New Issue of JUMP CUT!

Frame grab from The Young Mr. Lincoln (John Ford, 1939). See the Jump Cut dossier on Ford's film, Spielberg's version of the Lincoln story, and the classic Cahiers du Cinéma debate on the earlier film. Also see  Film Studies For Free's earlier entry on On the art (and ideology) of John Ford's films

Film Studies For Free has been away, gadding about and gabbling at a wonderful conference in Frankfurt on The Audiovisual Essay (organised by Adrian Martin and Cristina Álvarez López, with Vinzenz Hediger, for Deutsches Filminstitut and Goethe University), about which you will hear a great deal in the coming weeks and months.

Next, tomorrow, it departs for yet another exciting public event - a panel discussion on 'The Future of Film Criticism" at King's College, London, speaking alongside Jean-Michel Frodon (Editor of Cahiers du Cinéma and film critic for Le Monde) and Nick James (Editor of Sight & Sound).

In between these two magnificent events, it had to bring you news of a huge new issue of the online journal Jump Cut, which is absolutely full of incredibly interesting looking contents - FSFF particularly liked the dossier on Lincoln and ideology, but there's so much more to enjoy here. Thank you, Jump Cut!

Back soon.


Current issue, No. 55, fall 2013: INSTITUTIONS, TECHNOLOGIES, and LABOR

• Digital dreams in a material world: the rise of Netflix and its impact on changing distribution and exhibition patterns by Kevin P. McDonald
• “From, by, for”: Nairobi’s Slum Film Festival, film festival studies, and the practices of development by Lindiwe Dovey, Joshua McNamara, and Federico Olivier
• The normativity of 3D: cinematic journeys, “imperial visuality” and unchained cameras by Bruce Bennett
• Native images: the otherness and affectivity of the digital body by Adam Davis
• Sounds of Hong Kong cinema: Johnnie To, Milkyway Image, and the sound track by Gary Bettinson
• To work or not to work: the dilemma of Hong Kong film labor in the age of mainlandization by Mirana M. Szeto and Yun-chung Chen

THIRD CINEMA/INTERNATIONAL

• Jai Bhim Comrade: tales of oppression and songs of resistance by Catherine Bernier
• “The revolutionary founding moments of a contra-Grierson tradition” by Brian Winston (a review of Joshua Malitsky, Post-Revolution Nonfiction Film: Building the Soviet and Cuban Nations)
• Thauk gya paw hee thwi deh thwi /Blood’s Oath to Beautiful Flower —Blood’s Oath, drama of insurgency in a Burmese Pwo Karen Film by Violet Cho
• Amnesiac memory: Hiroshima/Nagasaki in Japanese film by Inez Hedges
• Body memories, body cinema: the politics of multi-sensual counter-memory in György Pálfi’s Hukkle by György Kalmár
• We lost our way: the time and space of alienation in Wong Kar-wai’s Happy Together by Caroline Guo
• Hong Kong’s liminal spaces: unveiling nature and identity in Tsang Tsui-shan’s Big Blue Lake by Winnie L. M. Yee
• Capitalist childhood in film: modes of critique by Susan Ferguson
• National identity, cultural institutions, and filmmaking in “Paradise” —the Puerto Rican successes of Talento de barrio and Broche de oro by Naida García-Crespo
• “Behind her laughter…is fear!” Domestic abuse and transnational feminism in Bollywood remakes by Gohar Siddiqui

GENDER

• New queer cinema by Roxanne Samer
• Feminist porn by Erica Rand (a review of The Feminist Porn Book: The Politics of Producing Pleasure, edited by Tristan Taormino, Constance Penley, Celine Parreñas Shimizu, and Mireille Miller-Young)
• The gay-for-pay gaze in gay male pornography by Kevin John Bozelka
• Dire straights: the indeterminacy of sexual identity in gay-for-pay pornography by John Paul Stadler
• Sartorial signifiers, masculinity, and the global recession in HBO's Hung by Chris Vanderwees
• The multivalent feminism of The Notorious Bettie Page by Steven S. Kapica
• Descent: “Everything’s okay now”—race, vengeance, and watching the modern rape-revenge narrative by Jenny Lapekas
• Bringing out Baby Jane —camp, sympathy, and the horror-woman’s film of the 1960s by David Greven
• Doing his homework by David Greven (a review of David Halperin’s How to be Gay)

IN AND AGAINST THE MAINSTREAM

• Skyfall: a mother and her twin boys by Robert Alpert
• “Propane is for pussies” —Bellflower’s bromance of retro technology and hip masculinity by David Church
• Take Shelter; Meek’s Cutoff; The Turin Horse — the end of everything by Timothy Kreider
• Workers' confessions and the reality TV series Undercover Boss by Lyell Davies
• From Hoover to Bush Jr. — home and crisis scripts in U.S. social cinema by Antonio Sánchez-Escalonilla
• Ecocinema by Joe Heumann and Robin Murray (a review of Ecocinema Theory and Practice, ed. Stephen Rust, Salma Monani, Sean Cubitt
• The earth bites back: vampires and the ecological roots of home by Robin Murray and Joe Heumann
• Broomhilda Unchained: Tarantino’s Wagner by Adrian Daub and Elisabeth Bronfen

EXPERIMENTAL/INDEPENDENT

• Movies in miniature by Midi Onodera
• Amateurization of the entire media universe by Patricia R. Zimmermann (a review of Amateur Media: Social, Cultural and Legal Perspectives, ed. Dan Hunter, Ramon Lobato, Megan Richardson and Julian Thomas)
• Varient cinematic artistic expression by Greg DeCuir (a review of Pavle Levi, Cinema by other means)

LINCOLN & IDEOLOGY FORUM

• Introduction by Chuck Kleinhans
• Young Mr. Lincoln and ideological analysis: a reconsideration (with many asides) by Chuck Kleinhans
• Lincoln in contemporary U.S. culture and politics by Douglas Kellner
• Equality before the law in Spielberg’s Lincoln by Gary Bettinson and Richard Rushton
• Symptomatic reading in Althusser, Cahiers du cinéma, and Zizek by Warren Buckland
• Lincoln: shared myths in a revisionist age by Frederick Wasser
• The hysteric, the mother, the natural gal:
• male fantasies and male theories in films about Lincoln by Deborah Tudor
• The significance of Steven Spielberg's Old Mr. Lincoln:
• political emotions and intertextual knowledge by Janet Staiger
• Mr. Spielberg's Mr. Lincoln by Chuck Kleinhans

HIV/AIDS ACTIVIST MEDIA

• Introduction: Ghost stories by David Oscar Harvey, Marty Fink, Alexandra Juhasz, Bishnu Gosh
• Ghosts caught in our throat —
• of the lack of contemporary representations of gay/bisexual men and HIV by David Oscar Harvey
• Two ghost stories: disability activism and HIV/AIDS by Marty Fink
• Acts of signification-survival by Alexandra Juhasz
• What time is it here? by Bishnupriya Ghosh

CLASSICS FROM THE PAST
S/Z and Rules of the Game by Julia Lesage
 
THE LAST WORD The war on/in higher education by the Editors

More about → New Issue of JUMP CUT!

Queer Film Festival Studies

Click here to visit the full interactive version of the above map.

As identity-based festivals, queer film festivals have a specific relationship to the audience to which they cater. More specifically, most of these festivals have had a strong connection to the political and social movement behind the lesbian and gay/queer agenda and try to maintain this relationship between cultural event and political framework [...]. Because of this history, queer film festivals have a strong tradition of a nuanced critical inquiry into the interconnections of cultural event management, community politics, nation state politics, funding and marketing strategies, and organizational structures [...]. [From Skadi Loist and Marijke de Valck, 'LGBT / Queer Film Festivals', Film Festival Research Network, last updated November 2012]

Festivals are the primary markets for international queer film, but they do not simply acquire and screen the films they show; they actually create the economic conditions that enable their production. This is not to imply that queer internationalism is merely inauthentic or commercial and thus without any kind of political viability. Rather, what it indicates is that scholars, activists, and festival directors must begin to look at the economy of queer cultural production as an essential element of queer collectivities and the institutions they form. Conceiving of an international queer community through cultural circulation and consumption begs significant questions about how U.S. audiences understand the role of the festival in defining a gay and lesbian class identity within this global economy. [From Ragan Rhyne, 'The Global Economy of Gay and Lesbian Film Festivals', GLQ: A Journal of Lesbian and Gay Studies, Volume 12, Number 4, 2006]

As the above two scholarly excerpts indicate, the subject of film festivals is one which raises numerous issues of central importance to cultural studies more generally. For this reason, as well as to celebrate the work of scholars who have shared their findings in particular corner of this field online, Film Studies For Free is delighted to announce that the latest set of links to open access queer film studies that it has created for its sibling Global Queer Cinema website is devoted to the topic of Queer Film Festival Studies. You can visit numerous earlier FSFF entries on film festival studies by clicking here.

This most recent collection in the GQC Resources section includes a link to the full, interactive, version of the map at the top of this entry, created by pioneering film festival scholar Skadi Loist (co-founder, with Marijke de Valck,  of the Film Festival Studies Network), which shows 256 LGBT/queer film festivals existing globally since 1977.

For live-link access to all the below resources, please visit this webpage.

• Chris Berry, 'My Queer Korea: Identity, Space, and the 1998 Seoul Queer Film & Video festival', Intersections: Gender, History and Culture in the Asian Context, Issue 2, May 1999
• Noa Ben-Asher, 'Screening Historical Sexualities: A Roundtable on Sodomy, South Africa, and Proteus',Pace Law Faculty Publications, 2005. Paper 589
• Kaucyila Brooke, 'Dividers and Doorways [on the locational politics of Los Angeles's Gay and Lesbian film festival]', Jump Cut, no. 42, December 1998, pp. 50-57
• Phillip B. Cook, 'Gay Sundance 2013: The Year Ahead in Independent Queer Cinema', The Blog, Huff Post Gay Voices, January 17, 2013
• Michael Guillén, The Evening Class blog, 2006-present
• Mel Hogan, '21 years of image & nation: legitimizing the gaze', Nouvelles «vues» sur le cinéma québécois, no. 10, Hiver 2008-2009
• Jamie June, 'Is it Queer Enough?: An Analysis of the Criteria and Selection Process for Programming Films within Lesbian, Gay, Bisexual, Transgender, and Queer Film Festivals in the United States', MA Thesis, University of Oregon, August 2003
• Alice Kuzniar, 'Schwul-lesbisches Kino aus Deutschland', in: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg, ed. by Dorothée von Diepenbroick and Skadi Loist (Hamburg: Maennerschwarm Verlag, 2009)
• Hui-Ling Lin, Bodies in Motion: The Films of Transmigrant Queer Chinese Women Filmmakers in Canada, PhD Thesis, University of British Columbia, 2011
• Skadi Loist, 'Precarious cultural work: about the organization of (queer) film festivals', Screen, 52.2, 2011
• Skadi Loist and Marijke de Valck (2010). “Film Festivals / Film Festival Research: Thematic, Annotated Bibliography: Second Edition.” Medienwissenschaft / Hamburg: Berichte und Papiere 91 (2010). (19. May. 2010 (sections: 1. Film Festivals: The Long View; 2. Festival Time: Awards, Juries and Critics; 3. Festival Space: Cities, Tourism and Publics; 4. On the Red Carpet: Spectacle, Stars and Glamour ; 5. Business Matters: Industries, Distribution and Markets; 6. Trans/National Cinemas; 7. Programming; 8. Reception: Audiences, Communities and Cinephiles; 9. Specialized Film Festivals; 10. Publications Dedicated to Individual Film Festivals; 11. Online Resources; Contact / Bio), 2008
• Skadi Loist, 'Queer Film and the Film Festival Circuit', In Media Res, September 14, 2010
• Skadi Loist, 'Das Queer Cinema und die Bedeutung lesbisch-schwuler Filmfestivals: Monika Treut im Interview mit Skadi Loist'n: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg. Eds. Dorothée von Diepenbroick, and Skadi Loist. Hamburg: Männerschwarm, 2009. pp. 12–20
• Skadi Loist and Marijke de Valck, 'Film Festival Studies: An Overview of a Burgeoning Field', in: Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova and Ragan Rhyne. St. Andrews: St. Andrews Film Studies, 2009. pp. 179–215
• Scott McKinnon, 'Taking the Word ‘Out’ West: Movie Reception and Gay Spaces', Participations, Volume 7, Issue 2 (November 2010) 
• Kelly McWilliam, 'We're Here All Week': Public Formation and the Brisbane Queer Film Festival. Queensland Review 14(2), 2007:pp. 79-91
• Jenni Olson, 'Film Festivals', GLBTQ: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture. 2002. 24 February 2007
• Ricardo Peach, Queer Cinema as a Fifth Cinema in South Africa and Australia, PhD Thesis, University of Technology, Sydney 2005
• Renee Penney, Desperately Seeking Redundancy? Queer Romantic Comedy and the Festival Audience, PhD Thesis, University of British Columbia, 2010
• Mel Pritchard, 'the big queer film festival list', QueerFilmFestivals.org
• Marc Siegel, 'Spilling Out onto Castro Street', Jump Cut No. 41 (May), 1997
• Amy Watson, Being Inappropriate: Queer Activism in Context, MA Thesis, Central European University 2009
• Gerald J. Z. Zielinski, Furtive, Steady Glances: On the Emergence and Cultural Politics of Lesbian and Gay Film Festivals, PhD Thesis, McGill University, August 2008
• Ger Zielinski, 'On the production of heterotopia, and other spaces, in and around lesbian and gay film festivals', Jump Cut, No 54, Fall 2012
• Ger Zielinski, '"Queer Film Festivals." LGBTQ America Today: An Encyclopedia. Eds. John C. Hawley, and Emmanuel S. Nelson. Westport, CT: Greenwood Press, 2009. pp. 980–984
• Ger Zielinski in Conversation with Stephen Kent Jusick, Executive Director of MIX Festival of Queer Experimental Film and Video, FUSE Art Culture Politics (summer issue, 2010), pp. 16-23 

More about → Queer Film Festival Studies

Cinema, Experience, Vernacular Modernism: More on the Work of the late Miriam Bratu Hansen

Viewing (10:33): Miriam Bratu Hansen on her work, "Post-Cinema", and much else

"Miriam Bratu Hansen (1949–2011) was one of the great film scholars of our time.  She was also a friend and colleague to us at Critical Inquiry.  In celebration of the newly-published Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno, we are proud to present this short film [above] by Miriam's student Christina Petersen, along with a dossier of five major articles from our archives." [From a note at the Critical Inquiry website to accompany its "Dossier Miriam Hansen"]

"Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno—affiliated through friendship, professional ties, and argument—developed an astute philosophical critique of modernity in which technological media played a key role. [Hansen's last book] explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impressive archive of known and, in the case of Kracauer, less known materials and reveals surprising perspectives on canonic texts, including Benjamin’s artwork essay. Her lucid analysis extrapolates from these writings the contours of a theory of cinema and experience that speaks to questions being posed anew as moving image culture evolves in response to digital technology." [Publisher's note on Miriam Hansen's Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno, University of California Press, 2011]

On February 5, 2011, the hugely distinguished Film Studies scholar Miriam Bratu Hansen passed away. The next day Film Studies For Free published its appreciation of her career with links to other online tributes to her, and to examples of her work online. It is still this website's single most visited entry, a tiny sign of warm esteem in which she was held in our discipline.

Since the publication of her remarkable, final book Cinema and Experience, last year, three further, openly accessible items of great interest have appeared online.

Two of these are part of a Dossier on Hansen put together at the Critical Inquiry website: the above video about Hansen, and a collection of five major articles that Hansen published in that great journal. All are accessible at this webpage.

And you can also read the wonderful first chapter of Cinema and Experience -- on the work of Siegfried Krakauer --  at the University of California Press webpage. 

To further celebrate the above, FSFF has updated its links to useful online discussions or applications of Hansen's work, including, at the foot of this entry, a very recent video presentation.

• Chris Cagle, 'On Vernacular Modernism', Category D: A Film and Media Studies Blog, July 26, 2006
• Desley Deacon, 'World English? How an Australian Invented "Good American Speech"’, In Talking and Listening in the Age of Modernity: Essays on the History of Sound, edited by Damousi, Joy; Deacon, Desley. Canberra: ANU ePress, 2007 
• Desley Deacon, ‘Films as foreign offices’: transnationalism at Paramount in the twenties and early thirties', ‘Films as foreign offices: Transnationalism at Paramount in the twenties and earlythirties’. In Connected Worlds: History in Transnational Perspective, edited by Curthoys, Ann; Lake, 2005
• Alexander Des Forges, 'Shanghai Alleys, Theatrical Practice, and Cinematic Spectatorship: From Street Angel (1937) to Fifth Generation Film', in: Journal of Current Chinese Affairs, 39, 4, 2010: 29-51
• Stephanie Hanson, '“Electrical wonders of the present age”: cinema-going on the Far South Coast of NSW and rural discourses of modernity', Screening the Past, Issue 24, 2009
• Adrian Martin, 'Balance and Linkage : Robert Mulligan's The Man in the Moon', Film Journal, Issue 11
• Allen Meek, 'Benjamin, the televisual and the "fascistic subject", Screening the Past, September 1998
• W.J.T. Mitchell, 'Medium Theory: Preface to the 2003 Critical Inquiry Symposium', Critical Inquiry, Vol. 30, No. 22004-5
• Andrew Nelson, 'Cinema from Attractions: Story and Synergy in Disney’s Theme Park Movies', Cinephile, Vol. 4, Summer 2008
• Justus Nieland, 'Modernism's Laughter', Modernist Cultures, Issue 4, 2009
• Justus Nieland, 'Archives of Modernist Cinephilia', MODERNISM/Modernity, 14(2), 347-355, 2007
• Kyoko Omori, Detecting Japanese Vernacular Modernism: Shinseinen Magazine and the Development of the Tantei Shosetsu Genre, 1920-1931, PhD Thesis, Ohio State University, 2003 
• Pooja Rangan, 'Transitions, Transactions: Bollywood As a Signifying Practice', Sarai Reader 2007: Frontiers 
• Tytti Soila, 'Passion at the threshold: Doctor Glas the flaneur in the films of Rune Carlstén and Mai Zetterling', Journal of Aesthetics and Culture, Vol. 1, 2010
• Kirsten Strayer, Ruins and Riots: Transnational Currents in Mexican Cinema, PhD Thesis, University of Pittsburgh 2009 
• Michael Syrimis , 'From Nestoroff To Garbo: Pirandellian Humour in its Cinematic Vernacular', Quaderni d'italianistica : revue officielle de la Société canadienne, Volume XXIX, No. 2, 2008, 29-52
• Mike Walsh, '[Review of] Zhang Zhen, An amorous history of the silver screen: Shanghai cinema, 1896-1937. Chicago: University of Chicago Press, 2005', Screening the Past, 21, 2007
• Mark Wollaeger, 'Where and When is Modernism: Editing on a Global Scale', Kritika Kultura, 16, 2011 
• Chen Xiangyang, 'Technologizing the Vernacular: Cantonese Opera Films through The Legend of Purple Hairpin', David C. Lam Institute for East-West Studies (LEWI), Working Paper Series, No. 67, September 2007

'Paranoid Hermeneutics as Queer Cinematic Vernacular' by Catherine Grant.
A film studies presentation prepared for the "Queer Cinema and the Politics of the Global" Workshop held at the University of Sussex, May 12, 2012. The Workshop was part of series of events held by the Arts and Humanities Research Council-funded research network GLOBAL QUEER CINEMA based at Sussex, led by Rosalind Galt.

More about → Cinema, Experience, Vernacular Modernism: More on the Work of the late Miriam Bratu Hansen

All That Film Pastiche Allows: Fifty+ Online Studies

All That Pastiche Allows by Catherine Grant

"[Pastiche] can, at its best, allow us to feel our connection to the affective frameworks, the structures of feeling, past and present, that we inherit and pass on. That is to say, it can enable us to know ourselves affectively as historical beings."
Richard Dyer, Pastiche (London and New York: Routledge, 2007)

Film Studies For Free today presents a whole host of links to studies of cinematic pastiche. It begins with the above video -- the latest in FSFF's experiments in videographic comparison -- which is designed to afford its viewers a space for real-time co-contemplation of the opening titles sequences of All That Heaven Allows (Douglas Sirk, 1955) and its 'pastiche' Far From Heaven (Todd Haynes, 2002).

• Salomé Aguilera Skvirsky, The Price of Heaven: Remaking Politics in All That Heaven Allows, Ali: Fear Eats the Soul, and Far From Heaven', in The Ethnic Turn: Studies in Political Cinema from Brazil and the United States, 1960-2002, PhD Thesis, University of Pittsburgh, 2009 (scroll to p. 194)
• Deborah Allison, 'Novelty title sequences and self-reflexivity in classical Hollywood cinema', Screening the Past, 20, 2006
• Lee Barron, 'Droogs, electro-voodoo and kyborgs: pastiche, postmodernism and Kylie Minogue live', Nebula, 2009  
• Tilman Baumgärtel, 'Imitation, Indigenization, Assimilation? No, Globalization!: The Cinema of Bobby Suarez', Asia Culture Forum, 2006
• Katherine Biber, 'The Threshold Moment: Masculinity at Home and on the Road in Australian Cinema', Limina, Vol. 7, 2001
• Norman Bryson, 'Todd Haynes's Poison and Queer Cinema', Invisible Culture - An Electronic Journal for Visual Culture Issue 1, Winter 1999
• Cüneyt Çakirlar, 'Cinephilic Bodies: Todd Haynes's Cinema of Queer Pastiche', KÜLT: A Journal of Cultural Studies 1:1, April 2011
• Brigid Cherry, 'From Cult to Subculture: Re­imaginings of Cult Films in Alternative Music Video' Scope, 15, 2010
• Simon Chia-rong Wu, 'Gender Pastiche: Thai Queerness in Beautiful Boxer', Cultural Studies Monthly, 78, 2008
•  E. Anna Claydon, 'British South Asian Cinema and Identity II:'When did Mr Collins become the 'Ugly American'? Representing America in the films of Gurinder Chadha'', South Asian Cultural Studies, 2009, 2 (2)
• Amelia DeFalco, 'A Double-Edged Longing: Nostalgia, Melodrama, and Todd Haynes’s Far From Heaven,' Iowa Journal of Cultural Studies, No. 5
• Cynthia Duncan, 'Reading Angeles Mastretta's Arráncame la vida through the Lens of Mexico's Golden Age of Cinema', Rocky Mountain Review, 63.2, 1997
  
• Richard Dyer, 'Tales of Plagiarism And Pastiche', Nino Rota: Music, Film and Feeling (London: Palgrave/BFI, 2010)  (27 free pages) Book info. 
• Darren Elliott, 'Queering the Cult of Carrie: Appropriations of a Horror Icon in Charles Lum's Indelible', Scope, 15, 2010
• Thomas Elsaesser, European Cinema: Face to Face with Hollywood(Amsterdam University Press, 2005)
• Thomas Elsaesser, Fassbinder's Germany: History, Identity, Subject (Amsterdam University Press, 1996)
• Laura E. Felschow, Todd Haynes: the Public, the Private, and the Performative, PhD Thesis, University at Buffalo, State University of New York, February 1, 2009 
• T Ferrero-Regis, 'Cinema On Cinema: Self-reflexive Memories in Recent Italian History Films', transformationsjournal.org, Issue 3, 2002 
• Lucy Fischer, 'Modernity and Postmaternity: High Heels and Imitation of Life', in Horton, Andrew Horton (ed.), Play it again, Sam: retakes on remakes. Berkeley: University of California Press, 1998)  
• Caryl Flynn,The New German Cinema: Music, History, and the Matter of Style. Berkeley: University of California Press, 2004
• Catherine Grant, 'In authenticity: Douglas Sirk and the Sirkian Melodrama', Film Studies For Free, September 21, 2010
• Catherine Grant, 'On Todd Haynes: Happy Independence Day!', Film Studies For Free, July 4, 2010 
• Catherine Grant, New Todd Haynes' Masterclass', Film Studies For Free, November 27, 2011
• Catherine Grant, 'Storytelling sans frontières? On Adaptation, Remaking, Intertextuality, and Transmediality', Film Studies For Free, November 21, 2009
• Val Hill, 'Postmodernism and cinema', in S. Sim (ed.), The Routledge companion to postmodernism (Lndon: Routledge, 2000)
• Dom Holdaway, 'Da fatti realmente accaduti: Performing History in Contemporary Italian Cinema', New Readings 11 (2011)
• Marlie Centawer Huisman, ' Representations of Swinging London in 1960s British Cinema: Blowup (1966), Smashing Time (1967) and Performance (1970)', MA Thesis, Brock University, St. Catharines, Ontario, May 2011
• Kate Ince, 'Francois Ozon's cinema of desire', in Ince (ed.), Five Directors: Auteurism from Assayas to Ozon (Manchester University Press, 2008)
• Shen Jiang, Nostalgia in Contemporary Chinese Cinema (1993-2008): A Reflection of China's Socio-Cultural Postmodernity, PhD Thesis, University of Canterbury, 2010
• Lynne Joyrich, 'Written on the Screen: Mediation and Immersion in Far from Heaven', originally published in Camera Obscura, 54, Volume 18, Number, 2003
• Jordan Lavender-Smith, 'Irony Inc.: Parodic-Doc Horror and The Blair Witch Project', Scope, 15, 2010
• James MacDowell, 'Beneath the Surface of Things: Interpretation and Far From Heaven', Offscreen Journal, Volume 10, Issue 5 (May 31, 2006)
• Norimasa Morita, 'Avant-garde, Pastiche, and Media Crossing: Films of Terayama Shūji', Waseda Global Forum No. 3, 2006
• Chi Hyun Park, Orientalism in U. S. Cyberpunk Cinema from Blade Runner to The Matrix, PhD Thesis, The University of Texas at Austin, May 2004
• Jack Post, 'The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows', Image and Narrative, 13.2, 2012 
• James Ricci, Attractions and Negotiations of Film Noir in American Cinema and Culture, PhD Thesis, University of South Florida, April, 2008
• Niall Richardson, 'Poison in the Sirkian System: The Political Agenda of Todd Haynes's Far From Heaven', Scope, Issue 6, October 2006
• Timothy Robinson, 'Cultural Value in Historical Pastiche: Reclaiming the Past as Modern ‘Parody’ and Postmodern ‘Pastiche’ in The Hours and Marie Antoinette', Honors Thesis, The College of William and Mary, 2008
• Richard Rushton, 'Douglas Sirk’s Theatres of Imitation', Screening the Past, Issue 21, 2007
• Rebecca Scherr, '(Not) queering “white vision” in Far from Heaven and Transamerica', Jump Cut, No. 50, spring 2008 
• Robert Stam, 'Hybridity and the Aesthetics of Garbage: the Case of Brazilian Cinema', E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)
• Sunny Stalter, 'Down With Love/Far From Heaven', Scope, May 2004  
• Will Straw, 'Mannerism in Recent Cinema', Cultural Studies, 1987
• Margaret M. Toscano, 'Homer Meets the Coen Brothers: Memory as Artistic Pastiche in O Brother, Where Art Thou?', Film and History, Volume 39.2, Fall 2009
• Michael Töteberg, 'Ali: Fear Eats the Soul: All That Fassbinder Allows', The Criterion Collection, June 23, 2003
• Mary Traester, 'Hysteria and Ruin: Feminine Immobility And the Problem of Representation in Todd Haynes’s Far from Heaven', COLT Symposium, April 15, 2008 
• Keith Uhlich, 'Todd Haynes', Senses of Cinema, July 2002
• Tony Veale, and M. T. Keane (1997). A Computational Treatment of Metaphoric Blends with Special Regard to Cinematic "Borrowing", in the proceedings of Mind II: Computational Models of Creative Cognition, Dublin, Ireland, 1997
• Sharon Willis, 'Politics of Disappointment: Todd Haynes Rewrites Douglas Sirk', originally published in Camera Obscura, 54, Volume 18, Number, 2003 
• Chris Wisniewski, 'Far from Heaven', Reverse Shot, - Proposition 24: Defining a New Queer Cinema', 2009
• Jonathan Wright, '[Review of] Re-remembering History in Contemporary Film: Pam Cook (2005) Screening the Past: Memory and Nostalgia in Cinema', Film-Philosophy, 10.1, 2006
• Neelam Sidhar Wright, Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema. PhD thesis, University of Sussex, 2010
• Neelam Sidhar Wright, '"Tom Cruise? Tarantino? E.T.? ...Indian!": Innovation through Imitation in the Cross-cultural Bollywood Remake', Scope, 15, 2010
• Rie Yamasaki, 'The films of Mitani Kōki: Intertextuality and comedy in contemporary Japanese cinema', New Voices, Volume 4, January 2011

More about → All That Film Pastiche Allows: Fifty+ Online Studies

New WORLD PICTURE on 'Wrong'

David Wojnarowicz "A Fire in My Belly" Original from ppow_gallery on Vimeo

A Fire in My Belly is an awkward work that at first glance can appear to be both hyperbolic or overreaching and inconsistent or contradictory. This short film resembles a travel log, an illustrated lecture, or an educational slide show that mixes the unpitying gaze of a mondo cane film (unwrapped mummies with gaping mouths, unusually disabled bodies performing daily tasks, animals forced into fighting by their human captors) with the deliriously overwrought expressionism of 1980s music videos (spinning eyeballs aflame, strobed flashes of milk splashes). The film also recalls major moments in the visual avant-garde of the twentieth century by invoking 1920s surrealist iconography, aping Eisenstein’s clunkier intellectual montages, and echoing the idolatry of Kenneth Anger’s films which themselves borrow from the formal idioms [of] religious and exploitation films. A Fire in My Belly overtly conflates symbolic registers and gains momentum by joining documentary footage of workers performing precarious tasks or snakes devouring their prey to staged studio shots of symbolic transactions involving leaking blood, throwing money, spinning globes, or torched marionettes.  [from Karl Schoonover's essay 'David Wojnarowicz's Graven Image: Cinema, Censorship, and Queers'; hyperlinks added by FSFF]

Following its much appreciated seasonal break, a rather bleary-eyed but well-rested Film Studies For Free wishes its readers a very happy new year.

Its first few posts of 2012 will be devoted to catching up with some new issues of online film and moving image studies related journals, starting with a listing of links to a new collection of work from one of the most original of such journals: World Picture on the concept of 'wrong'.

FSFF particularly liked Schoonover on Wojnarowicz's A Fire in My Belly, (as above), Schwartz's riff on Pasolini, Malsky on dystopian sound, and Manon and Temkin on glitch art.

WORLD PICTURE 6, 2011: Table of Contents

• Mark Andrejevic: Estrangement 2.0
• Bishnupriya Ghosh: Governing by Wrong
• Seb Franklin: Is Attention Really Immaterial? Visual Culture after Post-Fordism
• Danny Hayward: The Essential Standpoint of Man: An Autopsy, In Three Parts
• Sam Lipsyte in conversation with Brian Price and Meghan Sutherland: Acategorical Imperatives
• Matt Malsky: Being Heard: Listening In–Sound and Our Dystopian Present
• Hugh S. Manon and Daniel Temkin: Notes on Glitch
• Daniel Temkin—gl1tchw0rks gall3ry
• Davide Panagia: The Notion of Pantry: A Speculative Defense of Unuse
• Brian Price: A Theory of Regret
• Lucy Raven: Tech City
• Scott C. Richmond: “Dude, That's Just Wrong”: Mimesis, Identification, Jackass
• Karl Schoonover: David Wojnarowicz's Graven Image: Cinema, Censorship, and Queers
• Louis-Georges Schwartz: A Futher Explanation of My Last Error By Pier Paolo Pasolini
• A. L. Steiner: WELCOME TO MY RECTANGLE

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Longtime Companion? HIV/AIDS in thirty years of cinema, media and culture

Images from two 'AIDS film dramas': above, Longtime Companion (Norman René, 1989), a film which, as Emmanuel Levy puts it, carried "the burden of being the first [widely distributed] theatrical movie to deal directly with AIDS"; below, a frame grab from Yesterday (Darrell Roodt, 2004), about a Zulu woman living with AIDS. Read Jean Stuart's and Olaia Cores Calvo's articles on this film.

It was [30] years ago, in the summer of 1981, when society as a whole[, including] the scientific community[,] was faced with an unknown disease that came later to be known as Acquired Immunodeficiency Syndrome (AIDS). Several films [...] reflected the initial fears and uncertainty, the responses of the different social groups, the fight against ignorance, the [demand for] access to treatment and the suffering of the infected individuals and their families [...] due to this disease. Taking into account that these movies were filmed when these epidemics took place they can actually be considered as [...] historical documents that deserve [to be] analysed by the generations to come. Films such as And The Band Played On; Longtime Companion; Common Threads: Stories from the Quilt; Les Nuits Fauves; Angels in America; Yesterday and My Brother... Nikhil have marked [30] years of AIDS history that should not be forgotten by the world. [Adapted from António Pais de Lacerda, 'Cinema as an Historical Document: AIDS in 25 years of Cinema', Journal of Medicine and Movies, 2 (2006): 102-113; hyperlinks added by FSFF]

Film Studies For Free today commemorates the twenty-third World AIDS Day in the thirtieth year since the identification of Acquired Immunodeficiency Syndrome, or AIDS. The Human immunodeficiency virus [HIV], the lentivirus which causes the syndrome, was identified two years later, in 1983.

FSFF marks this anniversary year with the below entry of links to scholarly resources on the figuration of AIDS/HIV in cinema and culture.

Today's posting was also inspired by a series of film screenings and discussions on 'AIDS and its Melodramas' that have been taking place at the University of Sussex, UK, organised by Michael Lawrence and John David Rhodes. These academic events will continue next term with screenings of Fatal Love (1991), And the Band Played On (1993), Philadelphia (1993) and, one of FSFF's favourites,  Boys on the Side (1995). Please email FSFF if you'd like more details.

• ACT UP NY Webcasts
• Elana D. Anderson, 'Yesterday, Today, And Tomorrow: Socio-Cultural Evolution In African Literature and Film', Mosaic African Studies, 2010 
• Carole Blair and Neil Michel, 'The AIDS Memorial Quilt and the Contemporary Culture of Public Commemoration', Rhetoric and Public Affairs Vol. 10, No. 4, 2007, pp. 595–626
• Martin P. Botha, 'Post-Apartheid Cinema: A Thematic and Aesthetic Explorations of Selected Short and Feature Films', Ilha do Desterro, Florianópolis, nº 61 p. 225- 267 jul/dez 2011
• Cüneyt Çakirlar, 'Cinephilic Bodies: Todd Haynes's Cinema of Queer Pastiche', KÜLT: A Journal of Cultural Studies 1:1, April 2011
• Jean Carlomusto and Jane Rosett, 'AIDS: A LIVING ARCHIVE™', SandF Online, 2.1, Summer 2003
• Olaia Cores Calvo, 'Yesterday (2004)', Journal of Medicine and Movies, 5.4 (2009):125-130
• David Campbell, The Visual Economy of HIV/AIDS: A report for the AIDS, Security and Conflict Initiative, May 2008 
• Brendan Curran, Singin’ in the Scourge: Two AIDS Musicals, Two Political and Cultural Contexts, MA Thesis, Concordia University, April 2011
• Juan Luis Cuesta Jiménez, 'The Constant Gardener or the development of new Therapies', Journal of Medicine and Movies, 2.3 (2006): 96-101 
• Ann Cvetkovich, 'AIDS Activism and the Oral History Archive', SandF Online, Summer 2.1, Summer 2003
• Anthony Enns, '"A Name in Search of a Disease": Illness and Identity in Todd Haynes' Safe', Reconstruction,7.3, 2007
• Kyle Frackman, 'Out of Time: "Allotemporality" in Pierre Sanoussi-Bliss’ Zurück auf los', queere (t)ex(t)perimente. Eds. Franziska Bergmann, Jennifer Moos, and Claudia Münzing. Freiburg: fwpf-Verlag, 2008
• J.E. García Sánchez, E. García Sánchez and M.L. Merino Marcos, 'Antiviral, antifungal and antiprotozoal agents in the cinema', Revista Española de Quimioterapia, Marzo 2007; Vol. 20 (No 1): 106-111
• Silvia Grassi, 'Like a Carsic River: Gay Independent Cinema from Underground Films to New Queer Cinema and Beyond', Altre modernità/ Otras modernidades/ Autres modernités/ Other Modernities, N. 2 – 10/2009
• Oliver Gruner, Public Politics/Personal Authenticity: A Tale of Two Sixties in Hollywood Cinema, 1986-1994, PhD Thesis, University of East Anglia, August, 2010
• Roger Hallas, 'The Witness in the Archive', SandF Online, 2.1, Summer 2003
• Lucas Hilderbrand, 'Retroactivism', glq, 12.2, 2006
• Jim Hubbard, 'A Report on the Archiving of Film and Video Work by Makers with AIDS', DIVA TV, [date unknown]
• Alexandra Juhasz, 'AIDS Video: To Dream and Dance with the Censor', Jump Cut, No. 52, summer 2010
• Alexandra Juhasz in exchange with Antoinette Burton, 'Feminist history making and Video Remains', Jump Cut, No. 48, winter 2006
• Alexandra Juhasz, 'Alternative AIDS Videos', Cineaste, vol.XXI, nos. 1-2, 1994/5
• Alexandra Juhasz, 'Interview with Jim Hubbard and Sarah Schulman: ACT UP Oral History Project', CORPUS, Spring 2006
• Alexandra Juhasz, 'From the Scenes of Queens: Genre, AIDS and Queer Love,' originally published in The Cinema of Todd Haynes, ed. James Morrison (London:Wallflower Press, 2007)
• Dion Kagan, '[Review of] Roger Hallas, Reframing Bodies: AIDS, Bearing Witness, and the Queer Moving Image. Duke University Press, 2009', Screening the Past, 28, 2010
• Tim Lawrence, ‘AIDS, the Problem of Representation, and Plurality in Derek Jarman's Blue’ Social Text, 52/53 (Autumn - Winter 1997): 241-264
• Timothy F. Murphy, 'Part One: The Meaning of AIDS', Ethics in an Epidemic: AIDS, Morality, and Culture (Berkeley: University of California Press, 1994)
• Christo Oberholzer, An Investigation Into Nationalism and National Allegory within South African Post-Apartheid Film, MA Thesis, University of the Witwatersrand, Johannesburg, 2006
• António Pais de Lacerda, 'Cinema as an Historical Document: AIDS in 25 years of Cinema', Journal of Medicine and Movies, 2 (2006): 102-113
• Georgios Pappas, Savvas Seitaridis, Nikolaos Akritidis, and Epaminondas Tsianos, 'Infectious Diseases in Cinema: Virus Hunters and Killer Microbes', Clinical Infectious Diseases,
• Volume 37, Issue 7, 2003: 939-942
• Monica B. Pearl, 'The City of Brotherly Love: Sex, Race and AIDS in Philadelphia', EnterText 2.3, Summer 2003
• Monica B. Pearl, 'American Grief: The AIDS Quilt and Texts of Witness', Gramma, 08
• Lucia Pérez Ochoa López, 'Philadelphia (1993): View of AIDS when it began to be a treatable disease', Journal of Medicine and Movies, 2 (2006): 21-28
• Jean Stuart, 'Yesterday, today … and tomorrow: The future of girlhood in the age of AIDS', AGENDA 79 2009
• Marita Sturken, 'The Politics of Video Memory: Electronic Erasures and Inscriptions', in Contemporary Video Practices, ed. Michael Renov, 1996
• Nicoletta Vallorani, 'Path(o)s of Mourning. Memory, Death and the Invisible Body in Derek Jarman’s Blue', Altre modernità/ Otras modernidades/ Autres modernités/ Other Modernities, N. 4 – 10/2010

More about → Longtime Companion? HIV/AIDS in thirty years of cinema, media and culture

New Todd Haynes' Masterclass

Todd Haynes' masterclass given on November 12, 2011, on the occasion of a retrospective of his films at the XIIth Queer Film Festival MEZIPATRA in Prague. Coproduced by MEZIPATRA, MIDPOINT and FAMU. Todd Haynes speaks about all his films with the Variety critic Boyd Van Hoeij.

Film Studies For Free heard about the above, enjoyable and hugely insightful video thanks to San Francisco based film critic Michael Guillén.

FSFF has a longstanding soft spot for Haynes, a great filmmaker whose work has a compelling relationship with film theory, as well as with Film Studies as a discipline, as the above video indicates time and again.

Interested readers can find earlier FSFF entries on Haynes (with links to lots of online studies of his works) here and here, and also on queer film theory here.

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Brokeback Mountain Studies: Through the Queer Longing Glass

Films accumulate meaning through, at times, very subtle moves. From one colour to another. From one shape to another. The latter is the case with Brokeback Mountain (Ang Lee, 2005).

While much of the film's affective meaning is conjured through quite obvious (but no less moving for that) figurations of absence and presence, such as Ennis's discovery of the (now 'empty') bloodied shirts in Jack's closet, and their (still 'empty') reappearance in Ennis's own closet at the end of the film, there is also some mourning and memory-work carried out through considerably less conspicuous, visual shape-shifting and graphic matching.

This very short video essay traces the long journey from Jack's desirous looking at Ennis through round glass (as he shaves his later-to-be-bruised cheek) in the early and middle parts of the film, to Ennis's touching association with squarer, straighter vistas, at the end of the film, an un/looking through 'longing glass' in which Jack can only be figured invisibly, metaphorically, through his absence.  [Catherine Grant, 'Through the Queer Longing Glass of Brokeback Mountain']

Film Studies For Free's author was doing a little bit of teaching on Brokeback Mountain last week. It was windy up there, but this pedagogical outing inspired the above little video essay as well as the below list of links to online, and openly accessible studies of Ang Lee's 2005 film and Annie Proulx's short story as well as of the 'gay cowboy film' more generally. Yee ha!

• Harry M. Benshoff, 'Brokering Brokeback Mountain — a local reception study', Jump Cut, Issue 50, Spring 2008
• Michael Bronski, 'From The Celluloid Closet to Brokeback Mountain: The Changing Nature of Queer Film Criticism', Cineaste, 2008
• Matt Connolly, 'Brokeback Mountain, Milk, and the Queer Prestige Film', Reverse Shot, Issue 24, 2009
• Daniel Garrett, 'You Don’t Know What Love Is', Film International, January 2011
  
• William Glass, ''"Americans Don't Want Cowboys to Be Gay:" "Brokeback Mountain" and the Oscars', Interalia: A Journal of Queer Studies, 2, 2007
• Le Han and Lushan Shi, 'The "Brokeback Mountain"of Chinese Media: A Case Study of Chinese Media Construction of Nationalism on Reporting of 78th Academy Award[s]', Paper presented at the annual meeting of the NCA 93rd Annual Convention, Chicago, IL, Nov 15, 2007 
• William R. Handley, 'Introduction: The Pasts and Futures of a Story and a Film', in William R. Handley (ed.), The Brokeback Book: From Story to Cultural Phenomenon (Lincoln :University of Nebraska Press, 2011)
• Andrew Holleran, 'The Magic Mountain', The Gay and Lesbian review, Volume 13, Issue 2: History Questions, 2006
• Mark John Isola, 'Disciplining Desire: the Fluid Textuality of Annie Proulx’s Brokeback Mountain', Nordic Journal of English Studies, 7.1, 2008  
• James R. Keller and Anne Goodwyn Jones, 'Brokeback Mountain: Masculinity and Manhood', Studies in Popular Culture, 30.2 Spring 2008 
• Barbara Koziak, 'Shepherding Romance: Reviving the Politics of Romantic Love in Brokeback Mountain', Genders Online, Issue 50, 2009
• Christian Lassen, '"In the dark camp," Or: Straight with a (Pastoral) Twist. American Western Masculinity in Brokeback Mountain', Gender Forum, Issue 16, 2006 
• Christopher Le Coney and Zoe Trodd, 'John Wayne and the Queer Frontier: Deconstructions of the Classic Cowboy Narrative during the Vietnam War', Americana: The Journal of American Popular Culture, 5.1, Spring 2006
• Scott McKinnon, 'Taking the Word ‘Out’ West: Movie Reception and Gay Spaces', Participations, Volume 7, Issue 2, November 2010 
• George Raitt, 'Hidden Differences: New meanings in adaptations of literature to the screen', Double Dialogues, Issue 12, Winter 2010: Interior Worlds: Hidden Stories
• Christopher Sharrett, 'Death of the Strong, Silent Type: The Achievement of Brokeback Mountain', Film International, 7.1, 2009
• Craig Snyder, 'Fear and loathing on Brokeback Mountain', Jump Cut, Issue 53, Summer 2011 
• Irini Stamatopoulos, 'Ang Lee’s Cowboys', Offscreen Journal, Volume 11, Issue 2, February 28, 2007
• Ian Scott Todd, 'Outside/In: Abjection, Space, and Landscape in Brokeback Mountain', Scope13, February 2009 
• Michael Stewart, 'Transience and Imperfect Tense: Brokeback Mountain as Melodrama', Scope, Issue 12, October 2008
• Steven Stowell, 'A Gay Love Story?', The Oxonian Review of Books, 5.2, Spring 2006
• Tommy TSE Ho-lun, Narcissism in Male Sexuality: Lan Yu, Crystal Boys and Brokeback Mountain, MPhil Thesis, University of Hong Kong, 2006

More about → Brokeback Mountain Studies: Through the Queer Longing Glass

University of Sussex Film and Moving Image Studies Research Online

A (bordering on) recursive Film Studies For Free screengrab

It is Film Studies For Free's 3rd birthday today. So, time for a little self-indulgent reflection and celebration...

A lot has changed in the last year, most notably that this blog has had to vie with a Film Studies For Pay job for its author's attention... Entries have indeed slowed a little. But, despite this, FSFF's readership has continued to grow rather astonishingly, with 'unique visits' exceeding 300,000, and 'page views' just about to reach half a million. Thank you, dear readers!

While there will be big developments at this blog in the coming year -- some of those linked to an exciting new, MA in Film Studies course its author will teach on Curating Film Culture next Spring -- its essential mission and qualities won't change: viva Open Access!

Onwards and upwards, but please remember you can follow FSFF in its various incarnations at Twitter, at Facebook, and at Vimeo, and you can keep up with its videographic film studies curations at Audiovisualcy (also on Twitter and Facebook).

Film Studies at the University of Sussex has been such a welcoming, fruitful and stimulating workplace for this blog's author. So, today's entry gratefully gathers links to openly accessible, online, film and moving image studies research and scholarship produced by the very wonderful staff and doctoral students/graduates at that rather venerable (50 years old, itself, next month) and pretty cool institution (as well as by FSFF's own scrivener).

• Thomas Austin, "Seeing, feeling, knowing: a case study of audience perspectives on screen documentary" Participations, 2:1, August 2005
• 'Review of Contemporary Hollywood Cinema By Steve Neale and Murray Smith (eds.)', Scope, 2000
• Caroline Bassett, 'Up the Garden Path: Or How to Get Smart in Public', Second Nature, Issue No.2, November 2009
• Jimmy Billingham, 'Indeterminate Film Thinking and Interpretation,' in Networking Knowledge: Journal of the MeCCSA PGN (Media, Communications and Cultural Studies Association Postgraduate Association), vol. 2, no. 1, 2009 
• Sam Cooper, 'Sex and the Situs', World Picture, 4, 2010
• Martin Paul Eve, The Time That Remains: Elia Suleiman and the London Palestinian Film Festival 2010', Excursions, 1 (1), (2010) pp. 146-151
• Rosalind Galt, '“It’s so cold in Alaska”: Evoking Exploration Between Bazin and The Forbidden Quest', Discourse, 28.1, (Winter, 2006), pp. 53–71
• 'Mapping Catalonia in 1967: the Barcelona School in global context,' Senses of Cinema, Oct-Dec 2006
• 'The Obviousness of Cinema', World Picture, 2, Autumn 2009
• ' Perverse Aesthetics: Maria Beatty, Masochism, and the Cinematic', World Picture, 4, Spring 2010
• Catherine Grant, 'Home Movies: The Curious Cinematic Collaboration of Anne-Marie Miéville and Jean-Luc Godard', in For Ever Godard (eds) Temple, Williams, Witt (London: Black Dog Press, 2004), pp. 100-117 (preprint)
• ''Still Moving Images: Photographs of the Disappeared in Films about the Dirty War in Argentina', Phototextualities: Intersections of Photography and Narrative, ed. Alex Hughes and Andrea Noble (Albuquerque: University of New Mexico Press, 2003) (preprint)
• 'Recognizing Billy Budd in Beau Travail: Epistemology and Hermeneutics of an Auteurist "Free" Adaptation', Screen Vol. 43, No. 1, 2002, pp. 57-73
• 'The "Author Function" in Transnational Film Adaptation: the Case of El lugar sin límites (Ripstein, Puig, Donoso' - English language translation of ''La función de "los autores": la adaptación cinematográfica transnacional de El lugar sin límites', Revista Iberoamericana, Vol. LXVIII, Núm, 199, Abril-Junio 2002, pp. 253-268
• 'Secret Agents: Feminist Theories of Women's Film Authorship', Feminist Theory Vol. 2, No. 1, April 2001, pp. 113-130 (preprint)
• 'Intimista Transformations: María Luisa Bemberg's First Feature Films', An Argentine Passion: The Films of María Luisa Bemberg ed. John King, Sheila Whittaker and Rosa Bosch (London: Verso, 2000) (preprint)
• 'Giving up Ghosts: Eliseo Subiela's Hombre mirando al sudeste and No te mueras sin decirme a dónde vas', Changing Reels: Latin American Cinema against the Odds, ed. Rob Rix and Roberto Rodríguez-Saona (Leeds: Leeds Iberian Papers - Trinity and All Saints/University of Leeds, 1997), pp. 89-120
• Video essays: 
• 'Unsentimental Education: on Claude Chabrol's Les Bonnes femmes', FSFF, June 2009
• 'True Likeness: on Peeping Tom and Code Unknown', Filmanalytical, June 2010
• 'Establishing Split: on Darren Aronofsky's Requiem for a Dream', Filmanalytical, November 2010
• 'Video Primer: Refashioning the Femme Fatale? Gilda in Motion', Film Studies For Free', February 2011;
• 'Video Primer: Framing Incandescence: Elizabeth Taylor as 'Helen Burns' in Jane Eyre', Film Studies For Free, April 2011
• Ed Hughes and Aitor Antepara Zuza, (2007) Battleship Potemkin: A Contemporary Score. Tartan Video, London, UK, 2007
• Mary Agnes Krell, 'Investigating Imaginary Evidence', Vectors, Issue 1, 2005 
• Kate Lacey, 'Home, Work and Everyday Life: Roger Silverstone at Sussex', International Journal of Communication 1 (2007)
• Michael Lawrence '“Carefully Posed Thighs”: The Garden of Eden in 1966', World Picture, 4, 2010
• Simon Paul Mussell, Constellations of Adornian theory and film: readings of Adorno with Tarkovsky and Haneke. Doctoral thesis, University of Sussex, 2011
• Kate O'Riordan,  'Playing with Lara in Virtual Space' in Sally Munt (ed.), Technospaces: inside the new media (London: Continuum, 2001)
• 'Caroline Bassett (2007) The Arc and the Machine: Narrative and New Media', Culture Machine, 130, July 2008
• Graeme G. Pedlingham, The (un)scene of memory: energetic theory and representation in theatre and film, Doctoral thesis, University of Sussex, 2011 
• Roberta Piazza, The representation of conflict in the discourse of Italian melodrama. Journal of Pragmatics, 38 (12), 2006, pp. 2087-2104
• John David Rhodes, "Concentrated Ground": Grey Gardens and the Cinema of the Domestic', Framework, 47.1, Spring 2006
• 'Location, Location, Location', Framework: The Journal of Cinema and Media, Volume 47, Number 1, Spring 2006, pp. 129-131
• 'Peggy Ahwesh', Senses of Cinema, 29, 2003 
• 'Notes on Cinematic Desire (for Louis)', World Picture, 4, Spring 2010
• 'Easy Living: The Modernist House and Cinematic Space', Talk at the Centre for the Interdisciplinary Study of Film and the Moving Image University of Kent, 2010 (mp3)
• Niall Richardson, 'Poison in the Sirkian System: The Political Agenda of Todd Haynes's Far From Heaven', Scope, Issue 6, 2006
• Neil Graham Slack, A cinema of white masculine crisis: race and gender in contemporary British film. Doctoral thesis, University of Sussex, 2010
• Sue Thornham, 'Starting to Feel Like a Chick: Re-visioning romance in In the Cut', Feminist Media Studies, Vol. 7, No. 1, 2007
• Lizzie Thynne, 'Ethics, politics and representation in Child of Mine, a television documentary on lesbian parenting', Jump Cut, No. 53, 2011
• Dolores Tierney, 'The Appeal of the Real in Snuff: Alejandro Amenabar's Thesis', Spectator, 22.2, 2002
• 'Alejandro González Iñárritu: director without borders', New Cinemas, 2009
• 'Emilio Fernandez 'in Hollywood': Mexico's Postwar Inter-American Cinema, La perla/The Pearl (1946) and The Fugitive (1948)', originally in Studies in Hispanic Cinema, Vol. 7, No. 2, 2010
• 'Gender Relations and Mexican Cultural Nationalism in Emilio Fernández's Enamorada/Woman in Love', originally in QRFV, 20:3, 2010
• 'Lights and shadows: new perspectives on Cuban cinema', The International Journal of Cuban Studies, Issue 2, December 2008
• El terror en El beso de la mujer araña', Revista Iberoamericana, Vol. LXVIII, Núm. 199, Abril-Junio 2002, 355-365
• Glenn Ward, Journeys into perversion: vision, desire and economies of transgression in the films of Jess Franco, Doctoral thesis, University of Sussex, 2011
• Neelam Sidhar Wright, Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema, Doctoral thesis, University of Sussex, 2010
• '"Tom Cruise? Tarantino? E.T.? ...Indian!": Innovation through Imitation in the Cross-cultural Bollywood Remake', Cultural Borrowings: Appropriation, Reworking, Transformation, edited buy Iain Robert Smith, Scope, Issue 15, 2010

Frank Krutnik et al (co-ed.), "Un-American" Hollywood: politics and film in the blacklist era (Rutgers University Press, 2007)

Thomas Austin, Watching the world: screen documentary and audiences (Manchester: Manchester University Press, 2007)

Andy Medhurst, 'Heart of Farce: Almodóvar's comic complexities', All about Almodóvar: A Passion for Cinema, eds. Bradley S. Epps, Brad Epps, Despina Kakoudaki (University of Minnesota Press, 2009)


Dolores, Tierney, Emilio Fernández: pictures in the margins (Manchester: Manchester University Press, 2008)

Vicky Lebeau, Psychoanalysis and Cinema: the Play of Shadows (London: Wallflower Press, 2001)

Rosalind Galt, Pretty: Film and the Decorative Image (New York: Columbia University Press, 2011)

Rosalind Galt, The new European cinema: redrawing the map (New York: Columbia University Press, 2006)

Rosalind Galt and Karl Schoonover (eds), Global Art Cinema: New Theories and Histories (Oxford: Oxford University Press, 2010)

Lizzie Thynne, "The Space Between: Daughters and Lovers in Anne Lister', in Tamsin Wilton (ed.), Immortal, Invisible: Lesbians and the Moving Image (London: Routledge, 1995)

Andy Medhurst, A national joke: popular comedy and English cultural identities (London: Routledge, 2007)

Niall Richardson, Transgressive Bodies: Representations in Film and Popular Culture (London: Ashgate, 2010)

Sharif Mowlabocus, Gaydar Culture: Gay Men, Technology and Embodiment in the Digital Age (London: Ashgate, 2010)

More about → University of Sussex Film and Moving Image Studies Research Online