Film and Media Studies Podcasts Galore! Cinema Journal's Aca-Media, New Books in Film Studies and NoirCasts

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Links of Doom and Disaster! Apocalyptic Film and Moving Image Studies

Updated November 21, 2011

Image from Deep Impact (Mimi Leder, 1998)

Aside from the current stirrings of challenge to the disastrous, real-world, global order, Film Studies For Free was inspired to produce the below, awesome entry of links to studies of apocalypse and planetary disaster in film and moving image culture by three earth-shatteringly exciting things:

1. A very impressive digital-cinema screening of Lars von Trier's latest film Melancholia (Is cinema dead? FSFF thinks it may still have a few years of life left... Some good thoughts on this film are linked to here); 
2. A thrilling call for papers for an upcoming conference on The End, in relation to motion pictures (scroll to the foot of the post);
3. The just-in-the-nick-of-time appearance of a great, film-related, free-to-read-online book published by the wonderful people at OpenBook Publishers: Maria Manuela Lisboa's The End of the World: Apocalypse and its Aftermath in Western Culture (Open Book Publishers, 2011). OBP have also produced a new, free-to read online version of Robert Philip Kolker's long freely available, classic book The Altering Eye: Contemporary International Cinema.

Now, if you don't mind, the all-too-easily scared FSFF will anti-climactically head for the hills (or, perhaps, for the sofa) to remove itself from all this eschatological excitement.

• Karin Badt. 'Apocalypse Too Soon: Wheeler Winston Dixon's Visions of the Apocalypse', Film-Philosophy, Vol. 9 No. 27, May 2005 
• Lior Barshack, 'Intimate Enunciations: Carnival and Apocalypse in Fellini', Cardozo Law Review, 31.4, 2010
• Brent Bellamy, 'We are Apocalyptic! [on Evan Calder Williams, Combined and Uneven Apocalypse (Zero Books, 2011)]', Reviews in Cultural Theory Vol. 2, Issue 2, 2011
• Adam Bingham, 'Images from the end of the world: Werner Herzog's La Soufrière', Senses of Cinema, September 2006
• Kurt Bullock, 'Vertical Apocalypse: Altered Noir Cityscape within Blade Runner’s Dystopia', SBCC.edu
• L.T. Copier, Preposterous revelations: visions of apocalypse and martyrdom in Hollywood cinema 1980 – 2000, PhD Thesis, UvA, 2009
• Sérgio Dias Branco, 'Being Her/She in ‘Who Are You?’”. It’s the End of the World. Again?!?: Why Buffy Still Matters, Conference at University of North Carolina at Greensboro, March 16, 2007
• H. Bruce Franklin, 'Don't Look Where We're Going: Visions of the Future in Science-Fiction Films, 1970-82 ("Ne cherche pas à savoir où on va": les Visions de l'avenir dans le cinéma de SF de 1970 à 1982), Science Fiction Studies, Vol. 10, No. 1 (Mar., 1983), pp. 70-80 
• Asbjørn Grønstad, 'Coppola's Exhausted Eschatology: Apocalypse Now Reconsidered', Nordic Journal of English Studies, Vol. 4, No. 1, 2005
• Mark Harris, 'The New Scene Canon - Chopping Choppers Unforgettably: The "Nowhere to Go but Down" Scene in Apocalypse Now', Cinephile, 6.1, 2011
• Despina Kakoudaki, 'Spectacles of History: Race Relations, Melodrama, and the Science Fiction/Disaster Film', Camera Obscura 50, Volume 17, Number 2, 2002
• Kate S. Kelly, 'Apocalyptic Dread: American Film at the Turn of the Century Thompson, Kirsten Moana. Apocalyptic Dread: American Film at the Turn of the Century. Albany: State University of New York Press, 2007', Journal of Religion and Popular Culture, 22.1, 2010 
• New Richard Langley, 'American Un-Frontiers: Universality and Apocalypse Blockbusters',Vimeo, November 17, 2011 (originally screened at the American Frontiers conference, University of Birmingham, 12 November 2011)
• Bruno Lessard, ‘"It’s the End of the World!": The Paradox of Event and Body in Hitchcock’s The Birds', Film-Philosophy, 14.1, 2010
• Jeff Lewis and Kirsty Best, 'Pure Filth: Apocalyptic Hedonism and the Postmodern Surfer', Scope, Issue 2, June 2005
• Maria Manuel Lisboa, The End of the World: Apocalypse and its Aftermath in Western Culture (Open Book Publishers, 2011) [Apocalypse Now and Again; The World Gone M A D ; Is the End Ever; Falling Out with Hal and Hester; Utopia at the End of this; Libera Me Domine De Vita Æterna]
• Ewa Mazierska, 'Polish Cinematic Dystopias: Metaphos of Life Under Communism - and Beyond', Kinema. 2004
• Walter Metz, 'Atomic Animals: Toward the Re-Invention of Natural History and Science Filmmaking', IM: Interactive Media. 2. [2006]. 1-12
• Angela Ndalianis, 'Buffy, Angel and the Palimpsest Apocalypse', Slayage Online, 2003
• Conrad Ostwalt, 'Visions of the End: Secular Apocalypse in Recent Hollywood Film', Journal of Religion and Film, 2.1, 1998
• Conrad Ostwalt, 'Armageddon at the Millennial Dawn', Journal of Religion and Film, 4.1, 2000
• Iván Pintor, 'Melancholay and Sacrifice in Contemporary Science Fiction' FORMATS, No. 5, 2009
• Gyan Prakash, 'Imaging the Modern City, Darkly', in Gyan Prakash (ed.) Noir Urbanism: Dystopic Images of the Modern City (Princeton University Press, 2010)
• Justin Remes, 'Apocalyptic Premediations', Journal of Religion and Popular CultureVolume 22(2): Summer 2010
• Karyn Charles Rybacki and Donald Jay Rybacki, 'Visions of Apocalypse: A Rhetorical Analysis of The Day After', Paper presented at the Annual Meeting of the International Communication Association (34th, San Francisco, CA, May 24-28, 1984
• D. Bruno Starrs, 'Filmic Eco-warnings and Television: Rolf de Heer's Epsilon (1995) and Dr. Plonk (2007)', Forum, 5, 2007
• Kevin Stewart, 'The Zombie Aesthetics and the Post-Apocalyptic Franchise', Kinema, 2007 
• Kirsten Moana Thompson, 'Apocalyptic Dread, Kierkegaard, and the Cultural Landscape of the Millennium', Apocalyptic Dread: American Film at the Turn of the Millennium (New York: SUNY Press, 2007)
• Robert Torry, 'Apocalypse Then: Benefits of the Bomb in Fifties Science Fiction Films', Cinema Journal, Vol. 31, No. 1 (Autumn, 1991) 
• Roslyn Weaver, '"The Four Horsemen of the Greenhouse Apocalypse": Apocalypse in the Science Fiction Novels of George Turner', Forum, 5, 2007

The End of ...? An Interdisciplinary Conference on the Study of Motion Pictures - University of Kent, UK, January 21, 2011

This one-day conference is for postgraduate students and early career researchers whose work incorporates the study of motion pictures and aims to explore the interdisciplinary conception and representation of “The End.”
     As the conspiracy theories for the end of the world in 2012 culminate in the mainstream disaster movie and the relevant literature, our concern and anxiety with closures remain within the margins of academic attention. In addition to the ubiquitous representations of “The End”, phrases such as “the end of cinema” and “death of celluloid” are recurrent in scholarly circles, calling forth a new era of engagement with film and other media. “The End” in the latter case evokes a new beginning that requires close examination: perhaps an analogy that could be extended to Film Studies as a discipline, outlining (or criticizing) its potential methodological changes in the future as well as in the past. The aesthetics of “The End”, however, is clearly evident in our direct engagement with time-based cultural artefacts. In other words, the study of various methods of narrative closure in film, music, literature and theatre can inform one of our fundamental obsessions: a good ending.
     We invite proposals for 20-minute presentations from candidates across arts and humanities, welcoming individual papers as well as group panels that investigate “The End” as a broad phenomenon that can be approached through a variety of methods. Possible research subjects include, but not limited to: End of cinema: changing patterns of distribution and exhibition; End of Theory: the methodological shifts in film studies as a discipline; End of story: the aesthetics and strategies of narrative closure, open endings, narrative inconclusiveness in relation to film and other arts; End of the world: recent preoccupation with the disaster film genres; End of cinephilia: alternative channels for watching and discussing movies; End of film: the death of celluloid, the rise of digital technologies and issues of medium specificity; Case studies of films or other media that address any of the aforementioned issues; Representation and/or conception of “The End” within the history and philosophy of art.
     The conference will conclude with a film screening and an introduction by the keynote speaker in the Gulbenkian Cinema, an independent cinema located within the university campus at Canterbury.
Please send abstracts (300 words) and a short biographical note to thendof2012@gmail.com. Deadline for applications is 15 November 2011. Should you have any queries, please do not
hesitate to contact us at the same e-mail address. Website: http://www.kent.ac.uk/arts/film/filmcentre/the_end_of.html
Conference Organization Committee: Emre Caglayan, Frances Kamm, Pete Sillett

Tina Pippin (ed.), Apocalyptic Bodies: the biblical end of the world in text and image (London: Routledge, 1999)

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Good Fella: Martin Scorsese Studies

Updated August 19, 2010

Ray Liotta as Henry Hill in Goodfellas (Martin Scorsese, 1990)

Charlie Rose - An hour with Martin Scorsese (1998)

(Persevere beyond the opening few minutes - it's worth it)

Here's a not so little links list that Film Studies For Free has been concocting for tanto tempo... It's a collection of mostly academic, and all great quality, studies of the work of American filmmaker Martin Scorsese, one of the most utterly beloved of all directors among Film Studies undergraduates. And with Afterhours, Goodfellas and The Age of Innocence among this blog's author's favourite films, who is FSFF to disagree with such intensity?

Suggestions for any high-quality additions to this list would be most welcome.

• Marc Abramson, 'Mountains, Monks and Mandalas: Kundun and Seven Years in Tibet', Cineaste, Vol. XXIII, No. 3, 1998

• Daniel Balderston, 'Borges and The Gangs of New York', Variaciones Borgianas, 16, 2003 

• Bruce Alistair Barber, Trans/actions: Art, Film and Death, PhD Thesis, European Graduate School, August 2005 

• Todd Berliner, 'Visual Absurdity in Raging Bull', Preprint of Chapter in Raging Bull: A Cambridge Film Handbook. Ed. Kevin Hayes. Cambridge, U.K. and New York: Cambridge University Press, 2005

• David Bordwell, 'Scorsese, 'pressionist', Observations on Film Art, April 21, 2010 

• Lenay Breeland, 'A Hieroglyphic World: Representations of Repression in Scorsese’s Age of Innocence',  in Fixing a Hole: Bridging the Gap between Text and Performance, State University of West Georgia, 2001 (scroll to p. 21 in PDF) 

• Aaron V. Burton, Jesus in the Movies: A Rhetorical Analysis of Selected Films from 1912-2004, PhD Thesis, Bowling Green State University, May 2008

• Andre Caron, 'Last Temptation of Travis Bickle', Offscreen Journal, September 1997

• Robert Castle, 'Average Nobodies: The Dark Knights of Goodfellas', Bright Lights Film Journal, issue 32, April 2001

• James A. Clapp, '‘‘Are You Talking to Me?’’—New York and the Cinema of Urban Alienation', Visual Anthropology, 18, 2005

• Adrian Danks, 'Who’s That Knocking at My Door', Senses of Cinema, Issue 54, 2010 

• Russell E. Davis, Alice Doesn't Live Here Anymore: Under the comic frosting', from Jump Cut, no. 7, 1975

• Jonathan Dawson, 'After Hours', Senses of Cinema, Issue 54, 2010

• Rebecca Dawson, And Staring as Jesus Himself: Cultural Context and Images of Christ in North American film, PhD Thesis, Bowling Green State University, August 2007 

• Carolyn D’Cruz and Glenn D’Cruz, 'The body of Christ: Blasphemy as a necessary transgression?', Negotiating the Sacred II: Blasphemy and sacrilege in the arts, pp. 93-101, ANU E Press, 2008

• Christopher Robert Deacy, 'Redemption and Film: Cinema as a Contemporary Site of Religious Activity', WACC Archive, 2001

• Cristina Degli-Esposti Reinert, 'Martin Scorsese's Invisible City in Bringing Out the Dead', Film-Philosophy, Vol. 4, No. 12, May 2000

• Roger Ebert, 'Introduction', Scorsese by Ebert (University of Chicago Press, 2008) 

• Rebecca Feasey. 'Stardom and Distinction: Sharon Stone and the Problem of Legitimacy', Scope, May 2004

• Christopher Garbowski, 'The Catholic Imagination in Martin Scorsese's The Last Waltz', Journal of Religion and Film Vol. 5, No. 2 October 2001

• Luis M. García-Mainar, « Contemporary Hollywood Crime Film and the New Individualism », European journal of American studies, 2, 2009

• Paul A. Gilje, 'Gangs, the Five Points, and the American Public', Common-Place, Vol. 3, No. 4, July 2003

• Paul E. Graham III, Violence and the Scapegoat in American Film: 1967-1999, PhD Thesis, Louisiana State University and Agricultural and Mechanical College, December 2002

• New Leighton Grist, Authorship and Context: the Films of Martin Scorsese, 1963-1977, PhD Thesis, University of Warwick, 1996

• Leighton Grist,  'Masculinity, Violence, Resistance: A New Psychoanalytic Reading of Raging Bull', Atlantis Journal, 29.1, June 2007

• Peter Hourigan, 'Scorsese Missing In Action: Martin Scorsese’s America by Ellis Cashmore Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture Wars by Thomas R. Lindlof', Senses of Cinema, Issue 54, 2010 

• Christine Hoff Kramer, 'Wrestling with Flesh, Wrestling with Spirit: The Painful Consequences of Dualism in The Last Temptation of Christ', Journal of Religion and Popular Culture, Vol. 8, Fall 2004 

• Peter Hutchings, '[Review of] A Personal Journey with Martin Scorsese Through American Movies by Martin Scorsese and Michael Henry Wilson, London: Faber, 1997', Scope, August 1999

• Matthew J. Iannucci, 'Postmodern Antihero: Capitalism and Heroism in Taxi Driver', Bright Lights Film Journal,Issue 47, February 2005

• Karyn Kay and Gerald Peary, 'Alice Doesn't Live Here Anymore: Waitressing for Warner's', Jump Cut, no. 7, 1975

• David Kelly, 'Model Citizens: The Irish Films of Martin Scorsese', Australasian Journal of American Studies, Vol. 26, No. 1, July 2007

• Tammie Kennedy, '(Re)Presenting Mary Magdalene: A Feminist Reading of The Last Temptation of Christ', Journal of Religion and Popular Culture, Vol. 9, Spring 2005

• Robert P Kolker, 'Algebraic Figures: Recalculating the Hitchcock Formula', in Horton, Andrew, and Stuart Y. McDougal, editors Play It Again, Sam: Retakes on Remakes (Berkeley:  University of California Press, 1998)

• Robert P. Kolker, 'The Moving Image Reclaimed', Postmodern Culture, 5.1, September 1994 

• Ekkehard Knörer, "Why Martin Scorsese's "The Departed" does not live up to [...] "Internal Affairs"', Signandsight.com, January 2007

• Joseph Jon Lanthier, 'Outstanding Defense Mechanisms: The Phrenology of Martin Scorsese’s Shutter Island', Bright Lights Film Journal, Issue 68, May 2010

• Maximilian Le Cain, 'Orphans of the Storm: Martin Scorsese's Gangs of New York', Senses of Cinema, Issue 25, 2003

• Karli Lucas, 'Creative Visions: (De)Constructing “The Beautiful” in Scorsese's The Age of Innocence', Senses of Cinema, Issue 25, 2003

• Brian McIlroy, 'Exodus, Arrival & Return: The Generic Discourse of Irish Diasporic and Exilic Narrative Films' [First published in Keeping It Real: Irish Film and Television, eds. Ruth Barton and Harvey O’Brien (London: Wallflower Press, 2004): 69-77

• Duncan McLean, 'The Evolution of the Term ‘New Hollywood’, NEO, 2009

• Eve L. Mullen, 'Orientalist Commercializations: Tibetan Buddhism in American Popular Film', Journal of Religion and Film, Vol. 2, No. 2 October 1998 

• Kartik Nair, 'Aura, Auteurism and the Key to Reserva', Widescreen Journal, No. 2, 2010

• Josh Nelson, '[Review of] Roger Ebert, Scorsese by Ebert. Chicago and London, The University of Chicago Press, 2008', Screening the Past, Issue 26, 2009

• Richard Oestreicher, 'How Should Historians Think about ‘The Gangs of New York’?', History Workshop Journal, Issue 56, 2003

• Colm O’Shea, 'Review: Thomas R. Lindlof (2008) Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture Wars. Lexington, KY: The University Press of Kentucky', Film-Philosophy, 14.1, 2010

• Steven Peacock, 'Holding onto moments in The Age of Innocence', Film Studies, Volume 9, Winter 2006

• Åke Persson, 'The Mafia in the Drawing Room: Martin Scorsese’s Film Adaptation of Edith Wharton’s The Age of Innocence', Nordic Journal of English Studies, Vol 7, No 2 (2008)

• Linda Petříkova, 'Review: Mark T. Conard (ed.) (2007) The Philosophy of Martin Scorsese Lexington: University Press of Kentucky', Film-Philosophy, 11.3, December 2007

• Patrick Phillips, 'Genre, star and auteur critical approaches applied to Martin Scorsese’s New York, New York', in Jill Nelmes' (ed), Introduction to Film Studies, 4th edition (London: Routledge, 2007) 

• Mark C. Pilkinton, 'The True Temptation of Christ: "To Suffyr temptacion it is grett peyn"', The Journal of Religion and Theatre, Vol. 3, No. 1, Summer 2004

• G. Thomas Poe, '(Beyond) The Pleasures of the Hollywood Musical Film: A Re Viewing of Martin Scorsese's New York, New York', Journal of Dramatic Theory and Criticism, Vol. IV, No. 2: Spring 1990

• Marc Raymond, 'Martin Scorsese', Senses of Cinema, May 2002

• Constanza del Río Álvaro, 'Genre and Fantasy: Melodrama, Horror, and the Gothic in Martin Scorsese’s Cape Fear (1991)', Atlantis Journal, 26.1, June 2004

• Wieland Schwanebeck, 'From Shakespeare’s Kings to Scorsese’s Kingpins: Contemporary Mob Movies and the Genre of Tragedy', ASPeers, Issue 3, 2010 

• Martin Scorsese: "Discusses Film-Making" at Princeton University, May 4 1999 (scroll down page for videocast)

• Martin Scorsese, 'Pinewood Dialogues', Moving Image Source, November 9, 2002

• Kaile Shilling, 'Servant of the Story: Judas as Tragic Hero in Film', Journal of Religion and Film. 8 (2): October 2004  

• Matthew Sorrento, 'Scorsese by Ebert by Roger Ebert', Senses of Cinema, Issue 51, 2009

• Katherine Spring, 'After Hours on the Miracle Mile: The Logic of Nightmares in Film', 16:9, No. 11, November 2007

• David Sterritt, 'Six Books about Scorsese', Film Quarterly, Vol. 63, no. 2, 2009

• John Thurman, 'Citizen Bickle, or the Allusive Taxi Driver: Uses of Intertextuality', Senses of Cinema, Issue 37, 2005

• Daniel J. Walkowitz, ‘The Gangs of New York’: the Mean Streets in History', History Workshop Journal, Issue 56, 2003

• Teena Webb and Betsy Martens, 'Alice Doesn't Live Here Anymore: A Hollywood liberation', Jump Cut, no. 7, 1975

• Martin Weinreich, 'The urban inferno. On the æsthetics of Martin Scorsese's Taxi Driver', 'The Art of Film Editing', Special Issue of P.O.V: A Danish Journal of Film Studies, edited by Richard Raskin, Number 6 December 1998 (scroll down in PDF) 

• M.C. Zenner, 'Bringing Out the Dead', Senses of Cinema, Issue 7, 2000

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Assorted articles and e-theses: costumes, sound, French and Spanish cinema, and more

Image from La Reine Margot (Patrice Chéreau, 1993)

Another visit to a university research repository took Film Studies For Free to Exeter, home to some of the most original film-related research in the United Kingdom. Below are some openly accessible research items of note; four especially highly-recommended items are emboldened and marked with asterisks: ***

• Bridget Birchall, 'Patrick Dewaere and gender identity in Giscardian France (1974-1981)', e-PhD thesis, February 2009
• ***Jennie Cousins, 'Unstitching the 1950s film à costumes: Hidden Designers, Hidden Meanings.'', e-PhD thesis, October 2008
• Michael DeLashmutt, 'The sexualisation of popular culture: towards a Christian sexual aesthetic', Crucible, Summer 2006, pp. 42-56
• Michael DeLashmutt, 'The technological imaginary: bringing myth and imagination into dialogue with Bronislaw Szerszynski's "Nature, Technology and the Sacred"', Zygon, 41(4), pp.801-810
• Nikhilesh Dholakia and Jonathan Schroeder, 'Disney: delights and doubts', Journal of Research for Consumers, 2, 2001
• ***Sally Faulkner, 'A Cinema of Contradiction: Picazo's "La tía Tula" (1964) and the Nuevo Cine Español,' The Modern Language Review July 2004
• Stefan Jack Garel, 'QUEER BODIES AND SETTLEMENTS: the pertinence of queer theory in the fields of queer history and trans politics, disability and 'curative education', quantum physics and experimental art - an interdisciplinary and transnational account of three socio-cultural and filmic research projects.', e-PhD thesis, March 2009
• Anthony King, 'Serial killing and the postmodern self', History of the Human Sciences, 19(3), August 2006, pp. 109-125
• ***Amy McGill, 'The Contemporary Hollywood Film Soundtrack: Professional Practices and Sonic Styles Since the 1970s', e-PhD thesis, November 2008
• Jonathan Schroeder, 'Visual Consumption', Discussion papers in management. Final version published in The Blackwell encyclopedia of sociology / edited by George Ritzer. Blackwell, 2007
• ***Thomas Wynn, 'Manon Through the Lens of Clouzot (1948): ‘images troublantes et précises’', French Cultural Studies, February 2006
  

More about → Assorted articles and e-theses: costumes, sound, French and Spanish cinema, and more