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Senin, 07 April 2014

On ’Tangibility’ and Relocating Cinema NECSUS 2 Autumn 2012

Posted by Garber on 15.45 with No comments so far
To celebrate the new issue of NECSUS on tangibility, above is a reposting of TOUCHING THE FILM OBJECT? by Catherine Grant. Also see version with audio commentary

[A] media, singular, is not just its medium – it is not only a support or a device. A media is also and foremost a cultural form; it is defined by the way in which it puts us in relation with the world and with others, and therefore by the type of experience that it activates. By experience, I mean both a confrontation with reality (to gain experience) and the capacity to manage this relation and to give it meaning (to have experience). From its very beginnings, cinema has been based on the fact that it offers us moving images through which we may reconfigure the reality around us and our own position within it. Cinema has always been a way of seeing and a way of living – a form of sensibility and a form of understanding. [Francesco Casetti, The relocation of cinema, NECSUS, Issue 2, Autumn 2012]
A great second issue of NECSUS, the brilliant journal of NECS, the European Network for Cinema and Media Studies has been published. It boasts some superlative articles including Francesco Casettis must-read article from which Film Studies For Free has excerpted above.

For those interested in hapticity, and our experience of the material properties of film, theres a very special section on that topic.

All in all (and all the contents are directly linked to below), some truly wonderful work. Well done and thank you NECSUS!

Editorial Necsus

Articles:
Special Section: Tangibility

Festival Reviews:
Edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network

Book Reviews:

Exhibition Reviews:
Read More..

Minggu, 30 Maret 2014

Cinema in the Interstices Issue 5 of ALPHAVILLE

Posted by Garber on 09.45 with No comments so far
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.
Book Reviews (Editor: Ian Murphy)
Reports (Editor: Yuanyuan Chen)
Read More..

Selasa, 18 Maret 2014

Liquid Atmospherics On the cinema of Wong Kar wai

Posted by Garber on 00.30 with No comments so far

ENVOI (2011) from Elaine Castillo on Vimeo. The above video is a ficto-biographical essay-film taking two looped scenes from two Wong Kar-wai films (HAPPY TOGETHER and DAYS OF BEING WILD) as its point of departure, arrival (also: non-departure, non-arrival). On grief, migration, the romantic, hyper-specificity, sentimental time, queer space, Asian celebrity gossip, fantasies involving Maggie Cheung, covers and translations, the writing body, the filmmaking body, readability, speakability.
Almost devoid of irony, Wong’s films, like classic rock and roll, take seriously all the crushes, the posturing, and the stubborn capriciousness of young angst. They rejoice in manic expenditures of energy. They celebrate the momentary heartbreak of glimpsing a stranger who might be interesting to love. The best comparison is surely not with Godard, whose romantic streak has a bitter edge. In Wong Kar-wai, Hong Kong may have its Truffaut, the director who in Tirez sur le pianiste and Jules et Jim concentrated on not-quite-grown- up characters brooding on eternally missed chances. In any case, Wong stands out from his peers by abandoning the kinetics of comedies and action movies in favor of more liquid atmospherics. He dissolves crisp emotions into vaporous moods. For all his sophistication, his unembarrassed effort to capture powerful, pleasantly adolescent feelings confirms his commitment to the Hong Kong popular tradition.
David Bordwell, Avant-Pop Cinema Romance on Your Menu: Chungking Express in Planet Hong Kong: Popular Cinema and the Art of Entertainment (Second edition: e-book; Wisconsin: Irvington Way Institute Press Madison, 2011), pp. 178-179

Today, Film Studies For Free massively updates its existing entry on the cinema of Wong Kar-wai. 

There are two compelling reasons for this: the first is there are lots more scholarly resources available, or discoverable, now on this filmmakers work that are worth listing, including some great items on video. 

The second is that this is the first of two posts in celebration of the online publication, as a PDF, of a full colour, second edition of the peerless David Bordwells book Planet Hong Kong, an opus well worth its $15 pricetag, in FSFFs humble and, usually, frugal opinion.
 
FSFF doesnt normally celebrate, or promote, pay-to-own resources. But, apart from the fact that this is a highly interesting development in online Film Studies publishing in its own right, no one has given so generously online, either of his already published work or of his ongoing scholarly work, as David Bordwell. 

What is more, Bordwells PHK chapter entitled Avant-Pop Cinema, with its lyrical and beautifully illustrated section on Wongs work: Romance on Your Menu: Chungking Express, is worth the download price alone. If you need to save up to purchase Planet Hong Kong first, you can enjoy, in the meantime, several excellent posts at Observations on Film Art on Wongs work, including Ashes to Ashes (Redux) and Years of being obscure.

Video material:
Written material:
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Sabtu, 08 Maret 2014

New SENSES OF CINEMA Malick Godard Weimar Cinema Schepisi Chaplin Martel Holland Philibert Pereira Dos Santos

Posted by Garber on 16.30 with No comments so far
Image from Film Socialisme (Jean-Luc Godard, 2010). You can read Samuel Bréans SOC essay about this film here.
Film Studies For Free is delighted to convey to its readers that a great new issue of Senses of Cinema has just been published. Its a bumper issue with lots of interest.

It is a timely reminder of just what a valuable publication this online journal is. To which end, SOC launched a Support Senses campaign a little while ago. FSFF thinks that if you regularly visit this journal, if you value what it does, perhaps you might like to consider making a small (or large!) donation, perhaps the cost of a monthly commercial film magazine, as a guideline, for starters.

Senses of Cinema, Issue 60, 2011 
Great Directors:
CTEQ Annotations:
Fred Schepisi Dossier:
Book Reviews:
Film Festival Reports:
Read More..

Jumat, 07 Maret 2014

Journal of the Moving Image Indian and South Asian cinema and media studies

Posted by Garber on 15.30 with No comments so far
Image from Gadar: Ek Prem Katha (Anil Sharma, 2001). 

Film Studies For Free just came across a really good e-journal that it hadnt bumped into before: Journal of the Moving Image, an annual publication of the Department of Film Studies, Jadavpur University, Kolkata. 

It was launched in print format in 1999, but its print and online versions now co-exist. As its mission statement puts it,
JMI seeks to represent critical work on the state of contemporary screen cultures. There are many regions in the world with large viewing populations, often with vast production infrastructures for film and television; but corresponding institutions or forums for critical engagement with such audio-visual regimes are still highly inadequate. JMI seeks to address a broad set of issues ranging from formal properties of the moving image to the social foundation of its production, transmission and reception. There will be a special focus on India and South Asia, and on issues of transnational media transactions, but we would like to offer a wider range of discussion on film and television from various parts of the world made from different perspectives.
FSFF wanted to share its contents with you promptly, so direct links to all items so far online are pasted in below, with the most recent issue first. The first three issues of JMI are also being prepared for online publication. 

There are some excellent items here (you might try out Ravi Vasudevans The Meanings of ‘Bollywood’ just for starters). So FSFF heartily recommends that you subscribe to JMI ready for its next issue in December. 

(Also, please check out, if you havent yet, FSFFs own related entry: "Bollywood" for Beginners and Beyond: Introductions to Popular Hindi Cinema Studies)

JMI, Number 7, December, 2008
JMI, Number 5, December, 2006
JMI, Number 4, November, 2005
Read More..
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