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40+ Essays on Film, Moving Image, and Digital Media in the Sarai Readers

Diposting oleh good reading on Jumat, 06 Januari 2012

Framegrab image of early action heroine "Fearless" Nadia (née Mary Ann Evans) in Miss Frontier Mail (Homi Wadia, 1936). Read Rosie Thomas's 2007 article on this film.

Today, Film Studies For Free focuses on, and links to, some remarkable film and digital media studies essays commissioned and edited by the Sarai Programme at the Centre for the Study of Developing Societies (CSDS), Delhi.

The Sarai Programme was initiated in 2000 by a group consisting of internationally renowned cinema scholar Ravi S. Vasudevan, Ravi Sundaram (both fellows at CSDS) and the members of the Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta), a Delhi based group of media practitioners, documentarists, artists and writers.
Sarai's mission is to act as a platform for discursive and creative collaboration between theorists, researchers, practitioners and artists actively engaged in reflecting on contemporary urban spaces and cultures in South Asia. Its areas of interests include media research and theory, the urban experience in South Asia: history, environment, culture, architecture and politics, new and established media practices, media history, cinema, contemporary art, digital culture, the history and politics of technology, visual/technological cultures, free and open source software, social usage of software, the politics of information and communication, online communities and web-based practices.
The below collection of articles -- painstakingly drawn from the numerous, openly accessible Sarai Readers produced by the collective -- reflect the above interests, but have been curated here by FSFF because of their particular, potential relevance to scholars of cinema and related moving image and digital media studies.

    More about → 40+ Essays on Film, Moving Image, and Digital Media in the Sarai Readers
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    "Global Cinema: Cinéma Engagé or Cinéma Commerciale?" Special Issue of SITUATIONS

    Diposting oleh good reading on Kamis, 15 Desember 2011

    Framegrab from Babel (Alejandro González Iñárritu , 2006)
    Babel sets out to be a new sort of film that attempts to create a “world cinema” gaze within a commercial Hollywood framework. I examine how it approaches this and ask whether the film succeeds in this attempt. I explore the tensions between progressive and conservative political agendas, and pay particular attention to the ways “other” cultures are seen in a film with “Third World” pretensions and U.S money behind it. I frame my analysis around a key question: does the Iñárritu-led outfit successfully create a paradigmatic “transnational world cinema” text that de-centers U.S. hegemony, or is this a utopian project doomed to failure in a film funded predominantly by major U.S. studios? I examine the ways in which the film engages with the tourist gaze and ask whether the film replaces this gaze with a world cinema gaze or merely reproduces it in new ways . [Deborah Shaw, "Babel and the Global Hollywood Gaze", Situations, 4.1, 2011]

    Film Studies For Free is delighted to announce the publication of a new film issue of the Open Access journal Situations: Project of the Radical Imagination. The special issue is entitled "Global Cinema: Cinéma Engagé or Cinéma Commerciale?" and it contains ten essays on modern international films and cinemas, including those of Iran, Nigeria, Mexico, Romania, France, China, Argentina, and India as well as on contemporary film festivals and on films documenting the Israeli-Palestinian conflict.

    As the editors write:
    The issue has a global reach in its coverage of countries and regions of the world ranging from Hollywood’s own “Global Gaze,” to a placement of Nigerian Cinema as the equal of Africa’s modernist cinema, to Venezuela’s difficult negotiation of a Bolivarian cinema in a neoliberal context, to a questioning of the radical othering of Eastern European cinema whose concerns now seem much closer to those of the West, and, finally, to a tracing of a complex multiperspectival fashioning of the image of the Chinese peasantry in a moment when the distinction between city and country are rapidly fading.  The global reach of the issue extends as well to the range of theoretical positions used to examine contemporary global cinema, be it:  structural-materialist aspects of the questioning of the Israeli-Palestinian problematic; the integration of economic and aesthetic methodologies in a post-Adornian examination of the Cannes Film Festival; feminist and subaltern theory utilized to critique the patriarchal aspects of what is sometimes viewed as India’s most politically progressive cinema; a rereading and deconstruction of French radical workerist post-1968 cinema; and a linking of feminist and anti-colonial perspectives to highlight the way that in Iran Abbas Kiarostami’s Ten spotlights Muslim women's emancipation.
    Below are direct links to the contents, as per usual here at FSFF.

    Situation homepage  Archives

    Vol 4, No 1 (2011) Table of Contents PDF
    • Terri Ginsberg, Dennis Broe, "Whither Globalization? An Idea Whose Time Has Come or Whose Time Has Come and Gone?" PDF
    • Deborah Shaw, "Babel and the Global Hollywood Gaze" PDF
    • Dennis Broe, "The Film Festival as Site of Resistance: Pro or Cannes" PDF
    • Hossein Khosrowjah , "Neither a Victim nor a Crusading Heroine" PDF
    • Jonathon Haynes , "African Cinema and Nollywood: Contradictions" PDF
    • Terri Ginsberg, " Radical Rationalism as Cinema Aesthetics: The Palestinian–Israeli Conflict in North American Documentary and Experimental Film" PDF
    • Paul Douglas Grant, "Just Some of the Ways to Shoot a Strike: Militant Filmmaking in France from Arc to the Groupe Medvedkine" PDF
    • Noah Zweig, "Villa del Cine (Cinema City): Constructing Bolivarian Citizens for the Twenty-First Century" PDF
    • Ping Fu, "Encircling the City: Peasant Migration in Contemporary Chinese Media" PDF
    • Gayatri Devi, "Between Personal Cataclysms and National Conflicts: The Missing Labor Class in Malayalam Cinema" PDF PDF
    • "Eastern European Cinema on the Margins" by Meta Mazaj PDF
    • Contributors, Film Issue PDF
    More about → "Global Cinema: Cinéma Engagé or Cinéma Commerciale?" Special Issue of SITUATIONS
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    Brokeback Mountain Studies: Through the Queer Longing Glass

    Diposting oleh good reading on Sabtu, 08 Oktober 2011

    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!
    More about → Brokeback Mountain Studies: Through the Queer Longing Glass
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    ALPHAVILLE, a new journal of film and screen media

    Diposting oleh good reading on Sabtu, 06 Agustus 2011

    A poster of Jean-Luc Godard’s Alphaville, une étrange aventure de Lemmy Caution (1965)

    Alphaville is the first fully peer-reviewed online film journal in Ireland. It is edited by staff and PhD students in Film Studies at University College Cork. It will be published twice a year, in Summer and Winter, with both open and themed issues that will aim to provoke debate in the most topical issues in film and screen studies. [More about Alphaville]
    There is no better title [...] for a new journal that proposes to explore the constitutive hybridity of the moving image—analog and digital, commercial and avant-garde, mainstream and independent, popular and elitist—without forgetting how its roots spread in artistic and productive practices that have always been far more composite and multilayered than our critical categories seemed to wish to account for. Calling for the breaking down of disciplinary boundaries, media fields and critical categories, Alphaville: Journal of Film and Screen Media aspires to be a laboratory for new interpretative ideas on the moving image of yesterday, of today and of tomorrow. This inaugural issue, in particular, foregrounds cultural, spatial, productive and aesthetic issues that aim to set in motion our thinking about European cinema within multilayered critical, cultural and geopolitical models, and in light of the complexity of the flow of images that characterises our media landscape. The transnationality, transculturality and transmediality of contemporary European cinemas are undoubtedly going to shape and occupy the research agenda for some time to come.  [Laura Rascaroli, 'Back to the Future: The European Film Studies Agenda Today']
    There's a new open access film journal on the block, everybody! Great news in Film Studies For Free's humble opinion. Alphaville: Journal of Film and Screen Media has just published its first issue, along with calls for papers for two further issues, to boot.

    The first issue is themed, and here's what its editors say about their choice of organising topic:
    Alphaville Issue 1, European Cinema: Transnational, Transcultural, Transmedial stems thematically from an international graduate film studies conference that we co-organised in May 2010 at University College Cork. The conference addressed the permeability of European spaces—geopolitical, sociocultural, productive and aesthetic—within a post-1989 cinematic context. This Issue, however, moves the focus beyond such a specific—albeit multilayered—epoch, encompassing research on both past and contemporary filmmaking, in a bid to showcase the “movement” that was and still is at the heart of European cinema with regard to its interrelationships of geography, culture and form. Inspired by the many seminal works on European cinema that have gone before it, we seek to contribute to the debate a collection that is at once original, in its theoretical and thematic scope, and fresh, in its demonstration of inspiring new work by early career scholars (an attribute that affords us the knowledge that this thriving area in our field will continue to be so).
    FSFF thinks it's a great issue packed with items of interest for film scholars, beginning with Natalia Pinázza's brilliant article on Sandra Kogut’s multinational coproduction documentary Un passeport hongrois/The Hungarian Passport (2001).

    Tu es très bienvenu Alphaville!

    Alphaville: Journal of Film and Screen Media Issue 1 (Summer 2011)

    Editorial:

    Articles:
    Book Reviews and Festival and Conference Reports:

    [Compiled by Jill Moriarty, Deborah Mellamphy and Stefano Odorico, University College Cork]

    email: alphavillejournal@gmail.com

    Issue 2, Winter 2011, Space and Time in Film.

    Issue 3, Summer 2012, Sound, Voice, Music.

    cfp: http://www.alphavillejournal.com/CallforPapers.html
    More about → ALPHAVILLE, a new journal of film and screen media
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    30+ articles from the Journal of Aesthetics and Culture

    Diposting oleh good reading on Kamis, 26 Mei 2011

    Frame grab from The Wind (Victor Sjöström, 1928). Read Bo Florin's article on this film
    [Traditionally, aesthetics] has been based on national perspectives and contexts, as well as contained within the limits of specific disciplines. However, the changing society has made this focus all too narrow. Due to globalization, media and territories merge and move in new ways, where regional, national, international, and global perspectives increasingly integrate. New contexts and new aesthetic strategies are also created, and traditional boundaries and hierarchies become transgressed, for example, between high brow and popular culture, or between art and technology. Aesthetics as well as culture thus need to be discussed and interpreted across the disciplines, through different media, over territorial borders. Finally, this is also a strong argument for Open Access publishing: to constitute a global platform and an interface for interdisciplinary discourse—free for anybody to read. [from first JAC Editorial by Astrid Söderbergh Widding, Lars Gustaf Andersson and John Sundholm]
    Film Studies For Free had been meaning to post something about the Journal of Aesthetics and Culture for quite a while. It's an online open access journal, hence one very much after this blog's's heart, with a high percentage of very good quality film-studies related articles that FSFF has frequently linked to on Twitter.

    Today, JAC published an excellent dossier on Transnational Cultural Memory, an event which provided a wonderful prompt to gather together, in one place, links to everything that JAC has published to date. And below, that is just what you will find.

    FSFF has also added JAC to its permanent listing of excellent, Open Access film and moving image studies journals. 

    Vol. 1 (2009)
    Vol. 2 (2010)

    Vol 3 (2011)

    More about → 30+ articles from the Journal of Aesthetics and Culture
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    Love builds bridges: on the romantic comedy in transnational cinema

    Diposting oleh good reading on Sabtu, 29 Mei 2010

    Last updated June 1, 2010
    Image of Cary Grant and Katharine Hepburn on the set of Bringing Up Baby (Howard Hawks, 1938). See Kartina Richardson's short video essay on this film at her new audio commentary website Mirror.

    Film Studies For Free's author sensibly decided, on balance, that it was probably better to stay at home and draft the below list of links to good quality, openly accessible, and disciplinarily-diverse, scholarly studies of the transnational, transhistorical, romantic comedy film mode, than to haul herself out (in the rain) to the cinema to see Sex and the City 2.

    Enough said, probably, but if you think she has made the wrong choice, please do leave a comment below... (More links should be added in the next few days - if you have any to suggest, please get in touch).
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        Cinema at the Periphery: world cinema studies articles and videos

        Diposting oleh good reading on Sabtu, 24 April 2010

        Sequence from Morvern Callar (Lynne Ramsay, featuring Samantha Morton as Morvern and the psychedelic song 'Some Velvet Morning' written by Lee Hazlewood in 1967 and performed by Hazlewood and Nancy Sinatra (for more on Ramsay's great film, see Scott Tobias, 'The New Cult Canon: Morvern Callar', The A.V. Club, February 27, 2008; as well as John Caughie, 'The Angel's Share: Morvern Callar and the Difficulty of Art Cinema', video also linked to below)

        With Spring (and a spring) in its step, Film Studies For Free brings you a whole, golden, host of articles as well as little video tasters to the work of some of the world's leading film scholars on the topic of international (and/or 'interstitial', or 'transnational', or 'peripheral') cinema.

        The videos are recordings of presentations from the Cinema at the Periphery conference held at the University of St Andrews between June 15th and June 17th 2006. While those external to that university can only see the first ten minutes of each presentation, they're still very informative, and showcase, in miniature at least, some brilliant film studies research.

        They've been newly publicised on the occasion of the publication of the conference book Cinema at the Periphery by Wayne State University Press, part of its series on Contemporary Approaches to Film and Television, under the general editorship of Barry Keith Grant. The book is edited by Dina Iordanova, David Martin-Jones, and Belén Vidal.

        As FSFF always endeavours to add value to the free resources it links to, it decided also to assemble an accompanying list of related, high quality, freely accessible, online articles:

        The clips can be viewed using Quicktime player 7, VLC player or similar MP4 player. Just click on the pictures to access.
        The clips are currently set to stream at a quality of medium (512Kbps) - they are also available to watch as low (56Kbps) or high (2Mbps). 

        Dina Iordanova and Keith Brown
        Dina Iordanova and Keith Brown
        University of St Andrews
        “Introduction and welcome”
        (8min 16sec)
        Mette Hjort
        Mette Hjort
        Lignan University, Hong Kong
        “Homophilic Transnationalism: The 'Advance Party' Initiative”

        Rod Stoneman
        Rod Stoneman
        Huston School of Film & Digital Media, Galway, Ireland
        “Dimpsey at the Edge”

        Duncan Petrie
        Duncan Petrie
        University of Auckland, New Zealand
        “Small National Cinemas in an Era of Globalisation”

        Sheldon Lu
        Sheldon Lu
        University of California at Davis, USA
        “Emerging from Underground and the Periphery: Independent Cinema in Contemporary China”

        Lucia Nagib
        Lucia Nagib
        Leeds University, UK
        “Japanese Cinema and Local Modernity”

        Laura U. Marks
        Laura U. Marks
        Simon Fraser University, Canada
        “Geopolitics Hides Something in the Image; Arab Cinema Unfolds Something Else”

        Faye Ginsburg
        Faye Ginsburg
        New York University, USA
        “Black Screens and Cultural Citizenship”

        Dudley Andrew
        Dudley Andrew
        Yale University, USA
        “Turbulent Waves, Stagnant Seas: Awash in World Cinema”

        Bill Marshall
        Bill Marshall
        University of Glasgow, UK
        “Deleuze, Quebec and Cinemas of Minor Frenchness”

        John Caughie
        John Caughie
        University of Glasgow, UK
        “The Angel's Share: Morvern Callar and the Difficulty of Art Cinema”

        Pam Cook
        Pam Cook
        University of Southampton, UK
        “Out from Down Under: Baz Luhrmann and Australian Cinema”

        Patricia Pisters
        Patricia Pisters
        University of Amsterdam, Netherlands
        “Filming Tanger: Migratory Identities in North Africa”

        Hamid Naficy
        Hamid Naficy
        Rice University, USA
        “Interstitial, Transnational, and National-Iranian Silent Cinema”

        Kristian Feigelson
        Kristian Feigelson
        Sorbonne Nouvelle, Paris, France
        “A Visual Map of the Film World”
        More about → Cinema at the Periphery: world cinema studies articles and videos
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        Kinocultura: on Russian, Russo-Soviet, Eastern European, & Central Asian cinemas & television

        Diposting oleh good reading on Minggu, 11 April 2010

        Excerpt from the beginning of Nastroishchik/The Tuner (Kira Muratova, Russia/Ukraine, 2004)
        Muratova’s tight and intricate narrative is punctuated by familiar cinematic devices, red herrings, and pranks immediately identifiable—even beyond cinema production—with Muratova’s sui generic style. [F]irst, her inclusion of a “cultural intermezzo” by an amateur artist-enthusiast.  [...]  In The Tuner, this device takes the form of a girl singer-songwriter performing on public transport and a number of other charmingly inept musicians (a clarinetist, two tuba players, random, elderly singers, and Andrei’s spontaneous “Uzbek” improvisation).  This is the utopian dimension of Muratova’s creative act: irredeemably unprofessional, yet utterly complete, self-sufficient in itself, the flawless conjuration of an inner hallucination. Nancy Condee, 'Kira Muratova, The Tuner [Nastroishchik] (2004)', Kinocultura, Issue 7  January 2005
        Film Studies For Free was alerted yesterday by David Hudson at The Auteurs Daily that the April 2010 issue of Kinocultura, the Open Access journal of New Russian Cinema, had just been published online.  

        This journal has been appearing since July 2003, and that simple fact makes for a true wealth of freely accessible scholarly resources. With its editorial board of leading scholars in this field, Kinocultura is quite simply one of the best film studies e-journals, with its incredibly wide-ranging scholarly articles alongside wonderful film and book reviews and dossiers/reports/roundtable discussions/videos.  

        Below, FSFF has copied and pasted in the index of all full-length articles and interviews published by the journal to date. Here also is a list of Kinocultura's special issues on particular countries:#1 Central Asia (2004); #2 Poland (2005); #3 Slovakia (2005); #4 Czech Rep. (2006); #5 Bulgaria (2006); #6 Romania (2007); #7 Hungary (2008); #8 Serbia (2009); #9 Ukraine (2009); #10 Estonia (2010). Note that there are forthcoming issues on Kazakhstan and Croatia.
         
        Those of you interested in Russian and Soviet film studies should also know about the following great, online bibliography, too: University of Pittsburgh Russian and Soviet Cinema.

        Kinocultura - Issue 28: April 2010
        Festival Report
        Issue 27: January 2010
        Festival Reports
        AAASS 2009 Roundtable on Young Kazakh Cinema
        Issue 26: October 2009
        Festival Reports
        Issue 25: July 2009
        Issue 24: April 2009
        Festival Report:
        Issue 23: January 2009
        Festival Reports:

        Issue 22: October 2008
        Issue 21: July 2008
        Pittsburgh Russian Film Symposium 2008 — The Ideological Occult: Russian Cinema under Putin:
        Issue 20: April 2008

        Issue 19: January 2008

        Issue 18: October 2007
        • Tom Birchenough: "Vladivostok 2007": The lnternational Pacific Meridian Festival
        Issue 17: July 2007
        Melodrama and Kino-Ideology: Pittsburgh Russian Film Symposium Roundtable:
        Issue 16: April 2007

        Issue 15: January 2007

        Issue 14: October 2006

        Issue 13: July 2006

        Issue 12: April 2006

        Russian TV-Serials: AAASS Roundtable 2005: "Russian TV: Past Issues of Present Concern"
        Issue 11: January 2006
        Issue 10: October 2005
        Issue 9: July 2005
        Issue 8: April 2005
        Issue 7: January 2005
        Issue 6: October 2004
        "National Cinema": Pittsburgh Film Colloquium roundtable featuring:  
        Moscow International Film Festival 2004 : Susan Larsen: At the Intersection of Art, Commerce, and National Pride  

        Issue 5:  July 2004
        Issue 4:  April 2004

        Issue 3:  January 2004

        Issue 1:  July 2003
        More about → Kinocultura: on Russian, Russo-Soviet, Eastern European, & Central Asian cinemas & television
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