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| Frame grab from Mon oncle dAmérique/My American Uncle (Alain Resnais, 1980). Read Angela Dalle Vacches article which treats this film in the latest issue of Alphaville: Journal of Film and Screen Media |
The interstice: something empty, something minute—a crevice, a chink, a narrow gap—yet, in spite of this definition of something apparently slight and inconsequential, one perhaps may make the claim that the interstice serves as a foundational element of film. The “intervening space”, as the OED defines it, in its celluloid form provided the connection between multiple images, allowing them to run together to form the illusion of movement. While this interstitial black strip that imperceptibly framed the moving image is no longer a constituent part of cinema in its current digital format, interstices continue to proliferate in screen media, perhaps to a greater extent than ever. Indeed, just as cinema originated in the interstices between theatre, painting, literature and photography, this intermediality takes on a redefined role in the digital era, with the lines between cinema, television, art, video and new media becoming increasingly difficult to define. [from Cinema in the Interstices: Editorial, Alphaville, 5, 2013, by Abigail Keating, Deborah Mellamphy and Jill Murphy (Issue Editors)]Film Studies For Free is thrilled to announce to its readers that Issue 5 of Alphaville: Journal of Film and Screen Media, a special themed issue on Cinema in the Interstices, is now available. The full table of contents, with links to all the excellent items, is given below.
FSFF particularly enjoyed Angela Dalle Vacches essay, Laura Lee on the (digital) layering of media forms in Japanese cinema, Patrick Tarrant on Pedro Costa’s Where Does Your Hidden Smile Lie? (Onde Jaz o Teu Sorriso, 2001), Pauline Marsh on the Australian coming-of-age film and complex issues of relations between indigenous and nonindigenous Australians, Veronika Schweigl on Henri-François Imbert’s essay film, No pasarán, album souvenir (2003) about the fate of Spanish Civil War refugees in France, Roy Daly on Jim Jarmusch, and Delphine Letort on Treme. Last but definitely not least, FSFF really appreciated Raymond Bellours lecture on "the increasingly irreversible position of cinema within multiple image and sound dispositifs" through the prism of art installations by filmmakers and artists, including Marker, Akerman, Mekas, Kiarostami, Egoyan, Farocki, Svankmajer, Rist, Oursler, Beloff, Cardiff, Birnbaum, Viola and Castorf.
That is to say, FSFF particularly enjoyed everything in this issue.
- Cinema in the Interstices: Editorial by Abigail Keating, Deborah Mellamphy and Jill Murphy (Issue Editors)
- Interstices and Impurities in the Cinema: Art and Science by Angela Dalle Vacche, Georgia Institute of Technology
- Between Frames: Japanese Cinema at the Digital Turn by Laura Lee, Florida State University
- Montage in the Portrait Film: Where Does the Hidden Time Lie? by Patrick Tarrant, London South Bank University
- Picturing a Golden Age: September and Australian Rules by Pauline Marsh, University of Tasmania
- Memories of a Buried Past, Indications of a Disregarded Present: Interstices Between Past and Present in Henri-François Imbert’s No pasarán, album souvenir by Veronika Schweigl, University of Vienna
- Ma, Mu and the Interstice: Meditative Form in the Cinema of Jim Jarmusch by Roy Daly, Independent Scholar
- The Tales of New Orleans after Katrina: The Interstices of Fact and Fiction in Treme by Delphine Letort, University of Lemans
- "Cinema Alone", Multiple "Cinemas" by Raymond Bellour, Director of Research Emeritus at C.N.R.S., Paris
- Stop the Clocks! Time and Narrative in Cinema, by Helen Powell (2012); Reviewer: Deborah Mellamphy, University College Cork
- Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema, by Austin Fisher (2011); Reviewer: Mike Phillips, The Graduate Center, CUNY
- Mad Men: Dream Come True TV, edited by Gary R. Edgerton (2011); Reviewer: Aidan Power, Universität Bremen
- Jonas Mekas, Serpentine Gallery, London, 5 December 2012–27 January 2013; Reporter: Laura Busetta, Sapienza University, Rome
- Dis-placing the East/West Binary: Aesthetic and Cultural Crossover in Film and Visual Culture. Cardiff University, 2 November 2012; Reporter: Hiu M. Chan, Cardiff University
- ECREA 2012, 4th European Communication Conference, Film Studies Section, Istanbul, 25–27 October 2012; Reporter: Gertjan Willems, Ghent University
