New MOVIE! VERTIGO, Hal Ashby, Luis Buñuel, Charles Chaplin, Kenji Mizoguchi, Robert Altman, Robin Wood, Andrew Sarris, George Toles, Charles Barr, Andrew Klevan, Hoagy Carmichael


Documentary and Space: New issue of MEDIA FIELDS JOURNAL

Framegrab from El Valley Centro (James Benning, 2000). Read Elizabeth Cowie’s article on Documentary Space, Place, and Landscape which discusses Benning’s film, among others. Cowie is author of the new book Recording Reality, Desiring the Real (Minneapolis: University of Minnesota Press, 2011)

Film Studies For Free brings you openly accessible brilliance from the latest issue of Media Fields Journal. It’s a really excellent issue on documentary and space – a must-read. And however hyperbolically positive (the always hyperbolically positive) FSFF is, it doesn’t always say that. So, do yourselves a big favour and click on the below links without further ado.

Memory Screens: New Issue of IMAGE AND NARRATIVE

Frame grab from 1975 (Shaun Wilson, version 1 (2005), DV as single channel DVD, colour, sound, 5mins). Visit Shaun Wilson‘s website here and read his article about ‘home movies’ here

The concept of memory screens is an overarching term exploring the relationship between forms of media, viewers, practitioners and memory. The notion of memory screens alludes to the ways in which memories become remembered, layered, forgotten and transformed. The range of articles in this volume reflects the relationship between memory and history, both public and personal. [‘Thematic Cluster: Introduction’ by Teresa Forde]

Film Studies For Free continues to be impressed by the excellence of the online journal Image and Narrative which has recently published a special issue entitled Memory Screens.

FSFF particularly appreciated film and video artist Shaun Wilson’s essay on the art of vintage home movies, Jenny Chamarette’s study of the dynamics of the ‘spectre’ or ‘spectral body’ of the auteurist figure of Agnès Varda, Peter Kravanja’s exploration of narrative contingencies in Rohmer and Akerman and Teresa Forde and Erin Bell‘s discussions of memory and British television. But this is a very high quality issue throughout and, as always at I and N, particularly characterised by the thoughtful integration of close analysis and film and moving image theory.

Image and Narrative, Vol 12, No 2 (2011): Memory Screens

Table of Contents

  • ‘Thematic Cluster: Introduction’ by Teresa Forde ABSTRACT PDF
  • ‘Remixing Memory through Home Movies’ by Shaun Wilson ABSTRACT PDF
  • ‘Video Installation, Memory and Storytelling: the viewer as narrator’ by Diane Charleson ABSTRACT PDF
  • ‘Spectral bodies, temporalised spaces: Agnès Varda’s motile gestures of mourning and memorial’ by Jenny Chamarette ABSTRACT PDF
  • ‘Television and memory: history programming and contemporary identities’ by Erin Bell ABSTRACTPDF
  • ‘Television Dramas as Memory Screens’ by Teresa Forde ABSTRACT PDF
  • ‘The Lives of Others: re-remembering the German Democratic Republic’  by Margaret Montgomerie and Anne- Kathrin Reck ABSTRACT PDF
  • ‘Nostalgic [re]remembering: film fan cultures and the affective reiteration of popular film histories’ by Nathan Hunt ABSTRACT PDF

Various Articles

  • ‘Cinema, Contingencies, Metaphysics’ by Peter Kravanja ABSTRACT PDF

Review Articles

  • Hillary Chute’s Ambivalent Idiom of Witness’ by Charlotte Pylyser  ABSTRACT PDF
  • ‘Naissances de la bande dessinée de William Hogarth à Winsor McCay’ by Pascal Lefèvre ABSTRACT PDF

Flânerie and (Post)Modernity: Links in memory of Anne Friedberg

Slavko Vorkapić‘s original montage sequence “The Furies” (created for the film Crime Without Passion, 1934; music by Ludwig van Beethoven). While Vorkapić had complete creative freedom in writing, designing, directing and editing his montage sequences for feature films, his work was often reduced to its bones in the released productions. In the 1930s, Vorkapić was dean of the USC School of Cinematic Arts. For more information about Vorkapić, see this great post at Bright Lights After Dark

Film Studies For Free was very sad to hear last week of the untimely death, on October 9, of Anne Friedberg, a much loved and admired
professor, and inspiring Chair of the Critical Studies Division, at the University of Southern California‘s School of Cinematic Arts (see her wonderful 2008 commencement speech here).

As her LA Times obituary put it so well (also see here), Friedberg expanded the study of film, emphasizing its relationship to other visual fields, including architecture, art history and digital media. She was author of the important book Window Shopping: Cinema and the Postmodern and co-editor of an influential anthology of critical and theoretical writing about film, Close Up 1927-1933: Cinema and Modernism.

In 2008, Friedberg was selected by the Academy of Motion Picture Arts and Sciences as an academy film scholar. It awarded her $25,000 to research and write a multimedia project about Slavko Vorkapić, a Serbian director and editor who achieved prominence in the 1930s for his montage work in such Hollywood films as Crime Without Passion (see above), Mr. Smith Goes to Washington, and The Good Earth.

Always a hugely innovative as well as generous scholar, last year Professor Friedberg launched a freely-accessible, interactive translation, or extension, of her most recent book (The Virtual Window: From Alberti to Microsoft, 2006): The Virtual Window Interactive. It was through this latter project, as well as her brilliant work on cinema, culture, and (post)modernism, that FSFF‘s author became a fervent admirer of her work.

In memory of Anne Friedberg, and in honour of her important legacy for screen studies, here is a list of links to pieces of online and openly-accessible scholarship on the topic of flânerie, and the flâneur/flâneuse, in film and (old and new) media studies, all of which acknowledge their debt to the great Californian scholar’s work:

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.