New CINEPHILE 8.2 on Contemporary Extremism

On Embodiment and the Body: New Issue of CINEMA: Journal of Philosophy and the Moving Image

On ’Tangibility’ and Relocating Cinema: NECSUS #2, Autumn 2012

Cinema, Experience, Vernacular Modernism: More on the Work of the late Miriam Bratu Hansen

New FILM-PHILOSOPHY on Phenomenology and Psychoanalysis (Herzog, Solondz, Cronenberg, Streitfeld, Eisenstein, Antonioni, Tarkovsky, Zhang Yimou, Forgács)

Frame grab from Stalker (Andrei Tarkovsky, 1979). Read Adrian Ivakhiv’s essay on this film in the latest issue of Film Philosophy

And the brilliant, online, film journal issues just keep on coming…

Film Studies For Free is delighted to bring you news of the latest offering from one of the highest quality e-journals of them all – Film-Philosophy.
 
FP, Vol 15, No 1 (2011) is a special issue on Phenomenology and Psychoanalysis, edited by David Sorfa. FSFF particularly liked Adrian Ivakhiv’s ‘ecocritical’ essay which explores Tarkovsky’s Stalker, along with Jacqueline Loeb’s fine ‘Foucauldian’ study of sound in Zhang Yimou’s Raise the Red Lantern. But there are other excellent contributions, too. 

Readers should also note that it is now possible to donate to the journal. Film-Philosophy is an independent Open Access academic journal operating without recurring financial support. Donations of any amount to the journal are gratefully received and provide a means for the editors to continue to provide a journal of the highest quality to its readers. Just click on the “Donations” link on the FP website.

For those of you who are interested in phenomenological film studies, do take a look, if you haven’t already, at FSFF‘s previous gathering of links to online and openly accessible work on this topic.

Table of Contents 

Articles

• Kate Ince, ‘Bringing Bodies Back In: For a Phenomenological and Psychoanalytic Film Criticism of Embodied Cultural Identity’  PDF
• Paula Quigley, ‘Undoing the Image: Film Theory and Psychoanalysis ‘ PDF
• Greg Tuck, ‘Sex, Dialectics and the Misery of Happiness‘ PDF 
• Kohei Furuya, ‘Why Is Touch Sometimes So Touching?: The Phenomenology of Touch in Susan Streitfeld’s Female Perversions’ PDF 
• Dylan Trigg, ‘The Return of the New Flesh: Body Memory in David Cronenberg[‘s The Fly] and Merleau-Ponty’ PDF
• Laszlo Strausz, ‘On the River: History as a Palimpsestic Narrative in The Danube Exodus‘ PDF
• Adrian J. Ivakhiv, ‘The Anthrobiogeomorphic Machine: Stalking the Zone of Cinema’ PDF
• Julia Vassilieva, ‘Between Utopia and Event: Beyond the Banality of Local Politics in Eisenstein’  PDF
• Christine Henderson, ‘The Trials of Individuation in Late Modernity: Exploring Subject Formation in Antonioni’s Red Desert‘ PDF  
• William Verrone, ‘Transgression and Transcendence in the Films of Werner Herzog’ PDF  
• Jacqueline Loeb, ‘Dissonance Rising: Subversive Sound in Zhang Yimou’s Raise the Red Lantern‘ PDF

Interviews

• ‘Brecht Today: Interview with Alexander Kluge’ PDF by Angelos Koutsourakis

Film Festival Reports

• Venice Film Festival 2010: The Mad and the Bad and the Dangerous to Know PDF by John Bleasdale
• Berlin International Film Festival – Berlinale 2011 PDF Alison Elizabeth Frank

Book Reviews

• Mark T. Conard, ed. (2009) The Philosophy of the Coen Brothers PDF by Taylor Benjamin Worley
• Frederick Wasser (2010) Steven Spielberg’s America PDF  by Steven Rybin
• Claire Molloy (2010) Memento; Geoff King (2010) Lost in Translation; Gary Needham (2010) Brokeback Mountain. American Indies Series PDF by John Bleasdale 
• Sidney Gottlieb and Richard Allen, eds. (2009) The Hitchcock Annual Anthology: Selected Essays from Volumes 10-15 PDF by Tifenn Brisset 
• Richard Abel, ed. (2010) Encyclopedia of Early Cinema PDF by Carrie Giunta 
• Jim Ellis (2009) Derek Jarman’s Angelic Conversations PDF by Jason Wakefield 
• Christopher Lindner, ed. (2009) The James Bond Phenomenon: A Critical Reader. 2nd Edition PDF by Lucy Bolton

Sensing cinema: phenomenological film and media studies

Image from Ta’m e guilass/Taste of Cherry (Abbas Kiarostami, Iran, 1997)

Film Studies For Free is using all of its searching senses today to bring you lots of links to perceptive film and media studies of the phenomenological kind, or to studies which at least touch meaningfully on issues of phenomenology, perception, and haptics.

Those especially interested in these topics might also like to experience the fascinating Cinesensory website once they’ve dipped into some of the wonderful, openly-accessible, scholarly resources below:

• Henry Bacon, ‘Synthesizing Approaches in Film Theory’, The Journal of Moving Image Studies, Volume 4, 2005

• Jennifer M Barker, ‘Chapter 1: Skin’, The Tactile Eye: Touch and the Cinematic Experience (Berkeley: University of California Press, 2009)

• Melinda Barlow, ‘Review of TOUCH: SENSUOUS THEORY AND MULTISENSORY MEDIA Laura U. Marks Minneapolis: University of Minnesota Press, 2002’, Canadian Journal of Film Studies, Fall 2003

• Tammy L. Bennington and Geri Gay, ‘Mediated Perceptions: Contributions of Phenomenological Film Theory to Understanding the Interactive Video Experience’, Journal of Computer-Mediated Communication 5 (4) June 2000

• Martha Blassnigg, ‘Review of Documentary Time: Film and Phenomenology by Malin Wahlberg [University of Minnesota Press, Minneapolis, 2008]’, Leonardo on-line, July 2008

• Jay David Bolter, ‘Digital Media and Cinematic Point of View’,Telepolis (14.02.1997)

• Havi Carel, ‘A phenomenology of tragedy: illness and body betrayal in The Fly’, SCAN, vol. 4, number 2 august 2007

• Josh Cohen, ‘Phenomenology, History and the Image: A Reply to Kathleen Fitzpatrick’, Film-Philosophy, vol. 3 no. 11, March 1999

• Sarah Cooper, ‘Mortal Ethics: Reading Levinas with the Dardenne Brothers’, Film-Philosophy, Vol. 11, No. 2, 2007

• Glorianna Davenport and Brian Bradley, ‘Everyone’s Cinema: Towards the Future of Cinematics’, Oberhausen Film Festival – April 28, 199

• Trevor G. Elkington, ‘Between Order and Chaos: On Peter Greenaway’s Postmodern/Poststructuralist Cinema’, Film-Philosophy, vol. 8 no. 2, January 2004

• Kathleen Fitzpatrick, ‘Images of/and the Postmodern’, Film-Philosophy, vol. 3 no. 8, February 1999

• Daniel Frampton, ‘The Way that Movements Speak [on Damnation and Werckmeister Harmonies by Bela Tarr, and Last Resort by Pawel Pawlikowski]’, Film-Philosophy, Vol. 5, No. 10, 2001

• Alex Gerbaz, ‘Direct Address, Ethical Imagination, and Errol Morris’s Interrotron’, Film-Philosophy, Vol. 12, No. 2, December 2008

• Sam B. Girgus, ‘Beyond Ontology: Levinas and the Ethical Frame in Film’, Film-Philosophy, Vol. 11, No. 2, August 2007

• Julien Guillemet, ‘Painting/Cinema: A Study on Saturated Phenomena’, Film-Philosophy, Vol. 12, No. 2, September 2008

• Jan Holmberg, ‘Ideals of Immersion in Early Cinema, Cinémas : revue d’études cinématographiques / Cinémas: Journal of Film Studies, vol. 14, n° 1, 2003, p. 129- 147

• Robert Hopkins, ‘Pictures and Film; Philosophy and the Empirical Disciplines: A Reply to Dean’, Film-Philosophy, vol. 3 no. 27, June 1999

• Mike Jones, ‘Composing Space: Cinema and Computer Gaming – The Macro-Mise en Scene and Spatial Composition’, Imaginary Worlds: Image and Space International Symposium, Sydney, 14 October 2005

• Marcia Landy, ‘Traveling in Film Theory: Giuliana Bruno’s Atlas of Emotion’, Film-Philosophy, vol. 7 no. 44, November 2003

• Abigail Loxham, ‘Veo, veo; Leo, Leo?: A re(-)viewing of haptic and visual discourse in Bigas Luna’s Bilbao (1978)’, Studies in European Cinema, Vol. 4, No. 3, 2007

• Laura U. Marks, ‘Haptic Visuality: Touching with the Eyes’, Framework” the Finnish Art Review, No. 2, 2004

• Laura U. Marks, ‘Information, secrets, and enigmas: an enfolding-unfolding aesthetics for cinema’, 2009

• Laura U. Marks, ‘Multisensory Culture’, 2008

• Laura U. Marks, ‘Mohamed Soueid’s Cinema of Immanence’, Jump Cut, 49, 2007

• Laura U. Marks, ‘Asphalt Nomadism’, 2006

• Laura U. Marks, ‘Enfolding and Unfolding: An Aesthetics for the Information Age’,
  An interactive essay produced in collaboration with designer Raegan Kelly in Vectors: Journal of Culture and Technology in a Dynamic Vernacular, 2006.

• Douglas Morrey, ‘Bodies that Matter – Review: Vivian Sobchack (2004) Carnal Thoughts: Embodiment and Moving Image Culture’, Film-Philosophy, Vol. 10, No. 2, 2006

• Douglas Morrey, ‘Open Wounds: Body and Image in Jean-Luc Nancy and Claire Denis’, Film-Philosophy, Vol. 12, No. 1, 2008

• Edward R. O’Neill, ‘Apprehending Deleuze Apprehending Cinema [on Der Film bei Deleuze/Le cinema selon Deleuze, edited by Fahle & Engell], Film-Philosophy, Vol. 2, No. 2, January 1998

• Per Persson, ‘Chapter 1: Understanding and Dispositions’, Understanding Cinema: A Psychological Theory of Moving Imagery (Cambridge University Press, 2003

• Dominic Michael Rainsford, ‘Tarkovsky and Levinas: Cuts, Mirrors, Triangulations’, Film-Philosophy, Vol. 11, No. 2, 2007

• Elena del Río, “Antonioni’s Blowup: Freeing the Imaginary from Metaphysical Ground”, Film-Philosophy, vol. 9, no. 32, June, 2005

• Jason Kelly Roberts, ‘Review of The Virtual Life of Film by D.N. Rodowick [London: Harvard University Press, 2007]’, Scope, Issue 13, February 2009

• Anne Rutherford, ‘Cinema and Embodied Affect’, Senses of Cinema, 2002

• Anne Rutherford, ‘Precarious Boundaries: Affect, Mice en Scene, and the Senses in Angelopoulos’ Balkan Epic’, Senses of Cinema 2004
  

• Philipp Schmerheim, ‘Film, not Sliced up into Pieces, or: How Film Made me Feel Thinking: Review of Filmosophy’, Film-Philosophy, vol. 12, no. 2, 2008

• Vivian Sobchack, ‘Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime’, Millennium Film Journal No. 34 (Fall 1999): The Digital

• A. Soltani, ‘Cinesensory: A Filmic Design for Mapping Haptic Space’, International Design and Cinema Conference, Istanbul, November 2009

• David Sterritt, ‘Taste of Kiarostami,’ Senses of the Cinema, Issue no. 9, Sept-Oct. 2000

• David Sullivan, ‘Noemata or No Matter?: Forcing Phenomenology into Film Theory’, Film-Philosophy, vol. 1 no. 3, July 1997

• Melanie Swalwell, ‘The Senses and Memory in Intercultural Cinema [on Laura U. Marks’s The Skin of the Film]’, Film-Philosophy, Vol. 6, No. 32, 2002

• Donato Totaro, ‘Deleuzian film Analysis: The Skin of the Film’, Offscreen Journal, June 30, 2002

• Saige Walton, ‘“Cinema as I see-I hear-I feel”: Review of The Material Image: Art and the Real in Film by Brigitte Peucker’, Senses of Cinema, Issue 45, 2007

• Robert E. Wood, ‘Toward an Ontology of Film: A Phenomenological Approach’, Film-Philosophy, Vol. 5, No. 24, 2001

• Benjamin Wurgaft, ‘How Heavy Light Can Be’, Film-Philosophy, vol. 6 no. 9, May 2002

• Kevin Wynter, ‘Of depth and surfaces; notes on Watchmen and other reflections on phenomenological film experience’, CineAction, Summer, 2009

• Daniel Yacavone, ‘Towards a Theory of Film Worlds’, Film-Philosophy, vol. 12, no. 2, 2008

• Christopher S. Yates, ‘A Phenomenological Aesthetic of Cinematic “Worlds”‘, Contemporary Aesthetics, Oct 22, 2006

Coming at you! 3-D Studies

Stereo Wiggle by Kieff

Film Studies For Free brings you a very rounded links list today on the terribly topical subject of 3-D cinema and other media.

It’s a big subject area, encompassing debates on and research about film realism, media industry history, film technology (practice and theory), film spectatorship and reception, and human/media interactivity. If you want a good place to begin before you start dipping into the list below, check out the following, excellent, Wikipedia entries on 3-D film, stereoscopy and 3D audio effect.

• Jay David Bolter, ‘Digital Media and Cinematic Point of View’,Telepolis (14.02.1997)

• David Bordwell, ‘Coraline, cornered’, Observations on Film Art, February 23, 2009

• David Cairns, ”Excelsior! [on Up]’, Shadowplay, October 19, 2009

• Tobey Crockett, ‘Building a Bridge to the Aesthetic Experience: Artistic Virtual Environments and Other Interactive Digital Art’, Intelligent Agent, 5.1., 2005

• Glorianna Davenport and Brian Bradley, ‘Everyone’s Cinema: Towards the Future of Cinematics’, Oberhausen Film Festival – April 28, 1997

• Roger Ebert, ‘D-Minus for 3-D’, Chicago Sun-TImes, August 16, 2008

• Dana Goodyear, ‘Man of Extremes: The Return of James Cameron’, The New Yorker, October 2009

• John Hayes, ‘“You see them WITH glasses!”… A Short History of 3D Movies’, Wide Screen Movies Magazine, Part One: The 1800s to the 1950s, February 1, 2009

• Jan Holmberg, ‘Ideals of Immersion in Early Cinema, Cinémas : revue d’études cinématographiques / Cinémas: Journal of Film Studies, vol. 14, n° 1, 2003, p. 129- 147

• Mike Jones, ‘Composing Space: Cinema and Computer Gaming – The Macro-Mise en Scene and Spatial Composition’, Imaginary Worlds: Image and Space International Symposium, Sydney, 14 October 2005

• Pete Kozachik, ‘2 Worlds in 3 Dimensions [on Coraline]’, The American Cinematographer, February 2009

• Harold A. Layer, ‘Stereoscopy: Where Did It Come From? Where Will It Lead?’, updated version published originally in: EXPOSURE: 17:3 Fall 1979

• Lenny Lipton, ‘The Last Great Innovation: The Stereoscopic Cinema’, SMPTE Motion Imaging Journal, November/December 2007

• María Lorenzo Hernández, ‘The Double Sense of Animated Images. A View on the Paradoxes of Animation as a Visual Language’, Animation Studies, January 27, 2008

• Lev Manovich, ‘Global Algorithm 1.3: The Aesthetics of Virtual Worlds: Report From Los Angeles’, CTheory.net, May 1996

• Lev Manovich, ‘Assembling Reality: Myths of Computer Graphics’, manovich.net, 1992

• Lev Manovich, ‘Synthetic Realism and its Discontents’, manovich.net, 1992, revised 1999

• Mekado Murphy, ”Buzz and Woody add a dimension’, The New York Times, October 4, 2009 (plus related audio interview with Toy Story director Jon Lasseter here)

• Angela Ndalianis, ‘Architectures of Vision: Neo-Baroque Optical Regimes and Contemporary Entertainment Media’, MIT Communications Forum, December 19, 1999

• Michael Nitsche, ‘Games, Montage, and the First Person Point of View’, Digital Games Research Association, 2007

• Dan North, ‘Toy Story 3D’, Spectacular Attractions, October 9, 2009

• Dan North, ‘Magnificent Bodyguards: Jackie Chan in 3D, 1978’, Spectacular Attractions, July 20, 2009

• Per Persson, ‘Chapter 1: Understanding and Dispositions’, Understanding Cinema: A Psychological Theory of Moving Imagery (Cambridge University Press, 2003

• Seth Porges, ‘Are 3D Movies Finally Ready for Their High-Tech Close-up?’, Popular Mechanics, July 21, 2008

• Bob Rehak, ‘Titles on the Fringe’, Graphic Engine, September 12, 2008

• Paolo Teobaldelli, ‘Cinema and Special Effects Seen From a Non- Dual Based Approach to Communication’, Applied Semiotics, No. 14, 2004

• Kristin Thompson, ‘Has 3-D already failed?’, Observations on Film Art, September 17, 2009

• HarryTuttle, ‘You’ve Never Seen Anything Like This on Television!’ CNN’s Election Night Hologram’, Rouge, 13, April 2007
  

• Todd VanDerWeff, ‘A Pixar Week Compendium’, The House Next Door, October 11, 2009

• Gary De Wan, ‘3D’, originally published Motion Picture Projectionist, February 1954, republished Wide Screen Movies Magazine, October 7, 2007

• Ke Colin Zheng et al, ‘Parallax Photography: Creating 3D Cinematic Effects from Stills’, Graphics Interface 2009

• Ray Zone’s The 3-D Zone website

• Ray Zone, Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952 (University Press of Kentucky, 2007: Google Books – Limited Preview)

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