Corrected entry (February 12): FRAMEWORK: The Journal of Cinema and Media

'Snakes&Funerals' by Emily Jeremiah, James S. Williams and Gillian Wylde. Taking Jean-Luc Godard’s canonic film Le Mépris / Contempt (1963) as a starting-point, Snakes&Funerals set out to explore the queer possibilities of image and sound, especially of colour and of ‘straight’ repetition. First published in Frames, Issue 1, July 2012.

Film Studies For Free [thought it had] had a lovely surprise today. It found, through Google Scholar, that NINE full issues of Framework: The Journal of Cinema and Media (including the most recent five issues) were freely accessible through the Digital Commons of its publisher Wayne State University Press. It jumped to the pleasing conclusion (encouraged by the use of the word Commons + free access), that this great journal had turned to open access publishing.

Then, on February 11, FSFF received a very courteously worded email with the following message from a very nice representative of Wayne State University Press:

Unfortunately, this journal is not open access, and we have no plans to make it so at this time. I'm writing to you so that you have the correct information about Framework. 

When you visited the site, BePress (administrator of Digital Commons) had not yet activated the toll-access barrier to the journal content. That was an error on our part, one that we have since rectified. Those who click on the links you have posted on your blog will not be able to download the article for free. Instead, a $5 fee is charged before access is granted. I apologize for the confusion [...].

$5 is much, much cheaper than most traditional "gated" online academic publication access, for sure. But FSFF must apologise to its readers -- who, up until a short while ago, will have been able to access contents for free -- for drawing a premature conclusion.

More about → Corrected entry (February 12): FRAMEWORK: The Journal of Cinema and Media

Studies of Long-Form Television, Part 1: THE WIRE

Last Updated: May 26, 2012 - please scroll right down
Erlend Lavik on 'Style in The Wire', April 2012


Jason Mittell, 'Serial Boxes: The Cultural Value of Long-Form American Television' [a Presentation given at the 'Serial Forms' conference in Zurich, June 2009] Also read Mittell's text about this presentation

Film Studies For Free begins a little series of entries that ... is... not ... on ... Film Studies ... as it is ... most narrowly ... defined. GASP! Choke. [Recovers characteristic composure].

It was inspired not only by that great, film and media studies, disciplinary leveller that is the DVD, but also, and especially, by Jason Mittell's hugely ground-breaking, open peer-reviewed, online, 'book-in-progress': Complex TV: The Poetics of Contemporary Television Storytelling, as well as by the publication today of Erlend Lavik's first online video essay, above, on the American television drama series The Wire. These are both, in their own ways, impressive and very in-depth studies that merit a wide viewership/readership, as do the other excellent resources listed below on this legendary television series.

If FSFF is missing any important, openly accessible studies, do please leave a comment to that effect with a link. Many thanks.

• Esther Addley, 'Unravelling The Wire: Academics dissect social science of cult TV show', Critical Studies in Television Online,November 27, 2009
• Rowland Atkinson and David Beer, 'The Ivorine Tower and The Wire', Network, Summer 2001 (also see here) 
• Stephen Armstrong, 'Under The Wire', Critical Studies in Television Online, 2009 (?)
• Susan A. Bandes, 'And All the Pieces Matter: Thoughts on The Wire and the Criminal Justice System' (October 4, 2010), Ohio State Journal of Criminal Law, Vol. 8, No. 2, 2011; University of Miami Legal Studies Research Paper No. 2011-19
• Simon Barker, 'From soft eyes to street lives: The Wire and jargons of authenticity', City, 14: 5, 545 — 557
• David Bordwell, 'Take it from a boomer: TV will break your heart', Observations on Film Art, September 9, 2010
  
• Alafair S. Burke, 'I Got the Shotgun: Reflections on The Wire, Prosecutors and Omar Little (October 21, 2010). Ohio State Journal of Criminal Law, Forthcoming; Hofstra Univ. Legal Studies Research Paper No. 10-33
• I. Bennett Capers, 'Crime, Legitimacy, Our Criminal Network, and The Wire', Ohio State Journal of Criminal Law, Vol. 8 (2011) 
• Mark Chou, '"We like them bitches on the chessboard": Tragedy, Politics and The Wire', CTheory.net, January 20, 2011 
• New Dark Matter Journal - Issue: The Wire Files [4], April 2011 Editorial: ‘All the pieces matter’ – introductory notes on The Wire by Ash Sharma; “B5—it got all the dinks”: Schools and Education on ‘The Wire’ by Lawrence Blum; Short Circuiting the Power Grid: The Wire as Critique of Institutional Power by Sophie Fuggle; Who Loves Ya, David Simon? by Jane Gibb and Roger Sabin; The Life and Times of Fuzzy Dunlop: Herc and the Modern Urban Crime Environment by C.W. Marshall and Tiffany Pot; The Politics of Brisket: Jews and The Wire by Keith Kahn-Harris; White Negroes and The Wire by Daniel McNeil; Casting The Wire: Complicating Notions of Performance, Authenticity, and ‘Otherness’ by Lisa W. Kelly; A man’s gotta have a code: Identity, Racial Codes and HBO’s The Wire by Todd Fraley; No Such Thing as Good and Evil: The Wire and the humanization of the object of risk in the age of biopolitics by Angela Anderson; The Wire: Investigating the use of a Neoliberal Institutional Apparatus and a ‘New Humanist’ Philosophical Apparatus by Sara Taylor Commons; “Thin Line ‘tween heaven and here” (Bubbles): Real and Imagined Space in The Wire by Linda Speidel; The Subversion of Heteronormative Assumptions in HBO’s The Wire by Hillary Robbie; The More Things Change, the More They Stay the Same: Serial Narrative on The Wire by Erika Johnson-Lewis;  “These Are Not Your Children”: The Wire’s eighth graders and their fate at Edward Tillman Middle School by Georgia Christgau; Common Ground: The Political Economy of The Wire by Judd Franklin
• Andrew Dignan, 'The Wire and the Art of the Credit Sequence', The House Next Door, September 22, 2006
• Sophie Fuggle, 'Short Circuiting the Power Grid: The Wire as Critique of Institutional Power', darkmatter Journal 4 (2009)
  
• Nelson George, 'Across Racial Lines The Wire: How white writers successfully explored black America', Moving Image Source, July 28, 2008 
• Alasdair McMillan, 'Dramatizing Individuation: Institutions, Assemblages, and The Wire', Cinephile, Vol. 4, Summer 2008
• Jason Mittell, 'All in the Game: The Wire, Serial Storytelling, and Procedural Logic', Electronic Book Review, March 18, 2011
• Andrew Moore, 'Teaching HBO’s The Wire', Transformative Dialogues: Teaching and Learning Journal, Volume 5, Issue 1, July 2011
• Pinewood Dialogue: Making The Wire Panel 
• Dana Polan, 'Invisible City The Wire: The cycles of urban life in television's most novelistic show', Moving Image Source, July 28, 2008 
• Kelly Quinn, 'The Heart of the City: A Conversation about The Wire', Places, 21.1, May 2009
• David Schwartz, 'Kings and Pawns. The Wire: Modern society as an elaborate chess game', Moving Image Source, July 28, 2008
• Peter S. Scholtes, 'George Pelecanos on 'The Wire' and D.C. pulp fiction', Citypages, July 19, 2006
• Helena Sheehan and Sheamus Sweeney,  'The wire and the world: narrative and metanarrative', Jump Cut, 51 (Spring 2009)
• David Alan Sklansky, 'Confined, Crammed, and Inextricable: What The Wire Gets Right', Ohio State Journal of Criminal Law, Vol. 8, No. 2, p. 473, 2011; UC Berkeley Public Law Research Paper No. 1856574
• R. Colin Tait, 'The HBO-ification of Genre', Cinephile, Volume 4: Post-Genre, Summer 2008  
• Video essays on The Wire's Credit sequences: Extra Credit, Part 1 by Andrew Dignan, Kevin B. Lee and Matt Zoller Seitz; Extra Credit, Part 2 by Andrew Dignan, Kevin B. Lee and Matt Zoller Seitz; Extra Credit, Part 3 by Andrew Dignan, Kevin B. Lee and Matt Zoller Seitz; Extra Credit, Part 4 by Andrew Dignan, Kevin B. Lee and Matt Zoller Seitz; Extra Credit, Part 5 by Andrew Dignan, Kevin B. Lee and Matt Zoller Seitz, All at Moving Image Source, July 28, 2008
• James Zborowski, 'The Rhetoric of The Wire', Movie: A Journal of Film Criticism, No.1, 2010 
• Slavoj Žižek, 'The Wire or the clash of Civilizations in one country', Birkbeck Institute for the Humanities, February 24, 2012 

Huge Update on April 6, 2012 provided by Steve Bennison (thank you, Steve!)

Will sort into FSFF order and format asap...

• Kent Jones: Down in the Hole Sight & Sound May 2008
• The Wire Files: 16-article special issue of Dark Matter Journal May 2009
• Eric Beck: Respecting the Middle: Omar Little as Neoliberal Subjectivity Rhizomes Summer 2009
• Julian McDougall: Wiring the Audience Participations May 2010
• Ioana Lyerat: Between Heaven & Here Mediascape Winter 2012
• Special issue of Criticism Summer 2010 on The Wire not freely available, but the following has been very widely circulated online: Fredric Jameson, 'Realism & Utopia in The Wire', Criticism 2010 
• Marc Singer: Heroin or the Economic Logic of Late Capitalism & open thread, I Am Not The Beastmaster blog May 2008 Part One and Part Two
• Chris Wisniewski: High Visibility Reverse Shot blog
• Ben Walter: The Wire for Tourists Film Quarterly Winter 2008
• Trevor Dodge: The Wire as American Noir Pop Matters Sept 2010
• Tim Anderson: Listening for ‘The Game’ in The Sound of Young America In Media Res April 2007
• Mike Dawson: Television Special: The Wire Left Field Cinema April 2009
• Jason Mittell: Rapping Up The Wire & The Limits of Plot Summary In Media Res Jan 2009
• Jason Mittell: Teaching The Wire with downloadable syllabus, Media Commons Feb 2009
• Jason Mittell/Middlebury Course blog
• Jason Mittell: Television and American Culture Textbook website
• Drake Bennett: This Will Be on the Mid-Term. You Feel Me? Slate March 2010
• Other people’s syllabuses found by Slate
• http://img.slate.com/media/8/WireSyllabus.pdf
• http://img.slate.com/media/42/wire%20syllabus%202008.pdf
• http://img.slate.com/media/4/CaseStudyWire.pdf
• Harvard Sociology course?
• David Simon: Frank Porter Graham Lecture at University of North Carolina 2011, I hr on Vimeo

More about → Studies of Long-Form Television, Part 1: THE WIRE

'Total realism'? On depth of focus and field in cinematography, mise-en-scène, and sound design

Short documentary on the work of cinematographer Gregg Toland, one of the greatest Directors of Photography of all time. Also, read his article for the September 1941 issue of Theater Arts magazine The Motion Picture Cameraman.

Film Studies For Free was so inspired by Jim Emerson's excellent essay 'Avatar, the French New Wave and the morality of deep-focus (in 3-D)' at his blog Scanners, that it decided to speed up production and publication of its long-in-preparation list of links to openly-accessible scholarly material of note on cinematographic depth of field, focus, and related matters of sound design and staging. Thanks Jim!

Readers might also like to (re)visit FSFF's posts on 3D Studies, phenomenological film studies, film music and sound, Orson Welles  and Avatar.

• Richard Abel, 'Collapsing Columns: Mise-en-scene in Boudu', from Jump Cut, no. 5, 1975, pp. 20-22

• Michael J. Anderson, 'The Mortal Storm: 1940 and After', Senses of Cinema, Issue 52, 2009

• Fran Apprich, 'Born into Sound', quest, Issue 2, Autumn 2006

• Terri Meyer Boake, 'Architecture And Film: Experiential Realities And Dystopic Futures', Architecture and Film, University of Waterloo

• David Bordwell, 'Do filmmakers deserve the last word?', Observations on Film Art, October 10, 2007

• David Bordwell, 'Widescreen Aesthetics and Mise-en-Scène Criticism', The Velvet Light Trap no. 21 (Summer 1985):118–25

• David Bordwell, 'La Nouvelle Mission de Feuillade; or, What Was Mise-en-Scène?', The Velvet Light Trap no. 37 (Spring 1996): 10–29

• Stephen Boyd Davis, 'Interacting with pictures: film, narrative and interaction', Digital Creativity 2002, Vol. 13, No. 2, pp. 71–82

• Carlos Calderon, Karl Nyman and Nicholas Worley, 'The Architectural Cinematographer: creating architectural experiences in 3D real-time environments', International Journal of Architectural Computing, 2006

• Ian Conrich and Estella Tincknell, 'Film Purity, the Neo-Bazinian Ideal, and Humanism in Dogma 95', P:O.V. No.10, 2005

• Sarah Cooper, 'Montage, Militancy, Metaphysics: Chris Marker and André Bazin', Image [&] Narrative, 2010

• Clementine Douglas Cummer, 'Seeing Things, Making Sense of Life', BFA Thesis, Fibers, Massachusetts College of Arts, 1999

• Jessica Durgan, 'Framing Heritage: The Role of Cinematography in Pride & Prejudice', Persuasions On-Line, V.27, No.2 (Summer 2007)

• Jim Emerson, 'Avatar, the French New Wave and the morality of deep-focus (in 3-D)', Scanners, February 10, 2010

• Kevin L. Ferguson, 'Covering the Cinema: On Wallpaper in Some Films', Bright Lights Film Journal, Issue 58, November 2007

• Rosalind Galt, “It’s so cold in Alaska”: Evoking Exploration Between Bazin and The Forbidden Quest', Discourse, 28.1, (Winter, 2006), pp. 53–71

• Peder Grøngaard , 'Hitchcock's cinematic style: a study of Marion Crane's metaphorical journey into darkness', P:O.V. No.4, 1997

• Lennard Højbjerg, 'Some Aspects of Style and Space', P:O.V. No.4, 1997

• Bruce Isaacs, 'The Cinematic Real: Aesthetics and Spectacle', Sydney Studies in English, 2007

• Bruce Isaacs, 'Film Cool: Towards a New Film Aesthetic', PhD Thesis, University of Sydney, 2006

• Søren Kolstrup, 'Camera Movement and Narration: The camera as narrator in the documentaries of Lars Engels', P:O.V. No.4, 1997

• Mark Le Fanu, 'Metaphysics of the "long take": some post-Bazinian reflections', P:O.V. No.4 - On camera movement and filmic space, 1997

• Julia Lesage, 'Blue collar filmography' from Jump Cut, no. 2, 1974, pp. 15-17

• Daniel T. Levin, 'Perceiving Stability in a Changing World: Combining Shots and Integrating Views in Motion Pictures and the Real World', Media Psychology, 2, 2000

• Jonathan McAlmont, 'Cinematic Vocabulary – Opening Scene of Touch of Evil (1958)',Ruthless Culture, March 9, 2009

• Lars Morell, 'Installations in Space and Architectonic Scenery', P:O.V. No.4, 1997

• Tim Palmer, 'Style and Sensation in the Contemporary French Cinema of the Body', Journal of Film and Video 58.3 / Fall 2006

• Stephen Prince, 'The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era', Film Quarterly, Vol. no. 57, Issue no. 3, pages 24-33

• Richard Raskin, 'Camera Movement in Wings of Desire', P:O.V. No.4, 1997

• Michael C. Riedlinger, 'Orson Welles – Painter', Senses of Cinema, Issue 53, 2009

• Jacques Rivette, 'On abjection', Order of the Exile/Jacques-Rivette.com, Originally appeared in Cahiers du cinema 120 (June 1961): p. 54-55. Translated by David Phelps with the assistance of Jeremi Szaniawski

• Henry M. Taylor, 'Frames, Cons, and Double-Crosses The Theatrical Cinema of David Mamet', Cinetext, July 2009

• Peter Thomas, 'Anywhere But the Home: The Promiscuous Afterlife of Super 8', M/C Journal, Vol. 12, No. 3 (2009)

• Ben Turner, 'Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotive Impact of the Aural Environment', Dissertaton for Masters of Music in Composition, University of KwaZulu-Natal, Durban, September 2005

• Billy Budd Vermillion, 'The "Wondrous Truth" of Microcosmos', 16:9, Vol. 5, No. 21, 2007

• Daniel Yacavone, 'Jean-Luc Godard and Roy Lichtenstein: Originality, Reflexivity, and the Re-Presented Image', Forum, Issue 1, Autumn 2005

More about → 'Total realism'? On depth of focus and field in cinematography, mise-en-scène, and sound design

The Value of Style: Film Criticism in Scholarship

In memoriam: Alexis Tioseco (Criticine) and Nika Bohinc (ECRAN), September 2, 2009

"The first impulse of any good film critic, and to this I think you would agree, must be of love. To be moved enough to want to share their affection for a particular work or to relate their experience so that others may be curious. This is why criticism, teaching, and curating or programming, in an ideal sense, must all go hand in hand."
"The Letter I would Love To Read To You In Person" by Alexis Tioseco [to Nika Bohinc], July 15, 2008, pt 1, pt 2, pt 3

Image from The Searchers (John Ford, 1956)

Today, Film Studies For Free is very merrily celebrating its first birthday. It is marking this auspicious date -- in style and on style -- by posting one of its longest links lists yet: to online and openly accessible articles and essays on the subject of film criticism (scholarly and otherwise) that FSFF's author has found important and/or stimulating over the last years.

FSFF would like its list to be even longer, though, so do please take note of the four headings below (on film style: on film criticism; on film critics; and important, self-reflexive, examples of film criticism online) and do let the blog know of links to other relevant work (especially to good examples of online film criticism), preferably in the comments section, please.

This post was inspired, in great part, some weeks back by the peerless Girish Shambu who launched a characteristically thoughtful and important discussion, in a blog entry entitled "Building A Large Conversation", about the divide that exists between the fields of film scholarship and film criticism. Girish wrote:

Except for a small number of invaluable critic-scholars who work to bridge the gap, the two groups similarly shy away from citing each other. Why is this so? For critics, it would require the significant effort of familiarizing themselves with scholarly literature past and present, an effort made more difficult by the presence of a specialized scholarly vocabulary. For scholars, whose jobs already require them to do vast amounts of reading, this would mean widening their field of vision to include writing in film magazines, the Internet (including blogs), and newspapers. Added to this are the demands in both professions of watching scores of films on a steady basis.

Like Girish, the many important commenters to his blog post, and other thoughtful respondents to it, such as HarryTuttle, FSFF readily acknowledges the difficulties in bridging these gaps.

In his response to Girish's post, film scholar and blogger Chris Cagle wrote eloquently and concisely about those difficulties, but in an optimistic frame, he noted that what might be needed is

a model that's different than pure specialization or pure dilettantism. For lack of a better name, I'd call it randomization. Each scholar specializes but looks to new ideas, methodologies, and inspiration in a limited fashion with the hope that collectively we mitigate the downside of stale intellectual mindsets. The journalist, blogger, or public intellectual could have a role in this.

Film Studies For Free owes its very existence to the desire to help to 'join up' scholars and critics in the global online arena. And it very much seconds Cagle's assertions about what is required to achieve this. Today, then, it reaffirms its own mission by helping to encourage a richer and more connected 'scholar-critic conversation' through the below list of 'randomly collected' but also 'specialized' links.

On a final note, FSFF has received lots of encouragement in its first year of existence, but none warmer, more timely or more generous than that given in its early days by Girish, whose own website continues to be a huge inspiration in all sorts of ways. Thanks a million to him, and to all of you who have welcomed and supported this blog. Onwards!

On film style:

• David Bordwell [interviewed by Jakob Isak Nielsen], 'Bordwell on Bordwell: Part I – Hitchcock, Hartley and the Poetics of Cinema' 16:9, Volume 2, Number 7, June 2004
• David Bordwell [interviewed by Jakob Isak Nielsen], 'Bordwell on Bordwell: Part II - Functions of Film Style', 16: 9, Volume 2, number 8, September 2004
• David Bordwell [interviewed by Jakob Isak Nielsen], 'Bordwell on Bordwell: Part III - Writing On Film Style', 16: 9, Volume 2, number 9, November 2004
• Edward Colless, 'The Possessed', Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990)
• Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990): 'Film: Matters of Style' Issue, edited by Adrian Martin
• Jeffrey Crouse, ' Cinema's Recounting of the Ordinary [Review of Andrew Klevan, Disclosure of the Everyday: Undramatic Achievement in Narrative Film, Trowbridge, Wiltshire: Flicks Books, 2000]', CineAction, Fall, 2001
• Barrett Hodsdon, 'The mystique of mise en scene revisited', Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990)
• Kent Jones, 'Can Movies Think?', Rouge, 2008
• Andrew Klevan, 'A Reply to Adrian Martin['s review of Film Performance: From Achievement to Appreciation (London: Wallflower Press, 2006)', Fipresci, Issue 4, 2008
• Adrian Martin, 'Review of John Gibbs & Douglas Pye (eds). Style and meaning: studies in the detailed analysis of film. Manchester University Press, 2005', Screening the Past, July 2005
• Adrian Martin, 'Secret Agents [ A review of Andrew Klevan, Film Performance: From Achievement to Appreciation (London: Wallflower Press, 2006)', Fipresci, Issue 4, 2007
• Adrian Martin, 'S.O.S.', Continuum, The Australian Journal of Media & Culture, vol. 5, no 2 , 1990
• William D. Routt, 'L'Evidence', Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990)
• Robin Wood, 'Only (Dis)Connect; and Never Relaxez-Vous; or, "I Can’t Sleep"', Film International, Issue 11
  

On film criticism:

• Richard Armstrong, 'Notes on a Scandal: On Film Criticism and Its Teachers', Bright Lights Film Journal, Issue 57, August 2007
• Mark Asch, 'What I Took From ‘Film Criticism in Crisis?’ ', The L Magazine, September 29, 2008
• David Bordwell, 'Film Interpretation Revisited', Vol. 27, No. 3, Winter-Spring 1993
  
• David Bordwell, 'Against Insight', Cinema Scope, Issue 26
  
• David Bordwell, 'In critical condition', Observations on film art and Film Art, May 14, 2008
• David Bordwell, 'Studying Cinema', Observations on film art and Film Art, 2000
• Nicole Brenez, 'The ultimate journey: remarks on contemporary theory', Screening the Past, December 1997
• Chris Cagle, 'Taste and Scholarship', Category D: A Film and Media Studies blog, July 23, 2009
• Lorena Cancela, 'Import or Confront?', Fipresci, Issue 2, 2006
• Stanley Cavell interviewed by Harry Kreisler, 'Philosophy and film criticism', Conversations with History: Institute of International Studies, UC Berkeley, 2002
• 'Crisis Averted: Film Comment Reports on “Film Criticism in Crisis?”', FilmLinc Blog, September 30, 2008
• Dublin2009, 'From Robin Wood to Robin Askwith', Explorations in British Film, July 2, 2009'
• Matthew Clayfield, 'Missionaries and Sceptics', Esoteric Rabbit Blog, December 16th, 2005
• Matthew Clayfield, 'Reading, Closely', Esoteric Rabbit Blog, November 18th, 2005
• Jim Emerson, 'Film Criticism Blogathon!', Scanners, December 1, 2006
• Jim Emerson, '"Oh yeah? Well, I criticize you back!"', Scanners, June 29, 2009
• 'Film Criticism in Crisis?: A New York Film Festival panel discussion [Contributions from Jonathan Rosenbaum, Emmanuel Burdeau, Cahiers du cinéma Editor, Kent Jones, Film Comment Editor-at-Large, David Hudson, GreenCine Daily Editor, Jessica Winter, O magazine film critic, Pascual Espiritu (aka Acquarello) of Strictly Film School, Seung-hoon Jeong, former critic for Korean film weekly Cine 21, and hosted by Gavin Smith]', Film Comment, September 27, 2008
• 'Film Criticism in the Age of the Internet: A Critical Symposium [contributions from Zach Campbell, Robert Cashill, Mike D’Angelo, Steve Erickson, Andrew Grant, J. Hoberman, Kent Jones, Glenn Kenny, Robert Koehler, Kevin B. Lee, Karina Longworth, Adrian Martin, Adam Nayman, Theodoros Panayides, Jonathan Rosenbaum, Dan Sallitt, Richard Schickel, The Self-Styled Siren, Girish Shambu, Michael Sicinski, Amy Taubin, Andrew Tracy, and Stephanie Zacharek]', Cineaste, Vol. 33 No.4 (Fall 2008)
• Tag Gallagher, 'Truly Doing Movie Criticism', Kunst-der Vermittlung, May 2009
• Girish Shambu [and commenters], ' Building A Large Conversation', girish, July 13, 2009
• Girish Shambu, 'A Cinema Haunted By Writing', girish, May 3, 2009
• Matthew Holtmeier, 'Solanas and Getino's Problem with Film Criticism', Cinema without Organs, August 13, 2009
• 'How Film Critics Work [Contributions from Julie Rigg, Adrian Martin, Klaus Eder, Richard Kulpers, and chaired by Roslyn Petelin]', A forum, presented by the Australian Film, Television and Radio School as part of the Brisbane International Film Festival 2005, Fipresci, Issue 1, 2006
• Nick James, 'Who needs critics?', Sight and Sound, October 2008
• Noel King, 'Critical alibis and thin description', Continuum: The Australian Journal of Media & Culture, vol. 6 no 2 (1991)
• Noel King, 'Critical occasions: David Bordwell's Making Meaning and the institution of film criticism', Continuum: The Australian Journal of Media & Culture, vol. 6 no 1 (1992)
• Andrew Klevan, 'A Reply to Adrian Martin['s review of Film Performance: From Achievement to Appreciation (London: Wallflower Press, 2006)', Fipresci, Issue 4, 2008
• Joseph "Jon" Lanthier, 'Window to the (Critic's) Soul: Film Criticism 101: Why You Should Recycle the Promo Packet', Bright Lights After Dark, May 06, 2009
• Scott Macaulay, 'How to (maybe?) make a lving as a film journalist', Filmmaker Magazine blog, July 12, 2009
• Adrian Martin, 'Scanning Godard', Screening the Past, June 2000
• Adrian Martin, 'The State of Film Criticism', La lectora provisoria, October 9, 2007
• Adrian Martin and Cinemascope – Independent Film Journal, 'Responsibility and Criticism', Cinemascope, Issue 7, January-April 2007
• Maya, 'A Critical Moment: Three Perspectives [B. Ruby Rich, David D'Arcy, John Anderson]', based on a panel moderated by SF360 editor Susan Gerhard. Panel participants included Gerald Peary, B. Ruby Rich, David D'Arcy, Dennis Harvey, John Anderson, Jonathan Curiel, and Mary Pols, The Auteurs Notebook, August 25, 2009
  
• Geoffrey Nowell-Smith, 'The Rise and Fall of Film Criticism', Film Quarterly, Vol. 62, No. 1, Fall 2008
• Tom O'Regan, 'Writing an Australian film history: some methodological notes', Continuum, 1996
• William D.Routt, 'Textual criticism in the study of film', Screening the Past, 3 July, 1997
• William D. Routt, 'L'Evidence', Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990)
• Girish Shambu, 'On Film Criticism', girish, February 12, 2007
• Andrew Schenker, 'On the interview in film criticism', The Cine File, August 24, 2009
• Sam Thorne, 'Back & Forward [on the changing role of cultural theory ]', Frieze Magazine, Issue 125, September 2009
• HarryTuttle, 'Bordwell on cliché in criticism', Screenville, July 17, 2009
• HarryTuttle, 'Nomad Cinephilia (Adrian Martin) [on Martin's 'The State of Film Criticism]', Screenville, October 17, 2008
• Chuck Tryon, 'Blogging, Film Criticism, and Niche Audiences', The Chutry Experiment, August 6, 2009
• Chuck Tryon, 'Has Film Criticism Lost its (Box Office) Mojo?', The Chutry Experiment, July 24, 2009
• Chuck Tryon, 'Film Criticism in the Internet Age', The Chutry Experiment, May 3, 2009
• Chuck Tryon, 'Blogging and Criticism: Some Reflections', The Chutry Experiment, May 25, 2008
• Two Week Film Collective, 'Film Criticism: Evolution and Importance In the Digital Age', #2wkfilm (aka Royal Baronial Theatre), May 4, 2009
• Robin Wood, 'Only (Dis)Connect; and Never Relaxez-Vous; or, "I Can’t Sleep"', Film International, Issue 11
  

On film critics:

• Patrick Amos and Jean-Pierre Gorin, 'The Farber Machine', Rouge, 2008
• Richard Armstrong, 'Review of "It’s Only a Movie!": Films and Critics in American Culture, by Raymond J. Haberski Jr. Lexington: University Press of Kentucky, 2001', Bright Lights Film Journal, Issue 35, January 2002
• Jason Bellamy et al, 'Pauline Kael Week', The Cooler, June 20, 2009
• David Bordwell, 'Weather Bird Flies Again [on Gary Giddins], Observations on film art and Film Art, January 30, 2007
• Stanley Cavell interviewed by Harry Kreisler, Conversations with History: Institute of International Studies, UC Berkeley, 2002
• Dennis Cozzalio, 'Seeing and Writing (and Sewing): Quality Time with Stephanie Zacherek', Sergio Leone and the Infield Fly Rule, July 28, 2009
• 'Critics on Critics [Contributions from Geoff Andrew, Michael Atkinson, Tom Charity, Ian Christie, Michel Ciment, Hamid Dabashi, Jean-Michel Frodon, Graham Fuller, Ryan Gilbey, Kent Jones, Mark Le Fanu, Adrian Martin, Olaf Moller, Kim Newman, Jonathan Rosenbaum,Sukhdev Sandhu, Tadao Sato, David Thomson, Kenneth Turan, Armond White]', Sight and Sound, October 2008
• Serge Daney interviewed by Bill Krohn for Cahiers du Cinéma and The Thousand Eyes, 1977
• Anna Dzenis, 'Review of Serge Daney, Postcards from the cinema. Oxford, New York: Berg Publishers, 2007', Screening the Past, 2007
• Raymond Durgnat, ‘Culture Always is a Fog’, Rouge, 2006
• Roger Ebert, 'I'm a proud brainiac', Chicago Sun-TImes, July 5, 2009
• Richard Eldridge, 'Review of Russell Goodman (ed.), Contending with Stanley Cavell, Oxford University Press, 2005', Notre Dame Philosophical Reviews, August 2004
• Colin Fleming, 'Review of Britton on Film: The Complete Film Criticism of Andrew Britton, edited by Barry Keith Grant. Detroit, MI: Wayne State University Press, 2008', CIneaste, Vol.XXXIV No.4 2009
  
• Chris Fujiwara, 'For the Love of Movies: An Interview with Gerald Peary', Firpresci, Issue 5, 2009
• Tag Gallagher, 'Truly Doing Movie Criticism', Kunst-der Vermittlung, May 2009
• Christian Hamaker, 'Sarris 101: A Film Critic’s Politics', Christian Hamaker's Blog, August 13, 2009
• A. S. Hamrah, 'Only Angels Have Wings: Insoluble Farber', Fipresci, Issue 4, 2008
• D. K. Holm et al, 'A Raymond Durgnat Bibliography', Cinemonkey, February 2007
• Gary Indiana, Annette Michelson, Geoffrey O'Brien, Paul Schrader, and Craig Seligman, 'Prose and Cons. [on Pauline Kael]', Artforum International Magazine, 2002
• Bill Krohn, 'My Budd by Manny Farber, Rouge, 2008
• Adrian Martin, 'The Qualities I Like: Impressions of Manny Farber', Rouge, 2008
• Tony McKibbin, 'Durgnatian Doublethink', Senses of Cinema, April 2002
• Jeffrey Overstreet, 'In memory of Andrew Sarris’s New York Observer reviews', Filmwell, August 11, 2009
• Donald Phelps, 'Critic Going Everywhere [on Manny Farber', Rouge, 2008
• Michael Powell, 'A Survivor of Film Criticism’s Heroic Age' [on Andrew Sarris] The New York Times, July 9, 2009
• Andy Rector, '"Truly doing movie criticism" [on Tag Gallagher and his video essays', Kino Slang, August 16, 2009
• Jonathan Rosenbaum, Moving Places: A Life at the Movies, (University of California Press, 1995) e-book
• Jonathan Rosenbaum, 'Thinking About (Personal) History Lessons: The Movie Paintings of Manny Farber', Rouge 2008
• Jonathan Rosenbaum, 'They Drive By Night: the Criticism of Manny Farber', JonathanRosenbaum.com, August 18, 2008
• Alexis Tioseco, "The Letter I would Love To Read To You In Person, ROGUE, July 15, 2008, pt 1, pt 2, pt 3
• Josep Torrell, 'Barthélemy Amengual Has Died', Fipresci, Issue 1, 2006
• Harry Tuttle, 'Bazin - on Criticism - 1943', Screenville, May 17, 2006
• Harry Tuttle, Bazin - on Criticism - 1958', Screenville, July 14, 2006
  
• Charles Warren, 'Cavell, Altman, Cassavetes', Film International, Issue 22
  

Important, self-reflexive, examples of film criticism online:

• Michael J. Anderson, ' Face & Form in Rohmer: From Ma nuit chez Maud’s Talking Cinema to the Denial of Eloquence in Le Rayon vert', Tativille, August 9, 2009
  
• David Bordwell, 'Cognition and Comprehension: Viewing and Forgetting in Mildred Pierce', Journal of Dramatic Theory and Criticism, Spring 1992
• Serge Daney, 'The Tracking Shot in Kapo' (translation by Laurent Kretzschmar), Senses of Cinema, Issue 30, Jan-Feb 2004
• Raymond Durgnat, 'Extract from A Long Hard Look at Psycho', Senses of Cinema, 2002
• Ross Gibson, 'The Searchers - Dismantled', Rouge, 2005
• James MacDowell, 'Beneath the Surface of Things: Interpretation and Far From Heaven', Offscreen Journal, Volume 10, Issue 5, May 31, 2006
• Shigehiko Hasumi, 'John Ford, or The Eloquence of Gesture', Rouge, 2005
• Alain Masson, 'An architectural promenade', Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990)
• Alain Masson, 'A sequence from Avanti', Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990)
• Ken Mogg, 'Will and wilfulness: recent commentary on Hitchcock's The Birds', Screening the Past, March 2001
• Steven Peacock, 'Holding onto Moments in The Age of Innocence', Film Studies, Issue 9, Winter 2006
• VF Perkins, 'You Only Live Once', WRAP: the Warwick Research Archive Project (Date Unknown), plus frame stills (one HERE, two HERE and three HERE)
• VF Perkins, 'Same Tune Again! Repetition and Framing in Letter from an Unknown Woman'(originally published in CineAction! no. 52) republished online by Danish film studies journal 16:9 (September 2003)
• VF Perkins, 'Moments of Choice' [on film directing] (originally published in The Movie, ch. 58, reprinted in Ann Lloyd (ed.), Movie Book of the Fifties, Orbis, 1982) republished online by the Australian journal Rouge (issue 9, 2006)
• William Rothman, 'Chronicle of a Summer', Documentary Film Classics (Cambridge: Cambridge University Press 1997)
• Jean-Louis Schefer, 'On La Jetée', (translated by Paul Smith), Chris Marker: Notes from the Era of Imperfect Memory, 2008
• Jason Sperb, 'Punch-Drunk Love', Jamais Vu, May 23, 2008
  
• George Wilson, 'Love and Bullshit in Santa Rosa: On the Coen Brothers' The Man Who Wasn't There,' For a session of the Working Group on Philosophy, Film, and Fiction at the University of North Carolina, Chapel Hill, 2007.
• George Wilson, 'Rapport, Rupture, and Rape: Reflections on Talk to Her,' For a volume devoted to Almodovar's movie Talk to Her, Anne Wescott Eaton (ed.), Routledge Publishing, 2007
• Robin Wood, 'Only (Dis)Connect; and Never Relaxez-Vous; or, "I Can’t Sleep"', Film International, Issue 11
• Robin Wood, 'Revenge is Sweet: The Bitterness of "Audition"', Film International, Issue 7
  

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