Appendices include a plot summary, contemporary press reviews and publicity materials, and a copy of the screenplay.
The issue contains a link to the film itself (embedded above), which was shot on location in Tipperary in summer 1917.
Screening the Past, Issue 33, 2012: “Featuring the Nation: Knocknagow (1918) and the Film Company of Ireland”
- Introduction: Ireland’s Own Film by Stephen Donovan
- Knocknagow, the Film Company of Ireland, and Other Irish Historical Films, 1911–1920 by Kevin Rockett
- The Making of an Irish Nationalist: James Mark Sullivan and the Film Company of Ireland in America by Dan Schultz & Maryanne Felter
- “Pointing a Topical Moral at the Present”: Watching Knocknagow in 1918 by Denis Condon
- The Film Company of Ireland and the Irish-American Press by Gary D. Rhodes
- “For the honour of old Knock-na-gow I must win”: Representing Sport in Knocknagow (1918) by Seán Crosson
- Irish National Discourse in the Poems and Songs in Knocknagow (1918) by Christopher Natzén
AppendicesAppendix A. – Plot Summary
Appendix B. Cast of Knocknagow (1918)
Appendix C. Intertitles
Appendix D. Press cuttings
Appendix E. Publicity Materials
Appendix F. Film Company of Ireland filmography
Appendix G. Typescript of Knock-na-gow, or The Homes of Tipperary with manuscript annotations
Appendix H. Intertitle Artwork
|Frame grab from Blue (Derek Jarman, 1993)|
More than ever we need access to solid knowledge about historical film color processes in order to save our beautiful filmic heritage. [Barbara Flueckiger]
Film Studies For Free urges its readers to go and check out University of Zurich Institute of Cinema Studies professor Barbara Flueckiger‘s Database of Historical Film Colors and its amazing timeline of historical color processes.
Professor Flueckiger is certainly no stranger to making her important work freely accessible online for scholars all around the world to access. FSFF has previously covered some of her phenomenal sharing in its On Digital Cinema, Visual Effects, and CGI Studies entry, in which links were given both to a free download of ‘Digital Bodies‘ (a chapter, translated into English, from Flueckiger’s 2008 German-language book Visual Effects. Filmbilder aus dem Computer), as well as to her great online database on the history of CGI, VFX, and computer animation.
As of April 2012, the latest of the resources she is making available, the Historical Film Colors database consists of 290 entries. It comes in the form of a timeline that connects historical and bibliographical information with primary resources from several hundred original papers and more than 400 scanned frames provided by archives and scholars from all over the world.
In this current form the database is a nucleus for a much more advanced project which will be elaborated in the forthcoming months. It is Flueckiger’s plan to develop a digital platform which allows experts and researchers to collaborate on a global scale.
To date, Professor Flueckiger has been solely responsible not only for gathering and analyzing all of the data, which derives from her studies of several hundred original papers and secondary sources at Harvard University in the fall term of 2011, but also for programming most of the database and organizing all the images and copyright clearances. Only to a very limited extent has she received financial support from the Swiss National Science Foundation in the framework of her research project “Film History Re-mastered“. She has therefore financed a major part of this project herself.
She has thus set up a crowd-funding campaign to invite you (or your institution) to support the further development of the project, either by sharing it or by contributing financially. The goal is to raise at least $10,000 in the upcoming 90 days. There are several contribution levels, starting at $25 for buying the rights for one image and extending to $5,000 for possible co-chairs of this project.
She will be very grateful for any kind of support and will be more than willing to give proper credit for conceptual or financial contributions. Many renowned scholars and institutions have contributed already.
Film Studies For Free hopes that its readers will support this project, either by contributing themselves, or by spreading the word.
|Frame grab from Roma, città aperta/Rome, Open City (Roberto Rossellini, 1945)
Projected on the war torn landscape for a weary people, Rome Open City poetically serves the goals of unification and restoration. In many respects, this film both conforms to and promotes an ideal image of a courageous, Resistant and unified population – from communist intellectuals, to catholic priests, to working class women and their children. Open City maintains the comfortable melodramatic schema of Rossellini’s earlier Fascist-era films in which the forces of good (the Italian people) struggle triumphantly against the forces of evil embodied in the Nazi general Bergmann and his deviant cronies. The director’s fondness for his people culminates in an apologetic portrayal of Italian fascists as either wretched or unwilling collaborators. However, in the end, Open City’s epic scope effectively precludes the possibility of another film like it: all the “fathers” (Manfredi, Pina, Don Pietro) are dead and the child soldiers are abandoned to the city, suspended “between past and future”. The conclusion, the partisan priest’s execution, witnessed by the children of his parish, forewarns of the fragmentation, destitution, and moral poverty to come. With his last words, “non è difficile morire bene, è difficile vivere bene” (it’s not difficult to die well, it’s difficult to live well”), Don Pietro intimates the struggles ahead. [Inga M. Pierson, Towards a Poetics of Neorealism: Tragedy in the Italian Cinema 1942-1948′, PhD Thesis, New York University, January 2009 97-98]
Another teaching week beckons, and Film Studies For Free‘s author looks forward to pondering, for the umpteenth, pedagogical time, that intensely strange film Roma, città aperta/Rome, Open City (Roberto Rossellini, 1945).
There are some excellent resources on this film, and on related issues of (neo)realism, that are openly accessible online. So, andiamo felicemente with one of FSFF‘s regular studies of a single film.
- John Bleasdale, ‘The Unrealistic Rossellini’, Film Philosophy, Vol. 6, No. 34, 2002
- Gian Piero Brunetta, ‘Introduction’, The History of Italian Cinema: A Guide to Italian Film from Its Origins to the Twenty-First Century (Princeton: Princeton University Press, 2009)
- Peter Brunette, Roberto Rossellini (Berkeley: University of California Press, 1996)
- Peter Brunette, ‘Rossellini and Cinematic Realism’, Cinema Journa1, 25, No. 1, Fall 1985
- Tiziana Ferrero-Regis, ‘Open City, Rossellini and neorealism: Sixty years on’, Screening the Past, 20, 2006
- Tag Gallagher, ‘Reply to Bleasdale’, Film-Philosophy, vol. 6, no. 35, October 2002
- Ora Gelley, ‘Europa ’51: The Face of the Star in Neorealism’s Urban Landscape’, Film Studies, Issue 5, Winter 2004
- Sidney Gottlieb, ‘Introduction: Open City: Reappropriating the Old, Making Way for the New’, in Gottlieb (ed.), Rome, Open City (Cambridge: Cambridge University Press, 2004)
- A. S. Hamrah, ‘[Interview with Tag Gallagher] From Italy to Iran’, Hermenaut, October 20, 2000
- Marcia Landy, ‘Introduction’, Italian Film (Cambridge: Cambridge University Press, 2000)
- Adrian Martin, ‘Always a window: Tag Gallagher’s Rossellini’, Screening the Past, March 2000
- Adrian Martin, ‘What is Modern Cinema?’, 16:9, September 2010
- Daniel Morgan, ‘Rethinking Bazin: Ontology and Realist Aesthetics Critical Inquiry, 32 (2006)
- Brent J. Piepergerdes, ‘Re-envisioning the Nation: Film Neorealism and the Postwar Italian Condition’, ACME, 2007
- Inga M. Pierson, Towards a Poetics of Neorealism: Tragedy in the Italian Cinema 1942-1948′, PhD Thesis, New York University, January 2009
- Luca Prono, ‘[Review of] Rome Open City (Roma Città Aperta) By David Forgacs, London: BFI Publishing, 2000; Roberto Rossellini: Magician of the Real, Edited by David Forgacs, Sarah Lutton and Geoffrey Nowell-Smith, London: BFI Publishing, 2001’, Scope, November 2002
- Luca Prono, ‘[Review of] Celluloide, Dir: Carlo Lizzani, 1996’, Scope, 2000
- Hugo Salas, ‘Roberto Rossellini’, Senses of Cinema, Issue 21, 2002
- Erica Sheen, ‘Un-American: Dmytryk, Rossellini and Christ in Concrete‘, Film Studies, Vol. 7, Winter 2005
- New Jonathon Kyle Sturgeon, ‘The Film of Tomorrow will be an Act of War [on ROME OPEN CITY and its legacy]’, Idiom Magazine, October 17, 2011
- Martin Walsh, ‘Rome, Open City, The Rise to Power of Louis XIV: Re-evaluating Rossellini’, from Jump Cut, no. 15, 1977
- Jonathan David York, ‘Open Spaces, Liminal Places: the Deployment of the Sacred in Open City’, JCRT, 10.3, Summer 2010
Master Hands is a 1936 film sponsored by the Chevrolet Motor Company that shows the inner workings of a Chevrolet plant in Flint, Michigan. It is available for download at the Internet Archive, and it offers rich material for mashups and remixes. [Richard Marback, Wayne State University] had been considering a project involving Master Hands for some time, and when he shared his mashup of the film with [James J. Brown, Jr., University of Wisconsin-Madison] in May it triggered a discussion between the two of us about how such a work might be published. Richard was not interested in writing an essay to accompany his video project – he wanted the video to stand on its own. Jim suggested that the best way to engage with such work was to create another mashup, and we began discussing a round table format in which other scholars would create their own mashups using the same source footage and respondents would discuss the mashups.
- “Master Hands Remix” by Richard Marback
- “master” by bonnie kyburz
- “Craft Hands” by Jeff Rice
- “Other People’s Lives: A Projection” by Jody Shipka
- “Master Hands” by Anthony Stagliano
It has been brilliantly publicised already, but Film Studies For Free wanted to make sure all its readers were alerted to the launch of an amazing new website for the Media History Digital Library, an excellent non-profit organisation that, for a good while now, in conjunction with the Internet Archive, has been working to digitize and open up full public access to collections of classic film and media periodicals that belong in the public domain.
On the site, you will find access to over 200,000 digitized pages of public domain media industry trade papers and fan magazines, including Moving Picture World (1912-1918), Film Daily (1918-1936), Photoplay (1917-1940), Radio Broadcast (1922-1930), and much more.
You are also encouraged to support this brilliant project with sponsorship. As such brilliance doesn’t just come about by accident, nor can it possibly come about for free, FSFF strongly urges you to think about supporting this work financially, especially if you know that you, or your institution, are likely to benefit to any great degree from access to these wonderful resources.
…the bitter brilliance of Nicholas Ray’s The Lusty Men… [Edward Gallafent, ‘Susan Hayward in the 50s’, Movie: A Journal of Film Criticism, 2, 2011]
If the cinema no longer existed, Nicholas Ray alone gives the impression of being capable of reinventing it, and what is more, of wanting to. While it is easy to imagine John Ford as an admiral, Robert Aldrich on Wall Street, Anthony Mann on the trail of Belliou la Fumée or Raoul Walsh as a latter-day Henry Morgan under Caribbean skies, it is difficult to see the director of Run For Cover doing anything but make films. A Logan or a Tashlin, for instance, might make good in the theatre or music-hall, Preminger as a novelist, Brooks as a school teacher, Cukor in advertising – but not Nicholas Ray. Were the cinema suddenly cease to exist, most directors would in no way be at a loss; Nicholas Ray would. After seeing Johnny Guitar or Rebel Without A Cause, one cannot but feel that here is something which exists only in the cinema, which would be nothing in a novel, the stage, or anywhere else, but which becomes fantastically beautiful on the screen. [Jean-Luc Godard, [On Nicholas Ray’s Hot blood]’, Cahiers du cinéma, 1957, cited by Sam Rohdie, ‘Studies’, Screening the Past, Issue 19, 2006]
In the opening credit sequence of Nicholas Ray’s Rebel Without a Cause (1955), Jim Stark, played by James Dean, stumbles to the foreground of the wide, Cinemascope image and lays down to play with a miniature toy monkey. After winding it up and childishly watching it march and clap its cymbals, he paternally makes a bed for it out of assorted litter and puts it to sleep under a blanket of wrinkled paper. This brief moment not only provides immediate insight into Dean’s character, but it also foreshadows the entire story to come: young Jim’s paternal drive to ‘be a man,’ induced in part by a pathetically weak father figure, leads him to adopt Plato [Sal Mineo] as a younger sibling/child whom he can protect (like he wishes he was protected). In fact, Plato acts as a direct visual stand-in for Jim’s toy, as is clear from the latter’s attempt to give Plato his jacket in the police station moments after the opening sequence, a gesture that Plato would finally accept seconds before his death at the end of the film, when Jim would put him to rest—like his cherished toy that had run out of energy—by zipping up his jacket for the cold beyond. Jim’s own father surprisingly repeats this gesture by putting his jacket over his son’s shoulders in an inaugural act signaling his desire to protect his child from the gratuitous cruelty of the world. [Gabriel Rockhill, ‘Modernism as a Misnomer: Godard’s Archeology of the Image’, Journal of French and Francophone Philosophy – Revue de la philosophie française et de langue française, Vol XVIII, No 2 (2010) pp 107-129: 110-111]
This year marks the centenary of Ray’s birth. Interestingly, the years since are remarkably short on online and openly accessible scholarly studies of his work, but mightily longer, luckily, on some really excellent film critical work. The below list aims to link to the best and most interesting of both those categories, but if you know of great items missing from this selection, please feel free to tell FSFF about them in the comments. Thank you!
- Michael J. Anderson, ‘Nicholas Ray’s Least Seen Signature Features: Wind Across the Everglades, Party Girl and The Savage Innocents‘, Tativille, July 31, 2009
- David Bordwell and Kristin Thompson, ‘[Archive for the ‘Directors: Ray, Nicholas’ Category], Observations of Film Art, [various dates]
- Serena Bramble, ‘The Heart is a “Lonely” Hunter: On Nicholas Ray’s In a Lonely Place‘, Senses of Cinema, Issue 59, 2011
- David Cairns, ‘The Split Screen: “We Can’t Go Home Again” (Ray, 1976)’, The Auteurs (now MUBI Notebook), August 11, 2009
- Rose Capp, ‘Nicholas Ray, a Sentimental Bloke’, Senses of Cinema, Issue 20, 2002
- Marilyn Ferdinand, ‘King of Kings (1961)’, Ferdy on Films, March 31, 2008
- George Kaplan, ‘They Live By Night’, Senses of Cinema, Issue 59, 2011
- Glenn Kenny, ‘Underneath the Bottle: In A Lonely Place and Alcoholism’, The Auteurs (Now MUBI Notebook), July 15, 2009
- Kevin B. Lee, ‘Video Essay: An Arena of Hurt: Nicholas Ray’s The Lusty Men‘, The Auteurs (now MUBI Notebook), August 5, 2009
- Kevin B. Lee, ‘Nicholas Ray: A Webliography’, Shooting Down Pictures, March 20, 2009
- Kevin B. Lee, ‘The Lusty Men (1952, Nicholas Ray)’, Shooting Down Pictures, March 20, 2009
- Kim Morgan and Matt Zoller Seitz, ‘Video essay on In A Lonely Place – Please Don’t Let Me Love You’, Sunset Gun, July 16, 2009
- Kim Morgan, ‘Reading, Writing, Romance And Rage’, Sunset Gun, January 18, 2008
- V. F. Perkins, ‘Moments of Choice’, originally published in The Movie, ch. 58, reprinted in Ann Lloyd (ed.), Movie Book of the Fifties, Orbis, 1982) republished Rouge, Issue 9, 2006
- Jon Rainey, ‘The Cinematic Savior: Jesus Films and Related Literature’, Theological Librarianship: An Online Journal of the American Theological Library Association, Volume 3, Number 2, December 2010
- Gabriel Rockhill, ‘Modernism as a Misnomer: Godard’s Archeology of the Image’, Journal of French and Francophone Philosophy, 2010
- Jonathan Rosenbaum, ‘Circle of Pain: The Cinema of Nicholas Ray’, Sight and Sound, Autumn 1973
- Jonathan Rosenbaum, ‘Nicholas Ray’, Senses of Cinema, Issue 21, 2002
- Steven Rybin, ‘Party Girl’, Senses of Cinema, Issue 59, 2011
- David Sanjek, ‘Johnny Guitar‘, Senses of Cinema, Issue 59, 2011
- Robert Schultz, ‘Celluloid History: Postwar Society in Postwar Popular Culture’, American Studies, 31.2, 1990
- Self-Styled Siren/Farran Smith Nehme, ‘Macao (1952’, Self-Styled Siren, April 19, 2007
- Christopher Sharrett, ‘False Criticism: Cinema, Bourgeois Society, and the Conservative Complaint’, Film International, April 18, 2011
- J. David Slocum, ‘Rebel Without A Cause‘, Senses of Cinema, Issue 59, 2011
- Farran Smith Nehme/Self-Styled Siren, ‘Macao (1952’, Self-Styled Siren, April 19, 2007
- Imogen Sara Smith, ‘Homeless on the Range: The Lusty Men and the “Great American Search”‘, Bright Lights Film Journal, Issue 61, 2008
- Fiona A. Villella, ‘Shadows on the Horizon: In a Lonely Place‘, Senses of Cinema, Issue 10, 2000
- Ignatiy Vishnevetsky, ‘Nicholas Ray’s The Janitor‘, Sound, Images, February 2, 2009
- Brad Weismann, ‘Knock on Any Door‘, Senses of Cinema, Issue 59, 2011
- Chris Wood, ‘Finding the Father: A Psychoanalytic Study of Rebel Without a Cause‘, Senses of Cinema, Issue 5, 2000
|Framegrab from Ohayo/Good Morning (Yasujiro Ozu, 1959), an image of the ‘in-between’ as analysed by Andrew Klevan in the inaugural issue of LOLA.|
A big day! Film Studies For Free is delighted to relay the news that Girish Shambu has just published at his blog: LOLA, a new online film journal edited by Adrian Martin and Shambu, has just launched.
Below, FSFF also reproduces the wonderful table of contents which include some very hotly anticipated items, among many other must-read essays… So that’s what FSFF is heading off to do now: it must read them!
For once, the links below don’t take you straight to the item, but, instead, to the entry at girish‘s where you can find the full links as well as a brief summary of each article.
Congratulations, and many thanks, Adrian and Girish. Let all film scholars and cinephiles bless the birth of LOLA and all who sail in her!
- Joe McElhaney, “Contemporary Cinema?”
- William D. Routt, “Innuendo 1.5”
- Andrew Klevan, “Expressing the In-Between”
- Luc Moullet, “Ah Yes! Griffith was a Marxist!”
- Richard Porton, “WR: Mysteries of the Organism: Anarchist Realism and Critical Quandaries”
- Shigehiko Hasumi, “Fiction and the ‘Unrepresentable’: All Movies are but Variants on the Silent Film”
- Sylvia Lawson, “Out of the Mid-Century: History, Memory and Cinema”
- Stephen Goddard, “‘So, Did You See Me?’: Testimony, Memory and Re-Making Film History”
- Darren Tofts, “In My Time of Dying: The Premature Death of a Film Classic”
- Adrian Martin, “Dinosaurs, Babies and the Sound of Music”
- Justine Grace, “The Streets: Breaking out of the Black Box/White Cube in Rotterdam”
- Nicole Brenez, “F.J. Ossang: The Grand Insurrectionary Style”
- James Guida, “Stuck in the Mud: The Visions of Lucrecia Martel”
- David Phelps, “Think But This … 36 vues du Pic St-Loup”
- Elena Gorfinkel, “At the End of Cinema, This Thing Called Film”
What is remarkable is the way that American movies, through much of their span, have altered or challenged many of the values and doctrines of powerful social and cultural forces in American society, providing alternative ways of understanding the world. [Robert Sklar, Movie-Made America: A Cultural History of American Movies (New York, 1975)]
Sklar’s most influential work, “Movie-Made America,” first came out over thirty years ago but remains one of the most important texts for the study of American cinema. (After all, he helped invent the field.) Its thesis, that American film culture owed much to the lower class and the struggles against capitalist interests rather than efforts to sustain them, echoed the egalitarian nature of Sklar’s writing: Although primarily an academic, he had the capacity to speak to movie lovers of all stripes. In doing so, he was essentially an activist, capable of making the inarguable case for taking movies seriously—not only as an art form, but a socio-economic force that helps us understand the world. [Eric Kohn, ‘Robert Sklar, RIP’, Screenrush at indieWIRE July 5, 2011 ]
Robert Sklar’s Movie-Made America (1975, Vintage) was a paradigm-shifting work for film in American studies. It revamped the intellectual (or highbrow) versus popular polarities in which filmic expression was celebrated or denigrated in discussions ofAmerican culture by such culture critics as Dwight MacDonald writing during the height of the Cold War or historians like Richard Pells a decade later who began to incorporate Hollywood activities within the intellectual and cultural landscapes they portrayed. Sklar maintained an interest in movies and ideology but located them within Hollywood as an institution of capital, of culture, of even the State.
The publication of his book seemed to be part of a new wave of addressing the role of movies and Hollywood within American culture. [Lauren Rabinovitz, ‘More Than Meets the Eye: Movies in American Studies’, 2005 MAASA Presidential Symposium, p. 77]
Discussing broad transformations in the history of American film, Robert Sklar suggests that, since the 1970s, historical memory has become the touchstone of a movie’s cultural power, replacing a ‘traditional rhetoric of myths and dreams’. For Sklar, the identification of a shift from ‘myth to memory’ in the rhetorical power of mainstream American film relates to a particular dissolution of the consensus that, until the 1970s, had underpinned American liberal ideologies in the postwar period. While speculative in nature, ideological schemas of this sort do have a certain use in identifying broad historical trends and patterns in the discursive propensities of popular cinema. Sklar is one of many critics who identify the 1970s as the origin of the contemporary ‘memory boom’ in American life and society. In a time when it is claimed that metanarratives of history and progress have been severely undermined, and when the past has become increasingly subject to cultural mediation, textual reconfiguration, and ideological contestation in the present, memory has developed a new discursive significance. In cinema, as in other modes of cultural practice, memory has become a powerful locus for the articulation of identity in the sphere of cultural imaginings. This has been levied in rhetorical terms – Sklar’s transition from the ‘myths and dreams’ of classical film to the ‘historical memory’ of more recent work – but it has also become figured in particular generic transformations and bound in regimes of industrial and institutional commercialism, such that movie memory itself has experienced a heightened cultural significance. [Paul Grainge, ‘Introduction: memory and popular film’, in Grainge (ed.), Memory and Popular Film (Manchester: Manchester University Press, 2003) citing Robert Sklar, Movie-Made America: A Cultural History of American Movies (New York: Vintage Books, 1994), p. 357].
Professor of Cinema Studies at Tisch School of the Arts, New York University, Sklar was the author of many books, including Movie-Made America: A Cultural History of American Movies (New York: Vintage, 1975; rev. 1994), City Boys: Cagney, Bogart, Garfield (Princeton, 1992) and A World History of Film” (2003). Sklar also worked as a contributing editor at Cineaste, writing many perceptive reviews. In 2007, he also penned an important and revealing study of that magazine’s early history, which featured in the 40th Anniversary issue. Sklar was co-editor (with Saverio Giovacchini) on a book set for publication later this year: Global Neorealism: The Transnational History of a Film Style.
Sklar served on the selection committee of the New York Film Festival in the 1990s. As a member of the National Film Preservation Board since 1997, he helped choose the films to be included on the Library of Congress’s National Film Registry. He was President of the Society for Cinema Studies (now the Society for Cinema and Media Studies) from 1979 to 1981.
Below, in a small tribute to the work of this unassuming but hugely important film scholar, FSFF has assembled a list of direct links to online, openly accessible writing by Sklar, as well as to tributes to him by his colleagues and students. Below those lists, there is a further gathering of links to a wide range of online film scholarship influenced or informed by his historical and historiographical work on American cinema.
- Robert Sklar, ‘Oh! Althusser!’, Radical History Review 1988 1988(41):11-36
- Robert Sklar, ‘Cineaste’s Early Years: The Quest for a Radical, Readable Film Criticism’, Cineaste, Vol. 32 No.4 (Fall 2007) Also see here
- Robert Sklar, ‘The Toxic Bind of Mastery and Dependence: An Interview with Emmanuel Bourdieu’, Cineaste, Vol. 32 No.2 (Spring 2007)
- Robert Sklar, ‘The CBC’s Love, Hate, and Propaganda Six-Part Series on World War II Propaganda’, Global Media Journal — Canadian Edition, Volume 3, Issue 2, 2010, pp. 105-110
- Robert Sklar, ‘Susan Sontag’s Readers Respond, Remember, Re-read’, Synoptique, February 14, 2011
- Robert Sklar, ‘FROM THE ARCHIVES: Hot Blood’, Cineaste, Vol.XXXVI No.2 2011
- Robert Sklar, ‘FROM THE ARCHIVES: The Cobweb and Two Weeks in Another Town’, Cineaste,Vol.XXXVI No.3 2011
- Robert Sklar, ‘WEBTAKES: Client 9: The Rise and Fall of Eliot Spitzer’, Cineaste,Vol.XXXVI No.1 2010
- Robert Sklar, ‘WEBTAKES: The Girl with the Dragon Tattoo’, Cineaste, Vol.XXXV No.3 2010
- Robert Sklar, ‘WEBTAKES: Ajami’, Cineaste,Vol.XXXV No.3 2010
- Robert Allen, ‘In Memory of Robert Sklar’, Society of Cinema and Media Studies website, July 5, 2011
- William Grimes, ‘Robert Sklar, Film Scholar, Is Dead at 74’, New York Times, July 6, 2011
- Frances Guerin, ‘Robert Sklar (1936-2011). What I learnt’, Fx Reflects, July 4, 2011
- J. Hoberman, ‘R.I.P. Robert Sklar, 1936-2011′, The Village Voice, July 5, 2011
- Eric Kohn, ‘Robert Sklar, RIP’, Screenrush at indieWIRE, July 5, 2011
- Matt Singer, ‘Robert Sklar (1936-2011)’, IFC, July 4, 2011
- Kristin Thompson, ‘Robert Sklar, historian of film and culture’, Observations on Film Art, July 4, 2011
- Variety Magazine tribute: ‘Film scholar Robert Sklar dies’, July 6, 2011
Significant online works influenced or informed by Sklar’s Work:
- Stephen Michael Charbonneau, ‘Screen Angst: New Media Orientations and Youthfulness’, Mediascape, Spring 2005
- Saverio Giovacchini, ‘Introduction: Taking Hollywood Seriously’, Hollywood Modernism: Film and Politics in the Age of the New Deal (Temple University Press, 2001)
- Michele Hilmes, ‘Nailing Mercury The Problem of Media Industry Historiography’, in eds. Jennifer Holt and Alisa Perren, Media Industries: History, Theory, and Method (London: Wiley, 2009)
- Randy Laist, ‘The Hyperreal Theme in 1990s American Cinema’, Americana, 9.1, Spring 2010
- Jennifer E. Langdon, Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood (New York: Columbia University Press, 2008
- Brian Neve, ‘The Hollywood Left: Robert Rossen and Postwar Hollywood’, Film Studies, Volume 7 (Winter 2005)
- Annalee Newitz, ‘It’s Fun…But It Takes Courage: Remembering Frank Capra’s America’, Bad Subjects, Issue 11, January/Feburary 1994
- Roberta E. Pearson, Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films (Berkeley: University of California Press, 1992)
- Lauren Rabinovitz, ‘More Than Meets the Eye: Movies in American Studies’, 2005 MAASA Presidential Symposium
- Tom Robson, ‘Field of American dreams: individualist ideology in the U.S. baseball movie’, Jump Cut, Issue 52, Summer 2010
- Thomas Schatz and Alisa Perren, ‘Hollywood’, in eds. John D. H. Downing, Denis McQuail, Philip Schlesinger and Ellen Wartella, SAGE Handbook of Media Studies (London: Sage, 2004)
- Peter Stanﬁeld, ‘A Monarch for the Millions: Jewish Filmmakers, Social Commentary and the Postwar Cycle of Boxing Films’, Film Studies, Volume 7 (Winter 2005)
- Ellen Wiley Todd, ‘Chapter Five: Sex for Sale: Reginald Marsh’s Voluptuous Shopper’, The New Woman Revised (Berkeley: University of California Press, 1994)
- Brian Yecies, ‘Transformative Soundscapes: Innovating De Forest Phonofilms Talkies in Australia’, Scope, 2000
|Image from The Band Wagon ( Vincente Minnelli, 1953) starring Cyd Charisse and Fred Astaire (above)|
Today, Film Studies For Free celebrates the bountiful, free, Film Studies book samples available for perusal and download at the Palgrave Macmillan website. These may not be the Open Access works this blog normally labours to ferret out and champion. But there have been some astonishingly generous excerpts available online at Palgrave lately, perhaps most notably 72 pages from one of the most exciting of recent film publishing efforts, edited by and with stunning contributions from some brilliant former students, colleagues and friends of FSFF‘s author: James Walters and Tom Brown’s remarkable collection Film Moments: Criticism, History, Theory.
Full contents of the free sample pages are given below, together with numerous other references and links to Palgrave PDFs below those.
If you are in London tomorrow you may like to know that there will be a Film Moments launch event, with some fascinating-looking talks by a number of the contributors to the collection at 2pm at the BFI Southbank (full details here).
- James Walters and Tom Brown (eds), Film Moments: Criticism, History, Theory (2010) (72 free pages including the chapters below)
- PART ONE: CRITICISM
- Shadow Play and Dripping Teat: The Night of the Hunter (1955); Tom Gunning
- Between Melodrama and Realism: Under the Skin of the City (2001); Laura Mulvey
- Internalising the Musical: The Band Wagon (1953); Andrew Klevan
- The Visitor’s Discarded Clothes in Theorem (1968); Stella Bruzzi
- Style and Sincerity in Quentin Tarantino’s Kill Bill: Vol. 2 (2004); James Walters
- The Moves: Blood (1989); Adrian Martin
- The Properties of Images: Lust for Life (1956); Steve Neale
- Two Views Over Water: Action and Absorption in Ingmar Bergman’s Wild Strawberries (1957); Ed Gallafent
- Making an Entrance: Bette Davis’s First Appearance in Jezebel (1938); Martin Shingler
- A Narrative Parenthesis in Life is Beautiful (1997); Deborah Thomas
- The End of Summer: Conte d’été (1996); Jacob Leigh
- Enter Lisa: Rear Window (1954); Douglas Pye
- Opening Up The Secret Garden (1993); Susan Smith
- A Magnified Meeting in Written on the Wind (1956); Steven Peacock
- ‘Everything is connected, and everything matters’: Relationships in I [heart] Huckabees (2004); John Gibbs
- The Ending of 8 ½ (1963); Richard Dyer
- Full book info.
Caroline Bainbridge, ‘Introduction’, A Feminine Cinematics: Luce Irigaray, Women and Film (2008) (16 free pages) Book info.
- Emma Bell, ‘Introduction’, Reading Management and Organization in Film (2008) (16 free pages) Book info.
- Peter Brooker, ‘American Modernists in Modern London’, Modernity and Metropolis: Writing, Film and Urban Formations (2001) (39 free pages) Book info.
- James Chapman, Mark Glancy and Sue Harper (eds), ‘Introduction’, The New Film History (2007) (24 free pages) Book info.
- Dennis Denisoff,, ‘Introduction: Unsightly Desires’ Sexual Visuality From Literature To Film 1850-1950 (2004) (24 free pages) Book info.
K.J. Donnelly, ‘Introduction’, British Film Music and Film Musicals (2007) (22 free pages) Book info.
- Reena Dube, ‘The Discourse of Colonial Enterprise and Its Representation of the Other Through the Expanded Cultural Critique’, Satyajit Ray’s The Chess Players and Post Colonial Film Theory: Postcolonialism and Film Theory (2005) (46 free pages) Book info.
- Richard Dyer, ‘Tales of Plagiarism And Pastiche’, Nino Rota: Music, Film and Feeling (2010) (27 free pages) Book info.
- Robert Eaglestone and Barry Langford (eds), ‘Introduction’, Teaching Holocaust Literature and Film (2007) (20 free pages) Book info.
- Thomas S. Freeman, ‘Introduction: It’s Only a Movie’, in Susan Doran and Thomas Freeman (eds), Tudors and Stuarts on Film: Historical Perspectives (2008) (41 free pages) Book info.
- Roberta Garrett, ‘Postmodernism, New Hollywood and Women’s Films’, Postmodern Chick Flicks: The Return of the Woman’s Film (2007) (49 free pages) Book info.
- Greg Giesekam, ‘Introduction: Contamination or Remediation?’, Staging the Screen: The Use of Film and Video in Theatre (2007) (31 free pages) Book info.
- Kristyn Gorton, ‘Theorising Desire’, Theorising Desire: From Freud to Feminism to Film (2008) (40 free pages) Book info.
- Julie Grossman, Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up (2009) (22 free pages) Book info.
Stephen Keane, ‘Screens’, CineTech: Film, Convergence and New Media (2006) (30 free pages) Book info.
- Maurice Hindle, ‘Introduction’, Studying Shakespeare on Film (2007) (19 free pages) Book info.
- Nick Lacey, [various sections], Introduction to Film Studies (2004) (52 free pages) Book info. Companion website
- Michael O’Pray, ‘Representation, Depiction and Portrayal in Film’ Film, Form and Phantasy: Adrian Stokes and Film Aesthetics (2004) (32 free pages) Book info.
- Adrian Schober, Possessed Child Narratives in Literature and Film: Contrary States (2004) (49 free pages) Book info.
- Sharon Lin Tay, ‘On the Edges of the Authorial Voice: Liv Ullmann’s Faithless, Gendered Authorship, and Ingmar Bergman’, Women on the Edge: Twelve Political Film Practices (2009) (25 free pages) Book info.