AUDIENCES - a wonderful new book from Amsterdam University Press and a bumper new issue of PARTICIPATIONS!

Frame grab from Le Voyage dans la lune/A Trip to the Moon (Georges Méliès, 1902). Read Dan North's great blog entry about the audience-oriented 'attractionist aesthetic' of this film', and Frank Kessler's chapter on this film in the collection Audiences: Defining and Researching Screen Entertainment Reception

This timely volume engages with one of the most important shifts in recent film studies: the turn away from text-based analysis towards the viewer. Historically, this marks a return to early interest in the effect of film on the audience by psychoanalysts and psychologists, which was overtaken by concern with the 'effects' of film, linked to calls for censorship and moral panics rather than to understanding the mental and behavioral world of the spectator. Early cinema history has revealed the diversity of film-viewing habits, while traditional 'box office' studies, which treated the audience initially as a homogeneous market, have been replaced by the study of individual consumers and their motivations. Latterly, there has been a marked turn towards more sophisticated economic and sociological analysis of attendance data. And as the film experience fragments across multiple formats, the perceptual and cognitive experience of the individual viewer (who is also an auditor) has become increasingly accessible. With contributions from Gregory Waller, John Sedgwick and Martin Barker, this work spans the spectrum of contemporary audience studies, revealing work being done on local, non-theatrical and live digital transmission audiences, and on the relative attraction of large-scale, domestic and mobile platforms. [Publisher's blurb for Audiences: Defining and Researching Screen Entertainment Reception, ed. by Ian Christie (Amsterdam: Amsterdam University Press, 2012)]

Film Studies For Free is delighted to pass on news of the publication of an open access version of a wonderful new book from Amsterdam University Press. Audiences: Defining and Researching Screen Entertainment Reception is an extremely high quality collection edited by Ian Christie, Professor of Film and Media History, at Birkbeck, University of London. This great tome has, of course, been added to FSFF's permanent listing of Open Access eBooks. Please support its generous publisher and author by ordering a copy for your university library!


Since we're on the subject of audiences, it seems a brilliant moment to reproduce, below, links to the incredibly rich contents of the latest, just published, issue of PARTICIPATIONS, the excellent online journal of audience research. Not all items are directly film studies related, but they should be of interest to all researching issues of reception in film and media culture.

Audiences: Defining and Researching Screen Entertainment Reception, ed. by Ian Christie (Amsterdam: Amsterdam University Press, 2012)

CONTENTS

• Editorial; Acknowledgments
• Introduction: In Search of Audiences Ian Christie

PART I: Reassessing Historic Audiences

• “At the Picture Palace”: The British Cinema Audience, 1895-1920 25 by Nicholas Hiley
• The Gentleman in the Stalls: Georges Méliès and Spectatorship in Early Cinema by Frank Kessler
• Beyond the Nickelodeon: Cinemagoing, Everyday Life and Identity Politics by Judith Thissen
• Cinema in the Colonial City: Early Film Audiences in Calcutta by Ranita Chatterjee
• Locating Early Non-Theatrical Audiences by Gregory A. Waller
• Understanding Audience Behavior Through Statistical Evidence: London and Amsterdam in the Mid-1930s byJohn Sedgwick and Clara Pafort-Overduin

PART II: New Frontiers in Audience Research

• The Aesthetics and Viewing Regimes of Cinema and Television, and Their Dialectics by Annie van den Oever
• Tapping into Our Tribal Heritage: The Lord of the Rings and Brain Evolution by Torben Grodal
• Cinephilia in the Digital Age by Laurent Jullier and Jean-Marc Leveratto
• Spectator, Film and the Mobile Phone by Roger Odin
• Exploring Inner Worlds: Where Cognitive Psychology May Take Us by A dialogue between Tim J. Smith and Ian Christie

PART III: Once and Future Audiences

• Crossing Out the Audience by Martin Barker
• The Cinema Spectator: A Special Memory by Raymond Bellour
• Operatic Cinematics: A New View from the Stalls by Kay Armatage
• What Do We Really Know About Film Audiences? by Ian Christie

• Notes; General Bibliography; Notes on Contributors; Index of Names; Index of Film Titles; Index of Subjects

PARTICIPATIONS, 9.2, 2012

Contents

• Editorial - Turnbull, Sue (Joint Editor): 'Editorial introduction'

Articles

• Bore, Inger-Lise Kalviknes:'Focus Group Research and TV Comedy Audiences’
• George, Kelly C.:'Self-Help as Women's Popular Culture in Suburban New Jersey: an Ethnographic Perspective'
• Redfern, Nick:‘Correspondence Analysis of Genre Preferences in UK Film Audiences’

Special Section: Comic-Book Audiences

• Sabin, Roger:'Special Section Introduction’
• Barker, Martin:'The Reception of Joe Sacco's Palestine’
• Berenstein, Ofer:'Comic-Book Fans' Recommendations Ceremony: A Look at the Inter-personal Communication Patterns of a Unique Readers/Speakers Community'
• Burke, Liam:‘"Superman in Green": An Audience Study of Comic-Book Film Adaptations Thor and Green Lantern’
• Gordon, Ian:‘Writing to Superman: Towards an Understanding of the Social Networks of Comic Book Fans’
• Patrick, Kevin:‘"Phans", not "Fans": The Phantom and Australian Comic-Book Fandom’
• Sabeti, Shari:‘"Arts of Time and Space": the Perspectives of a Teenage Audience on Reading Novels and Graphic Novels’
• Woo, Benjamin:‘Understanding Understandings of Comics: Reading and Collecting as Media-Oriented Practices’

Special Section: Music Audiences

• Bennett, Lucy:'Special Section Introduction’
• Anderson, Lauren:'"That's how it's supposed to make you feel": Talking with Audiences about 'Both Sides Now' and Love Actually’
• Anderson, Tonya:'Still Kissing Their Posters Goodnight: Female Fandom and the Politics of Popular Music'
• Avdeeff, Melissa:‘Technological Engagement and Musical Eclecticism: An Examination of Contemporary Listening Practices’
• Baym, Nancy K.:‘Fans or Friends? Seeing Social Media As Musicians Do’
• Duffett, Mark:‘Boosting Elvis: a Content Analysis of Editorial Stories from One Fan Club Magazine’
• Kaun, Anne & Fredrik Stiernstedt:‘Media Memories: The Case of Youth Radio DT64’
• Potts, Liza:‘Amanda Palmer and the #LOFNOTC: How Online Fan Participation is Rewriting Music Labels’
• Zaborowski, Rafal:‘Simple Unchanging Stories about Things We Already Know’: Japanese youth and popular songs’

Special Section: Audience Involvement and New Production Paradigms [COST Action]

• Noguera, José-Manuel, Francesca Pasquali & Mélanie Bourdaa:'Special Section Introduction’
• Hills, Matt:‘Torchwood's Trans-transmedia: Media Tie-ins and Brand “Fanagement”’
• García-Avilés, José Alberto:‘Roles of Audience Participation in Multiplatform Television: from Fans and Consumers, to Collaborators and Activists’
• Boccia Artieri, Giovanni:'Productive Publics and Transmedia Participation’
• Vobic, Igor & Ana Milojevic:‘Societal Roles of Online Journalists in Slovenia and Serbia: Self-Perceptions in Relation to the Audience and Print Journalists’
• Cordeiro, Paula:‘Radio becoming R@dio: Convergence, Interactivity and Broadcasting Trends in Perspective’’
• Bennett, Lucy:'Transformations through Twitter: The England Riots, Television Viewership and Negotiations of Power through Media Convergence'
• Horváth, Dóra, Tamás Csordás & Nóra Nyiro:‘Re-written by Machine and New Technology: Did the Internet Kill the Video Star?’
• Grandío, María del Mar & Joseba Bonaut:'Transmedia Audiences and Television Fiction: a Comparative Approach between Skins (UK) and El Barco (Spain)’
• Berriman, Liam:‘Negotiating Proximity: The Co-Existence of Habbo and its Fansites’
• Lin, Yu-Wei:‘The Emergence of the Techno Elite Audience and Free/Open Source Content: A Case Study on BBC Backstage’
• Villi, Mikko:‘Social Curation in Audience Communities: UDC (User-distributed Content) in the Networked Media Ecosystem’

Special Section: Multi-Method Audience Research [COST Action]

• Schrøder, Kim Christian, Uwe Hasebrink, Sascha Hölig and Martin Barker:'Special Section Introduction’
• Aveyard, Karina:'Observer, Mediator and Empiricist: an Account of Methodological Fusion in the Study of Rural Cinema Audiences in Australia’
• Barker, Martin & Ernest Mathijs:'Researching World Audiences: the Experience of a Complex Methodology'
• Biltereyst, Daniël, Kathleen Lotze & Philippe Meers:‘Triangulation in Historical Audience Research: Reflections and Experiences from a Multi-Methodological Research Project on Cinema Audiences in Flanders’
• Courtois, Cédric:‘When Two Worlds Meet: an Inter-Paradigmatic Mixed Method Approach to Convergent Audiovisual Media Consumption’
• Dhoest, Alexander:‘Mixed Methods, Bifocal Vision: Combining Quantitative and Qualitative Data to Assess Public Service Performance’
• Hasebrink, Uwe &Hanna Domeyer:'Media Repertoires as patterns of behaviour and as Meaningful Practices: a Multimethod Approach to Media Use in Converging Media Environments’
• Nyiro, Nóra:‘Nested Analysis-based Mixed Method Research of Television and Video-recording Audiences’
• Schrøder, Kim Christian:‘Methodological Pluralism as a Vehicle of Qualitative Generalization’

Reviews

• Gelly, Christophe & David Roche (eds.):'Approaches to Film and Reception Theories / Cinéma et Théories de la Réception’ (Reviewed by Martin Barker)
• Miller, Daniel:'The Comfort of Things, and Stuff' (Reviewed by Phil Ramsey)
• Thumim, Nancy:‘Self-Representation and Digital Culture' (Reviewed by Justin Battin)

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On Figural Analysis in Film Studies

Video essay about У самого синего моря/U samogo sinyego morya/By the Bluest of Seas (Boris Barnet, 1936). Featuring commentary by Nicole Brenez, author of Abel Ferrara (University of Illinois Press, 2007) and De la figure en général et du corps en particulier (De Boeck, 1998), professor of cinema studies at Université Paris I and programmer at the Cinémathèque Française. Video essay produced by Kevin B. Lee.

At the very least, I believe this is a good, poetic way of grasping part of the art of cinema: as an art of constantly shifting figuration. Not just on the level of bringing bodies and people into being, but also animals, objects, imaginary apparitions - in fact an entire material and virtual world. […]
     For [Nicole] Brenez as for [Gilles] Deleuze, a critical and theoretical approach of this sort marks a significant departure from classical mise en scène analysis. The venerable tool of découpage - shot-by-shot breakdown - depends upon the theatrical and dramatic unity of the filmic scene, which in turn rests upon the most cherished principle of mise en scène analysis: "bodies in space", the pro-filmic reality of bodies dwelling and moving within a space defined by a set or a landscape. Deleuze asserts, to the contrary, that "the cinema is not a theatre", and that its bodies are composed "from granules, which are granules of time". This is, in a sense, analysis in two dimensions rather than the usual three; and if there is still "depth" to a movie, it will need to be a new, differently defined kind of depth.
     Figural analysis, thus, is granular or atomic, a true "frame by frame" analysis which takes its model and inspiration from the fine-grain materiality and action of experimental cinema; it is less concerned with lenses and depth of field than with the mobile arrangment, displacement and pulsation of screen particles. Shot divisions, even scenes or sequences are less pertinent for this work than analytic "ensembles", slices of text and texture that demonstrate the economy and logic of a film's ceaseless transformation of its elements. And everything to do with character, performance and actorly presence in cinema will have to be rethought from the vantage point of this ghostly, mobile flickering of the celluloid grain as it helps to form and deform the figure of the human being on screen. [Adrian Martin, 'The body has no head: corporeal figuration in Aldrich', Screening the Past, June 30, 2000]

As Bill Routt reminds us in his admirable article on the figural in film, figural analysis is a form of hermeneutics involving the historical relation between signs and events, between the text's present condition of meaning and its capacity to draw on and summon forth the past through the power of signs. The figural opens up the historicity of the film text so that the event's past is also its 'coming to presence'. Reading the figural is to read the past in the present; to read with the 'pastness' of the text as a prefiguring of something beyond what the text says in its normative, denotative mode of signification. All texts have figures, since all texts have a past, or at least point to a past as the very materiality of their signification.

     The task of figural analysis is not limited to describing figures in film texts. Rather, it concerns the mapping of an abstract machine: a machine for writing in images, composed of various historically defined elements drawn synthetically into particular arrangements and assemblages that make film happen in the way that it does. Here I am not referring to 'context', but to a genealogical tracing of the lineages and interconnectivities between older and more recent image technologies, and their hybrid formations through time. Any given film or media text will exhibit interconnections with pre-existing modes (even if those modes have been pronounced obsolete), which define and control the potential that the film undertakes to make happen. In silent film we might trace the transformation from a theatrical to a film mode of appearance, where the former is prefigured in the latter and vice versa, for instance in the coincidence of stage and film gestures in Lillian Gish's performance in Way Down East. Here we see the emergence of a new kind of film sense vibrating in the uneasy conjunction of different techniques.

     At stake here is the proliferation of a technological apparatus for the production of images, and the power arrangements that make them appear historically. The technological apparatus is not all of a piece, but is constantly riven with the effects of an outside that produces transformational change. The image machine lives on, not because of any over-riding structure that it possesses, but through the contingent interconnections that are activated in particular image-productions. This is why it is necessary to attend carefully to films themselves, to the detailing of their mode of appearance and its relation to ideational content as a particular moment in the image machine's transformational history. [Warwick Mules, 'The Figural as Interface in Film and the New Media: D. N. Rodowick's Reading the Figural', Film-Philosophy, Vol. 7, December 2003 Hyperlinks added by FSFF]

Today, Film Studies For Free presents a luscious list of links to online explorations or examples of figural analysis deployed in the service of film studies. It is an eclectic, but almost certainly not yet an exhaustive list. So, if you know of further good items, please leave a comment below.

It particularly figures, if you will forgive FSFF's characteristically lame pun, the online work of French film scholar and cinephile activist Nicole Brenez, alongside that of Adrian Martin, the latter an anglophone champion of Brenez's many, increasingly influential, contributions to our international field. But there are lots of other inflections of the figural represented below, too, as per FSFF's usual pluralist linkage-leanings.

• Richard Armstrong, Modernity and the Maniac: The Fall of Janet Leigh, Images: A Journal of Film and Popular Culture, 2005
• Raymond Bellour, 'The Film We Accompany', Rouge, 3, 2004
  
• Briana Berg, 'Film Theory, Psychoanalysis, and Figuration, on Endless Night: Cinema and Psychoanalysis, Parallel Histories, edited by Janet Bergstrom', Film-Philosophy, Vol. 7, 2003
• [Lauren Bliss, 'Ten Fingers and Nine Toes: Embodied Representations of Pregnancy in Avant-garde Cinema', Screening the Past, forthcoming 2011]
• Nicole Brenez, 'The ultimate journey: remarks on contemporary theory', Screening the Past, December 22, 1997
• Nicole Brenez, '"Jeune, dure et pure!" A history of avant-garde and experimental film in France', Senses of Cinema, 6, 2000
• Nicole Brenez, 'À propos de Nice and the Extremely Necessary, Permanent Invention of the Cinematic Pamphlet', Rouge, 7, 2005
• Nicole Brenez, 'Come Into My Sleep', Rouge, 13, 2007
• Nicole Brenez, 'T. W. Adorno: cinema in spite of itself—but cinema all the same', Cultural Studies Review, Vol. 13, No. 1, March 2007
• Nicole Brenez, 'Peter Whitehead: The Exigency of Joy', Rouge, 10, 2006 
• Nicole Brenez, 'The grand style of the epoch: Baise-moi - girls better than maenads, darker than furies', Screening the Past, April 2003 (originally published in Trafic n°39 (Fall 2001)
• Nicole Brenez and Adrian Martin, 'Serious Mothlight: For Stan Brakhage (1933-2003)', Rouge, 13, 2007
• Nicole Brenez, 'Symptôme, exhibition, angoisse: représentation de la terreur dans l’œuvre allemande de Fritz Lang (1919-1933 / 1959-1960)', Editions Papiers, June 2009 (in French)
• Fergus Daly, 'Powers of Anamorphosis', Undercurrent Issue 4, 2008
• Thomas Elsaesser, 'Around Painting and the "End of Cinema"', Theory Kit, 2007
• Michael Grant, 'Jean-Louis Schefer and Carl-Theodor Dreyer', Michael Grant, October 28, 2008
• Paul Douglas Grant, 'Introduction: The History of an Absence', in Serge Daney, Postcards from the Cinema, March 2007
• Karl Hansson, 'Screening the Figural in Film and New Art Media', The Nordic Journal of Aesthetics, Vol 16, No 29-30 (2004)
• Mikhail Iampolski. The Memory of Tiresias: Intertextuality and Film. Berkeley: University of California Press, c1998 1998
• Katya Mandoki, 'An enigmatic Text: Schefer's Quest upon a Thing Unknown', Film-Philosophy, Vol. 2, 1998
  
• Adrian Martin, 'Ultimatum: an introduction to the work of Nicole Brenez', Screening the Past, December 22, 1997
• Adrian Martin, 'The undertaker: Gilberto Perez's The material ghost: films and their medium', Screening the Past, November 12, 1999
• Adrian Martin, 'The body has no head: corporeal figuration in Aldrich', Screening the Past, June 30, 2000
• Adrian Martin, 'Last Day Every Day: Figural Thinking in Auerbach, Kracauer, Benjamin and Some Others',  Provisional Insight Colloquium series, Monash University, July 18 2008 (PODCAST: ca 1hr +) [Abstract: 'In “A Philosophical Interpretation of Freud”, Paul Ricoeur (drawing upon Hegel) remarks: “The appropriation of a meaning constituted prior to me presupposes the movement of a subject drawn ahead of itself by a succession of ‘figures’, each of which finds its meaning in the ones which follow it.” The notion of the figural has recently become popular in European film theory and analysis, especially due to the work of Nicole Brenez – in which the figure stands for “the force … of everything that remains to be constituted” in a character, object, social relation or idea. Her use of the term refers back to magisterial work of German literary philologist Erich Auerbach (Mimesis), who decoded the religious interpretive system wherein all persons and events are grasped as significant only insofar as they prefigure their fulfilment on the ‘last day’ of divine judgement. Auerbach’s 1920s work on figuration in Dante was an important influence on his friend Walter Benjamin; and it was this ‘theological’ aspect of Benjamin’s thought that caught Kracauer’s attention, leading to the problematic of the redemption of worldly things. In this lecture I will trace the notion of figural thinking from Weimar then to Paris (and beyond) today, taking in writings by William Routt and Giorgio Agamben, as well as two filmmakers also touched by figural thinking: Josef von Sternberg and Douglas Sirk.'] 
• Adrian Martin, 'Ticket to ride: Claire Denis and the cinema of the body', Screening the Past, Issue 20, 2006
• Judith Mayne, 'Picturing Spectatorship', in James Phelan and Peter J. Rabinowitz, Understanding Narrative (Ohio State University Press, 1994) 
• Daniel Morgan, ‘No Trickery with Montage’: On Reading a Sequence in Godard’s Pierrot le fou', Film Studies, Issue 5, Winter 2004
• Warwick Mules, 'The Figural as Interface in Film and the New Media: D. N. Rodowick's Reading the Figural', Film-Philosophy, Vol. 7, December 2003
• Benjamin Noys, 'Gestural Cinema?: Giorgio Agamben on Film', Film-Philosophy,  Vol. 8, 2004
• Laura Rascaroli, 'Like a Dream: A Critical History of the Oneiric Metaphor in Film Theory', Kinema, 2008 
• William D. Routt, 'For Criticism, Part One', Screening the Past, March 2000 and Part Two, March 2000
• Bill Schaffer, 'Cutting The Flow: Thinking Psycho', Senses of Cinema, Issue 6, 2000
• Girish Shambu, 'Nicole Brenez: Ten Levels', Girish, February 4, 2007 
• Belén Vidal, 'Labyrinths of loss: The letter as figure of desire and deferral in the literary film',  Journal of European Studies, 36, 2006

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Cinema: Journal of Philosophy and the Moving Image

Image from Possession (Andrzej Żuławski, 1981). Read Patricia MacCormack's article on the film here.

Film Studies For Free is delighted to pass on news of the launch of Cinema: Journal of Philosophy and the Moving Image. You can find the table of contents for its inaugural issue and links to all article PDFs below

Cinema: Journal of Philosophy and the Moving Image is a refereed publication published online by the Philosophy of Language Institute of the Faculty of Social and Human Sciences of the New University of Lisbon. The journal publishes original essays and critical articles, reviews, conference reports and interviews, and releases original art work in the field of philosophical inquiry into cinema. The term “cinema” is here taken in its broadest sense as moving image (and image that moves). Historically, cinema studies have centered on film, but with the digitization and proliferation of new means of production and distribution have also studied video, television and new media. This deep engagement with cinematic culture, so understood, can provide tools for a better understanding of contemporary visual culture. Cinema is particularly interested in philosophical approaches to the aesthetics of the moving image as well as in philosophical investigations on particular works and about the contexts in which these works are seen and produced. It accepts submissions in Portuguese, English, French, and Spanish and it offers free access to its content.

Cinema aims at:

• disseminating philosophical investigations into cinema in the broadest sense, that is, including video, television, and new media;
• promoting the link between Portuguese and international scientific communities that develop work simultaneously within the fields of cinema studies and philosophy;
• providing a platform for a fruitful dialogue between various approaches, particular methodologies, topics and interdisciplinary contributions, within the scope of the journal.

The make up of the international editorial team bespeaks the very high quality of this new journal. And the star-studded line-up for its first issue, together with its extraordinarily interesting table of contents, shows just how thrilling those all too unusual 'analytic philosophy' and 'continental philosophy' juxtapositions can be!

FSFF really looks forward to reading more, and sincerely wishes CJPMI the very best for a long and always openly accessible life!

Cinema: Journal of Philosophy and the Moving Image

Issue 1 (December 2010) 

Contents: 

Editorial 

• Patrícia Silveirinha Castello Branco, Sérgio Dias Branco, Susana Viegas (New University of Lisbon) 

ARTICLES 

• A Care for the Claims of Theory D. N. Rodowick (Harvard University)

• Carroll on the Moving Image Thomas E. Wartenberg (Mount Holyoke College) 

• Deleuze: The Thinking of the Brain Raymond Bellour (CNRS/Université Sorbonne Nouvelle - Paris 3)

• Mucous, Monsters and Angels: Irigaray and Zulawski’s Possession  Patricia MacCormack (Anglia Ruskin University)

• Film Theory Meets Analytic Philosophy; or, Film Studies and l’affaire Sokal  Murray Smith (University of Kent)

INTERVIEWS 

• Georges Didi-Huberman: « .... Ce qui rend le temps lisible, c’est l´image»  Susana Nascimento Duarte, Maria Irene Aparício (New University of Lisbon)

CONFERENCE REPORTS 

• Cognitive Deleuze: Report on the SCSMI Conference (Roanoke, 2-5 June 2010) and the Deleuze Studies Conference (Amsterdam, 12-14 July 2010)  William Brown (Roehampton University) 

CFP for Issue 2 here.

CINEMA: JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE

Patrícia Silveirinha Castello Branco, editor

Sérgio Dias Branco, associate editor

Susana Viegas, associate editor

www.fcsh.unl.pt/revistas/cjpmi

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Film Theory Unstilled: Raymond Bellour

Today, Film Studies For Free brings you a video recording of a two hour long talk by one of the most original and important of the major film and media theorists, Raymond Bellour, Director of Research at the Centre national de la recherche scientifique in Paris, and one of Europe's foremost theorists of film, video and new media.

Bellour's publications include L'Analyse du film, his now classic close readings of Hollywood films first published in 1979, several more recent collections, especially Le Cinéma americain and Le Western, as well as works on literature (especially on the Brontës, Dumas and Michaux). Since the early eighties, Bellour's work has concentrated on new media and on the relations between words and images.

Bellour's talk was recorded on May 23, 2002, a record of his contribution to the 'Moving Images' Programme, a collaboration between Tate Modern and Research at Central Saint Martins College of Art and Design bringing to London major figures working in or on film and video to explore contemporary issues around these media. It is now freely available to view online as one of the many wonderful Tate Channel offerings about which FSFF waxed lyrical just the other day.

Below are links to a few other Bellour related resources -either articles by him, or ones by other scholars which discuss or employ his film theoretical insights.

• Raymond Bellour, 'The Film We Accompany', Rouge, 3, 2004 (on Ritwal Ghatak's 1960 The Cloud-Capped Star)
  

• Raymond Bellour, 'The Book, back and forth', excerpts, chrismarker.org, 2008
  

• Thomas Elsaesser, 'Around Painting and the "End of Cinema"', Theory Kit, 2007

• Rosalind Galt, 'The Obviousness of Cinema', World Picture, 2, Autumn 2008

• Judith Mayne, 'Picturing Spectatorship', in James Phelan and Peter J. Rabinowitz, Understanding Narrative (Ohio State University Press, 1994)
  

• Christian Metz, 'Photography and Fetish', October, Vol. 34. (Autumn, 1985), pp. 81-90

• Daniel Morgan, ‘No Trickery with Montage’: On Reading a Sequence in Godard’s Pierrot le fou', Film Studies, Issue 5, Winter 2004

• Laura Rascaroli, 'Like a Dream: A Critical History of the Oneiric Metaphor in Film Theory', Kinema, 2008
  

• Nick Redfern, “Leading them Down the Garden Path:” Another Look at Hitchcock’s Psycho', EnterText 1.3

• Julian Savage, 'The Lost Cult of Wake in Fright', Intensities Four, December 2007

• Herman Wasserman, 'Review of Raymond Bellour, The Analysis of Film [Indiana University Press, Bloomington, 2000]', Scope, February 2002

• Tony Williams, 'Power and Paranoia: 1940s Hollywood [review of Dana Polan, Power and Paranoia: History, Narrative and The American Cinema 1940-1950. New York: Columbia University Press 1986]', from Jump Cut, no. 35, April 1990, pp. 73-77

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