BFI Pasolini Study Day - Talks Online!

Screenshot from Porcile/Pigsty (Pier Paolo Pasolini, 1969). Listen to Filippo Trentin's talk on this film from the BFI Pasolini Study Day, April 20, 2012.

Thanks to Dan North, following its recent film studies podcasts entry, Film Studies For Free learned that all the talks from the British Film Institute's Pasolini Study Day, held on Saturday April 20, 2012, are freely available to listen to and download from iTunes U. Evviva!

All details and links to this fabulous resource are given below. Thanks to the BFI, as well as to FSFF's lovely colleagues at the University of Sussex -- especially to renowned Pasolini scholar and World Picture co-editor John David Rhodes -- for organising the day.

View More from the BFI on iTunes U

Resource Description

Stimulating and engaging programme of talks, discussions and screenings (hosted in collaboration with the University of Sussex’s Centre for Visual Fields and School of English) exploring the work and thought of Pasolini, one of the greatest filmmakers of his generation and a fiercely original – and controversial – public figure. A prestigious line-up of speakers includes Adam Chodzko, Rosalind Galt, Robert Gordon, Matilde Nardelli, Geoffrey Nowell-Smith, Tony Rayns, John David Rhodes, Filippo Trentin and his favourite actor: Ninetto Davoli. 

	Name	Description	Time	Price
1	Introduction (John David Rhodes)	--	10:18	Free	View In iTunes
2	Pasolini’s Worldliness (Rosalind Galt)	--	32:37	Free	View In iTunes
3	Why Pasolini Mattered - And Still Does (Geoffrey Nowell-Smith)	--	26:29	Free	View In iTunes
4	Pasolini as 'Imaginary Jew': from Palestine to Persecution (Robert Gordon)	--	35:32	Free	View In iTunes
5	Discussion (with Rosalind Galt, Geoffrey Nowell-Smith and Robert Gordon)	--	9:48	Free	View In iTunes
6	Between Screen and Canvas: Pasolini, the Cinematic and the Pictorial (Matilde Nardelli)	--	28:39	Free	View In iTunes
7	Pasolini's Frozen Dialectic: the Allegorical Gaze in Porcile (Filippo Trentin)	--	31:57	Free	View In iTunes
8	Roundtable	--	39:36	Free	View In iTunes
9	Ninetto Davoli in conversation with Dr. John David Rhodes	--	38:55	Free	View In iTunes
10	Powerpoint slides for PASOLINI STUDY DAY	--	--	Free	View In iTunes

More about → BFI Pasolini Study Day - Talks Online!

New WORLD PICTURE on 'Wrong'

David Wojnarowicz "A Fire in My Belly" Original from ppow_gallery on Vimeo

A Fire in My Belly is an awkward work that at first glance can appear to be both hyperbolic or overreaching and inconsistent or contradictory. This short film resembles a travel log, an illustrated lecture, or an educational slide show that mixes the unpitying gaze of a mondo cane film (unwrapped mummies with gaping mouths, unusually disabled bodies performing daily tasks, animals forced into fighting by their human captors) with the deliriously overwrought expressionism of 1980s music videos (spinning eyeballs aflame, strobed flashes of milk splashes). The film also recalls major moments in the visual avant-garde of the twentieth century by invoking 1920s surrealist iconography, aping Eisenstein’s clunkier intellectual montages, and echoing the idolatry of Kenneth Anger’s films which themselves borrow from the formal idioms [of] religious and exploitation films. A Fire in My Belly overtly conflates symbolic registers and gains momentum by joining documentary footage of workers performing precarious tasks or snakes devouring their prey to staged studio shots of symbolic transactions involving leaking blood, throwing money, spinning globes, or torched marionettes.  [from Karl Schoonover's essay 'David Wojnarowicz's Graven Image: Cinema, Censorship, and Queers'; hyperlinks added by FSFF]

Following its much appreciated seasonal break, a rather bleary-eyed but well-rested Film Studies For Free wishes its readers a very happy new year.

Its first few posts of 2012 will be devoted to catching up with some new issues of online film and moving image studies related journals, starting with a listing of links to a new collection of work from one of the most original of such journals: World Picture on the concept of 'wrong'.

FSFF particularly liked Schoonover on Wojnarowicz's A Fire in My Belly, (as above), Schwartz's riff on Pasolini, Malsky on dystopian sound, and Manon and Temkin on glitch art.

WORLD PICTURE 6, 2011: Table of Contents

• Mark Andrejevic: Estrangement 2.0
• Bishnupriya Ghosh: Governing by Wrong
• Seb Franklin: Is Attention Really Immaterial? Visual Culture after Post-Fordism
• Danny Hayward: The Essential Standpoint of Man: An Autopsy, In Three Parts
• Sam Lipsyte in conversation with Brian Price and Meghan Sutherland: Acategorical Imperatives
• Matt Malsky: Being Heard: Listening In–Sound and Our Dystopian Present
• Hugh S. Manon and Daniel Temkin: Notes on Glitch
• Daniel Temkin—gl1tchw0rks gall3ry
• Davide Panagia: The Notion of Pantry: A Speculative Defense of Unuse
• Brian Price: A Theory of Regret
• Lucy Raven: Tech City
• Scott C. Richmond: “Dude, That's Just Wrong”: Mimesis, Identification, Jackass
• Karl Schoonover: David Wojnarowicz's Graven Image: Cinema, Censorship, and Queers
• Louis-Georges Schwartz: A Futher Explanation of My Last Error By Pier Paolo Pasolini
• A. L. Steiner: WELCOME TO MY RECTANGLE

More about → New WORLD PICTURE on 'Wrong'

Participations: Studying Cinema Audiences

Dr Frank N. Furter/Tim Curry loving his 'audience' (Susan Sarandon and Barry Bostwick) in The Rocky Horror Picture Show (Jim Sharman, UK, 1975)

Film Studies For Free is delighted, as always, to flag up that the new issue of Participations - the Open Access journal of audience and reception studies -- has just gone online. 

It encompasses an excellent special section devoted to cinema audiences, but there are lots of high quality essays throughout, and a great set of Film Studies book reviews.

Participations, Volume 6, Issue 2 (November 2009)

• Martin Barker (Joint Editor): 'Editorial Introduction'
  

Special Edition on Cinema Audiences

• Ailsa Hollinshead (Guest Editor): 'Special Issue Introduction’

• Louise Anderson: 'Postcards from the edge: the untidy realities of working with older cinema audiences, distant memories and newsreels'

• Glen McIver: 'Liverpool’s Rialto: Remembering the Romance'

• Kathryn Mackenzie and Karl Magee (with thanks to John Izod and Isabelle Gourdin-Sangouard): 'In Search of an Audience: Lindsay Anderson’s Britannia Hospital'

• Peter Krämer: '‘Dear Mr. Kubrick’: Audience Responses to 2001: A Space Odyssey in the Late 1960s'

• Karen Boyle: 'Attractions and distractions: Mums, babies and ‘early’ cinemagoing'

• Kerstin Leder: '‘I just don’t think I could sit through [Jurassic Park or The Texas Chainsaw Massacre]’: Films as Cultural and Emotional Measures'

• Jane Arthurs: 'Brands, Markets and Charitable Ethics: MTV’s EXIT Campaign'

Articles

• Dean Biron: 'Betwixt and Between: Musical Taste Patterns and Audience Mobility'

• David Church: 'Of Manias, Shit, and Blood: The Reception of Salò as a ‘Sick Film’'

• Elizabeth Jane Evans and Roberta Pearson: 'Boxed Out: Visually Impaired Audiences, Audio Description and the Cultural Value of the Television Image'

• Merris Griffiths: 'The Edge of Love and the Local Experience: Shooting, Screening and Audience Reception'
  

Reviews

• On Thomas Austin's Watching the World: Screen Documentary and Audiences Caroline Dover

• On Phillip Goldstein & James L. Machor (eds.), New Directions in American Reception Study Mark R. Adams

• On Susan J. Napier's From Impressionism to Anime: Japan as Fantasy and Fan Cult in the Mind of the West Rayna Denison

• On Murray Pomerance's The Horse Who Drank The Sky: Film Theory Beyond Narrative and Theory and Carl Plantinga's Moving Viewers: American Film and the Spectator’s Experience Martin Barker

• On Jeffrey Weinstock's The Rocky Horror Picture Show Julie Lord

More about → Participations: Studying Cinema Audiences

Bellocchio, Bertolucci, Pasolini, Verga and beyond: Italian Cinema research from new look eScholarship.org/uc/

Image from I pugni in tasca/Fists in pocket (Marco Bellocchio, Italy, 1965).
See Deborah Young's short essay on this film here.

Here's another post to celebrate Open Access Week, just in the nick of time.

Film Studies For Free, tipping its jaunty e-hat to the fabulous weblog Open Access News for the information, has been delighted today to revisit the eScholarship archive of the University of California, which has had a makeover. Here's the explanation of the whys and wherefores. FSFF can happily testify that it is now even more user-friendly than before, so do please explore it.

To celebrate, here's a little crop of wonderful, openly-accessible articles on Italian cinema, all published in the UCLA journal Carte Italiane, that FSFF was able to harvest in a even shorter jiffy than usual.

• Sarah A. Carey, Before and After the Revolution: The Power(lessness) of the Image in I pugni in tasca, Buongiorno, notte, Prima della rivoluzione and The Dreamers, Carte Italiane, 2:4, 2008

• Brendan W. Hennessy, A Cinematic Premonition of Disorder: Social and Political Satire in Bellocchio's La cina è vicina (1967), Carte Italiane, 2:4, 2008
  

• Antonio Idini, Stealing Home: Flight from Exile in Il ladro di bambini, Carte Italiane, 1:14, 1994

• Peggy Kidney, Recent Publications in the Field of Italian Cinema, Carte Italiane, 1:7, 1986

• David Pendleton, Pasolini's Cinema of Regression, Carte Italiane, 1:12, 1992

• Dana Renga, Women's Place: Contradictory Models of Female Behavior in Italian Cinema (1932-1940), Carte Italiane, 1:16, 1999

• Robert Spiegel, Verga and the Realist Cinema, Carte Italiane, 1:2, 1981

More about → Bellocchio, Bertolucci, Pasolini, Verga and beyond: Italian Cinema research from new look eScholarship.org/uc/