A very quick post at Film Studies For Free today to bring you a fascinating futurological film and film studies resource: the video of a very well informed panel discussion on where cinema is going.
It features, among others, film scholar extraordinaire David Bordwell, who, as a phenomenal researcher of (practically) the entirety of cinema’s past and present, is definitely one of the best qualified people in the world to comment on cinema’s future.
The video is a must see if you’re interested in the future of film technologies of production and especially of distribution and exhibition. It is part of the 2011 Vancouver International Film Festival collection at Vimeo.
Future of Cinema – Looking Forward After 30 Years
The first few chapter headings in a film we did not program at this year’s [Vancouver International Film Festival] VIFF are: “Technology Is Great”, “The Industry Is Dead”, “Artists Have the Power”, and “The Craft Is Gone.” To which celluloid-loving film festival organizers might ask: Is it? Do they? Where on earth are we headed? And why?
VIFF has come a long way in its 30 years and never has the future of cinema–and VIFF‘s future–been more uncertain. Will it be bright and splendid and fair or will it move so quickly that a great deal of what is valuable will be lost before we know it? There are now dramatically more “film festivals” and “films” being made than ever, yet some fear that the industry may be dead. Filmmakers are acutely worried for funding, yet need to operate on a growing number of fronts. Given that the numbers of hours in a day and the numbers of days in a life remain fixed, what limits should we council for our own appetites? Why might we miss the Hollywood Theatre and Videomatica? Given that cultural agencies seemingly have shrinking resources but more new media and film festival applicants every year, will the centres hold or is babble ascendant? Will VIFF‘s function as an annual international universalist festival be superseded by myriad niche events?
Technology is indeed great in that it has put the means of creative motion picture production in almost everyone’s hands, but will the best artists be the ones to be recognized? The entrepreneurial spirit tends to favour change in hopes that it may profit from it, but will artists have the power? When entrepreneurs benefit, will consumers benefit? Will cultural institutions that have taken years to build remain viable? Will cinema, metrics of quality and craftsmanship and, ultimately, quality of life be improved or even be sustainable? What do you personally care about for the future of cinema to offer? What should VIFF 2020 aim to be?
Here to wrestle with these sorts of questions—and yours—will be a distinguished group of panellists including: David Bordwell, film critic, academic and author of numerous books on cinema; Simon Field, film producer and former Director, International Film Festival Rotterdam; Andréa Picard, film critic and programmer, formerly of the Toronto International Film Festival and the Cinémathèque Ontario; Tom Charity, film critic and Vancity Theatre program coordinator; and Alan Franey, director, Vancouver International Film Festival.
With Spring (and a spring) in its step, Film Studies For Free brings you a whole, golden, host of articles as well as little video tasters to the work of some of the world’s leading film scholars on the topic of international (and/or ‘interstitial‘, or ‘transnational‘, or ‘peripheral‘) cinema.
The videos are recordings of presentations from the Cinema at the Periphery conference held at the University of St Andrews between June 15th and June 17th 2006. While those external to that university can only see the first ten minutes of each presentation, they’re still very informative, and showcase, in miniature at least, some brilliant film studies research.
They’ve been newly publicised on the occasion of the publication of the conference book Cinema at the Periphery by Wayne State University Press, part of its series on Contemporary Approaches to Film and Television, under the general editorship of Barry Keith Grant. The book is edited by Dina Iordanova, David Martin-Jones, and Belén Vidal.
As FSFF always endeavours to add value to the free resources it links to, it decided also to assemble an accompanying list of related, high quality, freely accessible, online articles:
- Kim Byeongcheol, ‘Production and Consumption of Contemporary Korean Cinema’, Korea Journal, Spring 2006
- Hamilton Carroll, ‘Resisting the Nation: John Sayles’ Men with Guns (Hombres Armados) as Postnational Cinema’, Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA
- Ruby Cheung and D. H. Fleming, ‘Introduction: Cinema and Identities’, Cinemas, Identities and Beyond, edited by Ruby Cheung with D. H. Fleming (Cambridge: Cambridge Scholars Publishing, 2009)
- E. Anna Claydon, ‘Nostalgia in the Post-National: Contemporary British Cinema and the South-Asian Diaspora’, South Asian Cultural Studies,Vol.2 No.1, 2008, pp 26 – 38
- Pam Cook, ‘Transnational Utopias: Baz Lurhmann and Australian Cinema’, Transnational Cinema, Vol. 1, Issue 1, 2010
- Austin Fisher, ‘A Marxist’s Gotta Do What a Marxist’s Gotta Do: Political Violence on the Italian Frontier’, Cultural Borrowings: Appropriation, Reworking, Transformation, edited by Iain Robert Smith, Scope, Issue 15, 2010
- Stuart Hall, ‘Cultural Identity and Diaspora’, Framework (no.36), 1989
- Will Higbee and Song Hwee Lim, ‘Concepts of transnational cinema: towards a critical transnationalism in film studies’, Transnational Cinema, Vol. 1, Issue 1, 2010
- Andrew Higson, ‘Transnational Developments in European Cinema in the 1920s’, Transnational Cinema, Vol. 1, Issue 1, 2010
- Teresa Hoefert de Turégano, ‘Transnational Cinematic Flows: World Cinema as World Music?’, Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA
- Jan Holmberg, ‘Globalized Vision’, Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA
- Paul Kerr, ‘Babel’s Network Narrative: Packaging a Globalized Art Cinema’, Transnational Cinema, Vol. 1, Issue 1, 2010
- ‘Kinocultura: on Russian, Russo-Soviet, Eastern European, and Central Asian cinemas & television’, Film Studies For Free, April 11, 2010 (for dozens of relevant article son Eastern and Central European/Asian cinemas)
- Sheldon Hsiao-peng Lu, ‘Historical Introduction’, Transnational Chinese Cinemas (University of Hawai‘i Press and copyrighted, 1997)
- Ewa Mazierska, ‘Eastern European cinema: old and new approaches’, Studies in Eastern European Cinema Volume 1 Number 1, 2010
- Marcus Power, ‘Post-colonial cinema and the reconfiguration of Moçambicanidade‘, Lusotoipie 2004: 261-278
- Phil Powrie, ‘Heritage, History and the New Realism’, French Cinema in the 1990s.” French Cinema in the 1990s: Continuity and Difference. Ed. Phil Powrie. New York: Oxford, 1998
- Steven Schneider, ‘World Horror Cinema and the US: Bringing it all back home’, Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA
- Brigitte Schulze, ‘Globalization and Divergence Dynamics of Dissensus in Non-Dominant Cinema Cultures of South India’, Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA
- Neelam Sidhar Wright, ‘”Tom Cruise? Tarantino? E.T.? …Indian!”: Innovation through Imitation in the Cross-cultural Bollywood Remake’, Cultural Borrowings: Appropriation, Reworking, Transformation, edited by Iain Robert Smith, Scope, Issue 15, 2010
The clips can be viewed using Quicktime player 7, VLC player or similar MP4 player. Just click on the pictures to access.
The clips are currently set to stream at a quality of medium (512Kbps) – they are also available to watch as low (56Kbps) or high (2Mbps).
Laura U. Marks
Film Studies For Free brings you a list of direct links to valuable and noteworthy scholarly material on the frequently iniquitous, and certainly far from just academic, subject of censorship and the cinema.
Today’s list is brought to you in solidarity with Jafar Panahi, the Iranian filmmaker who, on March 1, was arrested and imprisoned (reportedly at present in solitary confinement) ‘apparently while working on a film that, rightly or wrongly, the authorities understood to be “anti-state.”’
Panahi’s brilliant series of films from 1995’s “The White Balloon” (his first feature) onwards have steadily ramped up the contentiousness. After “Balloon” and “The Mirror,” Panahi ditched children altogether (normally the standard way of avoiding censorship) and began focusing on adults — specifically, those damaged and abused by society. “The Circle” and “Offside” focus on women (enough said), and “Crimson Gold” manages to indict an entire society through the desperation of one pizza-delivery guy. Observing from a chilly distance, Panahi gives the disenfranchised a voice in the traditional visual language of the contemporary arthouse film — until, all of a sudden, he’s in the same spot as the people he’s filming. What makes Panahi brilliant (and dangerous to the regime) is that he’s a visceral filmmaker above all, in his masterful feel for the hustle of urban Iran.
To find out more about the campaign to free Panahi and other political figures imprisoned in the aftermath of the Iranian elections, do follow the links in Jeffrey Overstreet’s post for Filmwell; also check out the Free Jafar Panahi Facebook group; visit the Our Society Will Be a Free Society: Campaign to free imprisoned writers and journalists in Iran website; or explore the website for the International Campaign for Human Rights in Iran. If you would like to donate money to support the aims of the latter organisation, a direct donation link is right here (thanks to the Self-Styled Siren for highlighting this link). You can also follow, as filmstudiesff does, the micro-bulletins (and blogs) of the brilliant US-based film and media studies academic Negar Mottahedeh via Twitter to keep up with events in Iran, along with academic and other responses to these.
FSFF also wanted to publicise a related call by the Index on Censorship for short film submissions on ‘the subject of freedom of expression or censorship, dealing with issues or events from a unique perspective that is not often acknowledged’.
The call is on behalf of Index on Censorship, one of Britain’s leading organisations promoting freedom of expression and protection of human rights. We are currently in the process of curating a series of monthly EPIC short film nights with a focus on freedom of expression and censorship, in conjunction with English PEN at the Free Word Centre in Farringdon, London. The launch night for the event will be in mid-May, kicking off with a night of short films made by the Go Group in Georgia. You can find more information about the night here. If you do have a short film or documentary that you would like to be screened at one of these nights, email email@example.com with a short 100 word summary of your film, or a link to your video online and details of any charities/organisations that you are affiliated with. As Index on Censorship is a non-profit charity, we cannot offer any payment for the artists, just a platform and opportunity for new filmmakers to screen their film to a large public audience.
- Charles Ambler, ‘Popular Films and Colonial Audiences: The Movies in Northern Rhodesia’, The American Historical Review, Vol. 106, No. 1, February 2001
- Anonymous,’Unveiled: Art and Censorship in Iran’, ARTICLE 19, London, 2006 (scroll to Ch 4 on Film)
- Caetlin Benson-Allott, ‘ Sex versus the small screen: home video censorship and Alfonso Cuarón’s Y tu mamá también’, No. 51, Spring 2009
- Daniela Berghahn, ‘Review of The BFI Companion to German Cinema by Thomas Elsaesser, Michael Wedel (eds.) London: BFI Publishing, 1999’, gfl-journal, No. 2/2001
- Ina Bertrand, ‘Review of Lee Grieveson, Policing Cinema: movies and censorship in early twentieth-century America. Berkeley, University of California Press, 2004’, Screening the Past, Issue 20, 2006
- Daniel Biltereyst, ‘Productive censorship. Revisiting recent research on the cultural meanings of film censorship, Politics and Culture: An International Review of Books, issue 4, 2008
- Gregory D Black, ‘Introduction’, The Catholic Crusade against the Movies, 1940-1975 (Cambridge: Cambridge University Press, 1998)
- Alice G Burgin, ‘“May you live in interesting times”: Cinema, Politics and Censorship at the 58th Melbourne International Film Festival’, Senses of Cinema, Issue 52, 2009
- Richard Butsch, ‘The Celluloid Stage: Nickelodeon Audiences’, From The Making of American Audiences: From Stage to Television, 1750-1990 (excerpted in Stephen J Ross, Movies and American Society, 2002) plus documents
- J.M. Caparros-Lera and Sergio Alegre, ‘Cinematic Contextual History of High Noon (1952, dir. Fred Zinnemann)’, Film-Historia, VoI. VI, No.1 (1996): 37-61
- Greg Dolgopolov, ‘Imagining Iran: A Symposium on Iranian Cinema, November 18, 2005, School of Media, Film & Theatre, University of New South Wales’, Senses of Cinema, Issue 38, 2006
- David Eldridge, ‘Hollywood Censors History’, 49th Parallel, Vol.20 (Winter 2006-2007)
- M. Carmen Gil Ariza, ‘A Case Study: Spain as a Dubbing Country’, Translation Journal, Volume 8, No. 3, July 2004
- Saverio Giovacchini, ‘Introduction: Taking Hollywood Seriously’, Hollywood Modernism: Film and Politics in the Age of the New Deal (Temple University Press, 2001)
- Toh, Hai Leong, ‘Sex in Asian Cinema’, Kinema, Fall 2000
- Lotte Hoek, ‘The mysterious whereabouts: dodging the film censors in Bangladesh’, IAS Newsletter, #42, Autumn 2006
- Rosa Holman, ‘“Caught Between Poetry and Censorship”: The Influence of State Regulation and Sufi Poeticism on Contemporary Iranian Cinema‘, Senses of Cinema, Issue 40, 2006
- Hikari Hori, ‘Representing a Woman’s Story: Explicit Film and the Efficacy of Censorship in Japan’, Sarai Reader 2005: Bare Acts
- Gunnar Iversen, ‘Cutting Bordello Scenes and Dances: Local Regulation and Film Censorship in Norway before 1913’, Film History, 17.1 (2005) 106-112
- Tina Kaufman, ‘It Can Happen Again: Urgent enquiry needed into Censorship’, Senses of Cinema, Issue 4, 2000
- Stephen Kline, ”Media Effects: Redux or Reductive?’ – A Reply to the St Louis Court Brief’, Particip@tions Volume 1, Issue 1 (November 2003)
- Searle Kochberg, ‘Censorship and Classification’, Jill Nelmes (ed), Introduction to Film Studies 4e (London: Routledge, 2005)
- Anton Karl Kozlovic , ‘Religious Film Fears 1: Satanic Infusion, Graven Images and Iconographic Perversion’, Quodlibet Journal: Volume 5 Number 2-3, July 2003
- Jennifer Langdon-Teclaw, ‘Negotiating the Studio System: Adrian Scott and the Politics of Anti-Fascism in Cornered’, Film Studies, Volume 7 (Winter 2005)
- Michelle Langford, ‘Review of Displaced Allegories: Post-Revolutionary Iranian Cinema by Negar Mottahedeh’, Senses of Cinema, Issue 52, 2009
- Michelle Langford, ‘Negotiating the sacred body in Iranian cinema(s): National, physical and cinematic embodiment in Majid Majidi’s Baran (2002)’, Negotiating the Sacred 2: Blasphemy and Sacrilege in the Arts, 2008
- Joanne Laurier, ‘Why are these women escaping? [on The Circle by Jafar Panahi]’, World Socialist Website, October 2000
- Patricia MacCormack, ‘Perversion – An Introduction’, Senses of Cinema, Issue 30, 2004
- Richard Maltby , ‘More Sinned Against than Sinning: The Fabrications of “Pre-Code Cinema”‘, Senses of Cinema, Issue 29, 2003
- Raquel Merino and Rosa Rabadán, ‘Censored Translations in Franco’s Spain: The TRACE Project —Theatre and Fiction (English-Spanish)’, TTR : traduction, terminologie, rédaction, vol. 15, n° 2, 2002, p. 125-152
- Tadeusz Miczka, ‘Cinema under political pressure: A brief outline of authorial roles in Polish post-war feature film 1945-1995′, Kinema, Fall 1995
- Tadeusz Miczka, ‘Cinema in the labyrinth of freedom: Polish feature film after 1989’, Kinema, Spring 2008
- Anna Misiak, ‘Aleksander Ford and Film Censorship in Poland’, Kinema, Fall 2003
- Lawrence L. Murray, ‘The film industry responds to the Cold War, 1945-1955: Monsters, spys, and subversives’,from Jump Cut, no. 9, 1975, pp. 14-16
- Shammi Nanda,’Censorship and Indian Cinema: The Case of War and Peace’, Bright Lights Film Journal, Issue 38, November 2002
- Steve Neale, ‘Swashbucklers and Sitcoms, Cowboys and Crime, Nurses, Just Men and Defenders: Blacklisted Writers and TV in the 1950s and 1960s’, Film Studies, Volume 7 (Winter 2005)
- Brian Neve, ‘The Hollywood Left: Robert Rossen and Postwar Hollywood’, Film Studies, Volume 7 (Winter 2005)
- Elżbieta Ostrowska, ‘Representations of Female Sexuality in Polish cinema after 1989’, Kinema Spring 2005
- Particip@tions Volume 1, Issue 1 (November 2003): ‘The St Louis Court Brief: Debating audience ‘effects’ in public’ (also see Stephen Kline’s reply)
- Latika Padgaonkar , ‘Women, Islam and Cinema”, Kinema, Fall 2005
- Negotiating the Sacred 2: Blasphemy and Sacrilege in the Arts, 2008
- Nancy J. Rosenbloom, ‘From Regulation to Censorship: Film and Political Culture in New York in the Early Twentieth Century‘, Journal of the Gilded Age and Progressive Era, Vol. 3, No. 4, October 2004
- Fabian Schuppert, ‘Andrzej Wajda’s A Generation and Man of Marble from a political persective’, Kinema, Spring 2006
- Ella Shohat, ‘Egypt: Cinema and Revolution’, Critical Arts, Vol. 2, No. 4, 1983
- Jeff Smith, ‘Are You Now Or Have You Ever Been A Christian?: The Strange History Of The Robe As Political Allegory’, Film Studies, Volume 7 (Winter 2005)
- Sarah J. Smith, Children, Cinema and Censorship: From Dracula to the Dead End Kids, (London: IB Tauris, 2005) Excerpt
- Robert Stam, ‘Censorship in Brazil’, from Jump Cut, no. 21, Nov. 1979, p. 20
- Jack Stevenson, ‘Porno to the People: The Danish Revolution That Liberated America’, Bright Lights Film Journal, Issue 66, November 2009
- Paul Ugor, ‘Censorship and the Content of Nigerian Home Video Films’, Postcolonial Text, Vol 3, No 1 (2007)
- Stephen Vaughn, ‘Freedom and Entertainment – Rating the Movies in an Age of New Media ‘ Excerpt (Cambridge: Cambridge University Press, 2006)
- Sebastian Veg, ‘Eliminating Disharmony: Recent Examples of Censorship in Chinese Writing and Cinema’, China perspectives, n°2007/3, 2007, Online from September 1, 2010
- Brett Elizabeth Westbrook, ‘Second Chances: The Remake of Lillian Hellman’s The Children’s Hour’, Brights Lights Film Journal, Issue 29, July 2000
- Jake Wilson, ‘Distrusting Desire – A Review of The Money Shot: Sex, Cinema And Censorship by Jane Mills (Annandale: Pluto Press, 2001)’, Senses of Cinema, Issue 17, 2001
- Ray Zone, ‘Against Condemnation: New York and the Post-Censor Movie Culture’, Editors Guild Magazine, 2005
Two events in particular provoked Film Studies For Free‘s posting, today, of a webliography of openly accessible, online material about Third Cinema and anti-Eurocentric film culture: the revamping of the website of Michael Chanan, one of the most important anglophone writers on Third Cinema (note the updated page for his online essays and papers and his new blog address); and the publication of a new issue of online film journal Offscreen (volume 13, issue 6), with an article on Third Cinema by Nicola Marzano.
The film-studies links are below, but first, here are links to three essential ‘Third Cinema’ Manifestos: Julio García Espinosa, ‘For an Imperfect Cinema’ ; Glauber Rocha, ‘Aesthetic of Hunger’; and Fernando Solanas and Octavio Getino, ‘Towards a Third Cinema’ (Published online courtesy of Revolutionen aus dem Off: EINE RETROSPEKTIVE DES DRITTEN KINOS IM AUFBRUCH, ZEUGHAUSKINO BERLIN, April 18-May 27, 2009)
- William Alexander, ‘Jorge Sanjinés and Tomás Gutierrez Alea: Class, film language and popular cinema’, from Jump Cut, no. 30, March 1985, pp. 45-48
- Megha Anwer, ‘Close Up on the Colony, Inside History, through the Camera Lens’, Wide Screen, Vol. 1, No. 1 (2009)
- Patricia Aufderheide, ‘Cross-Cultural Film Guide: Films from Africa, Asia and Latin America at The American University’, 1992
- Scott L. Baugh, ‘Manifesting La Historia: Systems of ‘Development’ and the New Latin American Cinema Manifesto’, Film & History: An Interdisciplinary Journal of Film and Television Studies 34.1 (2004) 56-65
- Chris Berry, ‘Chinese left cinema in the 1930s: Poisonous weeds or national treasures’, from Jump Cut, no. 34, March, 1989, pp. 87-94
- Michael Chanan, ‘The Changing Geography of Third Cinema, originally published in Screen Special Latin American Issue (edited by Catherine Grant and Jackie Stacey), Volume 38 number 4 Winter 1997
- Michael Chanan, ‘The economic condition of cinema in Latin America ‘, Third World Affairs 1985, London: Third World Foundation, pp.379-389
- Michael Chanan, ‘Latin American Cinema in the 90s. Representational Space in Recent Latin American Cinema’, E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)
- Michael Chanan, Cinema in Latin America (1930-1960) and New Cinemas in Latin America (1960-1995)Two chapters on Latin American cinema from The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith, OUP, 1996
- Michael Chanan, ‘Screen Memory in Cuban Cinema’, [as Word file] International Institute for the Study of Cuba, Guest Seminar, London Metropolitan University, February, 2008
- Michael Chanan, ‘Remembering Titón [Tomás Gutiérrez Alea]’, from Jump Cut, no. 41, May 1997, pp. 126-129
- Saayan Chattopadyhay, ‘Framing Frontiers: The Suspended Step towards Visual Construction of Geopolitical Borders’, Sarai Reader 2007: Frontiers
- Ngwarsungu Chiwengo, ‘Memory, Ideology, and Exile: J. M Kibushi’s Mwana Mboka’, Reconstruction 8.2 (2008)
- Ann Cross, ‘Contemporary Cuban cinema’, The International Journal of Cuban Studies, Issue 1, June 2008
- Manthia Diawara, ‘Sub-Saharan African film production: Technological paternalism’, from Jump Cut, no. 32, April 1987, pp. 61-65
- Hyginus Ekwuazi, ‘Towards the Decolonization of the African Film’, Africa Media Review Vol. 5 No. 2.1991
- Thomas Elsaesser, “Hyper-, Retro-, or Counter-: European Cinema and Third Cinema Between Hollywood and Art Cinema,” J. King, A. Lopez, M. Alvarado (eds.), Mediating Two Worlds: The Americas and Europe 1492-1992 (London: BFI Publishing, 1992) 119-135
- Julio García Espinosa, ‘Long journey towards the light’, translated by Stephen Hart, The International Journal of Cuban Studies, Issue 1, June 2008 [in Nicola Miller and Stephen Hart (eds) When Was Latin America Modern? Palgrave Macmillan, 2007]
- Leonardo García-Pabón, ‘The Clandestine Nation: Indigenism and national subjects of Bolivia in the films of Jorge Sanjinés’, translated from the Spanish by Maura Furfey, from Jump Cut, no. 44, Fall 2001 (and 2 3 of this essay)
- Michel Gobat, ‘The Legacies of Revolutionary Filmmaking in Sandinista Nicaragua [review of Jonathan Buchsbaum, Cinema and the Sandinistas: Filmmaking in Revolutionary Nicaragua, Austin: University of Texas Press, 2003]’, A Contra corriente: A Journl on Social istory and Literature in LatinA America, Vol. 3, No. 2, Winter 2005 / Invierno 2005, pp. 156-166
- Trevor Griffey, ‘Internal Colonies, Third World Revolution, and the Culture of the Left in the 1960s and 1970s [Review of Cynthia Young. Soul Power: Culture, Radicalism, and the Making of a U.S. Third World Left. Durham, NC: Duke University Press, 2006]’, HNet ONline, May 2007
- Clifford Hilo, ‘Negotiating Global/Local Identities: Jia Zhang-ke’s The World’, Mediascape, Spring 2007
- David E James, ‘An Impossible Cinema? The Proletarian Avant-Garde in Los Angeles’, Filmint., Issue 2, Reprinted from Looking for Los Angeles: Architecture, Film, Photography, and the Urban Landscape, eds. Charles G. Salas and Michael S. Roth, Issues & Debates (Los Angeles: Getty Research Institute, 2001)
- Chuck Kleinhans and Manji Pendakur, ‘Learning together: Synthesizing economic and cultural analysis in the Marxist study of Third World film and video’, from Jump Cut, no. 33, Feb. 1988, pp. 82-90
- Samuel Lelièvre, ‘Review of Frank N. Ukadike. Questioning African cinema: questioning African filmmakers. Minneapolis, London: University of Minnesota Press, 2002’, Screening the Past, December 2004
- Julia Lesage, ‘The Other Francisco: Creating history’, from Jump Cut, no. 30, March 1985, pp. 53-58 and contd. here
- Laura U. Marks, ‘Loving a Disappearing Image’, Cinémas : revue d’études cinématographiques / Cinémas: Journal of Film Studies, vol. 8, n° 1-2, 1997, p. 93-
- Gabriela Martínez, ‘New Readings of Past and Recent Latin American Cinema’, A Contra corriente: A Journal on Social History and Literature in Latin America [Review of Lisa Shaw and Stephanie Dennison (Editors), Latin American Cinema: Essays on Modernity, Gender and National Identity. (Jefferson, NC and London: McFarland, 2005)], Vol. 4, No. 1, Fall 2006, 163-174
- Sophia A. McClennen, ‘The theory and practice of the Peruvian Grupo Chaski’, from Jump Cut, No. 50, spring 2008
- Zinaid Meeran, ‘Inch’Allah Dimanche vs. Lila dit Ca: Transnational Feminism Counters the Streamlining of Accented Cinema‘, Mediascape, Spring 2005
- Mariano Mestman, ‘From Algiers to Buenos Aires: The Third World Cinema Committee (1973-1974)’, New Cinemas Journal of Contemporary Film, Vol.1, Number 1, London, 2002; p.40-53
- Lúcia Nagib, ‘Reframing Utopia? Contemporary Brazilian Cinema at the turn of the century’, P: PORTUGUESE CULTURAL STUDIES 0 Winter 2006
- LaShonda Naté Long, ‘Evoking the Kuxa Kenema: Reconstructing History and Memory through Cinema Novo in Mozambican Cinema’, Powerlines, 2002
- James Neil, ‘Third Cinema and the World: Some Stations on the Journey’, Vertigo, Vol.3 No.9 – Spring / Summer 2008
- Onookome Okome, ‘Introducing the Special Issue on West African Cinema: Africa at the Movies’, Postcolonial Text, Vol 3, No 2 (2007)
- Joseph Palis, ‘Of Non-Places and No Man’s Lands’, aether: the journal of media geography, Vol. 1, November 2007
- Marcus Power,’Post-colonial cinema and the reconfiguration of Moçambicanidade’, Lusotoipie 2004 : 261-278
- Charles Ramirez Berg, ‘Strategies for Latino screenwriters: ¡Ya basta con the Hollywood paradigm!’, from Jump Cut, no. 38, June 1993, pp. 96-104
- Robert A. Rosenstone, ‘History in images/history in words: Reflections on the possibility of really putting history onto film’, Screening the Past, April 1999 [First published American historial review 93, no.5 (December 1988): 1173-1185]
- Raúl Rubio, ‘Political Aesthetics in Contemporary Cuban Filmmaking: Fernando Pérez’s Madagascar and La vida es silbar’, Ciberletras, Vol. 13, July 2005
- Michael Sicinski, ‘A Fragmented Epistemology: The Films of Abderrahmane Sissako’, Cinemascope, Issue 29
- Antonio Sison, ‘Perfumed Nightmare and Negative Experiences of Contrast: Third Cinema as Filmic Interpretation of Schillebeeck’, JOurnal of Religion and Film, Vol. 6 No. 1 April 2002
- Antonio D. Sison, ‘ 3rd World Hero: Rizal and Colonial Clerical Power Through the Lens of Philippine Third Cinema’, Senses of Cinema, no. 36, 2005
- Robert Stam, ‘Hybridity and the Aesthetics of Garbage: the Case of Brazilian Cinema’, E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)
- Helga Tawil, ‘Coming Into Being and Flowing Into Exile: History and Trends in Palestinian Film-Making’, Nebula 2.2, June 2005
- Paul Ugor, ‘Censorship and the Content of Nigerian Home Video Films’, Postcolonial Text, Vol 3, No 1 (2007)
- Ravi S. Vasudevan, ‘An Imperfect Public Cinema and citizenship in the ‘third world’, Sarai Reader 01: Public Domain, 2001
- Jerry White, ‘LOCATION, LOCATION: Fatherlands – On Mahamat-Saleh Haroun, Africa and an evolving political cinema’, Vertigo, Vol.3 No.5 – Spring 2007