|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.
- Ryan Bowles and Rahul Mukherjee, ‘Documentary and Space: Introduction’, Media Fields Journal, Issue 3, 2011
- Alexandra Juhasz, ‘A Place in the Online Feminist Documentary Cyber-closet’, Media Fields Journal, Issue 3, 2011
- Laura Rascaroli, ‘Sonic Interstices: Essayistic Voiceover and Spectatorial Space in Robert Cambrinus’s Commentary (2009)’, Media Fields Journal, Issue 3, 2011
- André Jansson and Erik Gandini, ‘Gitmo Space: A Dialogue about Mediatized Warfare, Documentary Filmmaking and Heterotopic Truth‘, Media Fields Journal, Issue 3, 2011
- Nonny de la Peña, ‘Physical World News In Virtual Spaces: Representation and Embodiment in Immersive Nonfiction‘, Media Fields Journal, Issue 3, 2011
- Erica Stein, ‘The Road to Heaven Twists: The City, Urban Planning, and Experiential Space‘, Media Fields Journal, Issue 3, 2011
- Christina Corfield, ‘Flexible by Nature: Video and the Cultural Production of Concrete Fact‘, Media Fields Journal, Issue 3, 2011
- Dan Fleming, ‘The Staging of Affect and the “Elsewhens” of Documentary Space’, Media Fields Journal, Issue 3, 2011
- Sukanya Sen, ‘Encountering Space: Documenting the Topography of the Migrant Home’, Media Fields Journal, Issue 3, 2011
- Maggie Hennefeld, ‘The Geopolitics of Narrative Parody in Ulrike Ottinger’s Johanna d’Arc of Mongolia‘, Media Fields Journal, Issue 3, 2011
- ‘Mapping Documentary: Roundtable with Filmmaker Ido Haar and Film and Media Studies Scholar Janet Walker in Conversation with David Gray and Jade Petermon‘, Media Fields Journal, Issue 3, 2011
|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]
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.
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
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:
- Chiara Armentano, ‘”The Image-Interface”: New Forms of Narrative Visualization, Space and Time in Postmodern Cinema‘, Reconstruction, 8.3 (2008)
- Renate Brosch, ‘Looking at Women Looking: Female Portraits in the Gender Crisis’, Gender Forum, Imagendering, 11, 13, 2006
- Mikita Brottman, ‘”The Last Stop of Desire” Covent Garden and the Spatial Text of Consumerism’, Consumption, Markets and Culture, Volume 1, Number 1, 1-95 (scroll down), 2000
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.
- 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
- 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
- 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
- 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, ‘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
- Paolo Teobaldelli, ‘Cinema and Special Effects Seen From a Non- Dual Based Approach to Communication’, Applied Semiotics, No. 14, 2004
- HarryTuttle, ‘You’ve Never Seen Anything Like This on Television!’ CNN’s Election Night Hologram’, Rouge, 13, April 2007
- 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