|Frame grab from 1975 (Shaun Wilson, version 1 (2005), DV as single channel DVD, colour, sound, 5mins). Visit Shaun Wilson‘s website here and read his article about ‘home movies’ here|
The concept of memory screens is an overarching term exploring the relationship between forms of media, viewers, practitioners and memory. The notion of memory screens alludes to the ways in which memories become remembered, layered, forgotten and transformed. The range of articles in this volume reflects the relationship between memory and history, both public and personal. [‘Thematic Cluster: Introduction’ by Teresa Forde]
FSFF particularly appreciated film and video artist Shaun Wilson’s essay on the art of vintage home movies, Jenny Chamarette’s study of the dynamics of the ‘spectre’ or ‘spectral body’ of the auteurist figure of Agnès Varda, Peter Kravanja’s exploration of narrative contingencies in Rohmer and Akerman and Teresa Forde and Erin Bell‘s discussions of memory and British television. But this is a very high quality issue throughout and, as always at I and N, particularly characterised by the thoughtful integration of close analysis and film and moving image theory.
Table of Contents
- ‘Thematic Cluster: Introduction’ by Teresa Forde ABSTRACT PDF
- ‘Remixing Memory through Home Movies’ by Shaun Wilson ABSTRACT PDF
- ‘Video Installation, Memory and Storytelling: the viewer as narrator’ by Diane Charleson ABSTRACT PDF
- ‘Spectral bodies, temporalised spaces: Agnès Varda’s motile gestures of mourning and memorial’ by Jenny Chamarette ABSTRACT PDF
- ‘Television and memory: history programming and contemporary identities’ by Erin Bell ABSTRACTPDF
- ‘Television Dramas as Memory Screens’ by Teresa Forde ABSTRACT PDF
- ‘The Lives of Others: re-remembering the German Democratic Republic’ by Margaret Montgomerie and Anne- Kathrin Reck ABSTRACT PDF
- ‘Nostalgic [re]remembering: film fan cultures and the affective reiteration of popular film histories’ by Nathan Hunt ABSTRACT PDF
|Picture from Gadjo Cardenas Sevilla via Flickr, used and altered under Creative Commons License permission.|
Film Studies For Free wanted you to know you have to go with the new issue of Flow: A Critical Forum on Television and Media Culture on Fandom and Fan Studies. Oh, and then you can join the party already started at In Media Res on issues of spectatorship. The great contents of these worthy e-journals are directly linked to below:
- Sarah Sinwell (Northeastern University) presents: The Art of Seduction: Film Spectatorship in the Age of the Cell Phone
- Ross Melnick (Emory University) presents: BIG News from India: BIG Cinemas and Diasporic Indian Moviegoing in the United States
- Daniel C. Faltesek (University of Iowa) presents: The 3D Machine: An Experiment With Aura, Television, and Installation
- Jesse Schlotterbeck (University of Iowa) presents: DVDs Like LPs: The Official Websites of Musical Biopics and the Contemporary Film Collector
- “Fandom In/As the Academy” by Paul Booth A look at the specific pedagogical value of fandom as an activity and how it can be appropriated in a variety of educational contexts.
- “We Have Met the Fans, and They Are Us: In Defense of Aca-Fans and Scholars” by Catherine Coker and Candace Benefiel Fans hold their objects of study to a higher standard. How can the critical study of any text succeed without the passionate and knowledgeable participation of the scholar?
- “The Gathering of the Juggalos and the Peculiar Sanctity of Fandom” by Michael Dwyer The Gathering of the Juggalos is the scene of questionable fan practices contrary to the noble portrait of fandom elaborated by several scholars.
- “‘We are all together:’ Fan Studies and Performance” by Jen Gunnels and M. Flourish Klink Gunnels and Klink argue that fan studies parallels performance studies in discerning tensions between researcher and subject.
- “Stop Being an Elitist, and Start Being an Elitist” by David Jenemann Given how Aca-fandom has created its own canon and looks down its nose at certain cultural forms like sports broadcasting, we could use a little of Adorno’s elitism in the discipline today.
- “Telling Tastes: (Re)producing Distinction in Popular Media Studies” by Eve Ng What we study and how we learn to talk about it is productive of our identities along mostly covert dimensions of power. How do scholars distinguish themselves from the mainstream critics?
- “Embracing the ‘Overly Confessional:’ Scholar-Fandom and Approaches to Personal Research” by Tom Phillips A scholar argues that embracing an “overly confessional” approach to his academic writing is integral to the fidelity of his research.
- “Revisiting Fandom in Africa” by Olivier J. Tchouaffe The application of fandom and its resources is not the same in all cultures, and African fans might not be recognized as legitimate fans. The point of this piece is to demonstrate that there is a unifying figure of American domination of mass culture.
While Film Studies For Free was researching material for its last post – In-between-isms: Winnicottian film, media, and cultural studies – in which the work of media theorist Matt Hills figured strongly, it came across quite a few other freely-acessible, scholarly essays by and interviews with Hills, the links to which had not yet been collected in an online webliography.
So, below you can find a follow up links-list that does just that. Hopefully, it will be of use to those of us who appreciate Hills’ unusual (these days) combination of film and media studies approaches in his work, which brilliantly draws both on psychoanalytic and sociological theories to explore audience or consumer attachments to popular media.
Online works by
- Matt Hills, ‘Gothic’ Body Parts in a ‘Postmodern’ Body of Work? The Hinchcliffe/Holmes Era of Doctor Who (1975-77)’, Intensities Four, December 2007
- Matt Hills, ‘Essential Tensions: Winnicottian Object-Relations In The Media Sociology of Roger Silverstone’, International Journal of Communication 1 (2007), Feature 37-48
- Matt Hills, Whose “postmodern” horror? Alejandro Amenábar’s Tesis (Thesis, 1996)’, Kinoeye, Vol 3, Issue 5, 10 May 2003
- Matt Hills, ‘Review of Lawrence Grossberg (2005) Caught in the Crossfire: Kids, Politics, and America’s Future (Boulder and London: Paradigm Publishers)’, Culture Machine, 2006
- Matt Hills ‘Recognition in the eyes of the relevant beholder: Representing ‘subcultural celebrity’ and cult TV fan cultures’, Mediactive, Issue 2, 2003 (scroll down to p. 59)
- Matt Hills, ‘Review of Horror: Special Issue of Film and Philosophy, Daniel Shaw, ed., (2001)’, Aesthetics Online, 2002
- Catherine Driscoll and Matt Hills, ‘Gender and Fan Culture (Round Twelve, Part One):’, Confessions of an Aca Fan, August 23, 2007
- Henry Jenkins, ‘Triumph of a Time Lord (Part One): An Interview With Matt Hills’, Confessions of an Aca Fan, September 28, 2006
- Henry Jenkins, ‘Triumph of a Time Lord (Part Two): An Interview With Matt Hills’, Confessions of an Aca Fan, September 29, 2006
‘As the first credit [of Michael Haneke‘s 1989 film Der Siebente Kontinent/The Seventh Continent] rolls, the view shifts to the inside of a car [as above]. It is a shot from the rear: a man and woman are seated in the front, towards the left and right edges of the frame, their heads silhouetted against the windscreen. Immobile, silent, they stare straight ahead, neither speaking to nor looking at one another. With its hold on that image, Haneke’s long take does its work. Taking its time, The Seventh Continent centres its audience in the space between two, in the place where a look, or a word, that might happen does not […]’Vicky Lebeau, ‘The arts of looking: D.W. Winnicott and Michael Haneke’, Screen, 50:1 Spring 2009
‘Part of [Vicky] Lebeau’s work [previewing her forthcoming book The Arts of Seeing: the cinema of Michael Haneke (Reaktion)] focuses on Haneke’s use of absence and duration in his ubiquitous lingering shots, which Haneke himself has suggested (echoed by Lebeau) are not so much meditations on death, but unlived lives. Lebeau illustrated by examining the opening sequence of The Seventh Continent (1989), in which the camera is fixed in the back seat of a car, looking forward through the windscreen as the vehicle travels through a car wash. In her analysis of this scene and Haneke’s work in general, Lebeau evoked Donald Winnicott‘s discussion of infantile gazing and the horror of the reflection-less specular image, and ultimately challenges us to consider cinema itself as a form of aural and visual thinking.‘ Davide Caputo, ‘Conference Report: Emergent Encounters in Film Theory: Intersections between Psychoanalysis and Philosophy’, Scope, Issue 14, June 2009
‘Freud did not have a place in his topography of the mind for the experience of things cultural. He gave new value to inner psychic reality, and from this came a new value for things that are actual and truly external. Freud used the word “sublimation” to point the way to a place where cultural experience is meaningful, but perhaps he did not get so far as to tell us where in the mind cultural experience is.’ D.W. Winnicott in The Location of Cultural Experience
“The concept of transitional phenomena, introduced by the object-relations psychoanalyst D.W. Winnicott, stems from his ‘discovery’ of transitional objects–the ubiquitous first possessions of young children that belong both to the child and to the outside world, and which occupy an intermediate position between fantasy (inner world) and reality (outer world). Importantly, while transitional objects have a physical existence, they are also pressed into the service of inner reality. Winnicott used the term ‘potential space’ to refer to the intermediate zone inhabited by transitional phenomena. For the child, playing inhabits this ‘intermediate zone’, which is consequently significant in developmental processes. Winnicott argued that this grounds all kinds of adult cultural experience, which is located in ‘the potential space between the individual and the environment’, a space of ‘maximally intense experiences’.
This model has much to offer by way of understanding of how we might engage with the world at a public level without setting aside our inner lives, our emotions and psychical investments. In the context of T-PACE, it offers new directions for the cultural researcher interested in exploring interaction between the psychical and the social/cultural, between our inner (psychical) and our outer (material) worlds, aiding understanding of key aspects of the way we relate to, consume, produce and use cultural resources, cultural objects and texts of different kinds.” Annette Kuhn, T-PACE Project website (hyperlinks added by FSFF)
‘Roger Silverstone’s approach to television relies on the insights of D.W. Winnicott for whom the social subject emerges in the “potential space” between the individual and the environment in relation to a transitional object. It is here, in this potential space, that the subject acquires agency, attempts to fulfill its needs, and begins to master space. That process, however, is never complete, and the subject spends much of its life searching for “ontological security” through the appropriation of other transitional objects—such as television—which help ground its experience of time and place and satisfy its needs and desires.’ Bryan Ray Fruth, Media Reception, Sexual Identity and Public Space, PhD Thesis, University of Texas at Austin, August 2007 (citing Roger Silverstone, Television and Everyday Life (New York: Routledge, 1994), 9 and 10-12)
Today, Film Studies For Free focuses its attention on some of the highly promising turns taken by the particular branches of film, media, and cultural studies that have been inspired and informed by the work of the British object-relations theorist and psychoanalyst Donald Woods Winnicott.
As FSFF‘s links-list below testifies, there is an extremely rich vein of openly-accessible Winnicottian film and media research and scholarship online, much of it, happily, authored by the pioneers in, and/or champions of, this field, including the late Roger Silverstone, Annette Kuhn, Victor Burgin, Susannah Radstone and Matt Hills.
Those interested in this field of work should definitely visit the website of the Transitional Phenomena and Cultural Experience (T-PACE) project based at Queen Mary, University of London, convened by Annette Kuhn, with fellow members Matt Hills, Patricia Townsend, Tania Zittoun, and Phyllis Creme. Here, you will find an excellent bibliography of offline research as well as other useful research resources.
At the foot of the post, FSFF has embedded a short and snappily informative video from the excellent Arts and Humanities Research Council-funded collaborative research project Media and the Inner World. The project is directed by Caroline Bainbridge (Roehampton University) with Candida Yates (UEL). MiW brings together academics, psychoanalysts, psychotherapists and media figures for a series of discussions about the role of emotion and ideas of therapy in popular culture, and is always keen to attract new writer-contributors for its website: you just have to be interested in the psychocultural aspects of popular culture.
- Alev Adil, ‘Longing and (Un)belonging: Displacement and Desire in the Cinematic City’, Paper from the Conference “INTER: A European Cultural Studies Conference in Sweden”, organised by the Advanced Cultural Studies Institute of Sweden (ACSIS) in Norrköping 11-13 June 2007
- Tomas Axelson, ‘Movies and Meaning: Studying Audience, Fiction Film and Existential Matters’, Particip@tions Volume 5, Issue 1 Special Edition (May 2008)
- Victor Burgin, excerpt from ‘Jenni’s Room: Exhibitionism and Solitude’, Critical Inquiry, Volume 27, Number ,1 Fall 2000
- Victor Burgin, ‘Q&A on ‘Jenny’s Room’ An open discussion with Victor Burgin, European Graduate School, June 2002
- Davide Caputo,’ Conference Report: Emergent Encounters in Film Theory: Intersections between Psychoanalysis and Philosophy’, Scope, Issue 14, June 2009
- Donald Carveth,and Naomi Gold, ‘The Pre-Oedipalizing of Klein in (North) America: Ridley Scott’s Alien Re-analyzed’, PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 990925. November 2, 1999
- Steven Connor, extract: ‘What I Say Goes’, Dumbstruck: A Cultural History of Ventriloquism (Oxford: Oxford University Press, 2000), pp. 1-23
- Daniel Dayan, ‘ On Morality, Distance and the Other Roger Silverstone’s Media and Morality’, International Journal of Communication 1 (2007), Feature 113-122
- Joanna Dovalis and John Izod, ‘Grieving, Therapy, Cinema and Kieslowski’s Trois Couleurs: Blanc (France / Poland, 1994)’, Jung Journal, 2, 3 (Summer 2008) 39–57
- Helen Flavell, ‘Who Killed Jeanne Randolph? King, Muecke or “ficto-criticism”’, Outskirts: Feminism Along the Edge 20 (2009)
- Ted Friedman, ‘The Play Paradigm: What Media Studies Can Learn from Game Studies’, Flow TV, December 1, 2008
- Bryan Ray Fruth, Media Reception, Sexual Identity and Public Space, PhD Thesis, University of Texas at Austin, August 2007
- Luis Miguel Garcia Mainar, ‘Mulvey’s Alleged Avoidance of Essentialism in Visual Pleasure and Narrative Cinema’, Atlantis, XIX, 2, 1997
- Luis Miguel Garcia Mainar, ‘William Shakespeare’s Romeo and Juliet and Male Melodrama’, Atlantis XX (2) 1998
- Patricia Gerakopoulou, ‘Super hero comics fandom and psychosocial identity construction in late modernity’, 3rd Hellenic Observatory Symposium, London School of Economics,
- Marie Bernadette Gillespie, ‘[Honoring Roger Silverstone] Remembering Roger: Diasporic Dialogues’, International Journal of Communication 1 (2007), Feature 154-161
- Asbjørn Grønstad and Øyvind Vågnes, ‘An Interview with W.J.T. Mitchell’, Image [&] Narrative, Issue 15 Battles around Images: Iconoclasm and Beyond, November 2006
- Richard Harrison, ‘Ruth Means Sorrow: Performing Repair Through Video Diary’, Educational Insights, 2009, 13(2)
- Matt Hills, ‘Essential Tensions: Winnicottian Object-Relations In The Media Sociology of Roger Silverstone’, International Journal of Communication 1 (2007), Feature 37-48
- Brooke Hopkins, ‘Winnicott And The Capacity to Believe’, Psyart: A Hyperlink Journal for the Psychological Study of the Arts, article 030914, Dec. 31, 2003
- Alfonso M. Iacono, ‘Francisco Varela and the Concept of Autonomy’, J E P – Number 15 – Fall-Winter 2002
- Mary Jacobus, ‘Romantic Psyche and Psychoanalysis – The Ordinary Sky: Wordsworth, Blanchot, and the Writing of Disaster’, Romantic Circles Praxis Series, December 2008
- E. Ann Kaplan, ‘[Interviewed about her book Motherhood and Representation: The Mother in Popular Culture and Melodrama]’ , Americana: The Journal of American Popular Culture (1900 to present), Spring 2005
- David L. Kaye, M.D. Emily Ets-Hokin, ‘The Breakfast Club: Utilizing Popular Film to Teach Adolescent Development’, Academic Psychiatry, 24:2, Summer 2000
- Judith McLean, ‘Creating Inner Lives: Theories of Learning, Selfing, Actioning…’, Change: Transformations in Education, Vol. 7.2, November 2004
- Lindsay Peters, ‘Private Fears in Public Places: Network Narrative and the Post-‘Smart’ American Melodrama’, Synoptique 12, October 2008
- Dana Polan and Marita Sturken, ‘Roger and Me(dia)’, International Journal of Communication 1 (2007), Feature 106-112
- Jane Rendell, ‘The Setting of Paradise Lost (and Regained) in Telling Stories: Countering Narrative in Art, Theory and Film, edited by Jane Tormey and Gillian Whiteley (Newcastle Upon Tyne: Cambridge Scholars Publishing, 2009 [scroll to p. 16])
- Susan Rubin Suleiman, ‘Subjectivity In Flux’, Interview with M.Pachmanová, n.paradoxa online, issue no.19, May 2006
- Paddy Scannell, ‘ The Message of Silverstone’, International Journal of Communication 1 (2007), Feature 97-105
- Barbara Schapiro, ‘Transitional States and Psychic Change: Thoughts on Reading D. H. Lawrence,’PSYART: A Hyperlink Journal for the Psychological Study of the Arts, Dec. 31, 1998
- Murray M. Schwartz et al, ‘Making Use of Winnicott: A Roundtable Discussion,’ Psyart: A Hyperlink Journal for the Psychological Study of the Arts, September 9, 2009
- Roger Silverstone and Zoetanya Sujon, Urban Tapestries: Experimental Ethnography, Technological Identity, and Place (London: LSE Electronic Working Papers, 2005)
- Justin Smith, ‘The ‘Lack’… and How to Get it: Reading Male Anxiety in Three British Films of the 1970s’, The 1970s Project, June 2007
- Paolo Teobaldelli, ‘Seeing and Thinking: For an Understanding of Visual Culture’, Film-Philosophy, Vol. 2, No. 1, 1998
- Michael Walker, ‘Confined Spaces’, excerpt from Hitchcock’s Motifs (Amsterdam University Press, 2005)
- John Wiltshire, ‘Introduction: “Jane Austen” and Jane Austen’, Recreating Jane Austen (Cambridge: Cambridge University Press, 2001)