A very quick post at Film Studies For Free today to bring you a fascinating futurological film and film studies resource: the video of a very well informed panel discussion on where cinema is going.
It features, among others, film scholar extraordinaire David Bordwell, who, as a phenomenal researcher of (practically) the entirety of cinema’s past and present, is definitely one of the best qualified people in the world to comment on cinema’s future.
The video is a must see if you’re interested in the future of film technologies of production and especially of distribution and exhibition. It is part of the 2011 Vancouver International Film Festival collection at Vimeo.
Future of Cinema – Looking Forward After 30 Years
The first few chapter headings in a film we did not program at this year’s [Vancouver International Film Festival] VIFF are: “Technology Is Great”, “The Industry Is Dead”, “Artists Have the Power”, and “The Craft Is Gone.” To which celluloid-loving film festival organizers might ask: Is it? Do they? Where on earth are we headed? And why?
VIFF has come a long way in its 30 years and never has the future of cinema–and VIFF‘s future–been more uncertain. Will it be bright and splendid and fair or will it move so quickly that a great deal of what is valuable will be lost before we know it? There are now dramatically more “film festivals” and “films” being made than ever, yet some fear that the industry may be dead. Filmmakers are acutely worried for funding, yet need to operate on a growing number of fronts. Given that the numbers of hours in a day and the numbers of days in a life remain fixed, what limits should we council for our own appetites? Why might we miss the Hollywood Theatre and Videomatica? Given that cultural agencies seemingly have shrinking resources but more new media and film festival applicants every year, will the centres hold or is babble ascendant? Will VIFF‘s function as an annual international universalist festival be superseded by myriad niche events?
Technology is indeed great in that it has put the means of creative motion picture production in almost everyone’s hands, but will the best artists be the ones to be recognized? The entrepreneurial spirit tends to favour change in hopes that it may profit from it, but will artists have the power? When entrepreneurs benefit, will consumers benefit? Will cultural institutions that have taken years to build remain viable? Will cinema, metrics of quality and craftsmanship and, ultimately, quality of life be improved or even be sustainable? What do you personally care about for the future of cinema to offer? What should VIFF 2020 aim to be?
Here to wrestle with these sorts of questions—and yours—will be a distinguished group of panellists including: David Bordwell, film critic, academic and author of numerous books on cinema; Simon Field, film producer and former Director, International Film Festival Rotterdam; Andréa Picard, film critic and programmer, formerly of the Toronto International Film Festival and the Cinémathèque Ontario; Tom Charity, film critic and Vancity Theatre program coordinator; and Alan Franey, director, Vancouver International Film Festival.
|Images from The Story of Adèle H. (François Truffaut, 1975) and The Piano (Jane Campion, 1993) – two films referred to in Agustín Zarzosa’s article ‘Jane Campion’s The Piano: melodrama as mode of exchange‘|
Film Studies For Free was very happy to hear that the excellent journal New Review of Film and Television Studies is now offering free access to a great selection of essays, including a recent offering by Thomas Elsaesser on Avatar, and translations from Christian Metz‘s book Impersonal Enunciation.
All freely accessible material is linked to below.
- The embrace of Mother Nature: appraisal processes and the regulation of affect in attachment genres by Mette Kramer
- Impersonal Enunciation, or the Place of Film (extracts) by Christian Metz and Translated by Cormac Deane
- A lightning-image of the kaleidoscope: a review of Päsi Valiaho’s Mapping the Moving Image by Imola Mikó
- The narrative structuring and interactive narrative logic of televised professional wrestling by Aaron J. Petten
|Image from Pontypool (Bruce McDonald, 2009) Read Adam Nayman‘s essay on this ‘semiotic zombie film’ at ReverseShot, as well as Steen Christiansen’s article linked to below.|
Film Studies For Free has been somewhat stopped in its tracks by an unseasonal cold. But, sustained by its usual missionary zeal for Open Access film and moving image studies, it rises zombie-like (see above) from its sick bed to bring you news of the latest issue of excellent online journal Cinephile (Vol. 6 No. 2 Fall 2010) on ‘Horror Ad-Nauseam’ (note: link to a very large PDF file, as are all the links below).
Normal FSFF service will resume on Thursday…
- ‘The Bad Seed and The Girl Next Door: Integrating Cultural Trauma through Horror’s Children’ by Gregory Vance Smith
- ‘A Mother’s Curse: Reassigning Blame in Hideo Nakata’s Ringu and Gore Verbinski’s The Ring‘ by Lindsey Scott
- ‘Beyond the Guillotine: Theorizing the New Extremism in Contemporary French Cinema’ by Caroline Verner
|Bruce Willis as John McClane in Die Hard (John McTiernan, 1988)|
The image seems to be a way of marking such a potential separation between exterior and interior while belonging to both. Moreover, that condition of holding ‘in sight’, as a means of externalisation as belonging to the image, is realised in the easy conceptual slippage from ‘in sight’ to ‘insight’- originally ‘internal sight’ or seeing with the eyes of the mind, that later becomes a seeing into a thing or subject. To bring an object within sight is to affect the ‘inner eye’, to re-formulate the relationship of the visible to the invisible, presence to absence. Lindsay Smith, ‘Foreword: In-Sight’, Excursions, Vol. 1, Issue 1 (June 2010), i-ii
Thanks to the regular updates to Jurn, the excellent search-engine that Film Studies For Free uses in its every waking hour (and then dreams of every night), FSFF found its way to a newish e-journal — Excursions — with a first issue replete with interesting and, yes, insightful items on film.
Its Mission Statement reads as follows:
Excursions is an invitation to journey into the unfamiliar, a space in which to reflect upon the travels of concepts, beyond the boundaries of one’s discipline. An on-line peer-reviewed journal, Excursions is designed to showcase high-quality, innovative and inventive postgraduate research. Run by postgraduates in the School of English at the University of Sussex, we aim to encourage work that plays with the permeable nature of academic disciplines. As such, our interest lies in the interdisciplinary. Each issue of the journal has a theme which contributors can interpret as they see fit. We welcome critical papers or creative pieces and seek to place cultural, political, artistic and scientific discourses together in surprising combinations and illuminating moments of collision.
And here is the table of contents:
- Foreword Lindsay Smith
- Through the Arendtian Lens: Developing Statelessness through Gregor Schneider’s ‘Weisse Folter’ Suzy K. Freake
- Waking Life: The Destiny of Cinema’s Dreamscape; or the Question of Old and New Mediations Markos Hadjioannou
- The Embodied Spectator and the Uncomfortable Experience of Watching Romance and The Piano Teacher Sara Elisabeth Sellevold Orning
- Invoking The Spectral Body: A Study of Potential Corporealities in the Work of Marina Abramovic and Francesca Woodman Prema Purigali Prabhakar
The woman at the window: image from Jane Campion‘s Bright Star (2009); a trope explored in Julianne Pidduck‘s PhD thesis on the costume film now accessible online
Film Studies For Free was excited to hear last week that Concordia University has launched its online Institutional Research Repository Spectrum, with 6,000 full-text theses and dissertations. It was excited because it knows that based at Concordia is the Mel Hoppenheim School of Cinema of the Faculty of Fine Arts, the largest, university centre for the study of film animation, film production and film studies in Canada.
FSFF also specifically knew that highly significant Canadian scholars, such as Julianne Pidduck (now a professor at the Université de Montréal) and André Habib (also at the Université de Montréal) had produced graduate theses there.
So, it is delighted to bring you the below links to the fabulous (mostly) Film Studies thesis resources accessible via the repository, including ones by Pidduck on the costume film (and also on contemporary film noir), Habib’s brilliant francophone thesis on Jean-Luc Godard, and great work by other (now) well-known scholars such as Liz Czach.
- Babineau, Dan (2003) Stairs in cinema : a formal and thematic investigation. Masters thesis, Concordia University.
- Ballantyne Tree, Tanya (1989) Formative evaluation of a documentary film on the effects of poverty on a Montreal family. Masters thesis, Concordia University.
- Bambic-Workman, Helen (1986) Development and evaluation of an instructional manual concerning the Nagra 4.2 film sound tape recorder. Masters thesis, Concordia University.
- Baric, Stephanie (2001) Yugoslav war cinema : shooting a nation which no longer exists. Masters thesis, Concordia University.
- Bird, Charles (1979) The making of 8mm film loops. Masters thesis, Concordia University.
- Black, Joel Elan (2003) ‘Arrested for selling poetry!’ or ‘You wouldn’t want your children reading this’ : the historical significance of the “Howl” obscenity trial. Masters thesis, Concordia University.
- Boudreault-Fournier, Alexandrine (2003) Manufacturing culture in Cuba, an ethnography. Masters thesis, Concordia University.
- Brook, Glenn Leonard (2002) Canada, a people’s history : an analysis of the visual narrative for a colonial nation. Masters thesis, Concordia University.
- Bruce, Jean Marietta (2003) A melodramatic imagined nation : the unruly subject of Canadian cinemas. PhD thesis, Concordia University.
- Castiel, Élie (2003) Pour une esthétique du plan-séquence dans Le Voyage des comédiens de Theo Angelopoulos. Masters thesis, Concordia University.
- Chang, Sandra (2003) Children’s pretend play with television and film-scripted character toys. Masters thesis, Concordia University.
- Cheryl., Dabreo-Ramharack (1998) Uplifting The Black Race – only males need apply : Black male militancy in Malcom X, Panther, Boyz n’ the hood, and Get on the bus. Masters thesis, Concordia University.
- Clarke, Jocelyne (1989) Moving peripheries and marginal cultures : cinema and the “Dark Continent”. Masters thesis, Concordia University.
- Curcin, Nikola R (1983) Investing in Canadian feature films : production and evaluation of a video-tape for potential investors. Masters thesis, Concordia University.
- Czach, Elizabeth (2000) Home movies then and now. Masters thesis, Concordia University.
- D’Amboise, Paul (2002) “Tinseltown as teacher” : a case study of historical feature films as interpretive sources of history within an educational context. Masters thesis, Concordia University.
- Dancsok, Michael (1998) Transcending the documentary : the films of Arthur Lipsett. Masters thesis, Concordia University.
- De B’béri, Boulou Ebanda (2003) Africanicity in Black cinema : a horizontal labyrinth of trans-geographical practices of identity. PhD thesis, Concordia University.
- Deschamps, Lisa Anne (2002) The effects of popular culture on youth sub-culture and how it plays a role in the school environment. Masters thesis, Concordia University.
- Dorland, Michael (1991) The discursive economy of the emergence of the Canadian feature film : discourses of dependency and the governmentalization of a displaced national cinema, 1957-1968. PhD thesis, Concordia University.
- Dufour, Marianne (2000) Through the looking glass : the therapeutic potential of videotaping as an adjunct tool in non directive art therapy in an object relations perspective. Other thesis, Concordia University.
- Egan, Catherine M (1973) Films for art programmes at the secondary level. Masters thesis, Concordia University.
- Frigon, Martin (2003) La fonction historique de la figure du patriote dans le cycle abitibien de Pierre Perrault. Masters thesis, Concordia University.
- Gasher, Mike (1999) The Grey Fox meets Jumanji : the emergence of the feature-film industry in British Columbia. PhD thesis, Concordia University.
- Gilbert, Sylvie (2000) Sortir de table : les performances alimentaires de Carmen Miranda, Louise Mercille et des religieuses du Moyen Âge. Masters thesis, Concordia University.
- Gupta, Dipti (1998) Confronting the challenge of distribution : women documentary filmmakers in India. Masters thesis, Concordia University.
- Habib, André (2001) Origine et fin : Méthode(s). À partir et autour des Histoire(s) du cinéma de Jean-Luc Godard. Masters thesis, Concordia University.
- Jaafar, Nisrine (2001) The blue flame and the red flame: love and eroticism. Masters thesis, Concordia University.
- Jordan, Randolph (2003) Starting from scratch : turntables, auditory representation, and the structure of the known universe in the films of David Lynch. Masters thesis, Concordia University.
- Katadotis, Katina (1995) Quebec’s Cinema act : policy and practical perspectives. Masters thesis, Concordia University.
- Keightley, Keir (1996) Frank Sinatra, hi-fi, and formations of adult culture : gender, technology, and celebrity, 1948-62. PhD thesis, Concordia University.
- Kolomeir, Harriet T (1987) The neighbourhood movie house in Montreal, 1925-1929 : the harmonious whole. Masters thesis, Concordia University.
- Kristmanson, Mark (1999) Plateaus of freedom : nationality, culture and state security in Canada, 1927-1957. PhD thesis, Concordia University.
- Laakso, Hanna Maria (2002) DOGMAtic iconoclasm : performative aspects of realism and excess in Lars von Trier’s Breaking the waves and The idiots. Masters thesis, Concordia University.
- Marsh, Susan (2003) As easy as 1,2,4– : the space of ambiguity in art and teaching. Masters thesis, Concordia University.
- McKee, Tracey L (2000) Good girls do it too! : a look at the representation of women who kill in made-for-TV movies. Masters thesis, Concordia University
- McLeish, Anna (2003) To recycle is to author is to create is to recycle : transitory film authorship, from popular European cinema to post-new Hollywood cinema. Masters thesis, Concordia University.
- Moen, Kristian (2001) “About as shapeless as the Man in the Moon” : the representation of desire and transition in six films of Charles Laughton. Masters thesis, Concordia University.
- Nagy, Judy (1996) Home grown remedies : in-house innovation in the film-making industry. Masters thesis, Concordia University.
- Nichols, Robert Darcey (2003) From monuments to cinema : the question of the counter-monument in two works by Mark Lewis. Masters thesis, Concordia University.
- Pidduck, Julianne (1997) Intimate places and flights of fancy : gender, space, and movement in contemporary costume drama. PhD thesis, Concordia University.
- Pidduck, Julianne (1993) The “fatal femme” in contemporary Hollywood film noir : reframing gender, violence, and power. Masters thesis, Concordia University.
- Pinsonneault, Michael (1999) Social dimensions of Hollywood movie music. PhD thesis, Concordia University.
- Preville, Philip (1997) The effort to forget : collective memory and documentary film in Québec. Masters thesis, Concordia University.
- Primeau, François (2001) Enquête sur la représentation de la masculinité et la Méthode dans le cinéma états-unien des années mille neuf cent soixante-dix : vers une nouvelle conception de l’acteur cinématographique. Masters thesis, Concordia University.
- Pycock, Elizabeth (1992) Memory and anger : teen films and the female body. Masters thesis, Concordia University.
- Read, Robert J (2003) The film noir collection and the legacy of nineteenth century modernity. Masters thesis, Concordia University.
- Ryan, Cyril (1996) Black movie : five picture deal to make gun movies. Masters thesis, Concordia University.
- Schyngera, Wes (1993) Experiencing media : the resonance of post(modern) culture. Masters thesis, Concordia University.
- Shalinsky, Bernard (1977) Multi-sensory exploration of the natural environment : production and evaluation of a super 8 film-based videotape. Masters thesis, Concordia University.
- Simon, Cheryl Inez (1998) Gender, genre and globalization : discourses of “Femininity” in the popular culture of the 1990’s. PhD thesis, Concordia University.
- Sinkinson, Susan (1999) The self as “other” : accessing issues of difference in Trinh T. Minh-Ha’s Reassemblage. Masters thesis, Concordia University.
- Smith, Donna Lee (1989) Mombasa days : a feature-length film script. Masters thesis, Concordia University.
- Smith, Matthew (1996) Introducing a new medium : newspaper reviews of the first film screenings in Montréal, Ottawa, Toronto and New York in 1896. Masters thesis, Concordia University.
- Spivak, Robert (1991) Christopher Durang : satire and beyond. Masters thesis, Concordia University.
- Stober, JoAnne (2001) That’s not what I heard : synchronized sound cinema in Montreal 1926-1931. Masters thesis, Concordia University.
- Stoianova, Christina (1999) The Eastern European crisis of self-knowledge (1948-1989) : the relationship between state and society as reflected in Eastern European film : a genre approach. PhD thesis, Concordia University.
- Suchet, Simone (1994) Le cinéma rural et la société italienne des années soixante-dix : représentations idéologiques et impuissance politique : étude sur Novecento de Bernardo Bertolucci, Padre, padrone de Paolo et Vittorio Taviani, [et] l’Albero degli zoccoli de Ermanno Olmi. PhD thesis, Concordia University.
- Verma, Tina (1999) Re-imagining multiculturalism : how newness enters the world. Masters thesis, Concordia University.
- Weir, Jodi (1999) Performing gender : transgenderism as critique. Masters thesis, Concordia University.
- Zhou, Hao (2003) Application of 3D facial animation techniques for Chinese opera. Masters thesis, Concordia University.
- Zielinski, Ger (1996) Towards the “Utopie film” : aspects of Adorno’s thought in Alexander Kluge’s antagonistic concept of realism. Masters thesis, Concordia University.
A very busy Film Studies For Free has just got round to reading yet another of Intellect‘s freely accessible journal issues: Film International (Volume: 7 | Issue: 1 February 2009). This was an excellent, highly stimulating read indeed. Below are links to all the main articles. FSFF particularly enjoyed the essays by Orr, Supanick, Sharrett and Ogrodnik.
- ‘McMafia rising [on Gomorrah, the Camorra, Roberto Saviano, deregulation, free trade, Naples, Italy, Matteo Garrone]‘ Rajko Radovic
- ‘Last Year at Mansfield: William E. Jones’s Tearoom’ Jim Supanick
- ‘Death of the Strong, Silent Type: The Achievement of Brokeback Mountain’ Christopher Sharrett
‘Performative Radicalism in contemporary Canadian documentary film‘ William Anselmi and Sheena Wilson
My paintings are done by a filmmaker, sculpture by a musician, films by a painter, music by a filmmaker, paintings by a sculptor, sculpture by a filmmaker, films by a musician, music by a sculptor … sometimes they all work together. (Michael Snow)
[N]o other artist has done so much to destabilise our approximation of the visible than Michael Snow. By threatening the very tools we rely on to process what we perceive, the artist creates unnerving yet frequently poetic works. His avant-garde film-making is less about a way of understanding the camera as a device for recording than as an instrument whose structural, material properties can form the main focus of the work. (Tim Clarke)
Today, Film Studies For Free brings you another video gem from the Tate Channel in which the highly distinguished Canadian artist Michael Snow, one of the most influential experimental filmmakers (including of such masterworks as Wavelength [1967)], La Région Centrale , and *Corpus Callosum ) discusses his work. Snow, who will reach the grand old age of 80 this December, gave this illustrated talk at the Tate Modern in London on October 26, 2001, on the occasion of a major retrospective of his work that year at the Arnolfini Gallery in Bristol. The talk, a very detailed and insightful revisiting of the entirety of his work to that point, lasts just under two hours.
Here also, as is FSFF‘s wont, are links to further wonderful, freely accessible, online, scholarly Michael Snow resources. Below the list are two other embedded videos: the first, a ten minute overview of Snow’s work; the second, a video version of Snow’s 1967 experimental film Wavelength (please read the comments on this post for a discussion of the ethics of reproducing this very poor copy of the film):
- The Michael Snow Dossier, Offscreen Journal, November 2002 (Michael Snow: A Brief Introduction by Peter Rist;La Région Centrale by Peter Rist; Wavelength Revisitedby Donato Totaro; Master Lessons With Michael Snowby Louis Goyette;Weathering the Creative Storm: An Interview With Michael Snow by Donato Totaro and André Habib;Transcending the Fragmentation of Experience: The acousmêtre on the air in the films of Michael Snow by Randolph Jordan)
- Adèle Flannery and Maia Lussier-Seguin, ‘Snow at Concordia: An Interview with Michael Snow’, Offcreen Journal, Vol. 13, Issue 3, March 2009
- Maximilian Le Cain, ‘Snow Drift: The 2007 Lucca Film Festival 28 September – 6 October 2007′, Senses of Cinema, Issue 46, 2008
- Brett Kashmere, ‘Underground Film, Into the Light: Two Sides of the Projected Image in American Art, 1945-1975’, Synoptique 8, March 2005
- Tila Landon Kellman, Figuring redemption: resighting my self in the art of Michael Snow – (Waterloo, Ontario: Wilfrid Laurier University Press, 2002 -Google Books)
- Michael Snow, with Louise Dompierre, The collected writings of Michael Snow (Waterloo, Ontario: Wilfrid Laurier University press, 1994 – Google Books)
- Michael Snow and Bruce Elder, ‘In conversation’, Ciné-Tracts 5, No. 1, (17), Summer/Fall, 1982) scroll down in pdf
- Michael Snow and Jesse Stewart, ‘In Conversation: Toronto, November 2005’, Critical Studies in Improvisation / Études critiques en improvisation, Vol 3, No 1 (2007)