10th Anniversary Issue of PARTICIPATIONS on Fan Studies, and Audience Interaction and Participation

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Four Issues of IMAGE [&] NARRATIVE: Antonioni, Malick, Nolan, Keaton, Russell, Haynes, Neo-Baroque, and more

Screen grab from Salome’s Last Dance (Ken Russell, 1988). Read Christophe Van Eecke‘s study of this film as “Baroque Performance”. And also read Film Studies For Free‘s memorial listing of links to other studies of Russell’s work  

A more systematic way of understanding Russell’s work as baroque could be to simply read it as a contemporary reprise of a form of theatrical performativity associated specifically with seventeenth century baroque theatre. For literary critics one of the key innovations of the baroque stage was its self-reflexivity, its uncanny ability to point at itself in performance and say: look at me, I’m a play! Two important ways of generating this effect were the play-within-the- play and the so-called mise-en-abîme. These two procedures are related yet distinct. The play- within-the-play is a structural feature of baroque theatre, a conceit whereby several characters in a play become spectators of a play performed within the framing narrative, echoing the relationship between the original, framing play and the actual spectators in the theatre. The mise-en-abîme is a thematic trope and is quite literally a mirroring effect (Forestier 13). It refers to the potentially infinite self-reflection that emerges when a play starts mirroring its own action or begins to comment on it. The self-reflexive effect of baroque theatre is most overwhelming when the structural and the thematic self-reflexivity coincide. This happens when a play-within-the- play is used to reveal something about the characters or plot in the original framing story. This is the way the performance of the Mousetrap is used Hamlet. Russell has used the play-within-the- play as a revelatory mise-en-abîme in his film Salome’s Last Dance (1988), which is a play-within-the-film adaptation of Oscar Wilde’s play Salomé (1893). In this film Russell uses these tropes to reflect, through the play-within-the-film, on his own position as an artist. Therefore it would seem to be a very good place to start an investigation of whether and how Russell is ‘baroque’. The film is also one of the director’s most neglected efforts, which makes a critical discussion all the more timely. [Christophe Van Eecke, ‘Moonstruck Follies. Ken Russell’s Salome’s Last Dance (1988) as Baroque Performance’, Image and Narrative, 13.2, 2012: pp. 6-7]

Film Studies For Free presents a little catch up entry today: links to all the contents of the latest four issues of the very good, Belgium-based, online journal Image [&] Narrative which treats “visual narratology and word and image studies in the broadest sense”.

There are some excellent film studies articles, especially in the latest issue, on the “Neo-Baroque”, which begins the below list. FSFF particularly liked the article on Russell’s 1988 film, and also Peter Verstraten’s article on Antonioni and Malick’s “Cinema of Modernist Poetic Prose“.

Image [&] Narrative, Vol 13, No 2 (2012): Neo-baroque Today 1

Thematic Cluster

  • ‘Introduction’ by Ralph Dekoninck, Karel Vanhaesebrouck, et al Abstract PDF
  • ‘Moonstruck Follies. Ken Russell’s Salome’s Last Dance (1988) as Baroque Performance’ by Christophe Van Eecke Abstract PDF
  • ‘The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows‘ by Jack Post Abstract PDF
  • ‘Cinematic Neo-Mannerism or Neo-Baroque? Deleuze and Daney’ by Sjoerd van Tuinen Abstract PDF  
  • ‘Re-visioning the Spanish Baroque: The Ekphrastic Dimension of Constancia and Other Stories for Virgins by Carlos Fuentes’ by Reindert Dhondt Abstract PDF
  • ‘A Neo-Baroque Tale of Jesuits in Space: Mary Doria Russell’s The Sparrow (1996)’ by Daniel J. Worden Abstract PDF

Various Articles

  • ‘A Cinema of Modernist Poetic Prose: On Antonioni and Malick’ by Peter Verstraten Abstract PDF
  • ‘Metaphors in Buster Keaton’s Short Films’ by Maarten Coëgnarts, Peter Kravanja Abstract PDF

Review Articles

  • ‘Charles Hatfield, Hand of Fire. The Comics of Jack Kirby’ by Jan Baetens Abstract PDF

Image [&] Narrative, Vol 13, No 1 (2012): Hauntings II: Uncanny, Figures and Twilight Zones

Thematic Cluster

  • ‘Introduction’ by Fabio Camilletti Abstract PDF
  • ‘Staging the Uncanny: Phantasmagoria in Post-Unification Italy’ by Morena Corradi Abstract PDF  
  • ‘Freud and Hoffmann, once again’ by Tan Wälchli Abstract PDF  
  • ‘Phantasmagoria: A Profane Phenomenon as a Critical Alternative to the Fetish’ by Christine Blaettler Abstract PDF  
  • ‘Engführung as a Case Study of Paul Celan’s Poetics of the Uncanny’ by Vita Zilburg Abstract PDF
  • ‘Impassively true to life’ by Claudia Peppel Abstract PDF
  • ‘Medial Techniques of the Uncanny and Anxiety’ by Michaela Wünsch Abstract PDF 

Various Articles

  • ‘From Thought to Modality: A Theoretical Framework for Analysing Structural-Conceptual Metaphors and Image Metaphors in Film’ by Maarten Coëgnarts, Peter Kravanja Abstract PDF

Review Articles

  • ‘Inception and Philosophy: Ideas To Die For’ by Martin Rosenstock Abstract PDF
  • ‘Curious Visions of Modernity. Enchantment, Magic, and the Sacred’ by Jan Baetens Abstract PDF

Image [&] Narrative, Vol 12, No 4 (2011): Introduction to The Story of Things: reading narrative in the visual (part 2)

Thematic Cluster

  • ‘Introduction’ by Jonathan Carson, Rosie Miller Abstract PDF 
  • ‘Rephrased, Relocated, Repainted: visual anachronism as a narrative device’ by Gyöngyvér Horváth Abstract PDF
  • ‘Lost Children, the Moors & Evil Monsters: the photographic story of the Moors murders’ by Helen Pleasance Abstract PDF
  • ‘Read You Like A Book: Time and Relative Dimensions in Storytelling’ by Mike Nicholson Abstract PDF
  • ‘The Pre-Narrative Monstrosity of Images: how images demand narrative’ by William Brown Abstract PDF
  • ‘Towards Ephemeral Narrative’ by Gavin Parry, Jacqueline Butler Abstract PDF

Various Articles

  • ‘Portrait of the Opportunist as Circus Acrobat: Félicien Champsaur’s Entrée de clowns’ by Jennifer Forrest Abstract PDF
  • ‘Depardon, le DATAR et le paysage’ by Raphaële Bertho Abstract PDF
  • ‘Historicising achronism. Some notes on the idea of art without history in David Carrier’s The Aesthetics of Comics’ by Jan Baetens Abstract PDF

Review Articles

  • ‘Compte rendu de Myriam Watthee-Delmotte, Littérature et ritualité. Enjeux du rite dans la littérature française contemporaine’ by Laurence van Nuijs Abstract PDF

 Image [&] Narrative, Vol 12, No 3 (2011): The Story of Things: reading narrative in the visual

Thematic Cluster

  • ‘Introduction’ by Jonathan Carson, Rosie Miller Abstract PDF
  • ‘Relating the Story of Things’ by Patricia Allmer Abstract PDF
  • ‘Scrapbook (a visual essay)’ by Jonathan Carson, Rosie Miller Abstract PDF
  • ‘Seeing the Past/Reading the Past’ by Karen Bassi Abstract PDF
  • ‘Ephemeral Art: Telling Stories to the Dead’ by Mary O’Neill Abstract PDF
  • ‘European Locations Dreamed with a Limited Imagination’ by Samantha Donnelly Abstract PDF

Various Articles

  • ‘Belgian Photography: Towards a Minor Photography’ by Jan Baetens, Hilde Van Gelder, Mieke Bleyen Abstract PDF
  • ‘The surrealist book as a cross-border space: The experimentations of Lise Deharme and Gisèle Prassinos’ by Andrea Oberhuber Abstract PDF
  • ‘The Power of Tableaux Vivants in Zola: The Underside of the Image’ by Arnaud Rykner Abstract PDF
  • ‘Spitting Image and Pre-Televisual Political Satire: Graphics and Puppets to Screens’ by Kiene Brillenburg Abstract PDF

Review Articles

  • ‘Sarah Sepulchre, dir. Décoder les séries télévisées’ by Jan Baetens Abstract PDF

The "Godard Is" Issue of the new VERTIGO

Image from Histoire(s) du cinéma (Jean-Luc Godard, 1988-99)

Film Studies For Free had a nagging doubt that it was omitting something BIG from its recent entry of links to Godard studies. And, boy, it was!

It really should have waited….

Some time back, the very kind people at the great Close Up film centre were in touch to announce their relaunch of excellent film magazine Vertigo as an online publication.

The (just published) reboot issue — Godard Is. — is astonishingly, mouth-wateringly good! The luscious links are below.

A très contrite FSFF has added the link to Vertigo to its permanent listing of online Film Studies journals.

Close Up Films is on Facebook and Twitter. Follow them. Like them. Thank you.

VERTIGO, Issue 30 | Spring 2012: Godard Is.

Contents

From the Archive

Journal of European Television History and Culture

A new multi-media e-journal on the past and present of European television

Journal of European Television History and Culture is to be the first peer-reviewed, multi-media and open access e-journal in the field of European television history and culture. It will offer an international platform for outstanding academic research and archival reflection on television as an important part of our European cultural heritage. With its interdisciplinary profile, the journal is open to many disciplinary perspectives on European television – including television history, media studies, media sociology, cultural studies and television studies.

If only for pretty sound, nominal reasons, Film Studies For Free doesn’t usually stray too far beyond the field of free film studies. Today is an exception, however, simply because of an exceptional, new, and also free to access, online publication.

The inaugural issue of the new Journal of European Television History and Culture is devoted to ‘Making Sense of Digital Sources‘, a hugely important topic for all audiovisual forms and cultures. Its editors write,

In the past few years national broadcasting archives and audiovisual libraries have taken important steps in the digitisation of their sources. Consequently, some of their material has already become available online. But as access to television material online across national borders remains fractured and scattered, European funded projects such as Video Active (2006-2009) and EUscreen (2009-2012) try to tackle some of the main problems with transnational access:

  • the lack of interoperability between archival data-bases both at the level of metadata and semantics;
  • the non-existence of proven scenarios for the use of audiovisual material at a European level;
  • the complexity of rights issues and the lack of contextualisation of digitised sources.

     At the FIAT/IFTA conference in Paris in 2004, the European Television History Network (ETHN) was launched, aiming at promoting the need for a transnational perspective on the history and culture of television in Europe. The archival situation and the accessibility for researchers vary considerably in the different European countries. That is why ETHN acknowledged the necessity of cooperation between archives and academics on a European scale in order to bridge academic research and archival initiatives. The Journal of European Television History and Culture builds on these initiatives and is closely related to EUscreen of which the e-journal is an important feature.[from Andreas Fickers and Sonja de Leeuw. ‘Editorial’]

FSFF salutes EUScreen, ETHN, and especially, on this the occasion of its birth, the Journal of European Television History and Culture.

It can only hope that European (and, indeed, non-European) archival film culture and studies will learn much (and quickly) from the wonderful and increasingly joined up examples of its televisual counterparts.

Vol 1, No 1 (2012):Table of Contents
Editorial

Articles

New Issue of CINEMA: Journal of Philosophy and the Moving Image

Jeff Wall‘s photograph A Sudden Gust of Wind (after Hokusai), 1993 (courtesy of Wikipedia)

Today, in its continuing series of catch up posts on new offerings from open access film e-journals, Film Studies For Free brings you links to the contents of the latest issue of Cinema: Journal of Philosophy and the Moving Image.

Of particular interest, this time, are Tom McClelland‘s clear-eyed account of the respects ‘in which the medium of film and the discipline of philosophy can intersect’, Agustín Zarzosa‘s detailed evaluation of Rancière’s criticism of Deleuze, and Temenuga Trifonova‘s terrific discussion of the ways in which contemporary photography, like that of Jeff Wall mentioned above, ‘seeks to reclaim the cinematic within the photographic from within the twilight of indexicality’.

Cinema: Journal of Philosophy and the Moving Image, No. 2 (2011)

Abstracts and Contributors

Articles

Interview

  • Questions for Jacques Rancière around his book Les écarts du cinéma (English version and French version): Conducted by Susana Nascimento Duarte

Conference Report

In Portuguese: 

Translation

New Issue of MOVIE: Lang, Preminger, découpage, PSYCHO and its remake, and filmmakers’ choices

Frame grab from Bonjour Tristesse (Otto Preminger, 1958). See Christian Keathley‘s article on découpage in this film here

Film Studies For Free was thrilled that a new issue of MOVIE: A Journal of Film Criticism — the best yet of this relaunched journal — has recently hit the online newstands.

Issue 3 contains part 2 of the marvellous Fritz Lang Dossier, with contributions by, among others, V. F. Perkins, Adrian Martin, Peter Evans, Stella Bruzzi, Ed Gallafent, and Deborah Thomas.

There are also excellent articles on Preminger‘s film art, Psycho and its remake, and filmmakers’ choices by Christian Keathley, Alex Clayton and John Gibbs.

Links to all items are set out for you below.

This issue edited by Douglas Pye and Michael Walker. Designed by Lucy Fife Donaldson, John Gibbs, and James MacDowell.

FSFF’s Favourite Online Film Studies Resources in 2011

Insightful interview (in English) with filmmaker and academic Clio Barnard about her experimental documentary The Arbor on the life and work of Andrea Dunbar, British writer of the 1986 film Rita, Sue and Bob, too. The Arbor was one of Film Studies For Free‘s author’s favourite films seen in 2011 (interview December 5, 2011)

Not since its December 2008 blog entry A-Z of Favourite Scholarly Film and Moving Image Blogs has the otherwise intrepid Film Studies For Free ventured into the rather crowded, online territory of end-of-year lists.

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.

  1. Top seven film and moving image studies history resources online in 2011: 
    1. The Colonial Film Project archive plus two freely accessible chapters by those involved in the project: Lee Grieveson and Colin MacCabe (eds), Empire and Film (BFI/Palgrave, 2011) and 32 sample pages; and Lee Grieveson and Colin MacCabe (eds), Film and the End of Empire (BFI/Palgrave, 2011) and 25 sample pages
    2. Media History Digital Library
    3. The Turconi Project
    4. EU Screen
    5. European Film Gateway
    6. The Permanent Seminar on Histories of Film Theories
    7. The Kracauer Lectures website
  2. Top five, most consistently brilliant Film Studies bloggers:
    1. David Bordwell and Kristin Thompson for Observations on Film Art
    2. Luke McKernan for The Bioscope (also see McKernan’s two new ScoopIt! projects: The Bioscope and Screen Research)
    3. Roland-François Lack for The Cine-TouristThe Daily Map and The BlowUp Moment (also see The Autopsies Group website) and also on Twitter
    4. Dan North for Spectacular Attractions (also see The Cinema of Puppetry) and also on Twitter
    5. Tie between Michael J. Anderson and Lisa K. Broad for Tativille and Ten Best Films; and  Omar Ahmed for Ellipsis
  3. Best new Film Studies blog: Katherine Groo’s Half/Films
  4. Best ‘media studies approaches to film and moving image studies’ blog – tie between:
    1. Just TV by Jason Mittell (also on Twitter)
    2. Celebrity Gossip, Academic Style by Anne Helen Petersen (also on Twitter)
    3. The Chutry Experiment by Chuck Tryon (also on Twitter)
    4. The Negarponti Files by Negar Mottahedeh (also on Twitter and Facebook)
  5. Most consistently original, Film and Moving Image Studies writer active online – a tie between: 
    1. Adrian Martin (e.g. see all the links here)
    2. Nicholas Rombes (e.g. see here and here)
    3. Amanda Ann Klein (also see here)
    4. David Bordwell
    5. Kristin Thompson (also see here and here)
    6. Jeffrey Sconce (also see here)
  6. Best Film Studies informed, commercial film criticism website: Alternate Takes
  7. Best new online film journal in 2011 – a tie between:
    1. LOLA edited by Adrian Martin and Girish Shambu
    2. ALPHAVILLE edited by Laura Rascaroli and others at the University of Cork
    3. JOAN’S DIGEST edited by Miriam Bale
  8. Best recently established online academic Film Studies journal: MOVIE: A Journal of Film Criticism
  9. Top twelve established, online, (mostly) English language, Film Studies journals:
    1. Screening the Past
    2. Film-Philosophy
    3. SCOPE
    4. Jump Cut
    5. Senses of Cinema
    6. MEDIASCAPE
    7. Participations
    8. Bright Lights Film Journal
    9. CINEPHILE
    10. Offscreen
    11. La Furia Umana 
    12. World Picture Journal
    13. For links to one hundred more journals (including some brilliant, primarily non-English language journals, like Transit: Cine…, see here)
  10. Most generous, Open Access Film Studies author: Thomas Elsaesser for the below freely accessible e-books and for the hundreds of further resources linked to from his website:
    1. Elsaesser, Thomas (ed), A Second Life : German Cinema’s First Decades (Amsterdam University Press, 1996)
    2. Elsaesser, Thomas (ed), Harun Farocki: Working on the Sight-Lines (Amsterdam University Press, 2004)
    3. Elsaesser, Thomas,  Jan Simons, Lucette Bronk (eds), Writing for the Medium: Television in transition (Amsterdam University Press, 2004)
    4. Elsaesser, Thomas, European Cinema: Face to Face with Hollywood (Amsterdam University Press, 2005)
    5. Elsaesser, Thomas, Fassbinder’s Germany: History, Identity, Subject (Amsterdam University Press, 1996)
    6. Elsaesser, Thomas, Noel King, Alexander Horwath (eds), The Last Great American Picture Show: New Hollywood Cinema in the 1970s (Amsterdam University Press, 2004)
  11. Best online cinephile news and criticism site: MUBI Notebook (thanks so much to David Hudson and Daniel Kasman for their brilliant work)
  12. Best cinephile salon site – a tie between:
    1. Dave Kehr‘s place
    2. Girish Shambu‘s place
  13. Best seven multimedia/multiplatform/multichannel-style film and moving image studies websites:
    1. FlowTV
    2. In Media Res 
    3. Moving Image Source 
    4. Screen Machine 
    5. Screen Culture
    6. Antenna: Responses to Media and Culture 
    7. Critical Studies in Television
  14. Most impactful online Film Studies work in 2011 – a tie between:
    1. Tim Smith’s work on how movie viewers watch, showcased here as well as on his blog Continuity Boy and his research site.
    2. Matthias Stork’s video essays on Chaos Cinema (see FSFF’s original post on this)
    3. Aitor Gametxo’s video essay: Variation: THE SUNBEAM, David W. Griffith, 1912
    4. Steven Shaviro’s work on Post-Cinematic Affect: see here for lots of links
  15. FSFF‘s favourite Film Studies academic links on Twitter: @filmdrblog (also see the Film Doctor’s actual blog)
  16. FSFF‘s favourite non-academic, film studies-informed, online film critics – a tie between:
    1. Srikanth Srinivasan (also on Twitter)
    2. Matt Zoller Seitz (also on Twitter
    3. Kevin B Lee (also on Twitter here and here)
    4. Jim Emerson (also on Twitter)
    5. Jonathan Rosenbaum (also on Twitter)
    6. Ignatiy Vishnevetsky (also on Twitter)
    7. Farran Smith Nehme (also on Twitter)
    8. Marilyn Ferdinand and Roderick Heath (also on Twitter here and here) and see Rod’s blog
    9. Anne Billson (also writing for the Guardian and on Twitter)
    10. David Cairns (also on Twitter)
  17. FSFF‘s ten favourite FSFF blogposts (and blogpost clusters) in 2011
    1. On ‘Affect’ and ‘Emotion’ in Film and Media Studies
    2. Double Vision: Links in Memory of Raúl Ruiz, a Filmmaking Legend and ¡Viva Raúl Ruiz!
    3. V.F. Perkins on FILM AS FILM and More Victor Perkins Video Interviews Online from Saarbruecken 
    4. The Future of Cinema: Discussion with David Bordwell, Simon Field, Andréa Picard and Alan Franey 
    5. The Tree of Links: Terrence Malick Studies 
    6. Ingmar Bergman Studies 
    7. Viewing Modes and Mise en Scene: 50 YEARS ON by Christian Keathley and The Obscurity of the Obvious: On the Films of Otto Preminger 
    8. On Figural Analysis in Film Studies 
    9. Liquid Atmospherics: On the cinema of Wong Kar-wai 
    10. Its own video essay posts: Framing Incandescence: Elizabeth Taylor in JANE EYRE (1944); Studies of Film Noirishness, with Love; Links on videographical film criticism, editing, ‘intensified continuity’, ‘chaos cinema’, ‘hapticity’ and (post) cinematic affect; and Audiovisualcy: Videographic Film Studies 
  18. FSFF‘s most read post in 2011 by some distance was “An incarnation of the modern”: In Memory of Miriam Bratu Hansen, 1949-2011
  19. Most popular resource at FSFF: Open Access Film E-books List
  20. Best search engine for Open Access Film Studies (and other Arts and Humanities resources): JURN (thanks, as ever, to the indefatigable David Haden)

New Issue of SCOPE!

Image of Dustin Hoffman in Tootsie (Sydney Pollack, 1982). Read Elizabeth Abele’s article about transgendered fantasy films, including Tootsie, here

Film Studies For Free always loves it when a new issue of the high quality, Open Access, film and television studies journal SCOPE slips out online without any fuss.

That’s just what happened with the latest issue – number 21 – so let FSFF toot out its own fanfare to yet another excellent collection of film and television studies work. All the contents are linked to below.

SCOPE Issue 21, October 2011

Articles

Book Reviews

Film Reviews

Conference Reports