New Fall 2013 Issue of MEDIASCAPE on "Urban Centers, Media Centers"

Frame grab from The Impossible (Juan Antonio Bayona, 2012). Read José Gallegos' article about this film in the new issue of Mediascape

This issue of Mediascape then is designed to raise pointed questions about the role of the city as a center of both media and cultural production, especially in relation to our experience of mediated reality. The ultimate goal is to ground this larger discourse in a more specific discussion of cinematic space and its transformation in the ever-expanding era of digital media. How do films represent the city in a time of technological change and aesthetic evolution? How has the wholesale implementation of digital technologies impacted the use of space in cinema? And how does the digital era affect the relationship between the off-screen and on-screen spatial environment? Looking at the distinctive aesthetics of urban space, it is our belief, allows for an examination of how we perceive and engage with the iconography of our world. Our intent is to problematize what we understand as the urban, and how strongly it relates to our relationship with contemporary media.

[Matthias Stork and Andrew Young, Mediascape Co-Editors-in-Chief, Introduction to the Fall 2013 issue]

Film Studies For Free would like its readers to head straight on over to the new issue of Mediascape which considers matters of space and mediation. 

FSFF would particularly recommend Matthias Stork's marvellous (and marvellously illustrated) study of the 'Aesthetics of Post-Cinematic City Space in Action Films and Video Games', James Gilmore's fascinating essay on The Dark Knight Rises, urban space and the cultural experience of terrorism as mediation, as well as José Gallegos' essay on the Tsunami disaster film The Impossible. The issue also boasts unmissable items in the area of game studies.

Readers may also be interested to know that the excellent Mediascape blog is seeking new contributors on a wide variety of topics. If you are interested in becoming a contributor, or if you would like more information about the blog, please write to Editor-in-Chief Matthias Stork at mstork[at]ucla[dot]edu.

• Moving Through Videogame Cities Bobby Schweizer
• The Impossible – Or How I Learned Thailand Was Filled with European Tourists Jose Gallegos
• Absolute Anxiety Test: Urban Wreckage in The Dark Knight Rises James Gilmore
• Dimensions of the Digital City Oscar Moralde
• Space-Wars: Mapping the Aesthetics of Post-Cinematic City Space in Action Films and Video Games Matthias Stork
• Negotiating Transitional Spaces in Classic Games Harrison Gish
• Invisible Walls: Narrativizing Spatial Limitation in Ico and Assassin’s Creed II Bryan Wuest
• Perpetual Game Space in Crime City: Game Design in the Age of Social Network Gaming Andrew Young

More about → New Fall 2013 Issue of MEDIASCAPE on "Urban Centers, Media Centers"

New MOVIE! VERTIGO, Hal Ashby, Luis Buñuel, Charles Chaplin, Kenji Mizoguchi, Robert Altman, Robin Wood, Andrew Sarris, George Toles, Charles Barr, Andrew Klevan, Hoagy Carmichael

Frame grab of Robert Mitchum in The Wonderful Country (Robert Parrish, 1959). Read Pete Falconer's study of this film in the great new issue of MOVIE

Woohoo! The wonderful issue 4 of MOVIE: A Journal of Film Criticism has hit the e-stands!

Edited by Andrew Klevan and Victor Perkins, this one is sure to be a classic. Highlights, for FSFF, include Andrew Sarris (on Buñuel's Viridiana [1960]) and Robin Wood tribute archives, as well as the new 'Opening Shots' feature with great contributions by Charles Barr and Pete Falconer. But there are some truly remarkable feature articles in this issue, too, including Adam O'Brien on Hal Ashby's film The Last Detail and George Toles on cinematic images of luxury.

Thanks for the film critical luxury and largesse, MOVIE people!

MOVIE, Issue 4, 2013

• Regional Horizons in The Last Detail Adam O'Brien
• Luxury and Largesse in Film George Toles
• Talking Space in Vertigo Murray Pomerance
• Play It Again, Butch, Cricket, Chick, Smoke, Happy...: The Performances of Hoagy Carmichael as a Hollywood Bar-room Pianist Ian Garwood
• Rereading A Countess from Hong Kong: Action, Speech, and Style in Charlie Chaplin's Final Feature Donna Kornhaber

• Opening Shots
• Only Yesterday Charles Barr
• The Wonderful Country Pete Falconer

• Andrew Sarris: A Tribute

• The Devil and the Nun Andrew Sarris

• A Robin Wood Archive (2)

• Mashed Marlowe Robin Wood
• Controlling the Situation Robin Wood
• Poet of the Cinema Robin Wood
• Mad Smile of a Hollow Civilisation Robin Wood
• A Matter of Life and Death Robin Wood

This issue was designed by Lucy Fife Donaldson, John Gibbs, and James MacDowell.

More about → New MOVIE! VERTIGO, Hal Ashby, Luis Buñuel, Charles Chaplin, Kenji Mizoguchi, Robert Altman, Robin Wood, Andrew Sarris, George Toles, Charles Barr, Andrew Klevan, Hoagy Carmichael

Sculpting the Real: Michelangelo Antonioni Studies in the Centenary Year of his Birth

International Conference: ANTONIONI 1912-2012 (Part 1 of 2)

This event on March 30, 2012, was part of: Homage to Michelangelo Antonioni (1912-2007) held at the Casa Italiana Zerilli-Marimò, New York University, to mark the centenary year of the Italian director’s birth organized jointly by the Department of Italian Studies and the Department of Cinema Studies, NYU.

Above: PANEL 1: Richard Allen (NYU), ‘Hitchcock, Antonioni, and the Wandering Woman’ and Karen Pinkus (Cornell), ‘Automation, Autonomia, Anomie’; PANEL 2: John David Rhodes (Sussex), ‘Antonioni and Geopolitical Abstraction’ and Karl Schoonover (Warwick), ‘Antonioni's Toxicology’

International Conference: ANTONIONI 1912-2012 (Part 2 of 2)

Above: PANEL 3 Screening of N.U. (11’, 1948) and discussion with David Forgacs and Ara Merjian (NYU) Matilde Nardelli (UCL) 'Antonioni and the Cultures of Photography’ PANEL 4 Michael Siegel (Brown), ‘From Identificazione to Investigazione: Looking at Looking in Late Antonioni’ Francesco Casetti (Yale), ‘The Remains of the Modern’ PANEL 5 Eugenia Paulicelli (CUNY), David Forgacs (NYU), John David Rhodes (Sussex)

Approaching the figure and work of Michelangelo Antonioni a century after his birth, one is confronted with a number of persistent critical tropes about his oeuvre, with a substantial, if in great part dated, body of critical work and, perhaps, also with the sense that all has already been said and written on the director of the malady of feelings, of filmic slowness and temps mort, of the crisis of the postwar bourgeoisie, of epistemological uncertainties, of modernist difficulty and even boredom, of aestheticism and the hypertrophy of style, of narrative opacity. And yet, Antonioni today powerfully escapes the reach of old categorisations that have attempted to congeal his figure once and for all into an inert monument of modern cinema. His continued influence on world film-makers and the new pressing questions that his films raise today for contemporary audiences call for a renewed critical effort. [Laura Rascaroli and John David Rhodes, 'INTERSTITIAL, PRETENTIOUS, ALIENATED, DEAD: Antonioni at 100', in Rascaroli and Rhodes (eds), Antonioni: Centenary Essays (BFI/Palgrave, 2011)]

Despite Antonioni’s deep concerns about scientific logic and any objective representation of reality, in purely formal terms his work is always defined by a clear tension between what I would call on the one hand a documentary impulse, and on the other a drive towards fiction pushed at times to the level of melodrama.

[... H]owever hollowed-out and experimental Antonioni’s works become, they always constitute fictions since they present characters in artificial situations. As Antonioni himself put it, his primary interest lies in the moment when the context or environment suddenly takes on “relief.” Which is to say, his hybrid narratives marked by temporal disjunction, disorientation, black holes, ellipses, and a lack of resolution serve to provide just enough justification for human figuration, however “unnaturally” heightened and stylized, to take hold. This recourse to melodrama, broadly defined, offered Antonioni a means of shortcircuiting and sculpting the Real in slowed-down, distended form in order to capture it as a series of tableaux vivants. [...]

Alert to the tensions in the spatiotemporal relations between people, objects, and events, the director must, according to Antonioni, engage with a “special reality” and be “committed morally in some way.” What this means in practice is dedramatizing the narrative event in order to focus attention on the physical context that both makes it possible but also eludes it. Antonioni propels his protagonists into new or alien environments, and we follow them almost ethnographically as they develop new perceptual powers in order to negotiate their changed conditions'. [James S. Williams, 'The Rhythms of Life: An Appreciation of Michelangelo Antonioni, Extreme Aesthete of the Real', Film Quarterly (Fall Issue 2008, Vol. 62, No. 1, pp. 46-57), pp. 50-52 - my emphasis]

Today, Film Studies For Free gleefully celebrates the publication online of just under seven hours of videoed content from an excellent, recent conference in New York City that its author had really wished she'd been able to attend. Now -- virtually -- she (and you) can! 

The conference took a timely new look at the work of FSFF's favourite Italian filmmaker Michelangelo Antonioni one hundred years on from the year of his birth. It followed on from the recent publication of an excellent, similarly inspired, BFI/Palgrave collection of work on Antonioni edited by Laura Rascaroli and John David Rhodes. 

Rhodes, a highly esteemed (and much loved!) colleague of FSFF's humble scribe, appears in the video frame still at the top of this post, and throughout both embedded videos. He was one of the organisers of, and main contributors to, the NYU conference. A very generous sample excerpt from his and Rascaroli's book may be found here.

To accompany the truly excellent videos, FSFF has assembled a rather fabulous list of links to other online and openly accessible studies of Antonioni's work. If you know of any significant resources missing below, please leave a link in the comments. Grazie!

If you happen to be in the vicinity of Antonioni's birthplace of Ferrara between September 30, 2012 and January 6, 2013, you'll be able to catch an excellent exhibition about his work, which opens following a public celebration of the filmmaker on the day of his birth itself (September 29). You can find more information here. Thanks to Antonioni scholar Ted Perry for his tip off about this event. Do look out for his new book on him which should be out next year.

• Paolo Bartoloni, 'Blanchot and Ambiguity, CLCWeb: Comparative Literature and Culture 12.4 (2010)
• Michael Bloom, 'Fragile Images and Concrete Things: Indirect Subjectivity and the Externalization of The Soul in Michelangelo Antonioni's Tetralogy', Offscreen Journal, 14.4, 2010
• David Brancaleone, 'Part 2 of 'The Thin Line Between Documentary and Fiction'', Experimental Conversations, Issue 8, 2011
• James Brown, 'Michelangelo Antonioni', Senses of Cinema, 20, 2002
• James Brown, 'Il Grido: Modernising the Po', Senses of Cinema, 26, 2003
• Peter Brunette, 'Introduction [excerpt]', The Films of Michelangelo Antonioni (Cambridge: Cambridge University Press, 1998)
• Peter Brunette, 'Blow-up', The Films of Michelangelo Antonioni (Cambridge: Cambridge University Press, 1998)
• Ken Burke and Héctor Mario Cavallari, 'Julio Cortázar and Michelangelo Antonioni: Words, Images, and the Limits of Verbal and Visual Representation', Dissidences. Hispanic Journal of Theory and Criticism, 05/20/10
• Bert Cardullo, 'Introduction', in Cardullo (ed.), After Neorealism: Italian Filmmakers and Their Films; Essays and Interviews (Cambridge Scholars Press, 2009)
• James Cisneros, 'How to Watch the Story of Film Adaptation. Cortázar, Antonioni, Blow-Up', Intermédialités : histoire et théorie des arts, des lettres et des techniques / Intermediality: History and Theory of the Arts, Literature and Technologies, n° 2, 2003
• Jonathan Dawson, The Passenger', Senses of Cinema, 62, 2012
• Laurie N. Ede, '[Review of Murray Pomerance's] Michelangelo Red Antonioni Blue: Eight Reflections on Cinema [Berkeley: University of California Press, 2011]', Screening the Past, 33, 2011
• R. Bruce Elder, 'Antonioni's Tragic Vision: Style, Fonn and Idea in the Films of Michelangelo Antonioni, with Especial Emphasis on His Masterpiece, Il deserto rosso', Canadian Journal of Film Studies, 1.2, 1991
• Hamish Ford, 'Antonioni’s L’Avventura and Deleuze’s Time-Image', Senses of Cinema, Issue 28, Sept-Oct 2003
• Matthew Gandy, 'Landscapes of deliquescence in Michelangelo Antonioni’s Red Desert', originally in Transactions of the Institute of British Geographers 28 (2) (2003)
• Peter Goldman, 'Blowup, Film Theory, and the Logic of Realism', Anthropoetics 14, no. 1 (Summer 2008)
• Absjørn Grønstad, 'Anatomy of a Murder: Bazin, Barthes, Blow-Up', Film Journal, 9, 2004
• Mike Grost on Antonioni
• Christine Henderson, 'The Trials of Individuation in Late Modernity: Exploring Subject Formation in Antonioni's Red Desert' PDF, Film-Philosophy, 15.1, 2011
• Penelope Houston, 'Michelangelo Antonioni', originally in Cinema: A Critical Dictionary, 1980
• Ian Johnston, 'We’re Not Happy and We Never Will Be: On Cronaca di un amore', Bright Lights Film Journal, 53, 2006
• Robert Philip Kolker The Altering Eye: Contemporary International Cinema (passim.), originally published 1982
• Little Rabbit's Antonioni Archive (thanks to Mike Grost for the link)
• Gaetana Marrone, 'A Cinematic Grand Tour of Sicily: Irony, Memory and Metamorphic Desire from Goethe to Tornatore', California Italian Studies, 1(1), 2010
• 'David Martin-Jones, '[Review of Brunette's book on Antonioni', Film-Philosophy, Volume 3 Number 50, December 1999
• David Alan Mellor, '‘Fragments of an Unknowable Whole’: Michelangelo Antonioni’s Incorporation of Contemporary Visualities in London, 1966', Journal of Visual Culture in Britain, 8 (2): 2007, pp. 45-61
• Zach Melzer, 'Michelangelo Antonioni and the “Reality” of the Modern', Offscreen Journal, 14.4, 2010
• Gary Morris, 'Chabrol, Losey, Antonioni: Three Classic Eurofilms: Les Bonnes Femmes, Eva, Il Grido', Bright Lights Film Journal, Issue 31, 2010
• Gavriel Moses, 'As We [They] See [Hear] Them [Us]: Cain/Antonioni//Antonioni/Coppola', Voices in Italian Americana, 1991
• John Orr, 'Camus and Carné Transformed: Bergman's The Silence vs. Antonioni's The Passenger', Film International, 3.5, 27, 2007
• Murray Pomerance, 'Significant Cinema: The Scene of the Crime', Senses of Cinema, 61, 2011
• Laura Rascaroli and John David Rhodes, 'INTERSTITIAL, PRETENTIOUS, ALIENATED, DEAD: Antonioni at 100', in Rascaroli and Rhodes (eds), Antonioni: Centenary Essays (BFI/Palgrave, 2011)
• Julie Ravary, 'La Femme “Antonionienne”', Offscreen Journal, 14.4, 2010
• Elena del Río, “Antonioni’s Blowup: Freeing the Imaginary from Metaphysical Ground”, Film-Philosophy, vol. 9, no. 32, June, 2005
• Christopher Sharrett, 'L’eclisse', Senses of Cinema, 62, 2012
• Larysa Smirnova and Chris Fujiwara, 'Reporting on The Passenger', Undercurrent, 3, 2006
• Gregory Solman, 'L'Avventura', Senses of Cinema, 31, 2004
• Irini Stamatopoulos, 'Realism and Reality in Antonioni’s Profession: Reporter as dramatizing the Nietzschean notion of the “power of the false”', Offscreen Journal, 14.4, 2010
• Frank P. Tomasulo, 'The bourgeoisie is also a class: class as character in Michelangelo Antonioni's L'Avventura', Jump Cut, 49, 2007
• Donato Totaro, ' Zabriskie Point (1970, Antonioni): A Scene by Scene Analysis of a Troubled Masterpiece', Offscreen Journal, 14.4, 2010
• Donato Totaro, 'Alida Valli: May 31, 1921-April 22, 2006', Offscreen Journal, 10.5, 2006
• Donato Totaro, 'May 1968 and After: Cinema in France and Beyond', Offscreen Journal, 1998
• Jack Turner, 'Antonioni's The Passenger as Lacanian Text', Other Voices 1.3 (January 1999)
• Peter Verstraten, 'A Cinema of Modernist Poetic Prose: On Antonioni and Malick', Image [and] Narrative, 13.2, 2012
• Fiona A.Villella, 'Here Comes the Sun: New Ways of Seeing In Antonioni's Zabriskie Point', Senses of Cinema, 4, 2000
• Elisabeth Weis, 'Tati, Hitchcock, Antonioni: Three Approaches to Sonic Creativity', Offscreen Journal, Vol. 11, 2007
• Matthew M. Wylie, 'Avoiding the Masculine "Gaze": Frustrated Homosexual Desire and the Eroticized Role of the Camera In Hitchcock's Rear Window and Antonioni's Blow Up', Cinetext, February 2003

More about → Sculpting the Real: Michelangelo Antonioni Studies in the Centenary Year of his Birth

Documentary and Space: New issue of MEDIA FIELDS JOURNAL

Framegrab from El Valley Centro (James Benning, 2000). Read Elizabeth Cowie's article on Documentary Space, Place, and Landscape which discusses Benning's film, among others. Cowie is author of the new book Recording Reality, Desiring the Real (Minneapolis: University of Minnesota Press, 2011)

Film Studies For Free brings you openly accessible brilliance from the latest issue of Media Fields Journal. It's a really excellent issue on documentary and space - a must-read. And however hyperbolically positive (the always hyperbolically positive) FSFF is, it doesn't always say that. So, do yourselves a big favour and click on the below links without further ado.

• Ryan Bowles and Rahul Mukherjee, 'Documentary and Space: Introduction', Media Fields Journal, Issue 3, 2011

• Alexandra Juhasz, 'A Place in the Online Feminist Documentary Cyber-closet', Media Fields Journal, Issue 3, 2011

• Jason Alley, 'Spaces of Reticence', Media Fields Journal, Issue 3, 2011

• Laura Rascaroli, 'Sonic Interstices: Essayistic Voiceover and Spectatorial Space in Robert Cambrinus’s Commentary (2009)', Media Fields Journal, Issue 3, 2011

• Elizabeth Cowie, 'Documentary Space, Place, and Landscape', Media Fields Journal, Issue 3, 2011

• André Jansson and Erik Gandini, 'Gitmo Space: A Dialogue about Mediatized Warfare, Documentary Filmmaking and Heterotopic Truth', Media Fields Journal, Issue 3, 2011

• Nonny de la Peña, 'Physical World News In Virtual Spaces: Representation and Embodiment in Immersive Nonfiction', Media Fields Journal, Issue 3, 2011

• Brett Lashua, 'Popular Music Memoryscapes of Liverpool 8', Media Fields Journal, Issue 3, 2011

• Erica Stein, 'The Road to Heaven Twists: The City, Urban Planning, and Experiential Space', Media Fields Journal, Issue 3, 2011

• Christina Corfield, 'Flexible by Nature: Video and the Cultural Production of Concrete Fact', Media Fields Journal, Issue 3, 2011

• Dan Fleming, 'The Staging of Affect and the “Elsewhens” of Documentary Space', Media Fields Journal, Issue 3, 2011

• Sukanya Sen, 'Encountering Space: Documenting the Topography of the Migrant Home', Media Fields Journal, Issue 3, 2011

• Maggie Hennefeld, 'The Geopolitics of Narrative Parody in Ulrike Ottinger’s Johanna d’Arc of Mongolia', Media Fields Journal, Issue 3, 2011

• 'Mapping Documentary: Roundtable with Filmmaker Ido Haar and Film and Media Studies Scholar Janet Walker in Conversation with David Gray and Jade Petermon', Media Fields Journal, Issue 3, 2011

• Renée Rhodes, 'Moving Makes a Map', Media Fields Journal, Issue 3, 2011

• Bernadette Flynn, 'Spatial Praxis in the Staging of Material Evidence', Media Fields Journal, Issue 3, 2011

More about → Documentary and Space: New issue of MEDIA FIELDS JOURNAL

Memory Screens: New Issue of IMAGE AND NARRATIVE

Frame grab from 1975 (Shaun Wilson, version 1 (2005), DV as single channel DVD, colour, sound, 5mins). Visit Shaun Wilson's website here and read his article about 'home movies' here

The concept of memory screens is an overarching term exploring the relationship between forms of media, viewers, practitioners and memory. The notion of memory screens alludes to the ways in which memories become remembered, layered, forgotten and transformed. The range of articles in this volume reflects the relationship between memory and history, both public and personal. ['Thematic Cluster: Introduction' by Teresa Forde]

Film Studies For Free continues to be impressed by the excellence of the online journal Image and Narrative which has recently published a special issue entitled Memory Screens.

FSFF particularly appreciated film and video artist Shaun Wilson's essay on the art of vintage home movies, Jenny Chamarette's study of the dynamics of the ‘spectre’ or ‘spectral body’ of the auteurist figure of Agnès Varda, Peter Kravanja's exploration of narrative contingencies in Rohmer and Akerman and Teresa Forde and Erin Bell's discussions of memory and British television. But this is a very high quality issue throughout and, as always at I and N, particularly characterised by the thoughtful integration of close analysis and film and moving image theory.

Image and Narrative, Vol 12, No 2 (2011): Memory Screens

Table of Contents

• 'Thematic Cluster: Introduction' by Teresa Forde ABSTRACT PDF
• 'Remixing Memory through Home Movies' by Shaun Wilson ABSTRACT PDF
• 'Video Installation, Memory and Storytelling: the viewer as narrator' by Diane Charleson ABSTRACT PDF
• 'Spectral bodies, temporalised spaces: Agnès Varda's motile gestures of mourning and memorial' by Jenny Chamarette ABSTRACT PDF
• 'Television and memory: history programming and contemporary identities' by Erin Bell ABSTRACTPDF
• 'Television Dramas as Memory Screens' by Teresa Forde ABSTRACT PDF
• 'The Lives of Others: re-remembering the German Democratic Republic'  by Margaret Montgomerie and Anne- Kathrin Reck ABSTRACT PDF
• 'Nostalgic [re]remembering: film fan cultures and the affective reiteration of popular film histories' by Nathan Hunt ABSTRACT PDF

Various Articles

• 'Cinema, Contingencies, Metaphysics' by Peter Kravanja ABSTRACT PDF

Review Articles

• Hillary Chute's Ambivalent Idiom of Witness' by Charlotte Pylyser  ABSTRACT PDF
• 'Naissances de la bande dessinée de William Hogarth à Winsor McCay' by Pascal Lefèvre ABSTRACT PDF

More about → Memory Screens: New Issue of IMAGE AND NARRATIVE

Flânerie and (Post)Modernity: Links in memory of Anne Friedberg

Slavko Vorkapić's original montage sequence "The Furies" (created for the film Crime Without Passion, 1934; music by Ludwig van Beethoven). While Vorkapić had complete creative freedom in writing, designing, directing and editing his montage sequences for feature films, his work was often reduced to its bones in the released productions. In the 1930s, Vorkapić was dean of the USC School of Cinematic Arts. For more information about Vorkapić, see this great post at Bright Lights After Dark

Film Studies For Free was very sad to hear last week of the untimely death, on October 9, of Anne Friedberg, a much loved and admired professor, and inspiring Chair of the Critical Studies Division, at the University of Southern California's School of Cinematic Arts (see her wonderful 2008 commencement speech here).



As her LA Times obituary put it so well (also see here), Friedberg expanded the study of film, emphasizing its relationship to other visual fields, including architecture, art history and digital media. She was author of the important book Window Shopping: Cinema and the Postmodern and co-editor of an influential anthology of critical and theoretical writing about film, Close Up 1927-1933: Cinema and Modernism.



In 2008, Friedberg was selected by the Academy of Motion Picture Arts and Sciences as an academy film scholar. It awarded her $25,000 to research and write a multimedia project about Slavko Vorkapić, a Serbian director and editor who achieved prominence in the 1930s for his montage work in such Hollywood films as Crime Without Passion (see above), Mr. Smith Goes to Washington, and The Good Earth.



Always a hugely innovative as well as generous scholar, last year Professor Friedberg launched a freely-accessible, interactive translation, or extension, of her most recent book (The Virtual Window: From Alberti to Microsoft, 2006): The Virtual Window Interactive. It was through this latter project, as well as her brilliant work on cinema, culture, and (post)modernism, that FSFF's author became a fervent admirer of her work.



In memory of Anne Friedberg, and in honour of her important legacy for screen studies, here is a list of links to pieces of online and openly-accessible scholarship on the topic of flânerie, and the flâneur/flâneuse, in film and (old and new) media studies, all of which acknowledge their debt to the great Californian scholar's work:

• Chiara Armentano, '"The Image-Interface": New Forms of Narrative Visualization, Space and Time in Postmodern Cinema', Reconstruction, 8.3 (2008)
• Renate Brosch, 'Looking at Women Looking: Female Portraits in the Gender Crisis', Gender Forum, Imagendering, 11, 13, 2006
  
  
• Mikita Brottman, '"The Last Stop of Desire" Covent Garden and the Spatial Text of Consumerism', Consumption, Markets and Culture, Volume 1, Number 1, 1-95 (scroll down), 2000
  
  
• Thomas Elsaesser, 'The New Film History as Media Archaeology', Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film StudiesVolume 14, numéro 2-3, Printe

More about → Flânerie and (Post)Modernity: Links in memory of Anne Friedberg

Coming at you! 3-D Studies

Diposting oleh good reading on Senin, 19 Oktober 2009

Stereo Wiggle by Kieff

Film Studies For Free brings you a very rounded links list today on the terribly topical subject of 3-D cinema and other media.

It's a big subject area, encompassing debates on and research about film realism, media industry history, film technology (practice and theory), film spectatorship and reception, and human/media interactivity. If you want a good place to begin before you start dipping into the list below, check out the following, excellent, Wikipedia entries on 3-D film, stereoscopy and 3D audio effect.

• Jay David Bolter, 'Digital Media and Cinematic Point of View',Telepolis (14.02.1997)

• David Bordwell, 'Coraline, cornered', Observations on Film Art, February 23, 2009

• David Cairns, ''Excelsior! [on Up]', Shadowplay, October 19, 2009

• Tobey Crockett, 'Building a Bridge to the Aesthetic Experience: Artistic Virtual Environments and Other Interactive Digital Art', Intelligent Agent, 5.1., 2005
  

• Glorianna Davenport and Brian Bradley, 'Everyone's Cinema: Towards the Future of Cinematics', Oberhausen Film Festival - April 28, 1997
  

• Roger Ebert, 'D-Minus for 3-D', Chicago Sun-TImes, August 16, 2008

• Dana Goodyear, 'Man of Extremes: The Return of James Cameron', The New Yorker, October 2009

• John Hayes, '“You see them WITH glasses!”… A Short History of 3D Movies', Wide Screen Movies Magazine, Part One: The 1800s to the 1950s, February 1, 2009

• Jan Holmberg, 'Ideals of Immersion in Early Cinema, Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 14, n° 1, 2003, p. 129- 147
  

• Mike Jones, 'Composing Space: Cinema and Computer Gaming - The Macro-Mise en Scene and Spatial Composition', Imaginary Worlds: Image and Space International Symposium, Sydney, 14 October 2005

• Pete Kozachik, '2 Worlds in 3 Dimensions [on Coraline]', The American Cinematographer, February 2009
  

• Harold A. Layer, 'Stereoscopy: Where Did It Come From? Where Will It Lead?', updated version published originally in: EXPOSURE: 17:3 Fall 1979
  

• Lenny Lipton, 'The Last Great Innovation: The Stereoscopic Cinema', SMPTE Motion Imaging Journal, November/December 2007

• María Lorenzo Hernández, 'The Double Sense of Animated Images. A View on the Paradoxes of Animation as a Visual Language', Animation Studies, January 27, 2008
  

• Lev Manovich, 'Global Algorithm 1.3: The Aesthetics of Virtual Worlds: Report From Los Angeles', CTheory.net, May 1996

• Lev Manovich, 'Assembling Reality: Myths of Computer Graphics', manovich.net, 1992

• Lev Manovich, 'Synthetic Realism and its Discontents', manovich.net, 1992, revised 1999

• Mekado Murphy, ''Buzz and Woody add a dimension', The New York Times, October 4, 2009 (plus related audio interview with Toy Story director Jon Lasseter here)

• Angela Ndalianis, 'Architectures of Vision: Neo-Baroque Optical Regimes and Contemporary Entertainment Media', MIT Communications Forum, December 19, 1999
  

• Michael Nitsche, 'Games, Montage, and the First Person Point of View', Digital Games Research Association, 2007

• Dan North, 'Toy Story 3D', Spectacular Attractions, October 9, 2009

• Dan North, 'Magnificent Bodyguards: Jackie Chan in 3D, 1978', Spectacular Attractions, July 20, 2009

• Per Persson, 'Chapter 1: Understanding and Dispositions', Understanding Cinema: A Psychological Theory of Moving Imagery (Cambridge University Press, 2003

• Seth Porges, 'Are 3D Movies Finally Ready for Their High-Tech Close-up?', Popular Mechanics, July 21, 2008

• Bob Rehak, 'Titles on the Fringe', Graphic Engine, September 12, 2008

• Paolo Teobaldelli, 'Cinema and Special Effects Seen From a Non- Dual Based Approach to Communication', Applied Semiotics, No. 14, 2004
  

• Kristin Thompson, 'Has 3-D already failed?', Observations on Film Art, September 17, 2009

• HarryTuttle, ‘You’ve Never Seen Anything Like This on Television!’ CNN’s Election Night Hologram', Rouge, 13, April 2007
  

• Todd VanDerWeff, 'A Pixar Week Compendium', The House Next Door, October 11, 2009

• Gary De Wan, '3D', originally published Motion Picture Projectionist, February 1954, republished Wide Screen Movies Magazine, October 7, 2007
  

• Ke Colin Zheng et al, 'Parallax Photography: Creating 3D Cinematic Effects from Stills', Graphics Interface 2009
  

• Ray Zone's The 3-D Zone website

• Ray Zone, Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952 (University Press of Kentucky, 2007: Google Books - Limited Preview)

Follow Film Studies For Free on Twitter

More about → Coming at you! 3-D Studies