A Fire in My Belly is an awkward work that at first glance can appear to be both hyperbolic or overreaching and inconsistent or contradictory. This short film resembles a travel log, an illustrated lecture, or an educational slide show that mixes the unpitying gaze of a mondo cane film (unwrapped mummies with gaping mouths, unusually disabled bodies performing daily tasks, animals forced into fighting by their human captors) with the deliriously overwrought expressionism of 1980s music videos (spinning eyeballs aflame, strobed flashes of milk splashes). The film also recalls major moments in the visual avant-garde of the twentieth century by invoking 1920s surrealist iconography, aping Eisenstein’s clunkier intellectual montages, and echoing the idolatry of Kenneth Anger’s films which themselves borrow from the formal idioms [of] religious and exploitation films. A Fire in My Belly overtly conflates symbolic registers and gains momentum by joining documentary footage of workers performing precarious tasks or snakes devouring their prey to staged studio shots of symbolic transactions involving leaking blood, throwing money, spinning globes, or torched marionettes. [from Karl Schoonover’s essay ‘David Wojnarowicz’s Graven Image: Cinema, Censorship, and Queers’; hyperlinks added by FSFF]
Following its much appreciated seasonal break, a rather bleary-eyed but well-rested Film Studies For Free wishes its readers a very happy new year.
Its first few posts of 2012 will be devoted to catching up with some new issues of online film and moving image studies related journals, starting with a listing of links to a new collection of work from one of the most original of such journals: World Picture on the concept of ‘wrong’.
- Mark Andrejevic: Estrangement 2.0
- Bishnupriya Ghosh: Governing by Wrong
- Seb Franklin: Is Attention Really Immaterial? Visual Culture after Post-Fordism
- Danny Hayward: The Essential Standpoint of Man: An Autopsy, In Three Parts
- Sam Lipsyte in conversation with Brian Price and Meghan Sutherland: Acategorical Imperatives
- Matt Malsky: Being Heard: Listening In–Sound and Our Dystopian Present
- Hugh S. Manon and Daniel Temkin: Notes on Glitch
- Daniel Temkin—gl1tchw0rks gall3ry
- Davide Panagia: The Notion of Pantry: A Speculative Defense of Unuse
- Brian Price: A Theory of Regret
- Lucy Raven: Tech City
- Scott C. Richmond: “Dude, That’s Just Wrong”: Mimesis, Identification, Jackass
- Karl Schoonover: David Wojnarowicz’s Graven Image: Cinema, Censorship, and Queers
- Louis-Georges Schwartz: A Futher Explanation of My Last Error By Pier Paolo Pasolini
- A. L. Steiner: WELCOME TO MY RECTANGLE
- Louise Anderson: ‘Postcards from the edge: the untidy realities of working with older cinema audiences, distant memories and newsreels’
- Kathryn Mackenzie and Karl Magee (with thanks to John Izod and Isabelle Gourdin-Sangouard): ‘In Search of an Audience: Lindsay Anderson’s Britannia Hospital’
- Kerstin Leder: ‘‘I just don’t think I could sit through [Jurassic Park or The Texas Chainsaw Massacre]’: Films as Cultural and Emotional Measures’
- Elizabeth Jane Evans and Roberta Pearson: ‘Boxed Out: Visually Impaired Audiences, Audio Description and the Cultural Value of the Television Image’
- Merris Griffiths: ‘The Edge of Love and the Local Experience: Shooting, Screening and Audience Reception’
- On Phillip Goldstein & James L. Machor (eds.), New Directions in American Reception Study Mark R. Adams
- On Susan J. Napier’s From Impressionism to Anime: Japan as Fantasy and Fan Cult in the Mind of the West Rayna Denison
- On Murray Pomerance’s The Horse Who Drank The Sky: Film Theory Beyond Narrative and Theory and Carl Plantinga’s Moving Viewers: American Film and the Spectator’s Experience Martin Barker
Image from I pugni in tasca/Fists in pocket (Marco Bellocchio, Italy, 1965).
See Deborah Young’s short essay on this film here.
Film Studies For Free, tipping its jaunty e-hat to the fabulous weblog Open Access News for the information, has been delighted today to revisit the eScholarship archive of the University of California, which has had a makeover. Here’s the explanation of the whys and wherefores. FSFF can happily testify that it is now even more user-friendly than before, so do please explore it.
To celebrate, here’s a little crop of wonderful, openly-accessible articles on Italian cinema, all published in the UCLA journal Carte Italiane, that FSFF was able to harvest in a even shorter jiffy than usual.
- Sarah A. Carey, Before and After the Revolution: The Power(lessness) of the Image in I pugni in tasca, Buongiorno, notte, Prima della rivoluzione and The Dreamers, Carte Italiane, 2:4, 2008
- Brendan W. Hennessy, A Cinematic Premonition of Disorder: Social and Political Satire in Bellocchio’s La cina è vicina (1967), Carte Italiane, 2:4, 2008
- Antonio Idini, Stealing Home: Flight from Exile in Il ladro di bambini, Carte Italiane, 1:14, 1994
- Peggy Kidney, Recent Publications in the Field of Italian Cinema, Carte Italiane, 1:7, 1986
- David Pendleton, Pasolini’s Cinema of Regression, Carte Italiane, 1:12, 1992
- Dana Renga, Women’s Place: Contradictory Models of Female Behavior in Italian Cinema (1932-1940), Carte Italiane, 1:16, 1999
- Robert Spiegel, Verga and the Realist Cinema, Carte Italiane, 1:2, 1981