10th Anniversary Issue of PARTICIPATIONS on Fan Studies, and Audience Interaction and Participation

Screenshot extract from 'Ten years old - and ready to try new things, an editorial by Martin Barker and Sue Turnbull in the the tenth anniversary issue of Participations: Journal of Audience and Reception  Studies

Film Studies For Free today wishes a very happy 10th year in online existence to the remarkable open access venture that is Participations. What a great achievement! The journal is stronger and more impressive than ever, as the below, very high quality (and enormous), latest issue -- on fan studies, and audience interaction and participation -- testifies

FSFF somewhat cheekily embeds the above screenshot from the opening part of this issue's editorial, for its readers, as in it joint editors Martin Barker and Sue Turnbull raise some important matters concerning the long term viability and success of a journal like this. The editors are choosing to respond to these by 'recasting the journal' in a number of interesting ways - you can read about these at greater length here.

If you are working in this area, now would be a really good time to consider what you would want from Participations in the years ahead. Feel free to post comments here, or contact the editors here.

Here's to the next ten years, Participations! And thank you.


Participations, Volume 10, Issue 1, (May 2013)

• Editorial by Martin Barker and Sue Turnbull (Joint Editors): 'Ten years old - and ready to try new things

Articles

• Bradby, Barbara: 'Our affair with Mila Kunis: A group ethnography of cinema-going and the 'male gaze'’ Haslop, Craig: '"I certainly wouldn't want to be portrayed as a boring straight person": Torchwood, meaning-making and the performance of gender and sexual identities'

Special Section: The Fan Studies Network - new connections, new research

• Bennett, Lucy & Tom Phillips: 'An introduction: The Fan Studies Network - new connections, new research'
• Booth, Paul & Peter Kelly: 'The changing faces of Doctor Who fandom: New fans, new technologies, old practices?'
• Busse, Kristina: 'Geek hierarchies, boundary policing, and the gendering of the good fan'
• Chin, Bertha & Lori Hitchcock Morimoto: 'Towards a theory of transcultural fandom'
• Ellison, Hannah: 'Submissives, Nekos and Futanaris: a quantitative and qualitative analysis of the Glee Kink Meme'
• Hills, Matt: 'Fiske's 'textual productivity' and digital fandom: Web 2.0 democratization versus fan distinction?'
• Lamerichs, Nicolle: 'The cultural dynamic of doujinshi and cosplay: Local anime fandom in Japan, USA and Europe'
• Pett, Emma: '"Hey! Hey! I've seen this one, I've seen this one. It's a classic!": Nostalgia, repeat viewing and cult performance in Back to the Future'
• Proctor, William: '"Holy crap, more Star Wars! More Star Wars? What if they're crap?": Disney, Lucasfilm and Star Wars online fandom in the 21st century'
• Sandvoss, Cornel: 'Toward an understanding of political enthusiasm as media fandom: Blogging, fan productivity and affect in American politics'
• Whiteman, Natasha, Joanne Metivier: 'From post-object to "Zombie" fandoms: The "deaths" of online fan communities and what they say about us'

FSN Forum Discussion

• Bury, Rhiannon, Ruth Deller, Adam Greenwood & Bethan Jones: 'From Usenet to Tumblr: The changing role of social media'
• McCulloch, Richard, Virginia Crisp, Jon Hickman & Stephanie Janes: 'Of proprietors and poachers: Fandom as negotiated brand ownership'
• Freund, Katharina & Dianna Fielding: 'Research ethics in fan studies'
• Jones, Bethan & Lucy Bennett: 'Blurring boundaries, crossing divides: An interview with Will Brooker'
• Lozano Delmar, Javier, Victor Hernández-Santaolalla & Marina Ramos: 'Fandom generated content: An approach to the concept of 'fanadvertising''
• Sturm, Damion & Andrew McKinney: 'Affective hyper-consumption and immaterial labors of love: Theorizing sport fandom in the age of new media'

Special Section: COST - audience interaction & participation

• Damásio, Manuel José, Mélanie Bourdaa, Bozena I. Mierzejewska, Ana Milojević, José Manuel Noguera, Birgit Stark, Lucia Vesnić-Alujević & Igor Vobič: 'Editors' introduction: Stakeholder essays on audience interaction and participation'
• Stark, Birgit & Andy Kaltenbrunner: 'There is no such thing as a 'convergence continuum' aiming towards the perfect solution'
• Stark, Birgit & Ina von Holly: 'Social media is not a threat but a reward for companies!'
• Haas, Josefa: 'New tools and scenes for the media play'
• Nyirő, Nóra & Agnes Urban: 'Effects of audience participation in CSO communication'
• Marmino, Michele, Mario Petitto & Andrea Pinchera: 'CSOs' communication strategies and audience participation'
• Joye, Stijn & Philippe Henon: 'Activating the audience in times of compassion fatigue'
• Vozab, Dina, Eugen Jakovčić & Saša Šegrt: 'Croatian civil society and media from the perspective of two civil society organisations'
• Harrison, Teresa: 'The "audience" as participative, idea generating, decision making citizens: will they transform government?'
• Dahlgren, Peter: 'From public to civic intellectuals via online cultures'
• Harrington, Stephen, Tim Highfield & Axel Bruns: 'More than a backchannel: Twitter and television'
• García de Torres, Elvira: 'Audience territory'
• Scolari, Carlos: 'Lost in the borderlines between user-generated content and the cultural industry'
• Zamora, Rocío & Wayne Wanta: 'The influence of a mediating source – my friend – is now spreading the influence to others who may not have seen the news reports'
• Vobič, Igor: 'Rethinking social life of radio news: Slovenian public radio journalists' perceptions of audience interactivity'
• Krstić, Aleksandra: 'When the audience changes a journalist'
• Torres da Silva, Marisa: 'Professional views' on letters-to-the-editor as a means of audience participation'
• Vesnić-Alujević, Lucia: 'Online strategies of members of the European parliament'
• Hänska-Ahy, Maximillian, Claire Wardle & Malachy Browne: 'Social media & journalism: Reporting the world through user generated content'
• Milojević, Ana, Jelena Kleut & James Ball: 'Conversational style of journalism'
• Milojević, Ana & Steve Herrmannl: 'Journalism taking up a curatorial role'
• Maretić, Meri & Ante Babić: 'New political communication'
• Buchanan, Margot & Fiona Hyslop: 'Transforming audiences, transforming audience expectations?'
• Gallego, Manuel Javier Callejo & Convadonga Fernández: 'Producing information, producing and monitoring communication'

Reviews

• Benwell, Bethan, James Procter and Gemma Robinson (eds.): 'Postcolonial Audiences: Readers, Viewers and Reception’ (Reviewed by Pinar Sadar)
• Jacobs, Katrien: 'People's Pornography: Sex and Surveillance on the Chinese Internet’ (Reviewed by Giovanna Maina)
• Lang, Anouk (ed.): 'From Codex to Hypertext: Reading at the turn of the twenty-first century’ (Reviewed by Julian McDougall)
• Rudolph, Jennifer Domino: 'Embodying Latino Masculinities: Producing Masculatinidad’ (Reviewed by Victoria Kearley)

More about → 10th Anniversary Issue of PARTICIPATIONS on Fan Studies, and Audience Interaction and Participation

Four Issues of INTENSITIES: The Journal of Cult Media and a Call for Papers

Screencap from the credit sequence of Games (Curtis Harrington, 1967). Read Steven Jay Schneider's 2003 article for Intensities in which he discusses this and other cult psychological thrillers and horror films.

Film Studies For Free just bumped into the new online incarnation of Intensities, the wonderful journal of cult media studies. Oh yes!

Always a highly innovative and valuable project, Intensities was first launched at Cardiff University in 2001 under the editorship of Matt Hills and Sara Gwenllian Jones. As its new website tells us, it later moved to Brunel University, where it was edited by David Lavery. The journal has relaunched in 2013 with Leon Hunt as its new editor and will publish two issues a year. The journal addresses all aspects of cult media including cult television, cult film, cult radio, cult comics, literary cults and cult authors, new media cults, cult figures and celebrities, cult icons, musical cults, cult geographies, historical studies of media cults and their fandoms, cult genres (e.g. science fiction, horror, fantasy, pulp fiction, Manga, anime, Hong Kong film etc.), non-generic modes of cultishness, theorisations of cult media, relevant audience and readership studies, and work that addresses the cult media industry.

In addition to publishing refereed essays (of between 6000 and 8000 words), Intensities also features a non-refereed Cult Media Review section which will carry shorter speculative reviews, reviews of cult phenomena (e.g. cult TV series, cult films, cult novels, science fiction, comics), short critical essays, interview transcripts, conference and convention reviews and articles about aspects of industry, fan culture, production and authorship.

Intensities' latest calls for papers are reproduced below, as are the tables of (linked) contents from the excellent first four issues of this journal. Let's all wish Intensities a very happy and long online life at its new website. Its entry has been updated at FSFF's permanent listing of open access film and media studies journals.

Call for Papers
Intensities will publish two themed issues in 2013.  Essays should be between 6000 and 8000 words, referenced Harvard style and sent as a word document – a 200 word abstract should be sent as a separate document.
Issue 5 Comic Book Intensities – Comics and Cult Media
The first new issue seeks submissions dealing with comics as cult media.  Topics might include:

• Cult comic book auteurs – Grant Morrison, Alan Moore, Mark Millar, Joss Whedon.
• Cult films from comics – Cinefumetti, Manga and Anime, the Turkish KIlink films, Dredd 3D.
• National and international comic book cultures – French bandes dessinees, Italian fumetti, Japanese Manga.
• Comic book fan cultures – Cosplay and beyond.
• Underground and alternative traditions.
• Beyond the cape and mask – neglected comic book genres.
• From EC to Dark Horse – Horror comics.

Deadline extended to Friday March 1^st 2013

Issue 6 Historical Approaches to Cult TV
This issue seeks submissions examining TV shows that have acquired cult status at a historical distance – both established cult shows (The Avengers, The Prisoner, the ‘classic’ series of Doctor Who) and those that have received less (or possibly even no) critical attention.  In addition, the papers will locate those shows historically, either by drawing on archive materials or suggesting new cultural, historical or institutional contexts in which they might be understood. Deadline for submissions: May 31^st 2013

Intensities: The Journal of Cult Media 4 – Mysterious Bodies (2007)

Special Issue – Mysterious Bodies
Guest Editors: Rayna Denison and Mark Jancovich

• Rayna Denison and Mark Jancovich, ‘Introduction’ Jancovich_Intro
• Mark Jancovich, ‘An Unidentified Species: Horror, the Body and Early Television’ Jancovich, Unidentified Species
• Lincoln Geraghty, ‘Painted Men and Salt Monsters: The Alien Body in 50s and 60s American Science Fiction Television’ Geraghty, Painted Men and Salt Monsters
• Milly Williamson, ‘Television, Vampires and the Body: Somatic Pathos’ Williamson, Television, Vampires and the Body
• Matt Hills, ‘”Gothic” Body Parts in a “Postmodern” Body of Work? The Hinchcliffe/Holmes Era of Doctor Who (1975-77)’ Hills, Gothic Body Parts in Postmodern Body of Work
• Rayna Denison, ‘The Muppet Show: Sex and Violence: Investigating the Complexity of the Television Body’ Denison, The Muppet Show Sex and Violence
• Rebecca Feasey, ‘Investigating Angel: The Hair, the Car and the Wardrobe’ Feasey, Investigating Angel
• Peter Hutchings, ‘Welcome to Royston Vasey: Grotesque Bodies and the Horror of Comedy in The League of Gentlemen‘ Hutchings, Welcome to Royston Vasey
• Elke Weissman, ‘The Victim’s Suffering Translated: CSI: Crime Scene Investigation and the Crime Genre’ Weissmann, Victim’s Suffering Translated
• Julian Savage, ‘The Lost Cult of Wake in Fright‘ Savage, Lost Cult of Wake in Fright

Intensities: The Journal of Cult Media 3 – Horror Issue (Spring 2003)

Edited by Matt Hills and Sara Gwenllian Jones

• Steven Jay Schneider, ‘Murder as Art/The Art of Murder: Aestheticising Violence in Modern Cinematic Horror’ Schneider, Murder as Art
• I.Q. Hunter, ‘Even Baser Instincts: Notes on Hollow Man‘ Hunter, Even Baser Instincts
• Stephen Harper, ‘”They’re Us”: Representations of Women in George Romero’s ‘Living Dead’ Series’ Harper, They’re Us
• Kate Egan, ‘The Amateur Historian and the Electronic Archive: Identity, Power, and the Function of Lists, Facts and Memories on “Video Nasty”-themed Websites’ Egan, The Amateur Historian and the Electronic Archive
• Linda C. Badley, ‘Spiritual Warfare: Postfeminism and the Cultural Politics of the Blair Witch Craze’ Badley, Spiritual Warfare

Intensities: The Journal of Cult Media 2 (Autum/Winter 2001)

Edited by Matt Hills and Sara Gwenllian Jones

• Marie-Laure Ryan, ‘From The Truman Show to Survivor: Narrative versus Reality in Fake and Real Reality TV’ Ryan, From The Truman Show to Survivor
• William D. Routt, ‘Bad for Good’ Routt, Bad for Good
• Mark Jancovich, ‘Placing Sex: Sexuality, Taste and Middlebrow Culture in the Reception of Playboy Magazine’ Jancovich, Placing Sex
• Bertha Chin and Jonathan Gray, ‘”One Ring to Rule Them All”: Pre-Viewers and Pre-Texts of the Lord of the Rings Films’ Chin and Gray, One Ring to Rule Them All
• Will Brooker, ‘The Many Lives of the Jetman: A Case Study in Videogame Analysis’ Brooker, Many Lives of the Jetman
• Intensities interviews Henry Jenkins @Console-ing Passions, University of Bristol, July 7th 2001 Intensities interviews Jenkins
• Ben Talbot, Conference Review: Compete, Command and Conquer – Playing for Space at the International Games Cultures Conference Talbot, Compete, Command and Conquer

Intensities 1 (Spring/Summer 2001)

Edited by Matt Hills and Sara Gwenllian Jones

• Lynette Russell and Nathan Wolski, ‘Beyond the Final Frontier: Star Trek, the Borg and the Post-colonial’ Russell_Wolski
• Mark McLelland, ‘Why Are Japanese Girls’ Comics Full of Boys Bonking?’ McLelland
• Alan McKee, ‘Which is the Best Doctor Who story? A Case Study in Value Judgements Outside the Academy’ McKee
• Patricia MacCormack, ‘Becoming Hu-Man: Deleuze and Guattari, Gender and Third Rock from the Sun‘ MacCormack
• Annette Hill and Ian Calcutt, ‘Vampire Hunters: the Scheduling and Reception of Buffy the Vampire Slayer and Angel in the UK’ Hill_Calcutt
• Will Brooker, ‘Parallel Earths: Diana 2000 – a Review Essay’ Brooker_Earths

More about → Four Issues of INTENSITIES: The Journal of Cult Media and a Call for Papers

On ’Tangibility’ and Relocating Cinema: NECSUS #2, Autumn 2012

To celebrate the new issue of NECSUS on tangibility, above is a reposting of TOUCHING THE FILM OBJECT? by Catherine Grant. Also see version with audio commentary

[A] media, singular, is not just its medium – it is not only a support or a device. A media is also and foremost a cultural form; it is defined by the way in which it puts us in relation with the world and with others, and therefore by the type of experience that it activates. By experience, I mean both a confrontation with reality (to gain experience) and the capacity to manage this relation and to give it meaning (to have experience). From its very beginnings, cinema has been based on the fact that it offers us moving images through which we may reconfigure the reality around us and our own position within it. Cinema has always been a way of seeing and a way of living – a form of sensibility and a form of understanding. [Francesco Casetti, 'The relocation of cinema', NECSUS, Issue 2, Autumn 2012]

A great second issue of NECSUS, the brilliant journal of NECS, the European Network for Cinema and Media Studies has been published. It boasts some superlative articles including Francesco Casetti's must-read article from which Film Studies For Free has excerpted above.

For those interested in hapticity, and our experience of the material properties of film, there's a very special section on that topic.

All in all (and all the contents are directly linked to below), some truly wonderful work. Well done and thank you NECSUS!

Editorial Necsus

Articles:

• The relocation of cinema by Francesco Casetti
• MP3s, rebundled debt, and performative economics: Deferral, derivatives, and digital commodity fetishism in Lady Gaga’s spectacle of excess by Anne Kustritz
• Can you see yourself living here?: Structures of desire in recent British lifestyle television by James Zborowski
• Investigatory art: Real-time systems and network culture by Edward Shanken
• Beyond cognitive estrangement: The future of science fiction cinema by Stephen Zepke
• The care for opacity: On Tsai Ming-Liang’s conservative filmic gesture by Erik Bordeleau

Special Section: Tangibility

• Material properties of historical film in the digital age by Barbara Flueckiger
• Early cinema’s touch(able) screens: From Uncle Josh to Ali Barbouyou by Wanda Strauven
• Aporias of the touchscreen: On the promises and failures of a ubiquitous technology by Timo Kaerlein
• Questions of embodied difference: Film and queer phenomenology by Katharina Lindner
• The intangible ground: A neurophenomenology of the film experience by Adriano D’Aloia
• From subject-effect to presence-effect: A deictic approach to the cinematic by Pepita Hesselberth
• ‘The last ray of the dying sun’: Tacita Dean’s commitment to analog media as demonstrated through FLOH and FILM by Caylin Smith

Festival Reviews:
Edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network

• The Angels’ Share at the 2012 Cannes Film Festival review by David Archibald
• The 37th annual Toronto International Film Festival: Seeking the social in the virtual review by Sarah Dillard
• Alternative Film/Video Belgrade 2011 review by Maja Krajnc

Book Reviews:

• The good, the beautiful and the sublime review by Bavand Behpoor
• A multiplied medium: Reviewing recent publications on television’s transitions review by Markus Stauff
• European nightmares: Horror cinema in Europe since 1945 review by Francesco Di Chiara
• Cinema and experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno review by Malte Hagener

Exhibition Reviews:

• The Abramović Method, PAC Padiglione d’Arte Contemporanea, Milan (March-June 2012) review by Elena Biserna
• Non Non Non – Visiting the exhibition with Yervant Gianikian and Angela Ricci Lucchi review by Miriam De Rosa

More about → On ’Tangibility’ and Relocating Cinema: NECSUS #2, Autumn 2012

Four Issues of IMAGE [&] NARRATIVE: Antonioni, Malick, Nolan, Keaton, Russell, Haynes, Neo-Baroque, and more

Screen grab from Salome's Last Dance (Ken Russell, 1988). Read Christophe Van Eecke's study of this film as "Baroque Performance". And also read Film Studies For Free's memorial listing of links to other studies of Russell's work

 

A more systematic way of understanding Russell’s work as baroque could be to simply read it as a contemporary reprise of a form of theatrical performativity associated specifically with seventeenth century baroque theatre. For literary critics one of the key innovations of the baroque stage was its self-reflexivity, its uncanny ability to point at itself in performance and say: look at me, I’m a play! Two important ways of generating this effect were the play-within-the- play and the so-called mise-en-abîme. These two procedures are related yet distinct. The play- within-the-play is a structural feature of baroque theatre, a conceit whereby several characters in a play become spectators of a play performed within the framing narrative, echoing the relationship between the original, framing play and the actual spectators in the theatre. The mise-en-abîme is a thematic trope and is quite literally a mirroring effect (Forestier 13). It refers to the potentially infinite self-reflection that emerges when a play starts mirroring its own action or begins to comment on it. The self-reflexive effect of baroque theatre is most overwhelming when the structural and the thematic self-reflexivity coincide. This happens when a play-within-the- play is used to reveal something about the characters or plot in the original framing story. This is the way the performance of the Mousetrap is used Hamlet. Russell has used the play-within-the- play as a revelatory mise-en-abîme in his film Salome’s Last Dance (1988), which is a play-within-the-film adaptation of Oscar Wilde’s play Salomé (1893). In this film Russell uses these tropes to reflect, through the play-within-the-film, on his own position as an artist. Therefore it would seem to be a very good place to start an investigation of whether and how Russell is ‘baroque’. The film is also one of the director’s most neglected efforts, which makes a critical discussion all the more timely. [Christophe Van Eecke, 'Moonstruck Follies. Ken Russell’s Salome’s Last Dance (1988) as Baroque Performance', Image and Narrative, 13.2, 2012: pp. 6-7]

Film Studies For Free presents a little catch up entry today: links to all the contents of the latest four issues of the very good, Belgium-based, online journal Image [&] Narrative which treats "visual narratology and word and image studies in the broadest sense".

There are some excellent film studies articles, especially in the latest issue, on the "Neo-Baroque", which begins the below list. FSFF particularly liked the article on Russell's 1988 film, and also Peter Verstraten's article on Antonioni and Malick's "Cinema of Modernist Poetic Prose".

Image [&] Narrative, Vol 13, No 2 (2012): Neo-baroque Today 1

Thematic Cluster

• 'Introduction' by Ralph Dekoninck, Karel Vanhaesebrouck, et al Abstract PDF
• 'Moonstruck Follies. Ken Russell’s Salome’s Last Dance (1988) as Baroque Performance' by Christophe Van Eecke Abstract PDF
• 'The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows' by Jack Post Abstract PDF
• 'Cinematic Neo-Mannerism or Neo-Baroque? Deleuze and Daney' by Sjoerd van Tuinen Abstract PDF  
• 'Re-visioning the Spanish Baroque: The Ekphrastic Dimension of Constancia and Other Stories for Virgins by Carlos Fuentes' by Reindert Dhondt Abstract PDF
• 'A Neo-Baroque Tale of Jesuits in Space: Mary Doria Russell’s The Sparrow (1996)' by Daniel J. Worden Abstract PDF

Various Articles

• 'A Cinema of Modernist Poetic Prose: On Antonioni and Malick' by Peter Verstraten Abstract PDF
• 'Metaphors in Buster Keaton’s Short Films' by Maarten Coëgnarts, Peter Kravanja Abstract PDF

Review Articles

• 'Charles Hatfield, Hand of Fire. The Comics of Jack Kirby' by Jan Baetens Abstract PDF

Image [&] Narrative, Vol 13, No 1 (2012): Hauntings II: Uncanny, Figures and Twilight Zones

Thematic Cluster

• 'Introduction' by Fabio Camilletti Abstract PDF
• 'Staging the Uncanny: Phantasmagoria in Post-Unification Italy' by Morena Corradi Abstract PDF  
• 'Freud and Hoffmann, once again' by Tan Wälchli Abstract PDF  
• 'Phantasmagoria: A Profane Phenomenon as a Critical Alternative to the Fetish' by Christine Blaettler Abstract PDF  
• 'Engführung as a Case Study of Paul Celan’s Poetics of the Uncanny' by Vita Zilburg Abstract PDF
• 'Impassively true to life' by Claudia Peppel Abstract PDF
• 'Medial Techniques of the Uncanny and Anxiety' by Michaela Wünsch Abstract PDF 

Various Articles

• 'From Thought to Modality: A Theoretical Framework for Analysing Structural-Conceptual Metaphors and Image Metaphors in Film' by Maarten Coëgnarts, Peter Kravanja Abstract PDF

Review Articles

• 'Inception and Philosophy: Ideas To Die For' by Martin Rosenstock Abstract PDF
• 'Curious Visions of Modernity. Enchantment, Magic, and the Sacred' by Jan Baetens Abstract PDF

Image [&] Narrative, Vol 12, No 4 (2011): Introduction to The Story of Things: reading narrative in the visual (part 2)

Thematic Cluster

• 'Introduction' by Jonathan Carson, Rosie Miller Abstract PDF 
• 'Rephrased, Relocated, Repainted: visual anachronism as a narrative device' by Gyöngyvér Horváth Abstract PDF
• 'Lost Children, the Moors & Evil Monsters: the photographic story of the Moors murders' by Helen Pleasance Abstract PDF
• 'Read You Like A Book: Time and Relative Dimensions in Storytelling' by Mike Nicholson Abstract PDF
• 'The Pre-Narrative Monstrosity of Images: how images demand narrative' by William Brown Abstract PDF
• 'Towards Ephemeral Narrative' by Gavin Parry, Jacqueline Butler Abstract PDF

Various Articles

• 'Portrait of the Opportunist as Circus Acrobat: Félicien Champsaur's Entrée de clowns' by Jennifer Forrest Abstract PDF
• 'Depardon, le DATAR et le paysage' by Raphaële Bertho Abstract PDF
• 'Historicising achronism. Some notes on the idea of art without history in David Carrier's The Aesthetics of Comics' by Jan Baetens Abstract PDF

Review Articles

• 'Compte rendu de Myriam Watthee-Delmotte, Littérature et ritualité. Enjeux du rite dans la littérature française contemporaine' by Laurence van Nuijs Abstract PDF

 Image [&] Narrative, Vol 12, No 3 (2011): The Story of Things: reading narrative in the visual

Thematic Cluster

• 'Introduction' by Jonathan Carson, Rosie Miller Abstract PDF
• 'Relating the Story of Things' by Patricia Allmer Abstract PDF
• 'Scrapbook (a visual essay)' by Jonathan Carson, Rosie Miller Abstract PDF
• 'Seeing the Past/Reading the Past' by Karen Bassi Abstract PDF
• 'Ephemeral Art: Telling Stories to the Dead' by Mary O’Neill Abstract PDF
• 'European Locations Dreamed with a Limited Imagination' by Samantha Donnelly Abstract PDF

Various Articles

• 'Belgian Photography: Towards a Minor Photography' by Jan Baetens, Hilde Van Gelder, Mieke Bleyen Abstract PDF
• 'The surrealist book as a cross-border space: The experimentations of Lise Deharme and Gisèle Prassinos' by Andrea Oberhuber Abstract PDF
• 'The Power of Tableaux Vivants in Zola: The Underside of the Image' by Arnaud Rykner Abstract PDF
• 'Spitting Image and Pre-Televisual Political Satire: Graphics and Puppets to Screens' by Kiene Brillenburg Abstract PDF

Review Articles

• 'Sarah Sepulchre, dir. Décoder les séries télévisées' by Jan Baetens Abstract PDF

More about → Four Issues of IMAGE [&] NARRATIVE: Antonioni, Malick, Nolan, Keaton, Russell, Haynes, Neo-Baroque, and more

The "Godard Is" Issue of the new VERTIGO

Image from Histoire(s) du cinéma (Jean-Luc Godard, 1988-99)

Film Studies For Free had a nagging doubt that it was omitting something BIG from its recent entry of links to Godard studies. And, boy, it was!

It really should have waited....

Some time back, the very kind people at the great Close Up film centre were in touch to announce their relaunch of excellent film magazine Vertigo as an online publication.

The (just published) reboot issue -- Godard Is. -- is astonishingly, mouth-wateringly good! The luscious links are below.

A très contrite FSFF has added the link to Vertigo to its permanent listing of online Film Studies journals.

Close Up Films is on Facebook and Twitter. Follow them. Like them. Thank you.


VERTIGO, Issue 30 | Spring 2012: Godard Is.

• EDITORIAL: A Double Bind By Damien Sanville

Contents

• Jean-Luc Godard: Vivre sa Vie By Frieda Grafe
• The Interventions of Jean-Luc Godard and Chris Marker into Contemporary Visual Art By David Brancaleone
• “Elpenor, Unburied”: Ezra Pound, Jean-Luc Godard And the Descent of Dwelling By Corin Depper
• King Lear By James Norton
• "I am playing leapfrog with myself" By Jürgen E. Müller
• Scénario du Film Passion: Writing Video at the End of Cinema By Duncan White
• Entering the Desert: The Book of Film Socialisme by By James S. Williams
• Godard in the Gallery: Story of a Ruination By Adrian Martin
• "Tensional Differences": The Anxiety of Re-Mediation in Jean-Luc Godard’s New Wave Films By Ágnes Pethő
• For a Reconsideration of Soft and Hard By Jerry White
• It's Not Blood, It's Red: Colour(s) of Jean-Luc Godard By Robert Barry
• A Photograph and a Camera: Two Objects in Film Socialisme By Roland-François Lack

From the Archive

• An Old Place By Cyril Neyrat

More about → The "Godard Is" Issue of the new VERTIGO

Journal of European Television History and Culture

A new multi-media e-journal on the past and present of European television

Journal of European Television History and Culture is to be the first peer-reviewed, multi-media and open access e-journal in the field of European television history and culture. It will offer an international platform for outstanding academic research and archival reflection on television as an important part of our European cultural heritage. With its interdisciplinary profile, the journal is open to many disciplinary perspectives on European television – including television history, media studies, media sociology, cultural studies and television studies.

If only for pretty sound, nominal reasons, Film Studies For Free doesn't usually stray too far beyond the field of free film studies. Today is an exception, however, simply because of an exceptional, new, and also free to access, online publication.

The inaugural issue of the new Journal of European Television History and Culture is devoted to 'Making Sense of Digital Sources', a hugely important topic for all audiovisual forms and cultures. Its editors write,

In the past few years national broadcasting archives and audiovisual libraries have taken important steps in the digitisation of their sources. Consequently, some of their material has already become available online. But as access to television material online across national borders remains fractured and scattered, European funded projects such as Video Active (2006-2009) and EUscreen (2009-2012) try to tackle some of the main problems with transnational access:

• the lack of interoperability between archival data-bases both at the level of metadata and semantics;
• the non-existence of proven scenarios for the use of audiovisual material at a European level;
• the complexity of rights issues and the lack of contextualisation of digitised sources.

     At the FIAT/IFTA conference in Paris in 2004, the European Television History Network (ETHN) was launched, aiming at promoting the need for a transnational perspective on the history and culture of television in Europe. The archival situation and the accessibility for researchers vary considerably in the different European countries. That is why ETHN acknowledged the necessity of cooperation between archives and academics on a European scale in order to bridge academic research and archival initiatives. The Journal of European Television History and Culture builds on these initiatives and is closely related to EUscreen of which the e-journal is an important feature.[from Andreas Fickers and Sonja de Leeuw. 'Editorial']

FSFF salutes EUScreen, ETHN, and especially, on this the occasion of its birth, the Journal of European Television History and Culture.

It can only hope that European (and, indeed, non-European) archival film culture and studies will learn much (and quickly) from the wonderful and increasingly joined up examples of its televisual counterparts.

Vol 1, No 1 (2012):Table of Contents
Editorial

• Andreas Fickers, Sonja de Leeuw. 'Editorial' PDF

Articles

• Sonja de Leeuw, 'European Television History Online: History And Challenges' PDF  
• Lilian Landes, 'Building Platforms For Historians: Making Data Findable. A Critical Reflection On Some German Initiatives' PDF 
• Andreas Fickers, 'Towards A New Digital Historicism? Doing History In The Age Of Abundance PDF
• John Ellis, 'Why Digitise Historical Television?' PDF  
• Pelle Snickars, 'If Content Is King, Context Is Its Crown' PDF
• Luca Barra, Massimo Scaglioni, 'Making The Most Of The Archive: Commercial Exploitation Of The Digital Archive On Contemporary Italian Network TV' PDF  
• Alexander Badenoch, 'Translating ‘Liebeskummer’: Combo 1965' PDF  
• Andy O’Dwyer, 'Digitising Context: The Case Of The Radio Times' PDF  
• Dana Mustata, 'History In The Backstage Of Romanian Television Archives' PDF
• Matteo Treleani, Claude Mussou, 'Retelling the Past with Broadcast Archives: Context Makes Sense' PDF

More about → Journal of European Television History and Culture

New Issue of CINEMA: Journal of Philosophy and the Moving Image

Jeff Wall's photograph A Sudden Gust of Wind (after Hokusai), 1993 (courtesy of Wikipedia)

Today, in its continuing series of catch up posts on new offerings from open access film e-journals, Film Studies For Free brings you links to the contents of the latest issue of Cinema: Journal of Philosophy and the Moving Image.

Of particular interest, this time, are Tom McClelland's clear-eyed account of the respects 'in which the medium of film and the discipline of philosophy can intersect', Agustín Zarzosa's detailed evaluation of Rancière’s criticism of Deleuze, and Temenuga Trifonova's terrific discussion of the ways in which contemporary photography, like that of Jeff Wall mentioned above, 'seeks to reclaim the cinematic within the photographic from within the twilight of indexicality'.

Cinema: Journal of Philosophy and the Moving Image, No. 2 (2011)

Abstracts and Contributors

Articles

• Tom McClelland, 'The Philosophy of Film and Film as Philosophy'

• Agustín Zarzosa, 'Layering Images, Thwarting Fables: Deleuze, Rancière and the Allegories of Cinema'

• Temenuga Trifonova, 'The Twilight of the Index'

• Flore Chevaillier, 'Semiotic Images'

• Gabriella Calchi-Novati, '“Biopolitics on Screen”: Aernout Mik's Moving-Image Installations' ONLINE

Interview

• Questions for Jacques Rancière around his book Les écarts du cinéma (English version and French version): Conducted by Susana Nascimento Duarte

Conference Report

• William Brown on the Film-Philosophy Conference (Liverpool John Moores University, 6-8 July, 2011)

In Portuguese: 

• Leonor Areal, 'Para uma teoria do cliché' 

• Teresa Pedro, 'Técnicas cinematográficas e actos mentais: The Photoplay de Hugo Münsterberg'

Translation

• Mauro Carbone, trad. Débora Quaresma e Davide Scarso, 'Merleau-Ponty e o pensamento do cinema'

More about → New Issue of CINEMA: Journal of Philosophy and the Moving Image

New Issue of MOVIE: Lang, Preminger, découpage, PSYCHO and its remake, and filmmakers' choices

Frame grab from Bonjour Tristesse (Otto Preminger, 1958). See Christian Keathley's article on découpage in this film here

Film Studies For Free was thrilled that a new issue of MOVIE: A Journal of Film Criticism -- the best yet of this relaunched journal -- has recently hit the online newstands.

Issue 3 contains part 2 of the marvellous Fritz Lang Dossier, with contributions by, among others, V. F. Perkins, Adrian Martin, Peter Evans, Stella Bruzzi, Ed Gallafent, and Deborah Thomas.

There are also excellent articles on Preminger's film art, Psycho and its remake, and filmmakers' choices by Christian Keathley, Alex Clayton and John Gibbs.

Links to all items are set out for you below.

• The Fritz Lang Dossier, Part 2
  

• Rush to Judgement: Imperfect Justice in Fury (1936)
  Stella Bruzzi
• You Only Live Once (1937)
  V. F. Perkins
• Going Straight: The Past and the Future in The Return of Frank James (1940)
  Edward Gallafent
• The Woman in the Window (1944)
  Mark Rappaport
• Guess-Work: Scarlet Street (1945)
  Adrian Martin
• The Big Heat: Acts of Violence (1953)
  Peter William Evans
• Human Desire (1954)
  Deborah Thomas
• Lang With Lacan: The Power of the Gaze in Moonfleet (1955)
  Peter Benson

• Bonjour Tristesse and the Expressive Potential of Découpage
  Christian Keathley
• The Texture of Performance in Psycho and its Remake
  Alex Clayton
• The Cry of the Owl: Investigating Decision-Making in a Contemporary Feature Film
  John Gibbs

This issue edited by Douglas Pye and Michael Walker. Designed by Lucy Fife Donaldson, John Gibbs, and James MacDowell.

More about → New Issue of MOVIE: Lang, Preminger, découpage, PSYCHO and its remake, and filmmakers' choices

FSFF's Favourite Online Film Studies Resources in 2011

Insightful interview (in English) with filmmaker and academic Clio Barnard about her experimental documentary The Arbor on the life and work of Andrea Dunbar, British writer of the 1986 film Rita, Sue and Bob, too. The Arbor was one of Film Studies For Free's author's favourite films seen in 2011 (interview December 5, 2011)

Not since its December 2008 blog entry A-Z of Favourite Scholarly Film and Moving Image Blogs has the otherwise intrepid Film Studies For Free ventured into the rather crowded, online territory of end-of-year lists.

But, as it signs off on its seasonal break until the first few days of 2012, FSFF thought the time was right for a listing of links to its favourite, openly accessible, online Film Studies resources in 2011.

Thanks so much to all who worked hard to bring you these openly accessible treasures in the first place. And thanks also, dear readers, for being there to appreciate them.

FSFF very much looks forward to seeing you again in the New Year.

1. Top seven film and moving image studies history resources online in 2011: 
1. The Colonial Film Project archive plus two freely accessible chapters by those involved in the project: Lee Grieveson and Colin MacCabe (eds), Empire and Film (BFI/Palgrave, 2011) and 32 sample pages; and Lee Grieveson and Colin MacCabe (eds), Film and the End of Empire (BFI/Palgrave, 2011) and 25 sample pages
2. Media History Digital Library
3. The Turconi Project
4. EU Screen
5. European Film Gateway
6. The Permanent Seminar on Histories of Film Theories
7. The Kracauer Lectures website
2. Top five, most consistently brilliant Film Studies bloggers:
1. David Bordwell and Kristin Thompson for Observations on Film Art
2. Luke McKernan for The Bioscope (also see McKernan's two new ScoopIt! projects: The Bioscope and Screen Research)
3. Roland-François Lack for The Cine-Tourist, The Daily Map and The BlowUp Moment (also see The Autopsies Group website) and also on Twitter
4. Dan North for Spectacular Attractions (also see The Cinema of Puppetry) and also on Twitter
5. Tie between Michael J. Anderson and Lisa K. Broad for Tativille and Ten Best Films; and  Omar Ahmed for Ellipsis
3. Best new Film Studies blog: Katherine Groo's Half/Films
4. Best 'media studies approaches to film and moving image studies' blog - tie between:
1. Just TV by Jason Mittell (also on Twitter)
2. Celebrity Gossip, Academic Style by Anne Helen Petersen (also on Twitter)
3. The Chutry Experiment by Chuck Tryon (also on Twitter)
4. The Negarponti Files by Negar Mottahedeh (also on Twitter and Facebook)
5. Most consistently original, Film and Moving Image Studies writer active online - a tie between: 
1. Adrian Martin (e.g. see all the links here)
2. Nicholas Rombes (e.g. see here and here)
3. Amanda Ann Klein (also see here)
4. David Bordwell
5. Kristin Thompson (also see here and here)
6. Jeffrey Sconce (also see here)
6. Best Film Studies informed, commercial film criticism website: Alternate Takes
7. Best new online film journal in 2011 - a tie between:
1. LOLA edited by Adrian Martin and Girish Shambu
2. ALPHAVILLE edited by Laura Rascaroli and others at the University of Cork
3. JOAN'S DIGEST edited by Miriam Bale
8. Best recently established online academic Film Studies journal: MOVIE: A Journal of Film Criticism
9. Top twelve established, online, (mostly) English language, Film Studies journals:
1. Screening the Past
2. Film-Philosophy
3. SCOPE
4. Jump Cut
5. Senses of Cinema
6. MEDIASCAPE
7. Participations
8. Bright Lights Film Journal
9. CINEPHILE
10. Offscreen
11. La Furia Umana 
12. World Picture Journal
13. For links to one hundred more journals (including some brilliant, primarily non-English language journals, like Transit: Cine..., see here)
10. Most generous, Open Access Film Studies author: Thomas Elsaesser for the below freely accessible e-books and for the hundreds of further resources linked to from his website:
1. Elsaesser, Thomas (ed), A Second Life : German Cinema's First Decades (Amsterdam University Press, 1996)
2. Elsaesser, Thomas (ed), Harun Farocki: Working on the Sight-Lines (Amsterdam University Press, 2004)
3. Elsaesser, Thomas,  Jan Simons, Lucette Bronk (eds), Writing for the Medium: Television in transition (Amsterdam University Press, 2004)
4. Elsaesser, Thomas, European Cinema: Face to Face with Hollywood (Amsterdam University Press, 2005)
5. Elsaesser, Thomas, Fassbinder's Germany: History, Identity, Subject (Amsterdam University Press, 1996)
6. Elsaesser, Thomas, Noel King, Alexander Horwath (eds), The Last Great American Picture Show: New Hollywood Cinema in the 1970s (Amsterdam University Press, 2004)
11. Best online cinephile news and criticism site: MUBI Notebook (thanks so much to David Hudson and Daniel Kasman for their brilliant work)
12. Best cinephile salon site - a tie between:
1. Dave Kehr's place
2. Girish Shambu's place
13. Best seven multimedia/multiplatform/multichannel-style film and moving image studies websites:
1. FlowTV
2. In Media Res 
3. Moving Image Source 
4. Screen Machine 
5. Screen Culture
6. Antenna: Responses to Media and Culture 
7. Critical Studies in Television
14. Most impactful online Film Studies work in 2011 - a tie between:
1. Tim Smith's work on how movie viewers watch, showcased here as well as on his blog Continuity Boy and his research site.
2. Matthias Stork's video essays on Chaos Cinema (see FSFF's original post on this)
3. Aitor Gametxo's video essay: Variation: THE SUNBEAM, David W. Griffith, 1912
4. Steven Shaviro's work on Post-Cinematic Affect: see here for lots of links
15. FSFF's favourite Film Studies academic links on Twitter: @filmdrblog (also see the Film Doctor's actual blog)
16. FSFF's favourite non-academic, film studies-informed, online film critics - a tie between:
1. Srikanth Srinivasan (also on Twitter)
2. Matt Zoller Seitz (also on Twitter
3. Kevin B Lee (also on Twitter here and here)
4. Jim Emerson (also on Twitter)
5. Jonathan Rosenbaum (also on Twitter)
6. Ignatiy Vishnevetsky (also on Twitter)
7. Farran Smith Nehme (also on Twitter)
8. Marilyn Ferdinand and Roderick Heath (also on Twitter here and here) and see Rod's blog
9. Anne Billson (also writing for the Guardian and on Twitter)
10. David Cairns (also on Twitter)
17. FSFF's ten favourite FSFF blogposts (and blogpost clusters) in 2011: 
1. On 'Affect' and 'Emotion' in Film and Media Studies
2. Double Vision: Links in Memory of Raúl Ruiz, a Filmmaking Legend and ¡Viva Raúl Ruiz!
3. V.F. Perkins on FILM AS FILM and More Victor Perkins Video Interviews Online from Saarbruecken 
4. The Future of Cinema: Discussion with David Bordwell, Simon Field, Andréa Picard and Alan Franey 
5. The Tree of Links: Terrence Malick Studies 
6. Ingmar Bergman Studies 
7. Viewing Modes and Mise en Scene: 50 YEARS ON by Christian Keathley and The Obscurity of the Obvious: On the Films of Otto Preminger 
8. On Figural Analysis in Film Studies 
9. Liquid Atmospherics: On the cinema of Wong Kar-wai 
10. Its own video essay posts: Framing Incandescence: Elizabeth Taylor in JANE EYRE (1944); Studies of Film Noirishness, with Love; Links on videographical film criticism, editing, 'intensified continuity', 'chaos cinema', 'hapticity' and (post) cinematic affect; and Audiovisualcy: Videographic Film Studies 
18. FSFF's most read post in 2011 by some distance was "An incarnation of the modern": In Memory of Miriam Bratu Hansen, 1949-2011
19. Most popular resource at FSFF: Open Access Film E-books List
20. Best search engine for Open Access Film Studies (and other Arts and Humanities resources): JURN (thanks, as ever, to the indefatigable David Haden)

More about → FSFF's Favourite Online Film Studies Resources in 2011