Screen Attachments: new Issue of SCREENING THE PAST

Framegrab from Nuovo cinema Paradiso/Cinema Paradiso (Giuseppe Tornatore, 1988), a film which is the starting point of film theorist Francesco Casetti in his new article “Cinema Lost and Found

Film Studies for Free rushes you the wonderful news that a special issue (no. 32) of Screening the Past has just gone online. The issue treats the topic of Screen Attachments and is edited by Catherine Fowler and Paola Voci

The obvious highlight is a brilliant article by Francesco Casetti, but a quick glance at all the other articles indicates a very high quality issue indeed. FSFF‘s own favourite is Fowler and Voci’s study Brief Encounters: Theorizing Screen Attachments Outside the Movie Theatre’, with its compelling use of Sara Ahmed‘s notion of orientation.

The Classics and Reruns section also has some real gems.

Screen Attachments

Classics and Reruns


    >New Issue of Screening the Past


    Image from The Party (Blake Edwards, 1968). Read Charles Barr’s article on this film, reprinted in issue 30 of Screening the Past

    Film Studies For Free rushes you news, via Adrian Martin, that not only has Screening the Past, that wonderful, A* rated, online journal of screen history, theory and criticism, posted its latest issue, but it has changed URL, and is in the process of upgrading its website.

    All the new contents are listed below. FSFF hasn’t read everything yet, but is enjoying STP‘s tributes to Blake Edwards, as well as the Open Access reprint of Chris Berry’s wonderful essay China’s New “Women’s Cinema”.

    First Release

    Tribute to Blake Edwards


    >New Screening the Past


    The Portraitist
    Image from The Portraitist/Portrecista (Ireneusz Dobrowolski, 2005),  Read Frances Guerin’s essay on this film.

    The developments of new digital technologies and representational forms have revived interest between photography and cinema, an interest that is both creative and critical. Independent filmmakers are availing themselves of alternative exhibition formats and spaces for their work, and moving image experimentation is now commonplace in the fields of contemporary fine art, design, music, and theatre.
         For this Special Issue of Screening the Past, guest editors Des O’Rawe and Sam Rohdie bring together a collection of original articles on the aesthetic and institutional relations between film, photography, and the visual arts, in particular writing that is attentive to cinematic forms and their recon­figuration within the contemporary visual arts.

    As always, Film Studies For Free‘s little beating heart almost leapt out of its digital body at the news that a new issue of the Screening the Past journal had hit the e-stands. It’s a special issue, the theme of which is Cinema/Photography: Beyond Representation (Issue 29, 2010). Below is the table of contents:

    First Release

    Classics and Re-runs

    Oyez! Oyez! Screening the Past (Issue 26) Out Now

    Image from The New World (Terrence Malick, 2005), the subject of Robert Sinnerbrink’s great article in the latest issue of Screening the Past

    Donning its fetching town-crier e-garb, Film Studies For Free shouts out “Hear ye, hear ye: new Screening the Past, people! Lots of links to great stuff below.” The issue features wondrous items by old and valued friends of FSFF (Adrian Martin and Frances Guerin, in particular) as well as by up and coming Film Studies greats (Robert Sinnerbrink, among others).

    Issue 26: Special Issue: Early Europe 

    Guest Editor: Louise D’Arcens

    Louise D’Arcens: Screening Early Europe: Premodern Projections.
    Adrian Martin: The Long Path Back: Medievalism and Film.
    Stephanie Trigg: Transparent Walls: Stained Glass and Cinematic Medievalism.
    Anke Bernau: Suspended Animation: Myth, Memory and History in Beowulf.
    Sylvia Kershaw and Laurie Ormond: “We are the Monsters Now”: The Genre Medievalism of Robert Zemeckis’ Beowulf.
    Robert Sinnerbrink: From Mythic History to Cinematic Poetry: Terrence Malick’s The New World Viewed.
    Helen Dell: Music for Myth and Fantasy in Two Arthurian Films.
    Narelle Campbell: Medieval Reimaginings: Female Knights in Children’s Television.
    Louise D’Arcens: Iraq, the Prequel(s): Historicising Military Occupation and Withdrawal in Kingdom of Heaven and 300.
    Christina Loong: Reel Medici Mobsters? The Medici: Godfathers of the Renaissance Reassessed.
    Laura Ginters: “A Continuous Return”: Tristan and Isolde, Wagner, Hollywood and Bill Viola.
    Appendix: Raúl Ruiz: Three Thrusts at Excalibur.

    First Release
    Adrian Danks, Fishing from the Same Stream: The New Iranian Cinema, Close-Up and the “Film-on-film” Genre.
    Peter Limbrick, Playing Empire: Settler Masculinities, Adventure, and Merian C. Cooper’s The Four Feathers (US 1929).
    Lesley Speed, Strike Me Lucky: Social Difference and Consumer Culture in Roy Rene’s Only Film.

    Australian Film Culture

    Ina Bertrand, Some Early History of the Australian Film Institute: A Memoir of the 1970s.
    Deane Williams, ‘The Circulation of Ideas’: An Interview with Tom O’Regan.
    Deane Williams, Shifts and Interventions: Cultural Materialism and Australian Film History.


    Ina Bertrand reviews Raymond Longford’s The Sentimental Bloke: The Restored Version, Madman/NFSA/ATOM, 2009.
    Ina Bertrand reviews Kathryn H. Fuller-Seeley (ed.), Hollywood in the Neighbourhood: Historical Case Studies of Local Moviegoing.
    Nathalie Brillon reviews Jane Mills, Loving and Hating Hollywood: Reframing Global and Local Cinemas.
    Adam Broinowski reviews Sabine Nessel, Winfried Pauleit, Christine Rüffert (eds), Wort und Fleisch: Kino zwischen Text und Körper.
    Rachael Cameron reviews André Gaudreault, From Plato to Lumière: Narration and Monstration in Literature and Cinema.
    Ryan Cook reviews Matthew H. Bernstein, Screening a Lynching: The Leo Frank Case on Film and Television.
    Maura Edmond reviews Jacob Smith, Vocal Tracks: Performance and Sound Media.
    Victor Fan reviews Pak Tong Cheuk, Hong Kong New Wave Cinema (1978-2000).
    Mike Fleming reviews The Encyclopedia of British Film (Third Edition).
    Freda Freiberg reviews Alexander Jacoby, A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day, and Aaron Gerow, A Page of Madness: Cinema and Modernity in 1920s Japan.
    Gin Chee Tong reviews Brooke Erin Duffy and Joseph Turow (eds), Key Readings in Media Today: Mass Communication in Contexts.
    Frances Guerin reviews Kristen Whissel, Picturing American Modernity: Traffic, Technology, and the Silent Cinema.
    Alexandra Heller-Nicholas reviews Barry Curtis, Dark Places: The Haunted House in Film.
    Roger Hillman reviews Mark Betz, Beyond the Subtitle: Remapping European Art Cinema.
    Jan-Christopher Horak reviews Rob King, The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture.
    Irene Javors reviews Joe McElhaney, Albert Maysles.
    D.B. Jones reviews Philip Gillett, Movie Greats: A Critical Study of Classic Cinema.
    Harry Kirchner reviews Steven Maras, Screenwriting: History, Theory and Practice.
    Roger Macy reviews Bert Cardullo, Out of Asia: The Films of Akira Kurosawa, Satyajit Ray, Abbas Kiraostami, and Zhang Yimou; Essays and Interviews.
    Harriet Margolis reviews Gönül Dönmez-Colin, Turkish Cinema: Identity, Distance and Belonging.
    Harriet Margolis reviews Deb Verhoeven, Jane Campion.
    Craig Martin reviews Tony Shaw, Hollywood’s Cold War.
    Josh Nelson reviews Roger Ebert, Scorsese by Ebert.
    Violeta Politoff reviews Joanna Page, Crisis and Capitalism in Contemporary Argentine Cinema.
    Thomas Redwood reviews Michel Ciment, Film World: Interviews with Cinema’s Leading Directors.
    Christopher Rowe reviews Jane Stadler with Kelly McWilliam, Screen Media: Analysing Film and Television.
    Kirsten Stevens reviews Dina Iordanova with Ragan Rhyne (eds), Film Festival Yearbook 1: The Festival Circuit.
    Jay Daniel Thompson reviews Amit Sarwal and Reema Sarwal (eds), Creative Nation: Australian Cinema and Cultural Studies Reader.
    Mike Walsh reviews Michael Ingham, Johnnie To Kei-fung’s PTU.
    Mike Walsh reviews Joe McElhaney (ed.), Vincente Minnelli: The Art of Entertainment.
    Mike Walsh reviews Catherine Russell, The Cinema of Naruse Mikio: Women and Japanese Modernity.
    Tony Williams reviews Stella Hockenhull, Neo-Romantic Landscapes: An Aesthetic Approach to the Films of Powell and Pressburger.
    Janice Yu reviews Jane Blocker, Seeing Witness: Visuality and the Ethics of Testimony.

    Screening the Past Issue 25 Out Now

    Film Studies For Free rushes you the hot-off-the-press news that there’s new issue out today of one of its favourite open access online film journals, Screening the Past. It’s a hugely valuable special issue devoted to the subject of ‘Colonial Africa on the Silent Screen’. The website describes the issue thus:

    The Rose of Rhodesia (1918) by Harold M. Shaw is one of the earliest remaining feature films shot in Africa. Issue #25 of Screening the Past offers the first critical assessment of the film that until recently was thought lost. Essays by specialists in an array of fields situate the film in the context of South African cinema history, silent film conventions, performance styles, popular literature, imperialism, and political struggle in Zimbabwe today. Guest-edited by Stephen Donovan and Vreni Hockenjos, and in collaboration with the Nederlands Filmmuseum, this special issue includes a streamed version of the restored print of The Rose of Rhodesia.

    FSFF would also like to flag up Robert Burgoyne‘s brilliant essay on The New World, Sam Rohdie’s four essays (on Painlevé, Jennings, Vigo, and Ford), and Bill Routt’s great feature review Ford At Fox: Part Two (b).

    Below is the full table of contents:

    Foreword: Terence Ranger

    Introduction: Stephen Donovan and Vreni Hockenjos

    The Rose of Rhodesia—click here to view the film


    Film Information

    Part I: Production and Reception

    Neil Parsons: Investigating the Origins of The Rose of Rhodesia, Part I: African Film Productions

    Neil Parsons: Investigating the Origins of The Rose of Rhodesia, Part II: Harold Shaw Film Productions Ltd.

    James Burns: Cape Town Bioscope Culture and The Rose of Rhodesia

    Part II: Cinematic Perspectives

    Vreni Hockenjos: Featured Attractions: The Rose of Rhodesia and Silent Cinema

    Ylva Habel: Hollywood Histrionics: Performing “Africa” in The Rose of Rhodesia

    Jacqueline Maingard: The Rose of Rhodesia: Colonial Cinema as Narrative Fiction and Ethnographic Spectacle

    Part III: Political Perspectives

    Bernard Porter: Race, Empire, and The Rose of Rhodesia

    Nhamo Anthony Mhiripiri: Blood Diamonds and State Repression: From The Rose of Rhodesia to Zimbabwe’s Chiadzwa Diamond Fields

    Ashleigh Harris: “Until time make him white”: Race, Land, and Insurrection in The Rose of Rhodesia

    Part IV: Literary Perspectives

    Stefan Helgesson: The Rose of Rhodesia as Colonial Romance

    Stephen Donovan: Guns and Roses: Reading for Gender in The Rose of Rhodesia


    Peter Davis: In Africa, Diamonds Are Forever: From The Great Kimberley Diamond Robbery to Blood Diamond

    Scoring The Rose of Rhodesia: An Interview with Matti Bye


    A. Plot summary
    B. Intertitles with English translation
    C. Press cuttings
    D. Cast and crew biographies
    E. Harold Shaw filmography
    F. Maps of Rhodesia and Southern Africa
    G. Early Rhodesian ephemera


    First release

    Sam Rohdie, Four Essays: Painlevé; Jennings; Vigo; Ford.

    Robert Burgoyne, The Columbian Exchange: Pocahontas and The New World.


    Feature Review: Bill Routt reviews Ford At Fox: Part Two (b).

    Ina Bertrand reviews Catherine Lumby, Alvin Purple, and Henry Reynolds, The chant of Jimmie Blacksmith.

    Yvette Biro reviews Lorraine Mortimer, “Terror and Joy”. The Films of Dusan Makavejev.

    Dean Brandum reviews Michael Deeley and Matthew Field, Blade Runner, Deer Hunters & Blowing The Bloody Doors Off: My Life in Cult Movies.

    Wheeler Winston Dixon reviews Peter Gidal, Andy Warhol’s Blow Job.

    Charles Drazin reviews Brian McFarlane, Screen Adaptations: Charles Dickens’ Great Expectations: The Relationship Between Text and Film.

    Seyda Aylin Gurses reviews Nurith Gertz and George Khleifi, Palestinian Cinema: Landscape, Trauma and Memory.

    Jan-Christopher Horak reviews Lee Grieveson and Haidee Wasson (eds), Inventing Film Studies.

    D.B. Jones reviews Wheeler Winston Dixon, Film Noir and the Cinema of Paranoia.

    Lorraine Mortimer reviews Esther Romeyn, Street Scenes: Staging the Self in Immigrant New York 1880-1924.

    Geoffrey Nowell-Smith reviews Christopher Wagstaff, Italian Neorealist Cinema: an aesthetic approach.

    Daniel Ross reviews Ingmar Bergman, Cinematic Philosopher: Reflections on His Creativity and Irving Singer, Cinematic Mythmaking: Philosophy in Film.

    Thomas Salek reviews James Walters, Alternative Worlds in Hollywood Cinema: Resonance Between Realms.

    Brian Shoesmith reviews Sangita Gopal and Sujata Moorti (eds), Global Bollywood: Travels of Hindi Song and Dance.

    Matt Wanat reviews Nitzan Ben-Shaul, Film: The Key Concepts.