|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: An Introduction” by Paola Voci and Catherine Fowler
- “Cinema Lost and Found: Trajectories of Relocation” by Francesco Casetti
- “DVD Screen Culture for Children: Theories of Play and Young Viewers” by Karin Beeler
- “Brief Encounters: Theorizing Screen Attachments Outside the Movie Theatre” by Catherine Fowler and Paola Voci
- “Fingers, Futures, Fates: Viewing Interactive Cinema in Kinoautomat and Sufferrosa”by Jenna Ng
- “Waterbodies: Moving-image installations at Termemilano Spa” by Adriano D′Aloia
- “A Minoritarian Digital Poetics of YouTube” by Eu Jin Chua
- “Rethinking Screen Encounters: Cinema and Tamil Migrant Workers in Singapore” by Vijay Devada
- The Artist as Ecologist by Gene Youngblood
- Cerebrum: Intermedia and the Human Sensorium by Gene Youngblood
- Intermedia Theatre by Gene Youngblood
- What is Digital Cinema? by Lev Manovich
- The Fall of Buster Keaton by Anna Gardner
- Guy Debord: Revolution in the Service of Poetry by David Ehrenstein
- Goodbye Cinema, Hello Cinephilia: Film Culture in Transition by Daniel Fairfax
- Television as Digital Media by Gin Chee Tong
- Twilight of the Idols by Jonathan Auerbach
- Drawn To Sound: Animation Film Music and Sonicity by Johnny Milner
- Terry Gilliam (British Film Makers) by Josh Nelson
- Cinema Beyond Film: Media Epistemology in the Modern Era by Meredith A. Bak
- The Documentary: Politics, Emotion, Culture by Mas Generis
- Scotland: Global Cinema: Genres, Modes and Identities by Miriam Ross
- Beyond Dolby (Stereo): Cinema in the Digital Sound Age by Mike Walsh
- The Right to Play Oneself: Looking Back on Documentary Film by Patricia Aufderheide
- Steven Soderbergh by Paul Ramaeker
- Celluloid Symphonies: Texts and Contexts in Film Music History by Roger Hillmann
- Marketing Modernity: Victorian Popular Shows and Early Cinema by Tom Salek
- Dark Borders: Film Noir and American Citizenship by Tony Williams
- Counter-Archive. Film, the Everyday, and Albert Kahn’s Archives de la Planète by Jan-Christopher Horak
- Yellow Future: Oriental Style in Hollywood Cinema by Gerald Sim
|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”.
- “The China Film”: Madame Chiang Kai-shek in Hollywood
- Tokens of Exchange, or The Cook, The Thief, The Wife and Lover: Marginal Asian Characters in 1920s Australian Cinema
- Working Within the System: An Interview with Gerry O’Hara
- Two Channels, Two Truths: Reporting the Iraq War in Control Room
- ‘Give It a Go You Apes’: Relations Between the Sydney and Melbourne Film Festivals, and the Early Australian Film Industry (1954–1970)
- Introduction to Reprints of Two Essays on Blake Edwards
- Detecting, Defecting and Whistling in the Dark: The Films of Blake Edwards
- “Crazy World Full of Crazy Contradictions”, Blake Edwards’ Victor/Victoria
- On Blake Edwards
- The Bitter Essence of Blake Edwards
- Sophisticated Naturalism
- Ridicule and Panic: On Blake Edwards
- Blake Edwards, Switch, and the Price of a New Man
- Topping the Topper: Blake Edwards
- Strange Bodies: On The Great Race
- The Party
- You Can’t Keep A Good Auteur Down / Cruel To Be Kind
- The Party
- Ford At Fox Part 3b
- Films by Gordon Ball (dvd review)
- Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento, Maitland McDonagh
- Irving Thalberg: Boy Wonder to Producer Prince, Mark A. Vieira
- Lost in Translation: Orientalism, Cinema, and the Enigmatic Signifier, Homay King
- Film Violence: History, Ideology, Genre, James Kendrick
- The Last Silent Picture Show: Silent Films on American Screens in the 1930s, William M. Drew
- New Korean Cinema: Breaking the Waves, Darcy Paquet
- Hidden Talent: The Emergence of Hollywood Agents, Tom Kemper
- British Culture and Society in the 1970s: The Lost Decade, Laurel Forster and Sue Harper (eds)
- Casablanca: Movies and Memory, Marc Augé (Translated and with an Afteword by Tom Conley)
- English Filming, English Writing, Jefferson Hunter
- Calling All Cars: Radio Dragnets and the Technology of Policing, Kathleen Battles
- The Francis Ford Coppola Encyclopedia, James M. Welsh, Gene D. Phillips, and Rodney F. Hill (eds)
- Béla Balázs: Early Film Theory – Visible Man and The Spirit of Film, (Edited by Erica Carter, Translated by Rodney Livingstone)
- Idols of Modernity: Movie Stars of the 1920s, Patrice Petro (ed.)
- Wake in Fright, Tina Kaufman
- Neo-Noir, Mark Bould, Kathrina Glitre, and Greg Tuck (eds.).
- Second Takes: Critical Approaches to the Film Sequel, Carolyn Jess-Cooke and Constantine Verevis (eds.)
- On Michael Haneke, Brian Price and John David Rhodes (editors)
|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:
- George Kouvaros: He’s Not There: Robert Frank’s Me and My Brother.
- Lara Thompson: Monochrome Now: Digital Black and White Cinema and the Photographic Past.
- Sarinah Masukor: The Album of Everyday Life: The Photograph in the Films of Nuri Bilge Ceylan.
- Sam Rohdie: Profils Paysans.
- Des O’Rawe: Cinema Lucida: Johan van der Keuken and the Meaning of Loss.
- Rebecca Sheehan: The Time of Sculpture: Film, Photography and Auguste Rodin.
- Frances Guerin: Film as an Archive for Photography: The Portraitist as Witness to the Holocaust.
- Ji-hoon Kim: David Claerbout’s Digital Pensive Images.
- Wheeler Winston Dixon: Beyond Characterization: Performance in 1960s Experimental Cinema.
- George Kouvaros: Our Place in the World.
- Kathy Drayton: Inspiration and Girl in a Mirror.
- Gabrielle Murray: Fact and Fiction: The Iraq War Film in Absence.
Classics and Re-runs
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).
Guest Editor: Louise D’Arcens
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.
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.
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:
Part I: Production and Reception
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
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
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
Dean Brandum reviews Michael Deeley and Matthew Field, Blade Runner, Deer Hunters & Blowing The Bloody Doors Off: My Life in Cult Movies.
Lorraine Mortimer reviews Esther Romeyn, Street Scenes: Staging the Self in Immigrant New York 1880-1924.
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.