%22The%20Misleading%20Man%3A%20Dennis%20Hopper%22%20MArtin&pg=PA3&output=embed

>"Mix-Tape Cinema": studies of Wes Anderson’s films

>

Links added May 27, 2010

http://fora.tv/embedded_player

Fantastic Mr. Fox: Wes Anderson at the New York Public Library (Fora.tv)

On the occasion of today’s publication by Fora.tv of the above entertaining and informative video, Film Studies For Free presents a (rather) small but (almost) perfectly formed compendium of links to freely accessible studies of the joyous/poignant/whimsical/arch/’scavenger’ films of US writer/director Wes Anderson. As usual, if readers know of any other good online material to add to the below list, do please get in touch.

http://www.movingimagesource.us/flash/mediaplayer.swf?id=10/764

The Substance of Style, Pt 1Wes Anderson and his pantheon of heroes (Schulz, Welles, Truffaut) by Matt Zoller Seitz  posted March 30, 2009 

The above video is the first in a five-part series of video essays analyzing the key influences on Wes Anderson’s style. Part 2 covers Martin Scorsese, Richard Lester, and Mike Nichols. Part 3 covers Hal Ashby. Part 4 covers J.D. Salinger. Part 5 is an annotated version of the prologue to The Royal Tenenbaums.

‘The Films of Wes Anderson’ (great clip ‘mix-tape’/montage) by Paul Proulx

“A COUPLE OF YEARS AGO, I watched a film called Bottle Rocket. I knew nothing about it, and the movie really took me by surprise. Here was a picture without a trace of cynicism, that obviously grew out of its director’s affection for his characters in particular and for people in general. A rarity. And the central idea of the film is so delicate, so human: A group of young guys think that their lives have to be filled with risk and danger in order to be real. They don’t know that it’s okay simply to be who they are.” Martin Scorsese, ‘Wes Anderson’, Esquire, March 1, 2000

“Whenever I am getting ready to make a movie I look at other movies I love in order to answer the same recurring question: How is this done, again? I can never seem to remember, and I don’t mean that to be glib. I also hope people don’t throw it back in my face. Making a movie is very complicated, and it seems like kind of a miracle when it actually works out. Hal Ashby made five or six great movies in a row, and that seems to be practically unheard of.” ‘Wes Anderson on [Hal Ashby‘s] The Last Detail’ in ‘The Director’s Director’, by Jennifer Wachtel, GOOD, June 18, 2008

“In narrative, whimsy emphasizes the unexpected links that connect disparate ideas or events, but the connections must be meaningful. Richard Linklater’s Slacker (1991) is not whimsical because it never proposes that the links between its scenes are anything more than incidental. It embraces insignificance and ponders the possibility of elevating apathy into anarchy. Wes Anderson’s films are whimsical because their unexpected juxtapositions are imbued with sentimental significance. As a visual mode, whimsy favours busy frames and compositions that distract viewers from the centre. It rewards those willing to explore the edges with jokes buried in marginalia or Dalmatian mice sniffing around in the corner of an elaborately composed shot. In all cases whimsy values the ability to appreciate the aesthetic harmony possible among myriad incongruent objects. It draws attention to the act of perception and the sensibility of the perceiver.” Charlotte Taylor, ‘The Importance of Being Earnest’, Frieze Magazine, Issue 92, June-August 2005

‘…[S]tuff like Wes Anderson mix-tape cinema…’, Michael Sicinski, ‘Songs Sung Blue: The Films of Michael Robinson’, Cinema-scope, 33 

• Joseph Aisenberg, ‘Wes’s World:Riding Wes Anderson’s Vision Limited’, Bright Lights Film Journal, Issue 59, February 2008
• Nandana Bose, ‘The Darjeeling Limited: Critiquing Orientalism on the Train to Nowhere’, Mediascape, Spring 2008
• Kirk Boyle, ‘Reading the Dialectical Ontology of The Life Aquatic with Steve Zissou Against the Ontological Monism of Adaptation’, Film-Philosophy, Volume 11.1, June 2007
• Elena Gorfinkel, ‘The Future of Anachronism: Todd Haynes and the Magnificent Andersons’, Cinephilia Movies, Love and Memory, Edited by Marijke de Valck and Malte Hagener (Amsterdam: Amsterdam University Press, 2005 – large PDF: scroll to p. 153)
• Brannon M. Hancock, ‘A Community of Characters: the Narrative Self in the Films of Wes Anderson‘, Journal of Religion and Film, Vol. 9, No.2, October 2005
• Steven Hyden, Noel Murray, Keith Phipps, Nathan Rabin, and Scott Tobias, ’16 Films Without Which Wes Anderson Couldn’t Have Happened’, AV Club, October 8, 2007 
• Deanna K Kreisel, ‘What Maxie Knew: The Gift and Oedipus in What Maisie Knew and Rushmore’, Mosaic (Winnipeg), 38/2, June 2005
• Christian Lorentzen, ‘Captain Neato: Wes Anderson and the Problem with Hipsters; Or, What Happens When a Generation Refuses to Grow Up’, N+1, April 23, 2010 
• James MacDowell, ‘The “Quirky” New Wave’, Alternate Takes, July 21, 2005
• Suzy Mackenzie, ‘Into the Deep’, The Guardian, February 12, 2005
• Emily J. May, ‘The Darjeeling Limited and The New American Traveller’, Senses of Cinema, Issue 49, 2008
• Volker Pantenburg, ‘Essay 1: Notes on Matt Zoller Seitz’ ”Wes Anderson: The Substance Of Style”’, trans. Kevin B Lee, Shooting Down Pictures, April 23, 2009 
• Carole Lyn Piechota, ‘Give Me a Second Grace: Music as Absolution in The Royal Tenenbaums’, Senses of Cinema, Issue 38, 2006
• Lee Weston Sabo, ‘Inimitable Charm: Wes Anderson’s Fantastic Mr. Fox’, Bright Lights Film Journal, Issue 67, February 2010
• Herbert Schwaarb, ‘Buddies that Matter. Philosophical Reflections on the Genre of the New Buddy Film’, International Conference on Gender, Laughter, Media: Comic Genres and Strategies“ at Queen’s University in Kingston, Ontario, Canada, August 2005

>Film-Historia: Index to English language articles

>

Image from Offret/The Sacrifice (Andrei Tarkovsky, 1986). See “Images of War in Andrei Tarkovski’s The Sacrifice: Four levels of meaning”, by Gabriel Giralt, Film-Historia, No. 1, 1999

Over the years, Film Studies For Free has noticed that there were some excellent English-language articles on lots of different aspects of film history to be found at the (very difficult to navigate) website of the excellent Universitat de Barcelona-based film journal Film-Historia. 

Until today, however, there was no easy way to access all of these articles, but …  (drum roll) … ta-da! Cast your eyes at the awesome list of direct links below, and, if you feel so inclined, thank your lucky stars that FSFF‘s author needed some distraction from her country’s general election shenanigans this morning.

• “Walker: the dramatic film as historical truth” by Robert A. Rosenstone, Film-Historia, No. 1, 1992
• “The Image of Mexican Heroes in American Films” by Paul J. Vanderwood, Film-Historia, No. 3, 1992
• “Absolved by History: On the Aesthetics and Ideology on History in the Cuban Film Institute” by John Mraz, Film-Historia, No. 3, 1993
• “The Historical Film is a Real History”, by Robert A. Rosenstone, Film-Historia, No. 1, 1995
• “Social Roles/Political Responsabilities: Jean Renoir’s Search for Artistic Integrity, 1928-1939” by Charles Musser, Film-Historia, No. 1, 1994
• “Hollywood, U.S.- Mexican Relations, and the Devolution of the “Golden Age” of Mexican Cinema” by Seth Fein, Film-Historia, No. 2, 1994
• “‘We’re just little people, Louis’: Marie-Antoniette on Film” by Laura Mason, Film-Historia, No. 3, 1994
• “Against the Ivory Tower: An Apologia for ‘Popular’ Historical Documentaries” by Dirk Eitzen, Film-Historia, No. 1, 1995
• “Filming the “Discovery” of America: How and Whose History Is Being Told” by Luisela Alvaray, Film-Historia, No. 1, 1995
• “Film as Historical Narrative”, by Hannu Salmi, Film-Historia, No. 1, 1995
• “The Politics of the Trilogy Form: Lucia, the Oresteia, and The Godfather”, by Peter W. Rose, Film-Historia, No. 2-3, 1993
• “Who Killed Vincent Chin? (1988): Ethnicy and a Babble of Discourses”, by Leslie Fishbein, Film-Historia, No. 2-3, 1995
• “Colonial History and Anglo-American tension in 1939: Allegheny Uprising and Drums along the Mohawk”, by K. R. M. Short, Film-Historia, No. 1, 1996
• “Cinematic Contextual History of High Noon (1952, dir. Fred Zinnemann)”, by J. M. Caparrós-Lera and Sergio Alegre, Film-Historia, No. 1, 1996
• “Spain in U.S.: cinematic relationship, 1939-1953”, by Rafael de España, Film-Historia, No. 3, 1996
• “Mothering Daughters: Subjectivity and History in the Work of Helma Sanders Brahms’s Germany Pale Mother” by Judith Keene, Film-Historia, No. 1, 1997
• “Paradise Found?: Ana/chronic Nostalgia in Belle Epoque”, by Jose F. Colmeiro, Film-Historia, No. 2, 1997
• “Germany after Unification: Views from Abroad”, by Roger Hillman, Film-Historia, No. 2, 1997
• “The Image of Ancient Rome in the Cinema”, by Carl J. Mora, Film-Historia, No. 3, 1997
• “Coping Strategies: Three Decades of Vietnam War in Hollywood”, by Eusebio V. Llácer and Esther Enjuto, Film-Historia, No. 1, 1998
• “The Royal Air Force: World War II Film Propaganda and The March of the Time”, by K. R. M. Short, Film-Historia, No. 2-3, 1998
• “Oliver Stone’s Nixon: Politics on the Edge of Darkness”, by Ian Scott, Film-Historia, No. 1, 1999
• “Images of War in Andrei Tarkovski’s. The Sacrifice: Four levels of meaning”, by Gabriel Giralt, Film-Historia, No. 1, 1999
• “Playful Subversions: Hollywood Pirates Plunder Spanish America”, by Nina Gerassi-Navarro, Film-Historia, No. 2, 1999
• “The Revolution is History: Filming the Past in Mexico and Cuba”, by John Mraz, Film-Historia, No. 2, 1999
• “El día que me quieras: History, Mith and Che Guevara”, by John Hess, Film-Historia, No. 2, 1999
• “Cantinfladas of the PRI: (Mis) Representations of Mexican Society and Democracy in the Films of Mario Moreno”, by Jeffrey Pilcher, Film-Historia, No. 2, 1999
• “Los Hermanos Mayo: Photographing Exile”, by John Mraz, Film-Historia, No. 1-2, 2000 
• “Cut from Anglophilia to Anglophobia. Hollywood’s Changing Perceptions of the British” by Carl J. Mora, Film-Historia, No. 1-2, 2001
• “In search of reality through dreams: Alejandro Amenabar’s Abre los ojos”, by Marina Martin, Film-Historia, No. 1-2, 2002
• “The ideological meaning behind Greta Garbo’s star image”, by Alan McLane, Film-Historia, No. 1, 2003
• “Poor Mexican cinema, So far from Cahiers du Cinema, so close to Latino U.S.A.: A Cantankerous Essay”, by Carl J. Mora, Film-Historia, No. 1, 2003
• “The War, the Air Force and the Search for Realist Cinema in Britain, 1941-1942”, by Michael Paris, Film-Historia, No. 1, 2003
• The Spanish Film Industry, New Technologies, New Opportunities”, by Lauren Kogen, Film-Historia, No. 1, 2006
• “The Fatherless Society: Die Blechtrommel (Tin Drum)”, by Xuejuen Guo, Film-Historia, No. 1, 2007

>Paranormal cinematic activity: ghost film studies

>

Latest update: April 27, 2010

 Publicity still for The Innocents (Jack Clayton, 1961). See an excerpt from this film in Nicolas Rapold and Matt Zoller Seitz‘s L Magazine video essay ‘Bad Seeds: Creepy Kids on Film’, embedded towards the foot of this entry

Film Studies For Free has gone and spooked itself, today, with its own scary persistence in compiling a list of links to openly accessible, online, scholarly articles, chapters and theses on international ghost film studies. Oh, and there are two related video essays lurking at the bottom to scare the scholarly bejesus out of you for good measure, too (added April 27) .

Like all the best posts at this blog (IOHO), the list below owes its hefty materiality to its connections with FSFF‘s author‘s own (hauntological) research, some of which, hopefully, will be directly shared with her fearless readers very shortly. So do please be a revenant, won’t you?

• Michael J. Anderson, ‘Histoire de Marie et Julien: Jacques Rivette’s Material Ghost Story’, Senses of Cinema, Issue 32, 2004

• Guy Austin, ‘”In Fear and Pain”: Stardom and the Body in Two French Ghost Films’, Scope, Issue 7, February 2007

• Sarah M. Ball, The Uncanny in Japanese and American Horror Film: Hideo Nakata’s Ringu and Gore Verbinski’s Ring, MA thesis, North Carolina State University, 2006  

• Colette Balmain, ‘“Vengeful Virgins in White”: Female Monstrosity in Asian Cinema’, in Niall Scott (ed), Monsters and the Monstrous: Myths and Metaphors of Enduring Evil (Oxford: Inter-Disciplinary Press, 2004) [scroll down through pdf to p. 123]

• Colette Balmain, ‘Inside the Well of Loneliness: Towards a Definition of the Japanese Horror Film’, Electronic Journal of Contemporary Japanese Studies, Discussion Papers, 2006

• Caetlin Benson-Allott , ‘“Before you die, you see The Ring”: notes on the immanent obsolescence of VHS, from Jump Cut, No. 49, spring 2007

• Lesley Brill, ‘M. Night Shyamalan: A Preliminary Report’, Senses of Cinema, Issue 46, 2008

• Ture Bural, ‘Endland Umpire: A placement of David Lynch’s Inland Empire’, Perforations, 29, 2007

• Jodey Castricano, ‘Shirley Jackson’s The Haunting of Hill House and the Strange Question of Trans-Subjectivity’, Jung: the e-Journal of the Jungian Society for Scholarly Studies Volume 2, Number 3, April, 2006

• Brigid Cherry, ‘Gothics and Grand Guignols: Violence and the gendered Aesthetics of Cinematic Horror’, Particip@tions, Vol. 5, Issue 1, 2008

• Leah A.Cheyne, ‘The Sixth Sense: Humanizing Horror’, Offscreen Journal, November 30, 2003

• David Church, ‘Return of the Return of the Repressed: Notes on the American Horror Film (1991-2006)’, Offscreen Journal, Volume 10, Issue 10 (November 25, 2006)

• Michel Ciment, ‘Kubrick and the Fantastic’, (1982) The Kubrick Site, (date unknown)

• Robyn Citizen, ‘Review of The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity by Linnie Blake’, Senses of Cinema,Issue 51, 2009

• Ryan Cooke, ‘Review of Jay McRoy, Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam and New York: Editions Rodopi B.V., 2008′, Screening the Past,Issue 23, 2008

• Lisa Coulthard, ‘Uncanny Memories: Stan Douglas, Subjectivity and Cinema, Scope, 2000

• John Culbert, ‘The Well and the Web: Phantoms of Community and the Mediatic Public Sphere’, Postmodern Culture, 19.2, January 2009

• Jonathan Eig, ‘A beautiful mind(fuck): Hollywood structures of identity’, from Jump Cut, Issue 46, 2003

• Thomas Elsaesser, ‘The Mind-Game Film’ in Warren Buckland (ed), Puzzle Films (Blackwell 2009)

• Carolyn Erler, ‘The Obama Code: Ghosts and Monsters in the Visual Datasphere’, CTheory.net, Resetting Theory Issue, December 2009

• Mark Fisher, ‘Home is where the haunt is: The Shining‘s hauntology’, k-punk, January 23, 2006

• Mark Fisher, ‘You have always been the caretaker’: the spectral spaces of the Overlook Hotel’, Perforations, 29, 2007

• Brian Grady, ‘”We’re Engaged to Be Engaged”: The Paranormal Activity of Trauma and Relationship’, Bright Lights Film Journal, Issue 67, February 2010

• Catherine Grant, ‘Giving up Ghosts: Eliseo Subiela’s Hombre mirando al sudeste and No te mueras sin decirme a dónde vas’, Changing Reels: Latin American Cinema against the Odds, ed. Rob Rix and Roberto Rodríguez-Saona (Leeds: Leeds Iberian Papers – Trinity and All Saints/University of Leeds, 1997), pp. 89-120  

• Coral Houtman, ‘Questions of Unreliable Narration in The Sixth Sense’, Scope, November 2004

• Wendy F. Hsu , ‘Between Narrative and Expressive, Fantasy and Melodrama in Bombay (Bollywood) Film’, Virginia Review of Asian Studies, vol. 5 (2003)

• Annamarie Jagose, ‘Hollywood Lesbians [Interview with Patricia White about Uninvited: Classical Hollywood Cinema and Lesbian Representability’, Genders, 32, 2000

• Fredric Jameson, ‘Historicism in The Shining‘, (1981) The Kubrick Site, (date unknown)

• Brian Jarvis, ‘Anamorphic allegory in The Ring, or, seven ways of looking at a horror video’, The Irish Journal of Gothic and Horror Studies, 3, 2007

• Bruce Kawin, ‘Carnival of Souls’, The Criterion Collection, Film Essays, 76

• Antonio Lázaro-Reboll , ‘The Transnational Reception of El espinazo del diablo (Guillermo del Toro 2001)’, Hispanic Research Journal, Vol. 8, No. 1, February 2007, 39–51

• John Lewis, ‘”Mother Oh God Mother …”: Analysing the ‘Horror’ of Single Mothers in Contemporary Hollywood Horror’, Scope, Issue 2, 2005

• Owen Livermore, ‘Gun and Other Play: Takashi Miike and Fantasia Festival 2004’, Synoptique, December 2004

• Li Zeng, Horror returns to Chinese cinema: an aesthetic of restraint and the space of horror ‘, from Jump Cut, No. 51, spring 2009

• Luo Hui, ‘Chapter Four: Minor Discourses in New Peripheries’, The Ghost of Liaozhai: Pu Songling’s Ghostlore and its History of Reception, PhD Thesis,University of Toronto, 2009

• Nina K. Martin, ‘Dread of mothering: plumbing the depths of Dark Water’, from Jump Cut, No. 50, spring 2008

• Ewa Mazierska, ‘Between the Sacred and the Profane, the Sublime and the Trivial: The Magic Realism of Jan Jakub Kolski ‘, Scope, 2000

• Donna McRae, ‘Family Demons: The Ghost as Domestic Inheritance’, B for Bad Cinema, Colloquy, Issue 18, December 2009

• Thomas Mical, ‘Introduction: Hauntology, or Spectral Space’, Perforations, 29, 2007  

• Elizabeth Mullen, ‘Synæsthetic Specters: Haunting Hill House on the Silver Screen’, Image and Narrative, Vol. 10, Issue 1, 2009

• Lindsay Nelson, ‘Ghosts of the Past, Ghosts of the Future: Monsters, Children, and Contemporary Japanese Horror Cinema’, Cinemascope, Issue 13, July-December 2009

• John Orr, ‘The Trauma Film and British Romantic Cinema 1940-1960’, Senses of Cinema, Issue 51, 2009

• Eimi Ozawa , ‘Remaking Corporeality and Spatiality: U.S. Adaptations of Japanese Horror Films, 49th Parallel, Conference Special Edition, Autumn 2006

• N. Payasopon, ‘The Cultural and Filmic Elements that contribute to the popularity of the Thai film Nang Nak‘, BU Review, Volume 2, No. 1, January-June 2003

• Jennifer Proctor, ‘Différance, the Spectral, and the Work of Mourning in Aaron Valdez’s dissolve’, 2004

• Laurence A. Rickels, ‘Recognition Values: Seeing The Sixth Sense Again for the First Time’, Other Voices, v.2, n.2 (March 2002)

• Juneko J. Robinson , ‘Review: Jay McRoy (2007) Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam: Rodopi’, Film-Philosophy, 14.1, 2010

• Caroline Ruddell, ‘Breaking Boundaries The Representation of Split Identity in Anime’, Animation Studies – Vol.2, 2007

• Steven Schneider, ‘World Horror Cinema and the US: Bringing it all back home’, Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA

• Aaron Smuts, ‘Haunting the House from Within: Disbelief Mitigation and Spatial Experience’, Film-Philosophy, Vol. 6 No. 7, April 2002

• Donato Totaro, ‘Visual Style in M. Night Shyamalan’s “Fantastic” Trilogy, Part 1: The Long Take., Offscreen Journal, November 30, 2003

• Donato Totaro, Visual Style in M. Night Shyamalan’s “Fantastic” Trilogy, Part 2: Mise en Scène’, Offscreen Journal, November 30, 2003

• Donato Totaro, ‘Tokyo Sonata: Flirting with the Fantastic: Kiyoshi Kurosawa, 2008’, Offscreen Journal,Vol . 13, Issue 5, 2009

• Dennis Tredy, ‘Shadows of Shadows – Techniques of Ambiguity in Three Film Adaptations of “The Turn of the Screw”: J. Clayton’s The Innocents (1961), D. Curtis’s The Turn of the Screw (1974), and A. Aloy’s Presence of Mind (1999)’, E-rea, 2.1, 2004

• Nicholas de Villiers, ‘Leaving the cinema: metacinematic cruising in Tsai Ming-liang’s Goodbye, Dragon Inn’, from Jump Cut, No. 50, spring 2008

• Gang Gary Xu, ‘Remaking East Asia, Outsourcing Hollywood’, Senses of Cinema, Issue 34, 2005

• Young-joon Cho, ‘Four Cinema Versions of The Strange Case of Dr. Jekyll and Mr. Hyde’, Thannhouser Company Film Preservation, 2006

• Emilie Yueh-yu Yeh and Neda Hei-tung Ng, ‘Magic, Medicine, Cannibalism: the China Demon in Hong Kong Horror’, David C. Lam Institute for East-West Studies, Working Paper Series, Paper Number: 74, April 2008 

Nicolas Rapold and Matt Zoller Seitz‘s L Magazine video essay
‘Bad Seeds: Creepy Kids on Film’,

Matt Zoller Seitz’s L Magazine video essay
‘Unreal Estate: The Scariest Movie Locations of All Time’