On David Lean: the Centenary Lectures from Queen Mary, University of London

Section from a frame grab from A Passage to India (David Lean, 1985)

Film Studies For Free only just bumped into the below videoed lectures which have been archived online for some time, possibly even since 2008 when they were recorded. They all treat the topic of David Lean, British film director, editor, producer and screenwriter.

What a truly wonderful resource they are, brought to you by the rather fantastic Film Studies department at Queen Mary, University of London. Two upcoming FSFF blogposts will bring you yet more fabulous resources from the brilliant staff in that department, but in the meantime it hopes that you will enjoy the resources linked to below.

David Lean, 100th Anniversary Conference 

At Queen Mary, University of London,
24th - 25th July 2008

"David Lean is one of the outstanding figures of British film history. A much sought-after film editor during the 1930s, he made his début as a director with In Which We Serve in 1942. He went on to direct such acclaimed films as Brief Encounter (1945), Great Expectations (1946), The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Doctor Zhivago (1965) and A Passage to India (1985). This centenary conference offered an opportunity both to celebrate his career and to evaluate the nature of his achievement."

Click on the images below to launch QuickTime video files of the lectures:

Mark Glancy, Queen Mary, University of London

David Lean and Noel Coward: Authorship and In Which We Serve

Anthony Reeves, trustee of the David Lean Foundation

Anthony Reeves gives a brief introduction to the work of the David Lean Foundation

Linda Kaye, Senior Researcher, British Universities Film & Video Council

David Lean and the Newsreels (1930-1931)

Jeremy Hicks, Queen Mary, University of London

In Which We Serve... The Story of a Ship...Those Who Serve at Sea: The International Reception of David Lean's Directorial Début.

More about → On David Lean: the Centenary Lectures from Queen Mary, University of London

Cambridge Film Studies Videos: Godard, Renoir, Literature and Film, Film and Forgetting, Representation of War in Film

Framestill from Scénario du film "Passion"/Script for the film "Passion" (Jean-Luc Godard, 1982). This film is discussed by Libby Saxton in her paper on gesture in Godard's films

Today, Film Studies For Free joyously tips the wink to its readers about the online availability of video recordings of papers from research events held at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) at the University of Cambridge. 

These valuable online resources will clearly be added to in the coming months and years so while FSFF will keep its beady eye trained for the appearance of future recordings of note, its readers might like to do the same with their own beady eyes.

• Anthony Lane (film critic), 'Jean Renoir's Partie de campagne and Maupassant', 14 November 2011, Part of the Cambridge Screen Media Group series

• Dr Libby Saxton (Queen Mary, University of London), 'Passion, Energy and Matter: Godard's Gesture', Part of the Cambridge Screen Media Group series 

• Prof David Trotter (University of Cambridge), 'Literature and Film in the First Media Age', 11 October 2011, Part of the Cambridge Screen Media Group series

• Professor Jay Winter (History, Yale University) 'Moving Images: From Silent Film to Film Silences in War Films, 1914-2009'. Keynote lecture at CRASSH conference 'The Moving Image' (26-27 February, 2010). This paper explores the long history of representation of war in film, from the Great War to the present. It suggests first that silent film provided a form of public séance in an era when spiritualism was at its apogee, and secondly, that it is the silences in later 'talkies' which enable us to see how cinematic mourning practices work.

• Professor Michael Wood (English, Princeton), 'Film and the Art of Forgetting'. Paper delivered at CRASSH conference 'Changing the Humanities/the Humanities Changing' (July 2009)

More about → Cambridge Film Studies Videos: Godard, Renoir, Literature and Film, Film and Forgetting, Representation of War in Film

War, Conflict and Commemoration in the Age of Digital Reproduction

Image from Avalon (Mamoru Oshii, 2001)

Below are links to some of the most interesting items to have come Film Studies For Free's way in the last weeks: a special issue of the high quality online, Open Access journal Digital Icons: Studies in Russian, Eurasian, and Central European New Media on War, Conflict and Commemoration. Not all of the items are film-related, though most are, in some way (asbtracts are included for easy skimming to see which). And there are two great essays on Mamoru Oshii's 2001 film Avalon, which FSFF particularly rated.

Issue 4, 2010: War, Conflict and Commemoration in the Age of Digital Reproduction (guest-edited by Adi Kuntsman (University of Manchester).)

4.0 Editorial | Vlad Strukov

4.1 Online Memories, Digital Conflicts and the Cybertouch of War | Adi Kuntsman 

This opening essay addresses the political and intellectual necessity that enabled me to assemble this special issue. Firstly, I argue for the need to examine the role of digital media in negotiating and commemorating wars in countries outside of the USA and Western Europe and in languages other than English. Secondly, drawing on some recent developments in research on digital media, on one hand, and war, conflict and commemoration, on the other, I claim the importance of examining the two fields together. I argue for a complex approach that would capture the ways digital media and computer technologies affect the warfare itself, its social perception as well as the ways of remembrance and commemoration. I also present several theoretical concepts – cyberscapes of memory, digital battlefields, the aftermath, passionate politics and the cybertouch of war – and outline the structure of the special issue.

4.2 The Commemoration of Nazi ‘Children’s Euthanasia’ Online and On Site | Lutz Kaelber

An integral part of the German National Socialist ‘bio-political developmental dictatorship’ programme (Schmuhl 2008), ‘euthanasia’ involved the murder of over 300,000 physically or mentally disabled persons in National Socialist Germany and its occupied territories, including children in ‘special children’s wards’ (Kinderfachabteilungen). Using the concept of traumascape as past trauma embodied at a site and brought into the present through commemoration, this article analyses the emergence of virtual traumascapes created by local memory agents who use new digital media as a means to represent these crimes and commemorate the victims of ‘special children’s wards’ in Germany, Austria, Poland and the Czech Republic. This article shows that virtual traumascapes have contributed to a diverse landscape of memory concerning the murder of disabled children and youths described in five case studies. It also briefly discusses their impact on national memory regimes and the future of commemoration. 

4.3 World War 2.0: Commemorating War and Holocaust in Poland Through Facebook | Dieter De Bruyn 

The Internet seems to have become the area where instances of individual and collective remembrance, of private and public commemoration, and of memory and postmemory intersect in a new and effective way. This article explores two Polish examples of World War II and Holocaust commemoration that have recently been issued on Facebook: the Warsaw Rising commemorative campaign and the educational project on the young Holocaust victim Henio Zytomirski. As the analysis demonstrates, what determines the value of such online projects is their performative effectiveness. The examination of both examples aims to contribute to the current debate on cultural memory, in which the focus is increasingly on the dynamical and processual character of remembering, rather than on memory as a static product.

4.4 Past Wars in the Russian Blogosphere: On the Emergence of Cosmopolitan Memory | Elena Trubina 

In Russia, for decades, the collective memory of World War II has served two major functions. It has provided the major source of legitimatising the state and the ethical ground for sustaining the collective identity of those whose country now is very different from the one defended by their grandparents. Along with the state-imposed versions of the war and tired rituals and clichéd expressions of pride and gratitude, new ways of reflecting on the war began emerging. These are facilitated by new socio-technical practices made possible by globalisation and, in particular, by the Internet. Based on an analysis of selected Russian-language blogs, this article argues that although the nationalistic master narratives continue to function as glue for the nation, they become combined with stories and recollections that are attuned to the growing openness and interconnectedness of the world, problematising exclusionary renderings of the country’s contribution to the victory.

4.5 Deadly Game along the Wistula: East European Imagery in Oshii’s ‘Avalon’ (2001) | Gérard Kraus 

Mamoru Oshii’s Avalon stands firmly engrained in the director’s science fiction oeuvre of completely visually controlled films, focusing on a strong female protagonist shown in critical situations. At the same time the film marks Oshii’s return to live action cinema and takes him outside of Asia. This essay seeks to combine biographical information on the director with an aesthetic analysis of some of the images created for the purpose of this film. In particular the essay addresses Oshii’s interests in the relations between futuristic technologies and militarised societies, and his use of Polish and Eastern European imagery. I will argue that their combination can be seen as remediating and recontextualising images of war and conflict for a new generation that, through digital media, has developed a new dynamic relationship with history and the conflicts that build Europe and the world.

4.6 Oshii’s ‘Avalon’ (2001) and Military-Entertainment Technoculture | Patrick Crogan 

This essay takes Mamoru Oshii’s Avalon (2001) as a starting point for consideration of the impact of simulational interactive media on contemporary technoculture. The connections made in the film between virtual reality games and military research and development, and its quasi-simulational modelling of various historical ‘Polands’ in re-sequencing a dystopian end of history are the most valuable resources it brings to this study of how simulation’s predominant development represents a major challenge to the forms of critical cultural reflection associated with narrative-based forms of recording and interrogating experience. Analysis of the methods and rhetorics of simulation design in the military-industrial (and now military-entertainment) complex will elaborate the nature and stakes of this challenge for today’s globalising technoculture of ‘militainment’.

4.7 ‘The Weight of Meaninglessness’ | Naida Zukić 

The Weight of Meaninglessness is a video performance that evokes the atrocities of the recent Bosnian history in an effort to highlight the ethical urgencies, complexities and paradoxes of externalising trauma within a site that collapses meaning and creates possibilities for the return of traumatic memory. The performance shows the artist violently and continuously scrubbing clean her permanently marked arm, withstanding bodily pain and struggling to breathe. The video also confronts the viewer with Srebrenica Genocide; the images of mass graves render the memory of the atrocity traumatising in its insufferable intensity. In the moment of examining trauma and locating its agency, the artist lays bare the paradox of violent memories that can only be externalised through inflicting violence on oneself. The artist’s essay addresses the historical and ideological conditions under which The Weight of Meaninglessness critiques and exercises violence.

4.8 ‘Roma Snapshots: A Day in Sarajevo’ | Vanja Čelebičić 

The recent war in Bosnia-Herzegovina serves as an undercurrent in this short ethnographic film Roma Snapshots: a Day in Sarajevo. The film attempts to enquire into Sarajevan Roma’s sense of identification, belonging and memory. It portrays the daily lives of Roma through snapshots of their concurrent realities, where painful memories, laughter and religious beliefs exist side by side. The film comprises of simultaneous screening of four episodes, drawing attention to the filmmaker’s dilemma of how to best represent her subjects and which aspects of their lives to highlight. The film addresses visual anthropology’s concerns regarding ways of portraying reality and challenges the standard narrative approach to documentary filmmaking. Roma Snapshots: a Day in Sarajevo is accompanied by the filmmaker’s reflexive essay on anthropological filmmaking, digital media and life in post-war zones.

4.9 The Portrayal of Russian Hackers During Cyber Conflict Incidents | Athina Karatzogianni 

This article analyses various cyber conflicts and cyber crime incidents attributed to Russian hackers, such as the Estonian and Georgian cyber conflicts and the ‘Climategate hack’. The article argues that Russian hackers were blamed by dozens of outlets for the Climategate hack, because that was consistent with global media coverage of cyber crime incidents which portrayed Russians as highly powerful hackers responsible for many hacking incidents. This narrative also was congruent with the new Cold War rhetoric that consistently takes issue with Russia acting on its geopolitical interests. These interests are seen to manifest themselves in Russia’s objection to countries, formerly under its influence, participating in the NATO alliance and its seemingly obstructive stance at the Copenhagen summit on climate change. 

4.10 A Study on a Russian-American Non-Reflexive Discourse | Olga Baysha 

This study investigates one such case study – the outburst of anti-Americanism among Russia Internet users during the Russia-Georgia military crisis of 2008. The paper analyzes the discussions of Washington Post articles at the Washington PostForeign Media Russian Internet site. The study shows that, despite numerous attempts by Russian users to deliver their messages to the American readers, their postings were ignored by the American users and global dialogue did not occur. It is this exclusion from the conversation, together with the denigration of Russia by writers in the United States that led to the intensification of anti-American sentiments among the Russians. The study makes clear that for the establishment of effective global public spheres access to new communication technologies and knowledge of English are inadequate, unless accompanied by the willingness to listen to others and a desire to understand them.   

4.11 Web Wars: Digital Diasporas and the Language of Memory | Ellen Rutten 

Web Wars: Digital Diasporas and the Language of Memory in Russia & Ukraine is a three-year research project within the collaborative HERA-funded project Memory at War: Cultural Dynamics in Russia, Poland & Ukraine. Led by Dr Alexander Etkind (Cambridge University), this project zeroes in on the ongoing memory wars between Russia, Ukraine, and Poland – nations where political conflicts take the shape of heated debates about the recent past. For Memory at War, five European universities – Cambridge, Helsinki, Tartu, Groningen and Bergen – cooperate to scrutinize Eastern Europe’s memory wars from varying angles. Web Wars is the Bergen pendant, which focuses on their outlines in digital media, and Russian and Ukrainian social media in particular. This submission maps the project design, methods and research objectives.

4.12 Book Reviews

More about → War, Conflict and Commemoration in the Age of Digital Reproduction

Screening 9/11 and its aftermath in film and media studies

Image from In America (Jim Sheridan, 2002), the first film to be (partly) shot in New York after the 9/11 terrorist attacks, according to Seán Crosson's article "‘They can't wipe us out, they can't lick us. We'll go on forever pa, ‘cause we're the people'..." (2008)

The absence of the Twin Towers from the post-9/11 New York City skyline posed a number of dilemmas for the creators and producers of television shows and movies that were ‘symbolically’ set in New York City after 9/11. Whilst the World Trade Center towers had been destroyed, editors in studio lots in California faced the prospect of the late 2001 ratings season commencing with stock reels of New York City that prominently featured the Towers prior to 9/11. This posed an odd dilemma for the producers of television shows such as Friends, Sex and the City, and Spin City, programs in which the Twin Towers often appeared as a backdrop and a powerful signifier of being in New York City. The response seemed universal – the Twin Towers must be removed from the tele-visual pop-cultural locations. They needed to be purged, exorcised and air- brushed out of the shot. But by airbrushing out the Towers, the producers have purged post-9/11 television of more than just the steel and concrete of the iconic buildings. I suggest that this purging is powerful, a little odd, and deeply symbolic. In order to recover, perhaps some space – and some forgetting, if only temporary – was needed. But I argue that the missing Towers also represented a missing terror, a missing city. It was as though the creators and producers of some post-9/11 television believed that the world’s viewers would have no stomach for seeing images of a pre-9/11 New York City – a city that in many respects no longer existed. Perhaps the problem lies in how the destruction of the Twin Towers was witnessed – live on TV, in real-time, as heinous, immediate and real violence. It was ugly, sickening, horrific, terrifying. Yet it was also difficult to look away. [Luke John Howie, 'Representing Terrorism: Reanimating Post-9/11 New York City', International Journal of Žižek Studies, Vol 3, No 3 (2009)]

It is the eve of another anniversary of the 9/11 terrorist attacks in America.

Film Studies For Free respectfully remembers the tragic and traumatic events of nine years ago tomorrow, and other closely related ones since, with a list of links to important, insightful, and openly accessible studies of the cultural depiction and (re)media(tiza)tion of the 9/11 attacks, as well as of their aftermath.

• Marco Abel, 'Don DeLillo’s “In the Ruins of the Future”: Literature, Images, and the Rhetoric of Seeing 9/11', PMLA, 118.5, 2003 
• Raúl Álvarez Gómez, 'Terrorism and Social Panic in British Fantastic Cinema', in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 3 in pdf)
• Kari Andén-Papadopoulus, 'The Trauma of Representation: Visual Culture, Photojournalism and the September 11 Terrorist Attack', NORDICOM Review 24, No. 2 (December 2003): 89-104
• Francis A. Beer and G. R. Boynton, 'Globalizing Terror', Poroi, 2, 1, August, 2003
• James Brassett, 'Cosmopolitan Sentiments After 9-11? Trauma and the Politics of Vulnerability', Journal of Critical Globalisation Studies, Issue 2 (2010)
• Gordon V. Briggs, White Masculinity in the American Action Film Pre and Post 9/11, Masters Thesis, College of Fine Arts of Ohio University, June 2007
• Mary Caputi, 'Ground Zero, an American Origin', Poroi, 2, 1, August, 2003
• Steven Alan Carr, 'Staying for Time: The Holocaust and Atrocity Footage in American Public Memory', Violating Time: History, Memory and Nostalgia in Cinema. Christina Lee, ed. New York NY: Continuum, 2008
• Aimee Carrillo Rowe and Sheena Malhotra, 'Chameleon Conservatism: Post-9/11 Rhetorics of Innocence', Poroi, 2, 1, August, 2003 
• Dana L. Cloud, 'Therapy, Silence, and War: Consolation and the End of Deliberation in the “Affected” Public', Poroi, 2, 1, August, 2003
• David Crawford, 'Realism vs. Reality TV in the War on Terror: Artworks as Models of Interpretation', Geometer, January 19, 2009 
• Seán Crosson, "‘They can't wipe us out, they can't lick us. We'll go on forever pa, ‘cause we're the people' - Misrepresenting death in Jim Sheridan's In America (2003)", Estudios Irlandeses: Journal of Irish Studies, Issue 3, (2008)
• Sven Cvek, 9/11: Event, Trauma, Nation, Globalization, PhD Thesis, University of Zagreb, 2009
• Marieke De Goede, 'Beyond Risk: Premediation and the Post-9/11 Security Imagination', Security Dialogue 2008; 39; 155
• Arne De Boever, 'The Politics of Retirement: Joel and Ethan Coen's No Country for Old Men after September 11', Image and Narrative, 10.2, 2009 
• Elizabeth Ellsworth, 'Media and the Un-Representable: The Brief Time of Audience-as-Witness to 9/11', MIT3: Television in Transition International Conference, Cambridge, May, 2003
• Phoebe Fletcher, 'Apocalyptic Machines: Terror and Anti-Production in the Post-9/11 Splatter Film', in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 81 in pdf)
• Gabriel Garcia Mingorance, 'Monsters, Feérie Fear, Threaten Global And the Uncanny in the Cinema of M. Night Shyamalan', in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 23 in pdf)
• Silvia Herreros de Tejada, 'Drumming the Horror Away', in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 47 in pdf)
• Will Higbee, 'Ungrounding the Narrative of Nation" - Review: David Martin-Jones (2006)', Film-Philosophy, 13.1, April 2009 
• Luke John Howie, 'Representing Terrorism: Reanimating Post-9/11 New York City', International Journal of Žižek Studies, Vol 3, No 3 (2009)
• Luke Howie, 'I’ll be there for you – the meanings and consequences of 9/11 in Friends', TASA: Re-imagining Sociology, The University of Melbourne, December 2-5, 2008
  
• Carolyn Jess-Cooke, 'Narrative and Mediatized Memory in Eternal Sunshine of the Spotless Mind', Scope, Issue 8, June 2007 
• Jonathan Kahana, excerpt from Intelligence Work: The Politics of American Documentary (Columbia University Press, 2008)
• E. Ann Kaplan, 'Feminist Futures: Trauma, the Post-9/11 World and a Fourth Feminism?', Journal of International Women’s Studies Vol 4 #2 April 2003
• Mina Karavanta on C. Cilano’s From Solidarity to Schisms », European journal of American studies [Online], Reviews 2010-1, document 7, Online since 16 March 2010
• Laurie A. Manwell, 'Faulty Towers of Belief: Part II. Rebuilding the Road to Freedom of Reason', Journal of 9/11 Studies, August 2007
• Alan S. Marcus, '“It Is as It Was”: Feature Film in the History Classroom', Social Studies, March/April 2005
• Peter Knight, 'Conspiracy Theories about 9/11', Centre for International Politics Working Paper Series, No. 34, August 2007
• Allen Meek, 'Walter Benjamin and the Virtual: Politics, Art, and Mediation in the Age of Global Culture, Transformations, Issue No. 15, November 2007 
• William Merrin, 'Total Screen: 9/11 and the Gulf War Reloaded', International Journal of Baudrillard Studies,  Volume 2, Number 2 (July 2005)  
• Robin Marie Merrick Murphy, 'Post-9/11 Rhetorical Theory and Composition Pedagogy: Fostering Trauma Rhetorics as Public Space, PhD Thesis, Bowling Green State University, August 2007
• John S. Nelson, 'Rhetorics of Response to 9/11: The Aftermath of Terror', Poroi, 2, 1, August, 2003
• John S. Nelson, 'Four Forms for Terrorism: Horror, Dystopia, Thriller, and Noir', Poroi, 2, 1, August, 2003
• Marc A. Ouellette, “I Hope You Never See Another Day Like This”: Pedagogy and Allegory in “Post 9/11” Video Games', Game Studies, Vol. 8, Issue 1, 2008
• Chrysavgi Papagianni, 'American Multiculturalism after 9/11: Transatlantic Perspectives, by Derek Rubin and Jaap Verheul', European journal of American studies [Online], Reviews 2010-2, document 5, Online since 12 August 2010
• Isabel Pinedo, 'Tortured logic: entertainment and the spectacle of deliberately inflicted pain in 24Battlestar Galactica', Jump Cut, No. 52, Summer 2010
• Maria Pramaggiore, 'The global repositioning of the city symphony: sound, space, and trauma in 11’09”01—September 11', Jump Cut, No. 52, 2010
• Susannah Radstone, ‘Trauma theory: Contexts, Politics, Ethics’, Paragraph 30 (1): 2007, 9-29
• Christina Rickli, 'An Event “Like a Movie”? Hollywood and 9/11', COPAS, 10.10, 2006
• Araceli Rodríguez Mateos, 'Cinema and Social Trauma after Terrorist Attacks: the Spectatorship Perception. Approaching to the Spanish Case', in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009
• Antonio Sánchez-Escalonilla, 'Hollywood Under Siege: The Entrenched As a Dramatic Role in the Wake of 9/11', in The Many Forms of Fear, Horror and Terror edited by Leanne Franklin and Ravenel Richardson, InterDisciplinary.net, August 2009 (scroll to p. 13 in pdf)
• Thomas Shevory, "From Censorship to Irony: Rhetorical Responses to 9/11," Poroi: Vol. 2: Iss. 1, 2003: p. 8-4 
• Elisabeth Siegel, '“Stuff That Happened to Me”: Visual Memory in Jonathan Safran Foer’s Extremely Loud and Incredibly Close (2005)', COPAS, 10.7, 2010
• Louise Spence, 'Teaching 9/11 and Why I’m Not Doing It Anymore', from Cinema Journal 43, No. 2, Winter 2004
• Lynn Spigel, 'Entertainment Wars: Television Culture after 9/11', American Quarterly, Vol. 56, No. 2 (June 2004)
• Kim Toffoletti and Victoria Grace, 'Terminal Indifference: The Hollywood War Film Post-September 11', Film-Philosophy, Vol 14, No 2 (2010)
• M. Karen Walker, 'Analyses of Post-9/11 Media Coverage: A Review of the Communications Literature', RhetoricaLens.info, July 17, 2006
• M. Karen Walker, 'Visual Rhetoric: A Literature Review', RhetoricaLens.info, July 17, 2006
• Cynthia Weber, 'Fahrenheit 9/11: The Temperature Where Morality Burns', Journal of American Studies, 40 (2006), 1, 113–131

More about → Screening 9/11 and its aftermath in film and media studies

A Cinematic World? On Jean Baudrillard and Film Studies

Image from Stop-Loss (Kimberly Peirce, 2008). Read Kim Toffoletti and Victoria Grace, 'Terminal Indifference: The Hollywood War Film Post-September 11', which treats this and other contemporary war films.

We are no longer the actors of the real but the double agents of the virtual.

Jean Baudrillard, Fragments: Cool Memories III (New York: Verso, 1997):125

On the occasion of an excellent new issue of online journal Film-Philosophy on "Baudrillard and Film-Philosophy" (Vol 14, No 2, 2010), Film Studies For Free is proud to present a long list of links to openly accessible Baudrillardian film studies. These are set out below the embedded video of the late Baudrillard in action himself. This list incorporates links to the FP articles.

It's so nice to have things in a simulacrum of one tidy place, FSFF thinks. And it hopes you will agree.

Jean Baudrillard thinking and talking about the violence of the image, the violence to the image, aggression, oppression, transgression, regression, effects and causes of violence, violence of the virtual, 3d, virtual reality, transparency, psychological and imaginary. Open Lecture given by Jean Baudrillard after his seminar for the students at the European Graduate School, EGS Media and Communication Program Studies Department, Saas-Fee, Switzerland, Europe, in 2004

By Jean Baudrillard

• Jean Baudrillard, 'Virtuality and Events: The Hell of Power', [Translated by Chris Turner], International Journal of Baudrillard Studies, Volume 3, Number 2 (July 2006)

• Jean Baudrillard, 'Violence of the Virtual and Integral Reality', [Translated by Dr. Marilyn Lambert-Drache], International Journal of Baudrillard Studies, Volume 2, Number 2 (July 2005)

• Jean Baudrillard, 'The Matrix Decoded:  Le Nouvel Observateur Interview With Jean Baudrillard', [Translated by: Dr. Gary Genosko and Adam Bryx], International Journal of Baudrillard Studies, Volume 1, Number 2 (July 2004) 

• Jean Baudrillard video lectures at EGS 

Engaging with Baudrillard's work:

• Stuart C. Aitken and Deborah P. Dixon, 'Imagining Geographies of Film', Erdkunde, Band 60/2006

• Chiara Armentano, '"The Image-Interface": New Forms of Narrative Visualization, Space and Time in Postmodern Cinema', Reconstruction, 8.3 (2008)

• Jon Baldwin, 'Introduction - White Magic: Baudrillard and Cinema', Film-Philosophy, Vol 14, No 2 (2010)

• Melanie Chan, 'Virtually Real and Really Virtual: Baudrillard’s Procession of Simulacrum and The Matrix', International Journal of Baudrillard Studies,Volume 5, Number 2 (July, 2008)

• Alan Cholodenko, The ‘ABCs’ of B, Or: To Be and Not to Be B', Film-Philosophy, Vol 14, No 2 (2010)

• Alan Cholodenko, 'The Nutty Universe of Animation, The “Discipline” of All “Disciplines”, And That’s Not All, Folks!', International Journal of Baudrillard Studies, Volume 3, Number 1 (January 2006)

• Alan Cholodenko, '“OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR”: The Virtual Reality of Jurassic Park and Jean Baudrillard', International Journal of Baudrillard Studies, Volume 2, Number 1 (January 2005) 

• Alan Cholodenko, '“The Borders of Our Lives”: Frederick Wiseman, Jean Baudrillard, And The Question of The Documentary', International Journal of Baudrillard Studies, Volume 1, Number 2 (July 2004) 

• Alan Cholodenko, '(The) Death (of) the Animator, or: The Felicity of Felix - Part II: A Difficulty in the Path of Animation Studies', Animation Studies – Vol.2, 2007

• Alan Cholodenko, 'The Spectre in the Screen', Animation Studies – Vol.3, 2008

• David B. Clarke, Dreams Rise in Darkness: The White Magic of Cinema', Film-Philosophy, Vol 14, No 2 (2010)

• Gerry Coulter, 'Jean Baudrillard and Cinema: The Problems of Technology, Realism and History', Film-Philosophy, Vol 14, No 2 (2010)

• Anton Escher, 'The Geography of Cinema - A Cinematic World', Erdkunde, Band 60/2006

• Scott Forsyth, 'Marxist Film Theory: From the Barricades to Postmodernism' , The Socialist Register, 1997

• Anne Friedberg, 'Urban mobility and cinematic visuality: the screens of Los Angeles – endless cinema or private telematics', Journal of Visual Culture, Vol 1(2), 2002: 183-204

• John Frow, 'Australian Cultural Studies: Theory Story, History', Australian Humanities Review, Issue 37, December 2005

• Michael Hemmingson, 'Auto/Ethnography and Tinsel Town: Nathaniel Kohn's Pursuing Hollywood and How it Relates to My Own Experiences Chasing the Dream of Creating Culture Through Cinema', Forum Qualitative Sozialforschung / Forum: Qualitative Social Research,  Vol 9, No 3 (2008)

• Mark Hobart, 'Just Talk? Anthropological Reflections on the Object of Media Studies in Indonesia', A.J.S.S. 34:3 (492–519)

• Mark Hobart, 'The Subject of the Subject: Philosophical background to a critical reconsideration of the problems in studying non-Western media', Position Paper to the Workshop on The Subject of the Subject in Media Studies, Media Research Group SOAS, 2nd. December 1997

• Russell J.A. Kilbourn, 'Re-Writing "Reality": Reading The Matrix', Canadian Journal of Film Studies, 9.2, Fall 2000, pp 43-54

• Marc J. LaFountain, 'Obscene Ethics: A Baudrillardian View of Spurlock’s Super Size Me', International Journal of Baudrillard Studies, Volume 5, Number 2 (July, 2008) 

• Jon Lindblom, 'Toward an Ontology of the Image: Deleuze and the Aura of Simulation', Movement Editions, 2010

• Scott A. Lukas, 'Fragments of The World Thinking Me, Or How The Digital Facilitates Human Separation', International Journal of Baudrillard Studies, Volume 3, Number 2 (July 2006)

• Chris Lukinbeal, 'The map that precedes the territory: An introduction to essays in cinematic geography', GeoJournal 59: 247–251, 2004

• Christopher Macallister, 'The Changing British Sensibility Towards War and the Reimagining of World War Two in the Cinema', War, Virtual War and the Challenges to Communities Oxford 16th – 18th July 2002

• Russell Manning, 'Taking Baudrillard to the Movies (To Talk About Death)', International Journal of Baudrillard Studies, Volume 7, Number 1 (January, 2010)

• Erik Marshall, 'Fatal Strategies and Film Studies', Film-Philosophy, Vol. 6 No. 44, November 2002

• William Merrin, 'Speculating to the Death: Machinic Integration and Transformation Within A Virtualized Reality', International Journal of Baudrillard Studies, Volume 4, Number 2 (July, 2007)

• William Merrin, 'Total Screen: 9/11 and the Gulf War Reloaded',International Journal of Baudrillard Studies,  Volume 2, Number 2 (July 2005)

• Paula Murphy, 'The Simulacra of Global Conflict', International Journal of Baudrillard Studies, Volume 5, Number 2 (July, 2008)

• Pamela Nilan, 'Applying Semiotic Analysis to Social Data in Media Studies', Jurnal Komunikasi Massa Vol. 1, No. 1, Juli 2007, 60-74

• Benjamin Noys, 'Crimes of the Near Future: Baudrillard / Ballard', International Journal of Baudrillard Studies, Volume 5, Number 1 (January, 2008) 

• William Pawlett and Meena Dhanda, 'The Shared Destiny of the Radically Other: A Reading of  The Wizard of Oz', Film-Philosophy, Vol 14, No 2 (2010)

• Richard Pope, 'Baudrillard’s Simulacrum:  Of War, Terror, and Obituaries', International Journal of Baudrillard Studies, Volume 4, Number 3 (October, 2007)

• James Rovira, 'Subverting the Mechanisms of Control: Baudrillard, The Matrix Trilogy, and the Future of Religion', International Journal of Baudrillard Studies, Volume 2, Number 2 (July 2005)

• Kenneth Rufo, 'Obscenity with a View: Baudrillard's  Revenge of the Crystal and Film Studies', Film-Philosophy, Vol. 6 No. 43, November 2002

• Marita Ryan, 'Answering the Question: “What is Intermission?” – An Exploration of Intermission as a Postmodern Film', International Journal of Baudrillard Studies, Volume 5, Number 1 (January, 2008) 

• Alan N. Shapiro, 'Baudrillard and Trek-nology (Or Everything I Know I Learned From Watching Star Trek and Reading Jean Baudrillard)', International Journal of Baudrillard Studies, Volume 2, Number 2 (July 2005) 

• Mark Shiel, 'Cinema and the City in History and Theory', Cinema and the City (Oxford: Blackwell, 2001)

• Jonathan Smith, Jean Baudrillard’s Philosophy of Magic', International Journal of Baudrillard Studies, Volume 4, Number 2 (July, 2007)

• Richard G. Smith, 'Lights, Camera, Action: Baudrillard and the Performance of Representations', International Journal of Baudrillard Studies, Volume 2, Number 1 (January 2005)

• Paul Taylor, 'Baudrillard's Resistance To the Ob-Scene As the Mis-en-scene (Or, Refusing to Think Like a Lap-Dancer’s Client)', International Journal of Baudrillard Studies, Volume 5, Number 2 (July, 2008)

• Paul A. Taylor, 'The Pornographic Barbarism of the Self-Reflecting Sign', International Journal of Baudrillard Studies, Volume 4, Number 1 (January 2007)

• Kim Toffoletti and Victoria Grace, 'Terminal Indifference: The Hollywood War Film Post-September 11', Film-Philosophy, Vol 14, No 2 (2010)

• Hunter Vaughan, 'The Paradox of Film: An Industry of Sex, a Form of Seduction (Notes on JeanBaudrillard’s  Seduction  and the Cinema)', Film-Philosophy, Vol 14, No 2 (2010)

More about → A Cinematic World? On Jean Baudrillard and Film Studies

On "England" and "Englishness" in British Cinema and Television

Updated July 27, 2010

Image from Went the Day Well? (Alberto Cavalcanti, 1942)

Film Studies For Free was recently very inspired by Nick James's wonderful overview of the career of Brazilian Alberto Cavalcanti for next month's Sight and Sound magazine. As a huge fan of Cavalcanti's work, and in particular of his (and Ealing's) Went the Day Well? (indeed, FSFF's author lives in a English village uncannily like that portrayed in this film), it immediately set about researching a list of links to online scholarly works on the Brazilian filmmaker, only to discover very few openly accessible ones in English (do check out, though, Kristin Thompson and David Cairn's essays on Went the Day Well?, and the latter's other postings on Cavalcanti here, here, here, here, and here).

FSFF's author's rage at this overall lack of anglophone material (see the photographic evidence above) was eventually sublimated in a different curatorial project, one still connected to themes at the heart of Cavalcanti's work, and also to some related topics explored in further August 2010 Sight and Sound articles (ones sadly not [yet] online: William Fowler's 'Absent authors: Folk in artist film', and Rob Young's 'The pattern under the plough').

Anyhow, below you will find the fruit of this inspiration and frustration: a list of links to thoughtful and thought-provoking international scholarship on expressions of "England" and (multifarious) "Englishness" in (mostly) British cinema and television.

• José Arroyo, 'The films of Isaac Julien: Look back and talk black', Jump Cut, no. 36, May 1991

• Victoria Ball, 'Female identity and the British female ensemble drama 1995-1998', PhD thesis. Queen Margaret University, 2007

• Charles Barr, 'Projecting Britain and the British Character: Ealing Studios, Part II', originally Screen, 15(2), 1974

• Alexandra Lynn Barron, 'Postcolonial Unions: The Queer National Romance in Film and Literature', PhD Thesis, University of Texas at Austin, May 2005

• Joe Brooker, 'England's Screening', Film-Philosophy, 3.10, 1999

• Stuart Duncan Brown, 'Uses of Laughter in the Cinematic Representation of the British Working-Class', PhD Thesis, University of Glasgow, December 2007

• Charlotte Brunsdon, 'The Poignancy of Place: London and the Cinema', Visual Culture in Britain, Volume 5, Number 1, Summer 2004 , pp. 59-73

• Charlotte Brunsdon, ‘A fine and private place’: the cinematic spaces of the London Underground' Screen 2006 47: 1-17

• Katherine Byrne, '“Such a fine, close weave”: Gender, Community and the Body in Cranford (2007)', Neo-Victorian Studies, 2.2, Winter 2009/2010

• Elizabeth de Cacqueray, 'New Slants on Gender and Power Relations in British Second World War Films', Miranda, No. 2, 2010

• Mónica Calvo Pascual, 'My Beautiful Laundrette: Hybrid "Identity", or the Paradox of Conflicting Identifications in "Third Space" Asian-British Cinema of the 1980s', Miscelánea: a journal of english and american studies 26 (2002): pp. 59-70

• E. Anna Claydon, ‘Nostalgia in the Post-National: Contemporary British Cinema and the South-Asian Diaspora’, South Asian Cultural Studies,Vol.2 No.1, 2008, pp 26 - 38

• Robin Cohen, ' Fuzzy Frontiers of Identity: The British Case', Social Identities Vol 1. No. 1 1995, 35−62

• Chantal Cornut-Gentille D’Arcy, 'Filmic Representations of the British Raj in the 1980s: Cultural Identity, Otherness and Hybridity', PhD Thesis, Universidad de Zaragoza, March 2009

• Chantal Cornut-Gentille D’Arcy, 'Everything You Always Hated about Thatcher's Britain: A Cultural Analysis of Mike Leigh's High Hopes', Miscelánea: A Journal of English and American Studies, 28, 2003

• Josephine Dolan, 'Englishness: Heroes, heroines and reciprocal encounters', Identity, Self and Symbolism, Volume 1.2 November 2006

• Stephanie Hemelryk Donald, ‘Seeing white: female whiteness and the purity of children in Australian, British and Chinese visual culture’, Social Semiotics, 10:2, 2000, 157-171

• Gillian Dow, 'Lady Bathurst’s Patriotic Ballroom, or “Reading Austen at a Distance”: The French Revolutionary Wars in Recent Adaptations ', Persuasions-Online, Vol. 28, No. 2, 2008

• Geoff Eley, 'Finding the People's War: Film, British Collective Memory and World War II', American Historical Review, 105, 5 (June 2001), 818-838

• Steven Fielding , 'A mirror for England? Cinematic representations of politicians and party politics during the ‘golden age’ of party, c. 1944-64', The First Annual International Conference on Minor Parties, Independent Politicians, Voter Associations and Political Associations in Politics, University of Birmingham, 2007

• Thaïs Flores Nogueira Diniz, 'Representation and Identity: Shakespeare in the Forties', Estudos Anglo Americanos 17-18 (1993-94)

• Andrew Higson, 'Transnational developments in European cinema in the 1920s',Transnational Cinemas Volume 1, Number 1, 2010

• Justin Hindmarsh, 'British Cinema - Style and Context: An Examination of British "New Wave" Films', Discussion Papers in Mass Communications, University of Leicester, January 1997

• Elena Von Kassel, 'An Image of Britain during the Second World War: The films of Humphrey Jennings (1939-1945)',  Revue LISA/LISA e-journal [Online], Vol. IV - n°3 | 2006

• Frank Leishman, 'From Dock Green to Life on Mars: Continuity and Change in TV Copland', University of Gloucestershire Inaugural Lecture No 1, 2008

• Melinda Lewis, 'Renegotiating Britishness through Comedy television', Master Thesis, Graduate College of Bowling Green State University, August 2009

• Chris Louttit, 'Cranford, Popular Culture, and the Politics of Adapting the Victorian Novel for Television', Adaptation, (2009) 2 (1): 34-48

• Robert Mayer, 'Not Adaptation by ‘Drifting’: Patrick Keiller, Daniel Defoe, and the Relationship between Film and Literature', Eighteenth-Century Fiction, Volume 16, Issue 4, 2004

• Michael McCluskey, 'Amateur Film and the Interwar English Countryside', Scope, Using Moving Image Archives, Edited by Nandana Bose and Lee Grieveson, Issue 17, June 2010

• José I. Prieto Arranz, 'Images of English purity: A comparative study of Elizabeth I and Diana, Princess of Wales', Identity, Self and Symbolism, Volume 1.2 November 2006 (scroll to p. 116)

• Cornelis Martin Renes, 'Whose New World? Derek Jarman’s Subversive Vision of The Tempest (1979)', BELLS, 17, 2008

• Josh Romphf , '“Invention in the Name of Community”: Workshops, the Avant-Garde and The Black Audio Film Collective', Kino: The Western Undergraduate Journal of Film Studies, Vol. 1 [2010], Iss. 1

• Pave Skopal, 'DVD marketing in U.S. of Working Title's British romantic comedies: Framing reception and strategies of cultural appropriation', Jump Cut, No. 48, winter 2006

• John C. Tibbetts, 'Between the Map and the Painted Landscape: Kevin Brownlow’s Historical Films',  PREPRINT at Kansas University Repository: Historical Journal of Film, Radio, Television, June 2000. 20(2): 227-251

• Rosie White, 'Englishness and espionage: Edith Cavell as the good spy', Identity, and Symbolism, Volume 1.2 November 2006 (scroll to p. 129)

• Jonathan Wright, 'Rereading the British Social Realist Film: Samantha Lay's British Social Realism', Film-Philosophy, Vol. 8 No. 4, January 2003

More about → On "England" and "Englishness" in British Cinema and Television

Film-Historia: Index to English language articles

Image from Offret/The Sacrifice (Andrei Tarkovsky, 1986). See "Images of War in Andrei Tarkovski's The Sacrifice: Four levels of meaning", by Gabriel Giralt, Film-Historia, No. 1, 1999

Over the years, Film Studies For Free has noticed that there were some excellent English-language articles on lots of different aspects of film history to be found at the (very difficult to navigate) website of the excellent Universitat de Barcelona-based film journal Film-Historia. 

Until today, however, there was no easy way to access all of these articles, but ...  (drum roll) ... ta-da! Cast your eyes at the awesome list of direct links below, and, if you feel so inclined, thank your lucky stars that FSFF's author needed some distraction from her country's general election shenanigans this morning.

• "Walker: the dramatic film as historical truth" by Robert A. Rosenstone, Film-Historia, No. 1, 1992
• "The Image of Mexican Heroes in American Films" by Paul J. Vanderwood, Film-Historia, No. 3, 1992
• "Absolved by History: On the Aesthetics and Ideology on History in the Cuban Film Institute" by John Mraz, Film-Historia, No. 3, 1993
• "The Historical Film is a Real History", by Robert A. Rosenstone, Film-Historia, No. 1, 1995
• "Social Roles/Political Responsabilities: Jean Renoir's Search for Artistic Integrity, 1928-1939" by Charles Musser, Film-Historia, No. 1, 1994
• "Hollywood, U.S.- Mexican Relations, and the Devolution of the "Golden Age" of Mexican Cinema" by Seth Fein, Film-Historia, No. 2, 1994
• "'We're just little people, Louis': Marie-Antoniette on Film" by Laura Mason, Film-Historia, No. 3, 1994
• "Against the Ivory Tower: An Apologia for 'Popular' Historical Documentaries" by Dirk Eitzen, Film-Historia, No. 1, 1995
• "Filming the "Discovery" of America: How and Whose History Is Being Told" by Luisela Alvaray, Film-Historia, No. 1, 1995
• "Film as Historical Narrative", by Hannu Salmi, Film-Historia, No. 1, 1995
• "The Politics of the Trilogy Form: Lucia, the Oresteia, and The Godfather", by Peter W. Rose, Film-Historia, No. 2-3, 1993
• "Who Killed Vincent Chin? (1988): Ethnicy and a Babble of Discourses", by Leslie Fishbein, Film-Historia, No. 2-3, 1995
• "Colonial History and Anglo-American tension in 1939: Allegheny Uprising and Drums along the Mohawk", by K. R. M. Short, Film-Historia, No. 1, 1996
• "Cinematic Contextual History of High Noon (1952, dir. Fred Zinnemann)", by J. M. Caparrós-Lera and Sergio Alegre, Film-Historia, No. 1, 1996
• "Spain in U.S.: cinematic relationship, 1939-1953", by Rafael de España, Film-Historia, No. 3, 1996
• "Mothering Daughters: Subjectivity and History in the Work of Helma Sanders Brahms's Germany Pale Mother" by Judith Keene, Film-Historia, No. 1, 1997
• "Paradise Found?: Ana/chronic Nostalgia in Belle Epoque", by Jose F. Colmeiro, Film-Historia, No. 2, 1997
• "Germany after Unification: Views from Abroad", by Roger Hillman, Film-Historia, No. 2, 1997
• "The Image of Ancient Rome in the Cinema", by Carl J. Mora, Film-Historia, No. 3, 1997
• "Coping Strategies: Three Decades of Vietnam War in Hollywood", by Eusebio V. Llácer and Esther Enjuto, Film-Historia, No. 1, 1998
• "The Royal Air Force: World War II Film Propaganda and The March of the Time", by K. R. M. Short, Film-Historia, No. 2-3, 1998
• "Oliver Stone's Nixon: Politics on the Edge of Darkness", by Ian Scott, Film-Historia, No. 1, 1999
• "Images of War in Andrei Tarkovski's. The Sacrifice: Four levels of meaning", by Gabriel Giralt, Film-Historia, No. 1, 1999
• "Playful Subversions: Hollywood Pirates Plunder Spanish America", by Nina Gerassi-Navarro, Film-Historia, No. 2, 1999
• "The Revolution is History: Filming the Past in Mexico and Cuba", by John Mraz, Film-Historia, No. 2, 1999
• "El día que me quieras: History, Mith and Che Guevara", by John Hess, Film-Historia, No. 2, 1999
• "Cantinfladas of the PRI: (Mis) Representations of Mexican Society and Democracy in the Films of Mario Moreno", by Jeffrey Pilcher, Film-Historia, No. 2, 1999
• "Los Hermanos Mayo: Photographing Exile", by John Mraz, Film-Historia, No. 1-2, 2000 
• "Cut from Anglophilia to Anglophobia. Hollywood's Changing Perceptions of the British" by Carl J. Mora, Film-Historia, No. 1-2, 2001
• "In search of reality through dreams: Alejandro Amenabar's Abre los ojos", by Marina Martin, Film-Historia, No. 1-2, 2002
• "The ideological meaning behind Greta Garbo's star image", by Alan McLane, Film-Historia, No. 1, 2003
• "Poor Mexican cinema, So far from Cahiers du Cinema, so close to Latino U.S.A.: A Cantankerous Essay", by Carl J. Mora, Film-Historia, No. 1, 2003
• "The War, the Air Force and the Search for Realist Cinema in Britain, 1941-1942", by Michael Paris, Film-Historia, No. 1, 2003
• The Spanish Film Industry, New Technologies, New Opportunities", by Lauren Kogen, Film-Historia, No. 1, 2006
• "The Fatherless Society: Die Blechtrommel (Tin Drum)", by Xuejuen Guo, Film-Historia, No. 1, 2007

More about → Film-Historia: Index to English language articles

Season's greetings and happy holiday wishes from Film Studies For Free

No Man's Land (Scotland, 2004) directed by Clara Glynn, score by Sally Beamish, cinematography by Mike Eley, edited by (an old Glasgow friend) Colin Monie, and featuring Julie Austin, Liam Brennan, Louise Ludgate, and Euan Mackay as Rory.

Thank you for visiting Film Studies For Free. See you in the New Year with lots more links lists and video essays, too...

More about → Season's greetings and happy holiday wishes from Film Studies For Free

'Inglourious Basterds: Can Hollywood rewrite history?': A Fistful of Tarantino Links

Production still from Inglourious Basterds (Quentin Tarantino, 2009)

Especially for those among you not permanently hovering in the Twittersphere, Film Studies For Free today brings a lasting record of (yesterday's) film-social-networking news du jour: an online video recording in three parts of an academic seminar hosted, on September 24, by Monash University's Australian Centre for Jewish Civilisation and Monash's Research Unit in Film and Cultural Theory, about Quentin Tarantino's 'subversive and divisive new film,' Inglourious Basterds.

This excellent event was chaired by Age critic Philippa Hawker with the following speakers (in order): Mark Baker, director of the Australian Centre for Jewish Civilisation; Adrian Martin, film critic and co-director of the Research Unit in Film and Cultural Theory; Jan Epstein, film critic and broadcaster; and Nathan Wolski, lecturer in Jewish Studies.

You can view the video segments online at Slow TV (a site worth checking out in itself) or download them as episodes to your computer using the below links (just choose the format you want).

If you are interested in reading more about the debates that these speakers address, FSFF highly recommends you click on the following six links, too.

• Jim Emerson, 'Some ways to watch Inglourious Basterds [sic]', Scanners, August 24, 2009

• David Bordwell, 'A welcome basterdization', part of '(50) Days of summer (movies), Part 2', Observations on Film Art, September 12, 2009

• Jonathan Rosenbaum, 'Recommended Reading: Daniel Mendelsohn on the New Tarantino', JonthanRosenbaum.com, August 17, 2009

• Jonathan Rosenbaum, 'Some Afterthoughts about Tarantino', JonathanRosenbaum.com, August 27, 2009
  

• Jonathan Rosenbaum, 'A Note on Scalping (and a postscript)', JonathanRosenbaum.com, August 29, 2009

• Added Oct 3 Srikanth Srinivasan, 'The Grand Illousion', The Seventh Art, October 3, 2009
  

Video: Part 1

• Slowtv-InglouriousBasterdsCanHollywoodRewriteHistoryP1593.mp3 (MPEG Layer 2 Audio, 16.0 MB)

• Slowtv-InglouriousBasterdsCanHollywoodRewriteHistoryP1143.flv (72.0 MB)

• Slowtv-InglouriousBasterdsCanHollywoodRewriteHistoryP1153.m4v (333 MB)

Video: Part 2

• Slowtv-InglouriousBasterdsCanHollywoodRewriteHistoryP2767.mp3 (MPEG Layer 2 Audio, 14.6 MB)

• Slowtv-InglouriousBasterdsCanHollywoodRewriteHistoryP2465.flv (64.9 MB)

• Slowtv-InglouriousBasterdsCanHollywoodRewriteHistoryP2335.m4v (312 MB)

Video: Part 3

• Slowtv-InglouriousBasterdsCanHollywoodRewriteHistoryP3809.mp3 (MPEG Layer 2 Audio, 11.4 MB)

• Slowtv-InglouriousBasterdsCanHollywoodRewriteHistoryP3817.flv (55.4 MB)

• Slowtv-InglouriousBasterdsCanHollywoodRewriteHistoryP3866.m4v (253 MB)

More about → 'Inglourious Basterds: Can Hollywood rewrite history?': A Fistful of Tarantino Links