SCREENING THE PAST 37 and LA FURIA UMANA 17

Mirror Visions in MODESTY BLAISE (Joseph Losey, 1966) 

Companion video/trailer for the written essay by Catherine Grant, 'Notes on Mirror Visions in MODESTY BLAISE (Joseph Losey, 1966)', LA FURIA UMANA, 17, 2013 (online) and  LA FURIA UMANA, Paper #3, 2013/ (paper copy)

Film Studies For Free is under the cosh of a few deadlines right now (there are some great things to come at this here open access campaigning website in the next weeks!).

But it has temporarily cast off its work shackles to rush you tidings of two new ejournal issues: the latest Screening the Past, co-edited by Adrian Martin and Anna Dzenis, and replete with Part One of a brilliant dossier on Aesthetic Issues in World Cinema and a marvellous essay by Nicole Brenez, among other treasures (Hediger, Martin and Tofts, Phelps); and the very welcome return online of the multilingual La furia umana (whose website, and fabulous archive [soon to return fully], were devastated by a malware attack), edited by Toni D'Angela and replete with dossiers on Joseph Losey and Bertrand Bonello, and a marvelous essay by Nicole Brenez, among other treasures (Ramani, Calder Williams, Small, to cite just some anglophone ones)!

Scroll down for all the wonderful contents. FSFF will be back properly soon!


SCREENING THE PAST 37, 2013

Aesthetic Issues in World Cinema (Part 1)

• Political Cinema Today – The New Exigencies: For a Republic of Images  by Nicole Brenez
• Materialist Performance in the Digital Age  by Dirk de Bruyn
• Sublime Materiality: Un lac  by Sarinah Masukor
• Innocent When You Dream: Affect and Perception through Lucile Hadzihalilovic’s Innocence  by Julie Banks
• Foreign Bodies, Community and Trauma in the Films of Claire Denis: Beau Travail (1999), 35 Rhums (2008) and White Material (2009)  by Kath Dooley
• Enfolding Surfaces, Spaces and Materials: Claire Denis’ Neo-Baroque Textures of Sensation  by Saige Walton
• The Immobilised Body: Stanley Kubrick’s A Clockwork Orange  by Anthony Macris
• Affectless Empathy, Embodied Imagination and The Killer Inside Me  by Jane Stadler
• The Bloody Innocence of a Dream: Borges, Cammell, Tourneur and the Western  by Adrian Martin and Darren Tofts
• What Do we Know When We Know Where Something Is? World Cinema and the Question of Spatial Ordering  by Vinzenz Hediger

First Release

• The Western Suburbs  by Niall Lucy
• Documenting The Dark Side: Torture and The “War On Terror” in Zero Dark Thirty, Taxi To The Dark Side, and Standard Operating Procedure  by Shohini Chaudhuri
• Interactive Cinema from Vending Machine to Database Narrative: The Case of Kinoautomat  by Marina Hassapopoulou
• A League of Their Own: The Impossibility of the Female Sports Hero by Katharina Bonzel
• ’Make Mine a Movie! In a Movie Theater!’ (Or on My Pay-TV Service): How America’s Theater Owners Learned to Stop Worrying and Accept Cable Television, 1969-1976  by Deron Overpeck

Reviews

• Ford at Fox 4  by Bill Routt
• Becoming Jack Nicholson: The Masculine Persona from Easy Rider to The Shining  by Adam Ochonicky
• Rosebud Sleds and Horses’ Heads: 50 of Film’s Most Evocative Objects  by Ben McCann
• Heritage Film: Nation, Genre and Representation by Dion Kagan
• Alfred Hitchcock’s America  by Jonathan Kirshner
• The Film Experience: An Introduction (3rd ed.)  by Kathleen Loock
• Cinemas of the Other: A Personal Journey with Film-makers from Iran and Turkey (2nd ed.)  by Mike Walsh
• De-Westernizing Film Studies  by Rea Amit
• The Cinema of Béla Tarr: The Circle Closes  by Olivia Harsan
• Rabbit-Proof Fence (Australian Screen Classics Series)  by Lynn Smailes

 Classics and Re-runs

• The Aquarium Syndrome: On the Films of Michael Mann  by Jean-Baptiste Thoret
• Ben Hecht’s Funny Valentine  by Donald Phelps

LA FURIA UMANA 17, 2013

Editorial: T.D. / La critique comme concaténation

Confidential report
D'UNE CRITIQUE DE CINÉMA DIGNE DE SON NOM (EN FRANCE)
NICOLE BRENEZ / La Critique comme concept, exigence et praxis

JOSEPH LOSEY

• MICHEL MOURLET / Sur Joseph Losey
• LUÍS MENDONÇA / Losey e Losey: O Exílio Britânico e a Fractura Pinteriana
• TONI D'ANGELA / Lo spazio della massima pendenza del sogno americano nel primo Losey
• SUDARSHAN RAMANI/ Losey and Adolescence: The Big Night
• CATHERINE GRANT / Notes on Mirror Visions in Modesty Blaise
• EVAN CALDER WILLIAMS / Figures in A Threatscape
• CHRISTOPHER SMALL / The Postman

BERTRAND BONELLO

• CLEMENT RAUGER / Introduction au travail de Bertrand Bonello
• ALEJANDRO DÍAZ / Dos o tres cosas que (creo que sé) de Bertrand Bonello
• RICARDO ADALIA MARTIN / Ir de putas
• ÀNGEL QUINTANA / El burdel como convento o la profanación de lo mítico
• ELENA DUQUE / Manuales de autoayuda: buscándose a sí mismos. The Romantic Englishwoman de Losey y De la guerre de Bonello

Prima linea

• TONI D'ANGELA / Terrence Malick e la voce dell'essere: To the Wonder
• MICHAEL GUARNERI / Militant elegy. A conversation with Lav Diaz

Histoires du cinéma

• BEATRICE BALSAMO / I muti di Hitch. La vertigine onirica del desiderio. Il restauro dei film del periodo inglese presentati a Il Cinema Ritrovato 2013

L'occhio che uccide

• CARLOS LOSILLA / Intervenciones#7 A favor de este cine español
• PIETRO BIANCHI, TONI D'ANGELA / La percezione e lo spazio visivo. Dialogo su Merleau-Ponty, Lacan e il cinema

Flaming creatures

• ENRICO CAMPORESI / Quelques notes sur Teenage Dream Sequence: An Invocation of Jeanne d’Arc, de Katherine Bauer

The new world

• STEPHEN RAMSTEDT / Cinéma du Réel 2013: Documents, Layouts/Memories, Dreams/Reflections, Projections
• TONI D'ANGELA / Festa per gli occhi e discorsi di giustizia al Festival Internacional de Curtas de Belo Horizonte

More about → SCREENING THE PAST 37 and LA FURIA UMANA 17

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'

Screen Attachments: new Issue of SCREENING THE PAST

Framegrab from Nuovo cinema Paradiso/Cinema Paradiso (Giuseppe Tornatore, 1988), a film which is the starting point of film theorist Francesco Casetti in his new article "Cinema Lost and Found"

Film Studies for Free rushes you the wonderful news that a special issue (no. 32) of Screening the Past has just gone online. The issue treats the topic of Screen Attachments and is edited by Catherine Fowler and Paola Voci. 

The obvious highlight is a brilliant article by Francesco Casetti, but a quick glance at all the other articles indicates a very high quality issue indeed. FSFF's own favourite is Fowler and Voci's study 'Brief Encounters: Theorizing Screen Attachments Outside the Movie Theatre', with its compelling use of Sara Ahmed's notion of orientation.

The Classics and Reruns section also has some real gems.

Screen Attachments

• "Screen Attachments: An Introduction" by Paola Voci and Catherine Fowler
• "Cinema Lost and Found: Trajectories of Relocation" by Francesco Casetti
• "DVD Screen Culture for Children: Theories of Play and Young Viewers" by Karin Beeler
• "Brief Encounters: Theorizing Screen Attachments Outside the Movie Theatre" by Catherine Fowler and Paola Voci
• "Fingers, Futures, Fates: Viewing Interactive Cinema in Kinoautomat and Sufferrosa"by Jenna Ng
• "Waterbodies: Moving-image installations at Termemilano Spa" by Adriano D′Aloia
• "A Minoritarian Digital Poetics of YouTube" by Eu Jin Chua 
• "Rethinking Screen Encounters: Cinema and Tamil Migrant Workers in Singapore" by Vijay Devada

Classics and Reruns

• The Artist as Ecologist by Gene Youngblood
• Cerebrum: Intermedia and the Human Sensorium by Gene Youngblood
• Intermedia Theatre  by Gene Youngblood
• What is Digital Cinema? by Lev Manovich

Reviews

• The Fall of Buster Keaton by Anna Gardner
• Guy Debord: Revolution in the Service of Poetry by David Ehrenstein
• Goodbye Cinema, Hello Cinephilia: Film Culture in Transition by Daniel Fairfax
• Television as Digital Media by Gin Chee Tong
• Twilight of the Idols by Jonathan Auerbach
• Drawn To Sound: Animation Film Music and Sonicity by Johnny Milner
• Terry Gilliam (British Film Makers) by Josh Nelson
• Cinema Beyond Film: Media Epistemology in the Modern Era by Meredith A. Bak
• The Documentary: Politics, Emotion, Culture by Mas Generis
• Scotland: Global Cinema: Genres, Modes and Identities by Miriam Ross
• Beyond Dolby (Stereo): Cinema in the Digital Sound Age by Mike Walsh
• The Right to Play Oneself: Looking Back on Documentary Film by Patricia Aufderheide
• Steven Soderbergh by Paul Ramaeker
• Celluloid Symphonies: Texts and Contexts in Film Music History by Roger Hillmann
• Marketing Modernity: Victorian Popular Shows and Early Cinema by Tom Salek
• Dark Borders: Film Noir and American Citizenship by Tony Williams
• Counter-Archive. Film, the Everyday, and Albert Kahn’s Archives de la Planète by Jan-Christopher Horak
• Yellow Future: Oriental Style in Hollywood Cinema by Gerald Sim

More about → Screen Attachments: new Issue of SCREENING THE PAST

New Issue of Screening the Past

Image from The Party (Blake Edwards, 1968). Read Charles Barr's article on this film, reprinted in issue 30 of Screening the Past

Film Studies For Free rushes you news, via Adrian Martin, that not only has Screening the Past, that wonderful, A* rated, online journal of screen history, theory and criticism, posted its latest issue, but it has changed URL, and is in the process of upgrading its website.

All the new contents are listed below. FSFF hasn't read everything yet, but is enjoying STP's tributes to Blake Edwards, as well as the Open Access reprint of Chris Berry's wonderful essay China’s New “Women’s Cinema”.

First Release

• “The China Film”: Madame Chiang Kai-shek in Hollywood
• Tokens of Exchange, or The Cook, The Thief, The Wife and Lover: Marginal Asian Characters in 1920s Australian Cinema
• Working Within the System: An Interview with Gerry O’Hara
• Two Channels, Two Truths: Reporting the Iraq War in Control Room
• ‘Give It a Go You Apes’: Relations Between the Sydney and Melbourne Film Festivals, and the Early Australian Film Industry (1954–1970)

Tribute to Blake Edwards

• Introduction to Reprints of Two Essays on Blake Edwards
• Detecting, Defecting and Whistling in the Dark: The Films of Blake Edwards
• “Crazy World Full of Crazy Contradictions”, Blake Edwards’ Victor/Victoria
• On Blake Edwards
• The Bitter Essence of Blake Edwards
• Sophisticated Naturalism
• Ridicule and Panic: On Blake Edwards
• Blake Edwards, Switch, and the Price of a New Man
• Topping the Topper: Blake Edwards
• Strange Bodies: On The Great Race
• The Party
• You Can’t Keep A Good Auteur Down / Cruel To Be Kind
• The Party

Classics and Re-runs

• China’s New “Women’s Cinema”

Reviews

• Ford At Fox Part 3b
• Films by Gordon Ball (dvd review)
• Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento, Maitland McDonagh
• Irving Thalberg: Boy Wonder to Producer Prince, Mark A. Vieira
• Lost in Translation: Orientalism, Cinema, and the Enigmatic Signifier, Homay King
• Film Violence: History, Ideology, Genre, James Kendrick
• The Last Silent Picture Show: Silent Films on American Screens in the 1930s, William M. Drew
• New Korean Cinema: Breaking the Waves, Darcy Paquet
• Hidden Talent: The Emergence of Hollywood Agents, Tom Kemper
• British Culture and Society in the 1970s: The Lost Decade, Laurel Forster and Sue Harper (eds)
• Casablanca: Movies and Memory, Marc Augé (Translated and with an Afteword by Tom Conley)
• English Filming, English Writing, Jefferson Hunter
• Calling All Cars: Radio Dragnets and the Technology of Policing, Kathleen Battles
• The Francis Ford Coppola Encyclopedia, James M. Welsh, Gene D. Phillips, and Rodney F. Hill (eds)
• Béla Balázs: Early Film Theory – Visible Man and The Spirit of Film, (Edited by Erica Carter, Translated by Rodney Livingstone)
• Idols of Modernity: Movie Stars of the 1920s, Patrice Petro (ed.)
• Wake in Fright, Tina Kaufman
• Neo-Noir, Mark Bould, Kathrina Glitre, and Greg Tuck (eds.).
• Second Takes: Critical Approaches to the Film Sequel, Carolyn Jess-Cooke and Constantine Verevis (eds.)
• On Michael Haneke, Brian Price and John David Rhodes (editors)

More about → New Issue of Screening the Past

New Screening the Past

Image from The Portraitist/Portrecista (Ireneusz Dobrowolski, 2005),  Read Frances Guerin's essay on this film.

The developments of new digital technologies and representational forms have revived interest between photography and cinema, an interest that is both creative and critical. Independent filmmakers are availing themselves of alternative exhibition formats and spaces for their work, and moving image experimentation is now commonplace in the fields of contemporary fine art, design, music, and theatre.
     For this Special Issue of Screening the Past, guest editors Des O’Rawe and Sam Rohdie bring together a collection of original articles on the aesthetic and institutional relations between film, photography, and the visual arts, in particular writing that is attentive to cinematic forms and their recon­figuration within the contemporary visual arts.

 
As always, Film Studies For Free's little beating heart almost leapt out of its digital body at the news that a new issue of the Screening the Past journal had hit the e-stands. It's a special issue, the theme of which is Cinema/Photography: Beyond Representation (Issue 29, 2010). Below is the table of contents:

• George Kouvaros: He’s Not There: Robert Frank’s Me and My Brother.
• Lara Thompson: Monochrome Now: Digital Black and White Cinema and the Photographic Past.
• Sarinah Masukor: The Album of Everyday Life: The Photograph in the Films of Nuri Bilge Ceylan.
• Sam Rohdie: Profils Paysans.
• Des O’Rawe: Cinema Lucida: Johan van der Keuken and the Meaning of Loss.
• Rebecca Sheehan: The Time of Sculpture: Film, Photography and Auguste Rodin.
• Frances Guerin: Film as an Archive for Photography: The Portraitist as Witness to the Holocaust.
• Ji-hoon Kim: David Claerbout’s Digital Pensive Images.

First Release

• Wheeler Winston Dixon: Beyond Characterization: Performance in 1960s Experimental Cinema.
• George Kouvaros: Our Place in the World.
• Kathy Drayton: Inspiration and Girl in a Mirror.
• Gabrielle Murray: Fact and Fiction: The Iraq War Film in Absence.

Classics and Re-runs

• Adrian Martin: Bill Henson and the Devil, Probably.
• John Conomos: Bill Henson and the Cinematic.

More about → New Screening the Past

Oyez! Oyez! Screening the Past (Issue 26) Out Now

 

Image from The New World (Terrence Malick, 2005), the subject of Robert Sinnerbrink's great article in the latest issue of Screening the Past

Donning its fetching town-crier e-garb, Film Studies For Free shouts out "Hear ye, hear ye: new Screening the Past, people! Lots of links to great stuff below." The issue features wondrous items by old and valued friends of FSFF (Adrian Martin and Frances Guerin, in particular) as well as by up and coming Film Studies greats (Robert Sinnerbrink, among others).

Issue 26: Special Issue: Early Europe 

Guest Editor: Louise D’Arcens

Louise D’Arcens: Screening Early Europe: Premodern Projections.
Adrian Martin: The Long Path Back: Medievalism and Film.
Stephanie Trigg: Transparent Walls: Stained Glass and Cinematic Medievalism.
Anke Bernau: Suspended Animation: Myth, Memory and History in Beowulf.
Sylvia Kershaw and Laurie Ormond: “We are the Monsters Now”: The Genre Medievalism of Robert Zemeckis’ Beowulf.
Robert Sinnerbrink: From Mythic History to Cinematic Poetry: Terrence Malick’s The New World Viewed.
Helen Dell: Music for Myth and Fantasy in Two Arthurian Films.
Narelle Campbell: Medieval Reimaginings: Female Knights in Children’s Television.
Louise D’Arcens: Iraq, the Prequel(s): Historicising Military Occupation and Withdrawal in Kingdom of Heaven and 300.
Christina Loong: Reel Medici Mobsters? The Medici: Godfathers of the Renaissance Reassessed.
Laura Ginters: “A Continuous Return”: Tristan and Isolde, Wagner, Hollywood and Bill Viola.
Appendix: Raúl Ruiz: Three Thrusts at Excalibur.
Contributors. 

First Release
Adrian Danks, Fishing from the Same Stream: The New Iranian Cinema, Close-Up and the “Film-on-film” Genre.
Peter Limbrick, Playing Empire: Settler Masculinities, Adventure, and Merian C. Cooper’s The Four Feathers (US 1929).
Lesley Speed, Strike Me Lucky: Social Difference and Consumer Culture in Roy Rene’s Only Film.

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Australian Film Culture

Ina Bertrand, Some Early History of the Australian Film Institute: A Memoir of the 1970s.
Deane Williams, ‘The Circulation of Ideas’: An Interview with Tom O’Regan.
Deane Williams, Shifts and Interventions: Cultural Materialism and Australian Film History.

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Reviews

Ina Bertrand reviews Raymond Longford’s The Sentimental Bloke: The Restored Version, Madman/NFSA/ATOM, 2009.
Ina Bertrand reviews Kathryn H. Fuller-Seeley (ed.), Hollywood in the Neighbourhood: Historical Case Studies of Local Moviegoing.
Nathalie Brillon reviews Jane Mills, Loving and Hating Hollywood: Reframing Global and Local Cinemas.
Adam Broinowski reviews Sabine Nessel, Winfried Pauleit, Christine Rüffert (eds), Wort und Fleisch: Kino zwischen Text und Körper.
Rachael Cameron reviews André Gaudreault, From Plato to Lumière: Narration and Monstration in Literature and Cinema.
Ryan Cook reviews Matthew H. Bernstein, Screening a Lynching: The Leo Frank Case on Film and Television.
Maura Edmond reviews Jacob Smith, Vocal Tracks: Performance and Sound Media.
Victor Fan reviews Pak Tong Cheuk, Hong Kong New Wave Cinema (1978-2000).
Mike Fleming reviews The Encyclopedia of British Film (Third Edition).
Freda Freiberg reviews Alexander Jacoby, A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day, and Aaron Gerow, A Page of Madness: Cinema and Modernity in 1920s Japan.
Gin Chee Tong reviews Brooke Erin Duffy and Joseph Turow (eds), Key Readings in Media Today: Mass Communication in Contexts.
Frances Guerin reviews Kristen Whissel, Picturing American Modernity: Traffic, Technology, and the Silent Cinema.
Alexandra Heller-Nicholas reviews Barry Curtis, Dark Places: The Haunted House in Film.
Roger Hillman reviews Mark Betz, Beyond the Subtitle: Remapping European Art Cinema.
Jan-Christopher Horak reviews Rob King, The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture.
Irene Javors reviews Joe McElhaney, Albert Maysles.
D.B. Jones reviews Philip Gillett, Movie Greats: A Critical Study of Classic Cinema.
Harry Kirchner reviews Steven Maras, Screenwriting: History, Theory and Practice.
Roger Macy reviews Bert Cardullo, Out of Asia: The Films of Akira Kurosawa, Satyajit Ray, Abbas Kiraostami, and Zhang Yimou; Essays and Interviews.
Harriet Margolis reviews Gönül Dönmez-Colin, Turkish Cinema: Identity, Distance and Belonging.
Harriet Margolis reviews Deb Verhoeven, Jane Campion.
Craig Martin reviews Tony Shaw, Hollywood’s Cold War.
Josh Nelson reviews Roger Ebert, Scorsese by Ebert.
Violeta Politoff reviews Joanna Page, Crisis and Capitalism in Contemporary Argentine Cinema.
Thomas Redwood reviews Michel Ciment, Film World: Interviews with Cinema’s Leading Directors.
Christopher Rowe reviews Jane Stadler with Kelly McWilliam, Screen Media: Analysing Film and Television.
Kirsten Stevens reviews Dina Iordanova with Ragan Rhyne (eds), Film Festival Yearbook 1: The Festival Circuit.
Jay Daniel Thompson reviews Amit Sarwal and Reema Sarwal (eds), Creative Nation: Australian Cinema and Cultural Studies Reader.
Mike Walsh reviews Michael Ingham, Johnnie To Kei-fung’s PTU.
Mike Walsh reviews Joe McElhaney (ed.), Vincente Minnelli: The Art of Entertainment.
Mike Walsh reviews Catherine Russell, The Cinema of Naruse Mikio: Women and Japanese Modernity.
Tony Williams reviews Stella Hockenhull, Neo-Romantic Landscapes: An Aesthetic Approach to the Films of Powell and Pressburger.
Janice Yu reviews Jane Blocker, Seeing Witness: Visuality and the Ethics of Testimony.

More about → Oyez! Oyez! Screening the Past (Issue 26) Out Now

Screening the Past Issue 25 Out Now

Image from The Rose of Rhodesia (Harold M Shaw, 1918 - slottsbio.com)

Film Studies For Free rushes you the hot-off-the-press news that there's new issue out today of one of its favourite open access online film journals, Screening the Past. It's a hugely valuable special issue devoted to the subject of 'Colonial Africa on the Silent Screen'. The website describes the issue thus:

The Rose of Rhodesia (1918) by Harold M. Shaw is one of the earliest remaining feature films shot in Africa. Issue #25 of Screening the Past offers the first critical assessment of the film that until recently was thought lost. Essays by specialists in an array of fields situate the film in the context of South African cinema history, silent film conventions, performance styles, popular literature, imperialism, and political struggle in Zimbabwe today. Guest-edited by Stephen Donovan and Vreni Hockenjos, and in collaboration with the Nederlands Filmmuseum, this special issue includes a streamed version of the restored print of The Rose of Rhodesia.

FSFF would also like to flag up Robert Burgoyne's brilliant essay on The New World, Sam Rohdie's four essays (on Painlevé, Jennings, Vigo, and Ford), and Bill Routt's great feature review Ford At Fox: Part Two (b).

Below is the full table of contents:

Foreword: Terence Ranger

Introduction: Stephen Donovan and Vreni Hockenjos

The Rose of Rhodesia—click here to view the film

Acknowledgements

Film Information

Part I: Production and Reception

Neil Parsons: Investigating the Origins of The Rose of Rhodesia, Part I: African Film Productions

Neil Parsons: Investigating the Origins of The Rose of Rhodesia, Part II: Harold Shaw Film Productions Ltd.

James Burns: Cape Town Bioscope Culture and The Rose of Rhodesia

Part II: Cinematic Perspectives

Vreni Hockenjos: Featured Attractions: The Rose of Rhodesia and Silent Cinema

Ylva Habel: Hollywood Histrionics: Performing “Africa” in The Rose of Rhodesia

Jacqueline Maingard: The Rose of Rhodesia: Colonial Cinema as Narrative Fiction and Ethnographic Spectacle

Part III: Political Perspectives

Bernard Porter: Race, Empire, and The Rose of Rhodesia

Nhamo Anthony Mhiripiri: Blood Diamonds and State Repression: From The Rose of Rhodesia to Zimbabwe’s Chiadzwa Diamond Fields

Ashleigh Harris: “Until time make him white”: Race, Land, and Insurrection in The Rose of Rhodesia

Part IV: Literary Perspectives

Stefan Helgesson: The Rose of Rhodesia as Colonial Romance

Stephen Donovan: Guns and Roses: Reading for Gender in The Rose of Rhodesia

Commentary

Peter Davis: In Africa, Diamonds Are Forever: From The Great Kimberley Diamond Robbery to Blood Diamond

Scoring The Rose of Rhodesia: An Interview with Matti Bye

Appendices

A. Plot summary
B. Intertitles with English translation
C. Press cuttings
D. Cast and crew biographies
E. Harold Shaw filmography
F. Maps of Rhodesia and Southern Africa
G. Early Rhodesian ephemera

Contributors

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First release

Sam Rohdie, Four Essays: Painlevé; Jennings; Vigo; Ford.

Robert Burgoyne, The Columbian Exchange: Pocahontas and The New World.

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Reviews

Feature Review: Bill Routt reviews Ford At Fox: Part Two (b).

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Ina Bertrand reviews Catherine Lumby, Alvin Purple, and Henry Reynolds, The chant of Jimmie Blacksmith.

Yvette Biro reviews Lorraine Mortimer, “Terror and Joy”. The Films of Dusan Makavejev.

Dean Brandum reviews Michael Deeley and Matthew Field, Blade Runner, Deer Hunters & Blowing The Bloody Doors Off: My Life in Cult Movies.

Wheeler Winston Dixon reviews Peter Gidal, Andy Warhol’s Blow Job.

Charles Drazin reviews Brian McFarlane, Screen Adaptations: Charles Dickens’ Great Expectations: The Relationship Between Text and Film.

Seyda Aylin Gurses reviews Nurith Gertz and George Khleifi, Palestinian Cinema: Landscape, Trauma and Memory.

Jan-Christopher Horak reviews Lee Grieveson and Haidee Wasson (eds), Inventing Film Studies.

D.B. Jones reviews Wheeler Winston Dixon, Film Noir and the Cinema of Paranoia.

Lorraine Mortimer reviews Esther Romeyn, Street Scenes: Staging the Self in Immigrant New York 1880-1924.

Geoffrey Nowell-Smith reviews Christopher Wagstaff, Italian Neorealist Cinema: an aesthetic approach.

Daniel Ross reviews Ingmar Bergman, Cinematic Philosopher: Reflections on His Creativity and Irving Singer, Cinematic Mythmaking: Philosophy in Film.

Thomas Salek reviews James Walters, Alternative Worlds in Hollywood Cinema: Resonance Between Realms.

Brian Shoesmith reviews Sangita Gopal and Sujata Moorti (eds), Global Bollywood: Travels of Hindi Song and Dance.

Matt Wanat reviews Nitzan Ben-Shaul, Film: The Key Concepts.

More about → Screening the Past Issue 25 Out Now