Animation Wednesday: The Spectacular SpiderMan | Gentlemen, Behold!!

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More about → Animation Wednesday: The Spectacular SpiderMan | Gentlemen, Behold!!

New FILM-PHILOSOPHY!!

Frame grab from Double Indemnity (Billy Wilder, 1944). Read Ben Tyrer's article on film noir and this film in the latest issue of Film-Philosophy

Film-Philosophy 17.1 (2013): the second to last of the brilliant new film studies e journal issues out in December with which Film Studies For Free will present you in 2013. And the daddy of them all.

There will be two more FSFF posts to appear before the holidays, that is, if you can tear yourself away from reading the below articles and reviews.

Articles

• The Facts Before Our Eyes: Wittgenstein and the Film Noir Investigator Keith Dromm PDF
• 'How Can It Not Know What It Is?': Self and Other in Ridley Scott's Blade Runner  Andrew Norris PDF
• Ghost in the Shell 2, Technicity and the Subject  Daniel Hourigan PDF
• Throne of Blood and the Metaphysics of Tragedy  Henry Somers-Hall PDF
• 'That Man Behind the Curtain': Atheism and Belief in The Wizard of Oz  Justin Remes PDF
• Film Noir as Point de Capiton: Double Indemnity, Structure and Temporality Ben Tyrer PDF
• Shooting for Dead Time in Gus Van Sant's Elephant William Little  PDF
• Bad Memories: Haneke with Locke on Personal Identity and Post-Colonial Guilt Justine McGill PDF
• 'Misfortune's Image': The Cinematic Representation of Trauma in Robert Bresson's Mouchette (1967)  Mark Cresswell, Zulfia Karimova PDF
• The Ister: Cinema's Interruption Linda Daley PDF
• Otherness and the Renewal of Freedom in Jarmusch's Down by Law: A Levinasian and Arendtian Reading Mark Cauchi  PDF
• Mimesis Reconsidered: Adorno and Tarkovsky contra Habermas  Simon Mussell PDF
• Nietzsche and Bad Conscience on Mosquito Coast James Edward Gough, Sue Matheson PDF
• The Closure of the 'Gold Window': From 'Camera-Eye' to 'Brain-Screen' Morgan M Adamson  PDF
• A New/Old Ontology of Film Rafe McGregor  PDF
• Internal Needs, Endoxa and the Truth: An Aristotelian Approach to the Popular Screenplay Daniel McInerny PDF
• Extreme Makeover: Art and Morality in The Shape of Things Joseph H. Kupfer  PDF
• 'Even the Ghost was more than one person': Hauntology and Authenticity in Todd Haynes' I'm Not There Carolyn D'Cruz, Glenn D'Cruz PDF
• I'm Glad I'm Not Me: Subjective Dissolution, Schizoanalysis and Post-Structuralist Ethics in the Films of Todd Haynes  Helen Darby PDF
• Truth, Autobiography and Documentary: Perspectivism in Nietzsche and Herzog Katrina Mitcheson  PDF
• Left-over Spaces: The Cinema of the Dardenne Brothers  Benoit Dillet, Tara Puri PDF
• Homeopathic Repetition and Memories of Underdevelopment: The Dialectic of Subjective Experience and Objective Historical Forces  Trevor James Cunnington PDF
• Charcoal Matter with Memory: Images of Movement, Time and Duration in the animated films of William Kentridge  David H. Fleming PDF
• The Philosophical Act of Seeing With One's Own Eyes: The Silent Films of Stan Brakhage   James Michael Magrini PDF
• 'The Epidermis of Reality': Artaud, the Material Body and Dreyer's The Passion of Joan of Arc Ros Murray PDF

Book Reviews

• Hsiu-Chuang Deppman (2010) Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction and Film (Iris Chui Ping Kam) PDF
• Alain Badiou (2013) Cinema and Alex Ling (2010) Badiou and Cinema (David H. Fleming) PDF
• Timothy Corrigan, ed. (2012) Film and Literature: An Introduction and Reader. 2nd Edition (Shawn Loht) PDF
• Michael Charlesworth (2011) Derek Jarman (Justin Remes) PDF
• Sharon Lin Tay (2009) Women on the Edge: Twelve Political Film Practices (Sheryl Tuttle Ross) PDF
• Todd Berliner (2010) Hollywood Incoherent: Narration in Seventies Cinema (John Anthony Bleasdale) PDF
•  M. Keith Booker (2011) Historical Dictionary of American Cinema (Glen Melanson) PDF  
• Shawn C. Bean (2008) The First Hollywood: Florida and the Golden Age of Silent Filmmaking (Carrie Giunta) PDF
• Julian Petley (2011) Film and Video Censorship in Modern Britain (Zach Saltz) PDF
• Suzanne Buchan (2011) The Quay Brothers: Into a Metaphysical Playroom (Micki Nyman) PDF
• Khatereh Sheibani (2011) The Poetics of Iranian Cinema: Aesthetics and Modernity After the Revolution (Paul Elliott) PDF

More about → New FILM-PHILOSOPHY!!

Woo, To, Wong Kar-wai, Asian Horror, Anime and More: Twelve Open-Access Film Studies Books from Hong Kong University Press and OAPEN!!

A little interchange on Twitter, this morning, with the fabulous open access book library OAPEN has revealed to Film Studies For Free that TWELVE film studies books published by Hong Kong University Press in the last ten years have recently been made freely accessible via the OAPEN website! The keyword search link to access all OA HKUP books with a film connection is here. Below FSFF has listed links to the twelve e-tomes with the most substantial film studies content. When you arrive at the linked-to page for each item click on the PDF icon there to download the books.

All of these will now be added to FSFF's permanent listing of links to open access film and media studies e-books! Thank you to all the below authors, to Hong Kong University Press and, especially, to OAPEN!

• Horror to the Extreme: Changing Boundaries in Asian Cinema by Choi, Jinhee & Wada-Marciano, Mitsuyo (2009)
• Wong Kar-wai's Ashes of Time by Dissanayake, Wimal (2003)
• Wong Kar-wai's Happy Together by Tambling, Jeremy (2003)
• Chinese Ecocinema: In the Age of Environmental Challenge by Lu, Sheldon H. & Mi, Jiayan (2009)
• John Woo's A Better Tomorrow by Fang, Karen (2004)
• John Woo's The Killer by Hall, Kenneth E. (2009)
• Johnnie To Kei-Fung's PTU by Ingham, Michael (2009)
• Fruit Chan's Durian Durian by Gan, Wendy (2005)
• Fruit Chan's Made in Hong Kong by Cheung, Esther M.K. (2009)
• Frames of Anime: Culture and Image-Building by Hu, Tze-Yue G. (2010)
• Hong Kong Culture: Word and Image by Kam, Louie (2010)
• The Chinese Exotic: Modern Diasporic Femininity by Khoo, Olivia (2007)

More about → Woo, To, Wong Kar-wai, Asian Horror, Anime and More: Twelve Open-Access Film Studies Books from Hong Kong University Press and OAPEN!!

Comic Book INTENSITIES

Screenshot of the new issue header for INTENSITIES

Way back in the dim mists of online time (on January 23, 2013, to be precise), Film Studies For Free publicised its discovery of the new online incarnation of Intensities, the wonderful journal of cult media studies.

Not only are four existing issues of the journal freely available at its website, but a new issue has recently been published there, with lots of items of film studies related interest. The table of contents is pasted in below with links to these excellent items.

Of related interest: FSFF's entry on Studies of the Remediation of Films, Comics and Video Games.



INTENSITIES, Issue 5: Comic Book Intensities (Spring/Summer 2013) 

Articles

• Producing Transnational Cult Media- Neon Genesis Evangelion and Ghost in the Shell in Circulation – Brian Ruh
• Girls’ Fantasies, Freedom, and Brotherly Love- Incest Narratives in Shōjo Anime – Elizabeth Birmingham
• Depicting ordinary and nonstandard intimacies in public- Sex, romance and humour in women’s porn comics – Jackie Ruddock
• Architecture, Violence and Sensation- A Visitor’s Guide to Mega City One – Dan Smith
• The Joke’s On Him- Shamanism, Literary Magic, and the Textualization of Grant Morrison, Heath Ledger, and The Joker – Tim Bavlnka
• From Stories to Worlds- The Continuity of Marvel Superheroes from Comics to Film – David Sweeney
• Captain America, Watergate, and the Falcon- Rediscovering the American Dream? – Michael Ahmed

Intensive: Cult Media Review

• A Fatal Attraction- the fine line between eroticism and horror in Baba Yaga (Corrado Farina, 1973) – Adrian Smith
• Expressions of Fandom- Findings from a Psychological Survey of Cosplay and Costume Wear – Robin S. Rosenberg and Andrea M. Letamendi
• Karen Oughton interviews Fabrizio Federico, director of Black Biscuit (2011) – Karen Oughton

More about → Comic Book INTENSITIES

Cinemagogic Echoes? Len Lye's FREE RADICALS (1958) and Fernando Solanas and Octavio Getino's HOUR OF THE FURNACES (1968)

CINEMAGOGIC ECHOES? from Catherine Grant on Vimeo.

A real-time comparison, for scholarly purposes, of Len Lye's 1958 experimental animation FREE RADICALS and the opening minutes of Fernando Solanas and Octavio Getino's 1968 Grupo Cine Liberación activist film  LA HORA DE LOS HORNOS/HOUR OF THE FURNACES

[Len] Lye's Free Radicals (1958) […] is a black and white scratch animation short, cut to the insistent rhythmic accompaniment of an African drum solo.* It immediately calls to mind the unforgettable opening scenes of Octavio Getino and Fernando Solanas' Third Cinema classic La hora de los hornos/The Hour of the Furnaces (1968).** While equally exciting and radical, these strikingly similar films hint at the extent to which the world and the political landscape had changed in the decade between their respective release dates, and between then and now. We have no way of knowing if Getino and Solanas knew of Len Lye's film. We know, however, that films exchange ideas, talking to one another across time, and that the conversation between radical aesthetics and radical politics is ongoing, with both daring to 'make it new' and set the world on its feet, by turning it upside down. [Jerry Whyte, 'Free Radicals', CineOutsider.com, December 11, 2011. Online at: http://www.cineoutsider.com/articles/stories/f/free_radicals_1.html]

A demonstration and a lesson, The Hour of the Furnaces imports into cinema the affirmative aesthetics of the written political treatise. A collective ideal informs the whole film. It anticipates a liberated time. It’s not the product of a single voice but of a chorus of poems (Marti, Césaire), manifestos (Fanon, Guevara, Castro, Juan José Hernández Arregui) and films (by Fernando Birri, Joris Ivens, Nemesio Juárez). It conjoins the powers of didacticism, poetry and agogy (the agogic qualities of a work concern its rhythmic, sensible, physical properties – a notion suggested by the French aesthetician Etienne Souriau). Stylistically, the film uses all possible audiovisual techniques, from flicker to contemplative sequence shots (for instance, the final three-minute shot that reproduces a picture of the dead Che Guevara’s face with his eyes wide open), from collage to direct cinema, from blank screen to animated effects, from the rigours of the blackboard to the hallucinogenic properties of the fish-eye, from classical music to anglophone pop hits. Cinema is an arsenal and here all its weapons are unsheathed. [Nicole Brenez, 'Light my fire: The Hour of the Furnaces', Sight and Sound Magazine, 8 March 2012. Online at: http://www.bfi.org.uk/news/light-my-fire-hour-furnaceshttp://www.bfi.org.uk/news/light-my-fire-hour-furnaces]

'Agogics' is a musical term that designates the use of agogic accents, that is accents consisting in a lengthening of the time-value of the note. The philosopher Étienne Souriau extended the use of the term to include all the arts existing in time. He defined 'agogics' as \what characterizes an artwork that takes place in time, through movement, and specifically through the creation of a fast or slow pace, or the use of different rhythms.' For musicians, the notion is related to gesture, to physical movements, to a bodily interaction with their instrument, to a sense of speed, an energy, a precise handling of a piece. [Christian Jacquemin et al, 'Emergence of New Institutions for Art-Science Collaboration...' [date unknown], Online at: seadnetwork.files.wordpress.com/2012/11/jacquemin_final1.pdf. Hyperlinks added by FSFF] 

Souriau developed his idea of the agogic as an explicit reaction to the ‘rather banal description [of] arts of space in contrast to the phonetic and cinematic arts’. [Of] interest is Popper’s use of the term to describe the quality of temporal pattern that he identifies in a range of works. At one extreme [..].] is the velocity and dramatic choreography of a Len Lye installation. The term agogic conflates speed, acceleration and duration and would appear to be a significant aspect of kinetic form. [Jules Moloney, Designing Kinetics for Architectural Facades: State Change (New York: Taylor and Francis, 2011), p. 64.]

Film Studies For Free's author has been a tad busy elsewhere lately - and there will be lots to catch up with at this blog in due course.

But today FSFF is thrilled to present its (by distance) contribution to a teach-in which took place earlier today. This video was produced in a few hours this morning, using readily available materials for quotation (see above and below), in solidarity with a campus occupation that you can choose to read more about here.

Staff and students of media and cultural studies, working in a deeply personal, activist capacity, gave short presentations on their research and thinking about ideas of resistance, occupation and neoliberalism in the context of the university and beyond, in order to consider how research in their fields might offer new and diverse perspectives on activism and resistance.

FSFF has always liked its politics, like its film studies, to have rhythm and timing, so its research project today foregrounds those elements. You can find its author's scholarly discussion of this kind of "real-time" videographic comparison here: 'Déjà-Viewing? Videographic Experiments in Intertextual Film Studies', MEDIASCAPE: Journal of Cinema and Media, Winter 2013.

FSFF has devoted a number of previous entries to online and openly accessible resources on Third Cinema and revolutionary aesthetics in the past. See especially this bumper post and this more recent one. 

And you can find the two films quoted from above, in low-res online video versions, as per the details and links below.

• Free Radicals by Len Lye (1958). Online at: http://video.frieze.com/film/len-lye-free-radicals/
• La hora de los hornos/Hour of the Furnaces by Fernando Solanas and Octavio Getino (1968). Online at: youtu.be/jQOXKoMHOE0

More about → Cinemagogic Echoes? Len Lye's FREE RADICALS (1958) and Fernando Solanas and Octavio Getino's HOUR OF THE FURNACES (1968)

Two new eBooks: On Stillness and Motion Film, and on Contemporary Indonesian Film

Screenshot of a freeze frame from the opening credit sequence of Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979)

Even before the credits, the opening of the film brings us the scene of a newly married couple and a registry official leaving a German registry office during an air raid. We watch as the excited couple throw themselves to the ground, imploring the official to sign the marriage certificate right there. A sheet of paper floats upward, borne on the gust of wind caused by exploding bombs, and then, in the middle of the visual field, there is a sudden standstill in the form of a freeze-frame, while the soundtrack continues to herald the horror of the approaching artillery. This is followed by the film title in red letters that fill the entire visual field, word after word, as if it were a page in a book. At the end, Fassbinder’s name appears alone on a white backdrop.
    With this standstill, the floating sheet of paper is simultaneously captured and displaced by the film. Due to the non-sync between image and sound, of visual interruption and auditive flow, we are confronted from the very start with two various temporal modi: the time of the film narrative (the postwar years) and the time of the making of the film (the 1970s). At issue here is Fassbinder’s time-place: when the author tells stories and histories, they are always primarily in the present tense. [Christa Blümlinger, writing on the sequence in which the above freeze frame appears, in 'The Figure of Visual Standstill in R.W. Fassbinder’s Films', in Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011)

There's nothing Film Studies For Free likes more than a good open access ebook. So you can imagine how delighted it is to bring its readers news of not one but two such English language, digital artifacts, from different Dutch publishers to boot!

• Katinka van Heeren, Contemporary Indonesian Film; Spirits of Reform and ghosts from the past (Leiden: KITLV Press, 2012)
• Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011) 

The contents are listed below, and both books have been added to FSFF's permanent, and continuously updated listing of more than 100 free ebooks in film and moving image studies.

Dank u wel, the Netherlands (and the below authors, editors and publishers!): FSFF salutes you for your pioneering, open access ebook achievements!

Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011)

Contents

The Still/Moving Field: An Introduction - Eivind Røssaak

Philosophies of Motion
The Play between Still and Moving Images: Nineteenth-Century “Philosophical Toys” and Their Discourse - Tom Gunning

Digital Technics Beyond the “Last Machine”: Thinking Digital
Media with Hollis Frampton - Mark B.N. Hansen

The Use of Freeze and Slide Motion
The Figure of Visual Standstill in R.W. Fassbinder’s Films - Christa Blümlinger
The Temporalities of the Narrative Slide Motion Film - Liv Hausken

The Cinematic Turn in the Arts
Stop/Motion - Thomas Elsaesser
After “Photography’s Expanded Field” - George Baker
On On Otto: Moving Images and the New Collectivity - Ina Blom

The Algorithmic Turn
Mutable Temporality In and Beyond the Music Video:
An Aesthetic of Post-Production - Arild Fetveit
Algorithmic Culture: Beyond the Photo/Film Divide  - Eivind Røssaak

Archives in Between
“The Archives of the Planet” and Montage: The Movement of the Crowd and “the Rhythm of Life” - Trond Lundemo

Katinka van Heeren, Contemporary Indonesian Film; Spirits of Reform and ghosts from the past (Leiden: KITLV Press, 2012)

Contents
Preface
Introduction
part 1 film mediation practices
1 new order and surface

Production: The attempt to produce Provokator the New Order way 26 Distribution and exhibition: Trade and charade in cinemas and film formats
Exhibition and consumption: Film festivals as forums for national imaginations and representations
Conclusion

2 reformasi and underground

Reformation in film production: Kuldesak and film independen
Distribution and exhibition of new media formats: ‘Local’ Beth versus ‘transnational’ Jelangkung
Alternative sites of film consumption: Additional identifications and modes of resistance Conclusion

part 2 discourse practices
3 histories, heroes, and monumental frameworks

Film history: New Order patronage of film perjuangan and film pembangunan
Film and historiography: Promotion and representations of New Order history
‘Film in the framework of’: G30S/PKI and Hapsak
Conclusion

More about → Two new eBooks: On Stillness and Motion Film, and on Contemporary Indonesian Film

Four Issues of INTENSITIES: The Journal of Cult Media and a Call for Papers

Screencap from the credit sequence of Games (Curtis Harrington, 1967). Read Steven Jay Schneider's 2003 article for Intensities in which he discusses this and other cult psychological thrillers and horror films.

Film Studies For Free just bumped into the new online incarnation of Intensities, the wonderful journal of cult media studies. Oh yes!

Always a highly innovative and valuable project, Intensities was first launched at Cardiff University in 2001 under the editorship of Matt Hills and Sara Gwenllian Jones. As its new website tells us, it later moved to Brunel University, where it was edited by David Lavery. The journal has relaunched in 2013 with Leon Hunt as its new editor and will publish two issues a year. The journal addresses all aspects of cult media including cult television, cult film, cult radio, cult comics, literary cults and cult authors, new media cults, cult figures and celebrities, cult icons, musical cults, cult geographies, historical studies of media cults and their fandoms, cult genres (e.g. science fiction, horror, fantasy, pulp fiction, Manga, anime, Hong Kong film etc.), non-generic modes of cultishness, theorisations of cult media, relevant audience and readership studies, and work that addresses the cult media industry.

In addition to publishing refereed essays (of between 6000 and 8000 words), Intensities also features a non-refereed Cult Media Review section which will carry shorter speculative reviews, reviews of cult phenomena (e.g. cult TV series, cult films, cult novels, science fiction, comics), short critical essays, interview transcripts, conference and convention reviews and articles about aspects of industry, fan culture, production and authorship.

Intensities' latest calls for papers are reproduced below, as are the tables of (linked) contents from the excellent first four issues of this journal. Let's all wish Intensities a very happy and long online life at its new website. Its entry has been updated at FSFF's permanent listing of open access film and media studies journals.

Call for Papers
Intensities will publish two themed issues in 2013.  Essays should be between 6000 and 8000 words, referenced Harvard style and sent as a word document – a 200 word abstract should be sent as a separate document.
Issue 5 Comic Book Intensities – Comics and Cult Media
The first new issue seeks submissions dealing with comics as cult media.  Topics might include:

• Cult comic book auteurs – Grant Morrison, Alan Moore, Mark Millar, Joss Whedon.
• Cult films from comics – Cinefumetti, Manga and Anime, the Turkish KIlink films, Dredd 3D.
• National and international comic book cultures – French bandes dessinees, Italian fumetti, Japanese Manga.
• Comic book fan cultures – Cosplay and beyond.
• Underground and alternative traditions.
• Beyond the cape and mask – neglected comic book genres.
• From EC to Dark Horse – Horror comics.

Deadline extended to Friday March 1^st 2013

Issue 6 Historical Approaches to Cult TV
This issue seeks submissions examining TV shows that have acquired cult status at a historical distance – both established cult shows (The Avengers, The Prisoner, the ‘classic’ series of Doctor Who) and those that have received less (or possibly even no) critical attention.  In addition, the papers will locate those shows historically, either by drawing on archive materials or suggesting new cultural, historical or institutional contexts in which they might be understood. Deadline for submissions: May 31^st 2013

Intensities: The Journal of Cult Media 4 – Mysterious Bodies (2007)

Special Issue – Mysterious Bodies
Guest Editors: Rayna Denison and Mark Jancovich

• Rayna Denison and Mark Jancovich, ‘Introduction’ Jancovich_Intro
• Mark Jancovich, ‘An Unidentified Species: Horror, the Body and Early Television’ Jancovich, Unidentified Species
• Lincoln Geraghty, ‘Painted Men and Salt Monsters: The Alien Body in 50s and 60s American Science Fiction Television’ Geraghty, Painted Men and Salt Monsters
• Milly Williamson, ‘Television, Vampires and the Body: Somatic Pathos’ Williamson, Television, Vampires and the Body
• Matt Hills, ‘”Gothic” Body Parts in a “Postmodern” Body of Work? The Hinchcliffe/Holmes Era of Doctor Who (1975-77)’ Hills, Gothic Body Parts in Postmodern Body of Work
• Rayna Denison, ‘The Muppet Show: Sex and Violence: Investigating the Complexity of the Television Body’ Denison, The Muppet Show Sex and Violence
• Rebecca Feasey, ‘Investigating Angel: The Hair, the Car and the Wardrobe’ Feasey, Investigating Angel
• Peter Hutchings, ‘Welcome to Royston Vasey: Grotesque Bodies and the Horror of Comedy in The League of Gentlemen‘ Hutchings, Welcome to Royston Vasey
• Elke Weissman, ‘The Victim’s Suffering Translated: CSI: Crime Scene Investigation and the Crime Genre’ Weissmann, Victim’s Suffering Translated
• Julian Savage, ‘The Lost Cult of Wake in Fright‘ Savage, Lost Cult of Wake in Fright

Intensities: The Journal of Cult Media 3 – Horror Issue (Spring 2003)

Edited by Matt Hills and Sara Gwenllian Jones

• Steven Jay Schneider, ‘Murder as Art/The Art of Murder: Aestheticising Violence in Modern Cinematic Horror’ Schneider, Murder as Art
• I.Q. Hunter, ‘Even Baser Instincts: Notes on Hollow Man‘ Hunter, Even Baser Instincts
• Stephen Harper, ‘”They’re Us”: Representations of Women in George Romero’s ‘Living Dead’ Series’ Harper, They’re Us
• Kate Egan, ‘The Amateur Historian and the Electronic Archive: Identity, Power, and the Function of Lists, Facts and Memories on “Video Nasty”-themed Websites’ Egan, The Amateur Historian and the Electronic Archive
• Linda C. Badley, ‘Spiritual Warfare: Postfeminism and the Cultural Politics of the Blair Witch Craze’ Badley, Spiritual Warfare

Intensities: The Journal of Cult Media 2 (Autum/Winter 2001)

Edited by Matt Hills and Sara Gwenllian Jones

• Marie-Laure Ryan, ‘From The Truman Show to Survivor: Narrative versus Reality in Fake and Real Reality TV’ Ryan, From The Truman Show to Survivor
• William D. Routt, ‘Bad for Good’ Routt, Bad for Good
• Mark Jancovich, ‘Placing Sex: Sexuality, Taste and Middlebrow Culture in the Reception of Playboy Magazine’ Jancovich, Placing Sex
• Bertha Chin and Jonathan Gray, ‘”One Ring to Rule Them All”: Pre-Viewers and Pre-Texts of the Lord of the Rings Films’ Chin and Gray, One Ring to Rule Them All
• Will Brooker, ‘The Many Lives of the Jetman: A Case Study in Videogame Analysis’ Brooker, Many Lives of the Jetman
• Intensities interviews Henry Jenkins @Console-ing Passions, University of Bristol, July 7th 2001 Intensities interviews Jenkins
• Ben Talbot, Conference Review: Compete, Command and Conquer – Playing for Space at the International Games Cultures Conference Talbot, Compete, Command and Conquer

Intensities 1 (Spring/Summer 2001)

Edited by Matt Hills and Sara Gwenllian Jones

• Lynette Russell and Nathan Wolski, ‘Beyond the Final Frontier: Star Trek, the Borg and the Post-colonial’ Russell_Wolski
• Mark McLelland, ‘Why Are Japanese Girls’ Comics Full of Boys Bonking?’ McLelland
• Alan McKee, ‘Which is the Best Doctor Who story? A Case Study in Value Judgements Outside the Academy’ McKee
• Patricia MacCormack, ‘Becoming Hu-Man: Deleuze and Guattari, Gender and Third Rock from the Sun‘ MacCormack
• Annette Hill and Ian Calcutt, ‘Vampire Hunters: the Scheduling and Reception of Buffy the Vampire Slayer and Angel in the UK’ Hill_Calcutt
• Will Brooker, ‘Parallel Earths: Diana 2000 – a Review Essay’ Brooker_Earths

More about → Four Issues of INTENSITIES: The Journal of Cult Media and a Call for Papers

New SCREENING THE PAST on 'Untimely Cinema'

Framegrab from Histoire(s) du cinéma (Jean-Luc Godard, 1998). Please read Adrian Martin's new essay A Skeleton Key to Histoire(s) du cinéma

The question of whether cinema has run out of time, and the related question of whether it is also, therefore, out of ‘its’ time (cinema as ‘heritage’ media, a relic from another era) are questions that are often posed by, and to, those working in cinema studies today. For well over a decade, film theorists and film historians have evocatively, rigorously and at times relentlessly theorised and debated the question of whether cinema is dead, dying, living on borrowed time, or doing what it has so often done – refigure itself. In titling this essay, and this issue, “Untimely Cinema: Cinema Out of Time” we consider this idea in two seemingly very different ways. [Jodi Brooks and Therese Davis, 'Untimely Cinema: Cinema Out of Time', Screening the Past, ISsue 43, 2012 ]

A really wonderful new issue of Screening the Past, one of the best online and openly accessible film studies journals, has just been published, so Film Studies For Free rushes you the news. It's a timely special issue on Untimely Cinema guest edited by Jodi Brooks and Therese Davis.

The contents are incredibly rich and wide-ranging and are listed, and linked to, below.


Untimely Cinema: Cinema Out of Time

• Untimely Cinema: Cinema Out of Time by Jodi Brooks & Therese Davis
• Syrian Cinema: Out of Time? by Kay Dickinson
• The Restoration of The Exiles: The Untimeliness of Archival Cinema by Catherine Russell
• A Skeleton Key to Histoire(s) du cinéma by Adrian Martin
• Suspended Reading: Man on Wire, 9/11, and the Logic of the High-Wire by Adam Ross Rosenthal
• Kim Ki-duk’s Aporia: The Face and Hospitality (on 3-Iron) by Steve Choe
• Re-staging the Cinema: Psycho, Film Spectatorship and the Redundant New Remake by Megan Carrigy
• Parentheses in Time: L’Année Dernière à Marienbad (1961) as Amorous Event by Alex Ling
• Missed Beats: Unseen Cinema and a Cinema of the Unseen (or Stella Dallas, Again) by Jodi Brooks
• Cinema Against the Age: Feminism and Contemporary Documentary by Belinda Smaill
• Untimely Animations: Waltz with Bashir and the Incorporation of Historical Difference by Paul Atkinson and Simon Cooper

First Release

• Ten Fingers and Nine Toes: Embodied Representations of Pregnancy in Avant-Garde Cinema by Lauren Bliss
• Mapping the Cinematic Journey of Alexander Pearce, Cannibal Convict by Jane Stadler
• I racconti di Canterbury (Pier Paolo Pasolini)/The Canterbury Tales (Geoffrey Chaucer) by Sam Rohdie
• The Great Uncredited: Sir Walter Scott and Cinema by Tim Dolin
• The Jazz Singer: Accounting for Female Agency and Reconsidering Scholarship by Karen Vered
• Encountering Elusive Cinema: Tati, Straub-Huillet and Antonioni by Edgar Jorge

Classics and Re-runs

• Directing the Avant-Garde: Raymond Durgnat interviews Stephen Dwoskin (1984) by Raymond Durgnat

Reviews

• Ford At Fox by Bill Routt
• To Wax Zizekian: On Un-American Psycho: Brian De Palma and the Political Invisible by Adrian Martin
• Humphrey Jennings and British Documentary Film: A Re-Assessment by Patricia Aufderheide
• The Shadowcatchers: a history of cinematography in Australia by Ina Bertrand
• Post – 9/11 Cinema: Through a Lens Darkly by Rod Bishop
• Optic Antics: The Cinema of Ken Jacobs by Dirk de Bruyn
• Deleuze and World Cinemas by Daniel Fairfax
• Celluloid Immigrant: Italian Australian Filmmaker Giorgio Mangiamele by Geoff Gardner
• Deleuze and Cinema: The Film Concepts
• by Gabrielle Lowe
• World Film Locations: Paris by Sarinah Masukor
• The Oriental Obscene: Violence and Racial Fantasies in the Vietnam Era by Josh Nelson
• China on Video: Smaller-screen realities by Tom Salek
• Terrence Malick and the Thought of Film
• by Robert Sinnerbrink
• World Film Locations: Los Angeles & World Film Locations: London by Lynn Smailes
• Virtual Hallyu: Korean Cinema of the Global Era by Mike Walsh
• The Anatomy of Harpo Marx by Wheeler Winston Dixon
  

More about → New SCREENING THE PAST on 'Untimely Cinema'

ALPHAVILLE Issue 3: Sound, Voice and Music

Framegrab from Coming Home (Hal Ashby, 1978)

In his discussion of the work of Hal Ashby ['When is the Now in the Here and There?'], Aaron Hunter contributes to the emerging body of scholarship on the technique of “trans-diegesis”. Taking Ashby’s Coming Home (1978) as a case study, Hunter shows how Ashby’s use of trans-diegetic music—music that crosses narrative layers—forms part of a consistently playful approach to cinematic form and functions on several levels: as a tool that allows for a merger between moments in time, as a device to create a transition between incongruent events within the diegesis, or as mechanism to create a temporal confluence between apparently sequential events. [Alphaville, 3, 2012 Editorial by Danijela Kulezic-Wilson, Christopher Morris and Jessica Shine]

 
Once again, Film Studies For Free salutes the online journal Alphaville. Its latest issue, just out, treats the important topic of sound, voice and music in film and television and boasts some excellent contributions.

FSFF enjoyed them all, but particularly liked Michael Dwyer's The Same Old Songs in Reagan-Era Teen Film and Michael Charlton's Performing Gender in the Studio and Postmodern Musical, along with the discussion of Hal Ashby's film by Aaron Hunter. There are also some great book reviews and rewarding conference reports, too, perhaps most notably James MacDowell's detailed discussion of  The End Of…? An Interdisciplinary Conference on the Study of Motion Pictures.

All the contents are linked to below.


Alphaville, Issue 3, Summer 2012
Sound, Voice, Music Edited by Danijela Kulezic-Wilson, Christopher Morris and Jessica Shine

Editorial by Danijela Kulezic-Wilson, Christopher Morris and Jessica Shine

• The Same Old Songs in Reagan-Era Teen Film by Michael D. Dwyer, Arcadia University
• Performing Gender in the Studio and Postmodern Musical by Michael Charlton, Missouri Western State University
• When is the Now in the Here and There? Trans-diegetic Music in Hal Ashby’s Coming Home by Aaron Hunter, Queen’s University Belfast
• Beneath Sci-fi Sound: Primer, Science Fiction Sound Design, and American Independent Cinema by Nessa Johnston, University of Glasgow
• Cultural Innovation and Narrative Synergy in R. Kelly’s Trapped in the Closet by Ioana Literat, Annenberg School for Communication, University of Southern California
• Emotion Capture: Vocal Performances by Children in the Computer-animated Film by Christopher Holliday, King’s College London

Book Reviews Edited by Jill Murphy

• Media and Memory, by Joanne Garde-Hansen (2011) Reviewer: Elena Caoduro, University of Southampton
• Film Festivals: Culture, People, and Power on the Global Screen, by Cindy Hing-Yuk Wong (2011) Reviewer: Fiona Lee, City University of New York – The Graduate Center
• Music Video and the Politics of Representation, by Diane Railton and Paul Watson (2011) Reviewer: Antonio Sanna, Università degli Studi di Cagliari (Italy)
• Sound and Music in Film and Visual Media: An Overview, by Graeme Harper, Ruth Doughty and Jochen Eisentraut (eds.) (2009) Reviewer: Penny Spirou, Macquarie University (Sydney, Australia)
• Seeing Through Music: Gender and Modernism in Classic Hollywood Film Scores, by Peter Franklin (2011) Reviewer: K. A. Wisniewski, University of Maryland, Baltimore County (USA)
• Siren City: Sound and Source Music in Classic American Noir, by Robert Miklitsch (2011) Reviewer: James A. Wren, San José State University

Reports Edited by Ian Murphy

• Dysfunctionalities. Annual Conference of the German Society for Media Science (GfM) Postdam, Germany, 5-8 October 2011 Reporter: Patricia Prieto Blanco, Huston School of Film and Digital Media, National University of Ireland, Galway
• The Impact of Technological Innovations on the Historiography and Theory of Cinema Montreal, Canada, 1-6 November 2011 Reporter: Daniel Fitzpatrick, DAH, National University of Ireland, Galway
• The End Of…? An Interdisciplinary Conference on the Study of Motion Pictures University of Kent, Canterbury, 21-22 January 2012 Reporter: James MacDowell, University of Warwick

More about → ALPHAVILLE Issue 3: Sound, Voice and Music

Reassessing Anime: Japanese cinema and animation

Anime is a visual enigma. Its otherworldly allure and burgeoning popularity across the globe highlights its unique ability to be more than just another type of animation. Originally a novelty export from post-war Japan, anime has now become a subtle yet important part of Western popular culture. Furthermore, it remains a key area of audience and fan research that crosses all generations – children, teenagers, and adults. From Osamu Tezuka to Hayao Miyazaki, Akira (Katsuhiro Ôtomo, 1988) to Ghost in the Shell (Mamoru Oshii, 1995), anime’s extraordinary characters and oneiric content still enable it to be regarded as one of the most awe-inspiring visual spectacles going into and during the twenty-first century.
    Keenly aware of anime’s rich history, cultural and global context, and increasing presence and influence on Western art, literature and film, the theme of this issue of Cinephile is ‘Reassessing Anime.’ The six articles included herein aim to address and tackle some of the overlooked aspects of anime. Such a reassessment by each author hopes to encourage future academic scholarship into the evolution and value of anime and, moreover, its impact not only on film but also on TV, comic books, video games, music videos, and corporate marketing strategies. [Jonathan A. Cannon, Editor's Note, Cinephile, 'Reassessing Anime', 7.1, 2011. FSFF's hyperlinks]

Film Studies For Free is delighted to announce that the Spring 2011 issue of Cinephile, the excellent film journal edited out of the University of British Columbia, Canada, has just been made available for download for free as a single PDF file.

As signalled above, this issue is dedicated to "Reassessing Anime" and it features great, original articles by internationally renowned animation scholars Paul Wells and Philip Brophy, as well as illustrations by Vancouver-based artist Chloe Chan.

The issue's table of contents is given below, and below that, FSFF has also provided a handy, clickable index of its own popular posts on anime and Japanese cinema.

The latest issue of Cinephile, available for purchase now, is on Contemporary Realism. It features original articles by Ivone Margulies and Richard Rushton. There is also a call for papers on "The Voice Over".

• 'Playing the Kon Trick: Between Dates, Dimensions and Daring in the films of Satoshi Kon' by Paul Wells
• 'The Sound of an Android’s Soul: Music, Muzak and MIDI in Time of Eve' by Philip Brophy
• 'Beyond Maids and Meganekko: Examining the Moe Phenomenon' by Michael R. Bowman
• 'Reviewing the ‘Japaneseness’ of Japanese Animation: Genre Theory and Fan Spectatorship' by Jane Leong
• 'The Higurashi Code: Algorithm and Adaptation in the Otaku Industry and Beyond' by John Wheeler
• 'Mamoru Oshii’s Ghost in the Shell 2: Innocence: Thinking Before the Act' by Frédéric Clément 

Film Studies For Free on Anime and Japanese Cinema

• On Japanese Cinema July 27, 2010
• Dreaming Movies: RIP Satoshi Kon (1963-2010) August 25, 2010
• 'Imaginary and Fantastic': Hayao Miyazaki Studies November 25, 2009
• Animation Studies: Three Fabulous Online Resources November 14, 2011
• Mickey Mouse and Animation Links November 18, 2008 
• War, Conflict and Commemoration in the Age of Digital Reproduction December 6, 2010

More about → Reassessing Anime: Japanese cinema and animation

Animation Studies: Three Fabulous Online Resources

Updated with a call for papers on November 15

Lignes verticales/Lines Vertical (Norman McLaren and Evelyn Lambart, 1960). Read Aimee Mollaghan's article on McLaren's Line Films here.

Pervasive Animation - Video of conference sessions.

The conference was held at the Tate Modern, London in 2007.

Animation has an unlimited potential to visually represent events, scenarios and forms that have little or no relation to our experience of the 'real' world. Implemented in many ways, in many disciplines, it is increasingly influencing our perception and experience of the world we live in. This timely and groundbreaking international conference unites speakers from a wide range of research agendas and creative practices. It facilitates much-needed dialogue centred on the ubiquitous and interdisciplinary nature of animation, its potentially radical future development, and its ethical responsibilities for spatial politics in moving image culture. The conference's contributors include Norman Klein, Michael Snow, Vivian Sobchack, Tom Gunning, Anthony McCall, George Griffin, Suzanne Buchan, Beatriz Colomina, Edwin Carels, Siegfried Zielinski, Lisa Cartwright, Johnny Hardstaff and Esther Leslie. Especially since the digital shift, the uses of animation are no longer exclusive to cinema, and animation's origins in pre-cinematic optical experiments through avant-garde experimental film continue to evolve in fascinating ways. Artists increasingly incorporate animation in installations and exhibitions, architects use computer animation software to create narratives of space in time, and scientists use it to interpret abstract concepts for a breadth of industries ranging from biomedicine to nanoworlds. Pervasive Animation provides a dynamic international forum to explore animation's myriad forms and applications across a wide band of creative and professional practice. Organised by Suzanne Buchan, Reader in Animation Studies and Director of the Animation Research Centre at the University College for the Creative Arts, and Stuart Comer, Curator of Film at Tate.

Film Studies For Free animatedly highlights three fabulous Animation Studies resources today. First up, through the second of the two videos embedded above, you can access the entire, recorded proceedings of a very high quality conference on animation held in 2007 at London's Tate Modern.

FSFF heard about those videos through the fantastic Experimental Animation website which houses, and links to, many more animation treasures, like Lignes verticales/Lines Vertical,  Norman McLaren and Evelyn Lambart's brilliant 1960 opus embedded at the top of this post.

Finally, the third amazing resource du jour are the below contents of the volumes of Animation Studies, the online, Open Access and peer-reviewed Journal of the Society for Animation Studies (also on Twitter as @anistudies). See also the Society's Call for Papers for an upcoming conference at the foot of this post.

"Th-th-th-that's all folks!"

Animation Studies - the Journal of the Society for Animation Studies

• Volume 6, 2011
  • Shannon Brownlee – Masculinity Between Animation and Live Action, or, SpongeBob v. Hasselhoff
  • Maria O’Brien – The Secret of Kells (2009), a film for a post Celtic Tiger Ireland?
  • Aimee Mollaghan – "An Experiment in Pure Design:" The Minimalist Aesthetic in the Line Films of Norman McLaren
  • Hannes Rall – Tradigital Mythmaking: New Asian Design Ideas for Animation
  • Colleen Montgomery – Woody's Roundup and Wall-E's Wunderkammer: Technophilia and Nostalgia in Pixar Animation
  • Pierre Floquet – Actors in Sin City’s Animated Fantasy: Avatars, Aliens, or Cinematic Dead-ends?

• Volume 5, 2010
  • Van Norris – Touching cloth...Considering Satire and the Clergy in Popular Contemporary British Animation
  • Alison Loader – We're Asian, More Expected of Us:Representation, The Model Minority & Whiteness on King of the Hill
  • Meg Rickards – Uncanny breaches, flimsy borders: Jan Švankmajer’s conscious and unconscious worlds
  • María Lorenzo Hernández – Through the Looking-Glass: The Self-Portrait of the Artist and the Re-Start of Animation
  • Michael S. Daubs – Subversive or Submissive? User-Produced Flash Cartoons and Television Animation

• Volume 4, 2009
  • Adam de Beer – Kinesic constructions: An aesthetic analysis of movement and performance in 3D animation
  • Sheuo Hui Gan – To Be or Not to Be – Anime: The Controversy in Japan over the “Anime” Label
  • Max Bannah – Revolutionary cels: The Sydney waterfront, Harry Reade and Cuban animation
  • Paul St. George – Using chronophotography to replace Persistence of Vision as a theory for explaining how animation and cinema produce the illusion of continuous motion
  • Alan Cholodenko – Animation (Theory) as the Poematic

• Volume 3, 2008
  • Van Norris – Taking an Appropriate Line
  • Laura Ivins-Hulley – The Ontology of Performance in Stop Animation
  • Alan Cholodenko – The Spectre in the Screen
  • Timo Linsenmaier – Why animation historiography?
  • María Lorenzo Hernández – Visions of a Future Past: Ulysses 31, a Televised Re-interpretation of Homer’s Classic Myth
  • Birgitta Hosea – TV 2.0: Animation Readership/Authorship on the Internet
  • Lynne Perras – "Steadier, happier, and quicker at the work"? Women in Canadian Animation
  • Sheuo Hui Gan – The Newly Developed Form of Ganime and its Relation to Selective Animation¹ for Adults in Japan
  • Amy Ratelle – Half-breed Dog, Half-breed Film: Balto as Animelodrama

• Animated Dialogues, 2007
  • Amanda Third and Dirk de Bruyn – An Animated Dialogue
  • Paul Wells – Battlefields for the Undead
  • Adrian Martin – In the Sand a Line is Drawn: A Reflection on Animation Studies
  • Alan Cholodenko – (The) Death (of) the Animator, or: the Felicity of Felix, Part I
  • Dirk de Bruyn – Performing a Traumatic Effect: The Films of Robert Breer
  • Michael Broderick – Superflat Eschatology: Renewal and Religion in anime
  • Katharine Buljan – The Uncanny and the Robot in the Astro Boy Episode “Franken”
  • Matthew Butler and Lucie Joschko – Final Fantasy or The Incredibles
  • Cordelia Brown – Flowerpot Men: The Haptic Image in Brian Cosgrove and Richard Hall’s Animations
  • Andrew Buchanan – Facial Expressions for Empathic Communication of Emotion in Animated Characters
  • Peter Moyes – Behind the Flash Exterior: Scratching the Surface of Online Animated Narratives
  • Cathryn Vasseleu – The Svankmajer Touch
  • Miriam Harris – How Michaela Pavlatova both incorporates and rebels against the Czech animation tradition
  • Zhi-Ming Su – Reaching Out to Touch: Animation and Aboriginal Children in Taiwan
  • Dan and Lienors Torre – Recording Australian Animation History

• Volume 2, 2007
  • Gunnar Strøm – The Two Golden Ages of Animated Music Video
  • Pamela Turner – Early Connections Between Film and Emerging Media as Evidenced in the Animated Worlds of Adam Beckett
  • Maria Lorenzo Hernandez – The Double Sense of Animated Images. A View on the Paradoxes of Animation as a Visual Language
  • Leslie Bishko – The Uses and Abuses of Cartoon Style in Animation
  • Caroline Ruddell – Breaking Boundaries: The Representation of Split Identity in Anime
  • Alan Cholodenko – (The) Death (of) the Animator, or: The Felicity of Felix, Part II
  • Tom Klein – Animated Appeal: A Survey of Production Methods in Children’s Software

• Volume 1, 2006
  • Pierre Floquet – What is (not) so French in Les Triplettes de Belleville
  • Marina Estela Graça – Cinematic Motion by Hand
   

Call for Papers:
‘The Animation Machine’ - The 24th Society for Animation Studies Conference

Date: June 25-27, 2012

Hosted by: RMIT University
Location: Melbourne, Victoria, Australia

Keynote speakers include:

•         Thomas Lamarre (McGill University, Canada)

•         Tomotaka Takahashi (The University of Tokyo, Japan)

The Society for Animation Studies (SAS) invites submissions of proposals for individual papers and panels for its 24th Annual Conference, which will be held in Melbourne, Australia at RMIT University, 25-27 June 2012.

Animation production and consumption has continued to grow as animation itself has become ever more prevalent and visible in recent years. In parallel, the field of animation studies has expanded excitingly and dramatically, bringing together scholars from a variety of disciplines.

The theme of this year’s conference, ‘The Animation Machine’, reflects the wide range of processes, technologies, histories and structures in animation. As movement is an essential aspect of animation, whatever creates that movement may constitute an animation machine and one could conceive that animation is itself a machine. The animation machine can be considered from both the production process and the end product. Therefore, it refers to the machines of animation presentation, be these pre-20th century animation devices, movie or video screens, or even automata. The animation machine also relates to the multitude of animation production processes – from animating technologies (animation stands, cameras, computers), through to the animator’s individual creative practice. Ultimately, the animation machine can be described quite broadly and we welcome your own interpretations.

With the centenary of Australian animation approaching, the 2012 conference will also provide an opportunity to highlight some of Australia’s animation heritage. The conference will coincide with the Melbourne International Animation Festival (MIAF) and a number of crossover events are planned.

We invite proposals on a wide range of animation topics on all aspects of animation history, theory and criticism for 20-minute conference presentations. Proposals may include (but are not limited to) the following topics:


•         Australian Animation

•         Animation and the Asia-Pacific Region

•         Animation Histories

•         Future Forms of Animation

•         Industrial Methods and Changes

•         Materiality of Animation

•         Algorithmic Animation (including Games)

•         Philosophy and Animation

•         Motion Graphics

•         Scientific Visualisation

•         Contemporary Art and Animation

•         Architecture and Animation

•         Drawing and Animation

•         Web Animation

•         Narrative and Non-Narrative Animation

•         Obsolescence and Questions of Materiality

•         Augmented Reality and Vision

•         Automata (including Robotics)

•         Animation and Pedagogy

•         Documentary and Animation

•         Animation Fringes and Counter-Cultures

•         Sound and Animation

Please include with your individual submission the following:


•         Title and abstract of no more than 250 words (suitable for publication).

•         A brief biographical statement (suitable for publication).

•         Complete contact information, including name, institutional affiliation (if any), postal address, e-mail address and telephone number.

•         A head shot photo of yourself that will be suitable for publication (optional).

For panel proposals of 3-4 presenters, the chair of the panel should submit the following:


•         Overall panel title/theme, plus a 100-word description suitable for publication.

•         Name and contact information for the panel chair.

•         Titles and abstracts for each paper (as noted above).

•         Biography statement for each member (as noted above).

•         Name and contact information for each member (as noted above).

•         Photo of each presenter suitable for publication (optional).

Submit abstracts to: animation.conference@rmit.edu.au
Submission deadline: December 12, 2011
Conference website: http://www.rmit.edu.au/sas2012
Conference Chair: Dr Dan Torre, RMIT University

More about → Animation Studies: Three Fabulous Online Resources