Lots more links to film studies journals to celebrate Open Access Week!

Open Access Week, a global event now entering its fourth year, is an opportunity for the academic and research community to continue to learn about the potential benefits of Open Access, to share what they’ve learned with colleagues, and to help inspire wider participation in helping to make Open Access a new norm in scholarship and research.

“Open Access” to information – the free, immediate, online access to the results of scholarly research, and the right to use and re-use those results as you need – has the power to transform the way research and scientific inquiry are conducted. It has direct and widespread implications for academia, medicine, science, industry, and for society as a whole.

Open Access (OA) has the potential to maximize research investments, increase the exposure and use of published research, facilitate the ability to conduct research across available literature, and enhance the overall advancement of scholarship. Research funding agencies, academic institutions, researchers and scientists, teachers, students, and members of the general public are supporting a move towards Open Access in increasing numbers every year. Open Access Week is a key opportunity for all members of the community to take action to keep this momentum moving forward.  

Its International Open Access Week this week, and while every week is Open Access Week at Film Studies For Free, this website decided to celebrate this special week of events by flagging up the work of an individual who can rightfully claim to be one of the most hard-working supporters of this important cause: Jan Szczepanski.

FSFF was recently contacted by Jan, a librarian from Sweden who has been a collector of freely accessible scholarly e-journals since the end of the 1990s. He has been responsible for gathering the longest ever lists of links to (multilingual) Open Access scholarly journals titles, mostly in humanities and the social sciences, many of which you can access through the embedded document below (also see here).

FSFF hasnt yet fully cross-checked Jans list with its own list of English-language online Film and Media Studies Journals (permanently accessible from the table of contents in the right-hand sidebar), but will do so as soon as possible in order to add notable items it hasnt yet come across.

FSFF has set up the document below so that you can immediately scroll down through the Film titles, from page 107. But you can also perform a search for Masskommunikation to scroll automatically to page 491 for lots of Media Studies titles.

Thanks so much to Jan for getting in touch and especially for all his hard work in assembling this monumental list.

8.999 Open Access Journals. New, expanded list, December 2009

Read More..

Unstable Platforms Film Moving Image Studies Papers from MIT7 Media in Transition

Teaser image, courtesy of Warner Brothers, from Harry Potter and the Deathly Hallows, Part 2 out on July 15  (David Yates, 2011). Read Debora Luis paper on Harry Potter: The Exhibition.

Today, Film Studies For Free brings you links to film and moving image related papers from the conference proceedings of the seventh annual Media in Transition conference, which will take place next week, May 13-15, 2011, at the Massachusetts Institute of Technology. 

Heres the conferences mission statement:

Has the digital age confirmed and exponentially increased the cultural instability and creative destruction that are often said to define advanced capitalism? Does living in a digital age mean we may live and die in what the novelist Thomas Pynchon has called “a ceaseless spectacle of transition”? The nearly limitless range of design options and communication choices available now and in the future is both exhilarating and challenging, inciting innovation and creativity but also false starts, incompatible systems, planned obsolescence. How are we coping with the instability of platforms? 

FSFF particularly liked "“Make Any Room Your TV Room:” Media Mobility, Digital Delivery, and Family Harmony" by film and media studies scholar and blogger extraordinaire Chuck Tryon, film and television scholar and media studies blogger extraordinaire Michael Z. Newmans paper The Television Image and the Image of the Television", and "Who Told You You Were Special Edition? The Commercialization of the Aura" by Justin Mack.

There are other great papers online connected to the conference theme of unstable platforms and the experience of mediatic transitions that dont treat moving image topics and you can access those here.

• Teaching Smart Cinema: DVD Add-ons and New Audience Pleasures, Pat Brereton

• The Digitization of Memory at the National Film Board of Canada,
  Morgan Charles

• Promise and Problems: Independent Production in Periods of Change, Aymar Jean Christian

• How New Media Change Our Experience of Stories, Teun Dubbelman

• Making Selves/Making Citizens in the Age of YouTube, Megan Fulwiler and Kim Middleton

• Virtual Bliss, Analog Horrors: Reading the Imperfect Digital Image in Film and the Video Game, Robert Furze

• Hoarding the Ethereal: How We Have more Things but with Less Clutter, Gayle Gatchalian

• Lessons from the Front: Rio’s War against Drug Trafficking, Participatory Culture and New Media Paradigms for Brazilian Soap Operas, Leandro Gejfinbein, Rejane Spitz

• Stories with Choices: Artist´s Multimedia Narratives, Raivo Kelomees

• Piracy, Circulation, and Cultural Control in Cyber-Age China, Jinying Li

• From the Theater to the Gallery: Harry Potter Engagements within the Museum, Debora Lui

• Who Told You You Were Special Edition? The Commercialization of the Aura
  Justin Mack

• New Platforms: More Choice – Less Freedom?: Mediated Narratives of Human History, Klaus Peter Muller

• Conserving Digital Art for the Ages, Francis Marchese

• The Television Image and the Image of the Television, Michael Newman

• A Story about Random Memories and Fragmented History on Screens, Katharina Niemeyer

• Remembering the Past in the Dynarchive: The State of Knowledge in Digital Archives, Julia Noordegraaf

• Preserving Digital Narratives in an Age of Present-Mindedness: the View from Toronto, Kamilla Pietrzyk

• Indiana Jones Fights the Communist Police: Text Adventures as a Transitional Media Form in the 1980’s Czechoslovakia, Jaroslav Svelch

• "Make Any Room Your TV Room:” Media Mobility, Digital Delivery, and Family Harmony, Chuck Tryon 

Read More..

Seeing the join on film editing

In memoriam Dede Allen  

(December 3, 1923 – April 17, 2010)

The below entry was originally published the day before Dede Allen died. Allen was the highly innovative editor of such notable films as Bonnie and Clyde, The Hustler, Rachel, Rachel, Serpico, Dog Day Afternoon, Night Moves, Slap Shot, Reds, The Breakfast Club and Henry and June. 

Read Matt Zoller Seitzs wonderful tribute to Allen: Dede Allen: The woman who turned film violence into poetry; as well as Julia Wrights informative article, Making the Cut: Female Editors and Representation in the Film and Media Industry, CSW Update Newsletter, March 2009, which mentions Allen.

Dissolve by Aaron Valdez (2003): "Found footage film constructed of hundreds of dissolves taken from old educational films and reassembled to create a meditation on our own impermanence". 

Read also Jennifer Proctor, Différance, the Spectral, and the Work of Mourning in Aaron Valdez’s dissolve, 2004

Film Studies For Free presents a much requested links list today, one to openly accessible, high quality scholarly studies of film editing. Without further ado, lets jump cut straight to it:

• The Art of Film Editing, Special Issue of P.O.V: A Danish Journal of Film Studies, edited by Richard Raskin, Number 6 December 1998 - PDF containing:
• Søren Kolstrup, The notion of editing   
• Sidsel Mundal, Notes of an editing teacher  
• Mark Le Fanu, On editing
• Vinca Wiedemann, Film editing – a hidden art?
• Edvin Kau, Separation or combination of fragments? Reflections on editing
• Lars Bo Kimersgaard, Editing in the depth of the surface. Some basic principles of graphic editing
• Martin Weinreich, The urban inferno. On the æsthetics of Martin Scorseses Taxi Driver
• Scott MacKenzie, Closing arias: Operatic montage in the closing sequences of the trilogies of Coppola and Leone
• Claus Christensen, A vast edifice of memories: the cyclical cinema of Terence Davies,
• Richard Raskin, Five explanations for the jump cuts in Godards Breathless

• André Bazin, Will CinemaScope Save the Film Industry? (1953), Film-Philosophy, Vol. 6 No. 2, January 2002

• David Bordwell and Kristin Thompson, CHAPTER 1: Film as Art: Creativity, Technology, and Business, Film Art: An Introduction (McGraw-Hill, 2010, 9th ed.)

• Marina Burke, Eisenstein and the challenge of sound, Kinema, (date unknown)

• Noël Carroll, Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland, Journal of Dramatic Theory and Criticism, Spring 1992

• Tom Conley, Review of Sam Rohdie, Montage, Screening the Past, Vol. 23, 2008

• Roger Crittenden, The historical perspective: how the function of editing has evolved, from The Thames and Hudson Manual of Film Editing (London: Thams and Hudson, 1981)

• Mary Debrett, Review of Valerie Orpen. Film editing: the art of the expressive. London and New York: Wallflower. 2003, Screening the Past, 2004

• Barry Dornfeld, Chronicle of a Summer and the Editing of Cinéma vérité, Visual Anthropology, Vol. 2, 1989

• Sarah Hatchuel, Leading the Gaze: From Showing to Telling in Kenneth Branaghs Henry V and Hamlet, Early Modern Literary Studies, 6.1, 1999

• Ils Huygens, Deleuze and Cinema: Moving Images and Movements of Thought, Image [and] Narrative,  Issue 18, September 2007

• James S. Hurley, David Bordwells Iron Cage of Style, Film-Philosophy, Vol. 2, No. 26, 1998

• Gal Kirn , Kuhle Wampe: Politics of Montage, De-montage of Politics?, Film-Philsophy, 11.1, 2007

• 
  
  Martin Lefebvre and Marc Furstenau, Digital Editing and Montage: The Vanishing Celluloid and Beyond, Cinémas : revue détudes cinématographiques / Cinémas: Journal of Film Studies

  Volume 13, Number 1-2, Automne 2002, p. 69-107 (for other articles on montage and editing in the same journal issue in French see here)

• Jason Lindop, Eisenstein: ‘Intellectual Montage’,  Poststructuralism, and Ideology, Offscreen Journal, Volume 11, Issue 2 (February 28, 2007)  

• Gabrielle Murray, Knowing Icons and Transforming Experience: Sergei Eisenstein’s ¡Que Viva México! (1932), Senses of Cinema, Issue 52, 2009

• Christine E. Nothelfer, Jordan E. DeLong and James E. Cutting, Shot Structure in Hollywood Film, Indiana Undergraduate Journal of Cognitive Science 4 (2009) 103-113, 2009

• Jennifer Proctor, Différance, the Spectral, and the Work of Mourning in Aaron Valdez’s dissolve, 2004

• William D. Routt, Poubelle, ma belle, Rouge, 6, 2005

• Tim J. Smith, An Attentional Theory of Continuity Editing, PhD thesis, University of Edinburgh, 2005 (see also descriptive statement here) 

• Murray Sperber, Eisenstein’s October, from Jump Cut, no. 14, 1977, pp. 15-22

• Martin Stollery, Review of Film Editing: The Art of the Expressive by Valerie Orpen, Scope, Issue, February 2005

• Donato Totaro, Sam Rohdie on Montage, Offscreen Journal, January 2008

• Yuri Tsivian, What is wrong with the beard : Eisenstein’s Ivan the Terrible as an eccentric tragedy,  Cinémas : revue détudes cinématographiques / Cinémas: Journal of Film Studies, vol. 11, n° 2-3, 2001, p. 255-270

• Mike Wayne, Review of Film Editing: History, Theory and Practice by Don Fairservice and Film Production Theory by Jean-Pierre Geuens, Scope, August 2003

• Julia Wright, Making the Cut: Female Editors and Representation in the Film and Media Industry, CSW Update Newsletter, March 2009

Read More..

Making the meaning affective Peter Brunettes film studies

Still image from the final shot of LAvventura (Michelangelo Antonioni, 1960)

 Luxuriating in the view over the Sicilian coast, the Mt. Etna volcano, and the Mediterranean sea here at the Taormina Film Festival. Oh yeah, and seeing some good films too!
Peter Brunette,  June 15, 2010

Rather than viewing the narrative content of Antonionis films as symbolic, as representations of an absent meaning, [Peter] Brunette calls for an appreciation of the visual in and for itself, as meaning is made affective, through line, shape, and form (60). Meaning emerges from the image, it is made affective. Searching for authorial intent behind seemingly obvious symbols -- Brunette shows through the discrepancy between Antonionis own suggestions and the contrasting critical reception of his films -- will inevitably say more about the critical frame employed, than the film itself. What Brunette is claiming is the loss of referent for the sign, the loss of signification. This links nicely to his deconstructive concern, which is itself indicative of the flaws in the existentialist debate. The absences that characteristically mark Antonionis films (witness the vanishing Anna (Massari) in Lavventura) points not to a transcendental absence, but rather indicates the way out of the Platonic illusion of the coexisting Ideal and (vs) real. David Martin-Jones, [Review of Brunettes book on Antonioni, Film-Philosophy, Volume 3 Number 50, December 1999

Katherines exclamation [in Viaggio in Italia, Roberto Rossellini, 1954] is also emblematic of the death theme that permeates the film, and that culminates in the sequence so aptly described by Brunette in the following passage: "The parts begin to form themselves into a man and a woman; death has caught them making love, or at least wrapped tightly in each others arms. Suddenly, the museum, the catacombs, and the Cumaean Sybil all come together in one startling image: the physicality and rawness of the ancient world, the ubiquity of death in life, and love, however inadequate and flawed, as the only possible solution". Asbjørn Grønstad, "The Gaze of Tiresias: Joyce, Rossellini and the Iconology of "The Dead"", Nordic Journal of English Studies, Vol. 1, No. 2, 2002, citing Peter Brunette, Roberto Rossellini, (Berkeley: University of California Press, 1987, 1996)

In Peter Brunette and David Willss much under-valued Screen/Play: Derrida and Film Theory [Princeton University Press, 1989] they discuss the form that a deconstructive mode of analysis might take. They write: From a deconstructive stand-point, analysis would no longer seek the supposed center of meaning but instead turn its attentions to the margins, where the supports of meaning are disclosed, to reading in and out of the text, examining the other texts onto which it opens itself out or from which it closes itself off. [...] [I]t strikes me that a serious discussion of Brunette and Willss book would be essential to any work purporting to discuss cinema and deconstructive politics.[...]  David Sorfa, Film-Philosophy, Vol. 2, No. 23, 1998

A number of the tributes to film critic and scholar Peter Brunette, who died last week at the Taormina Film Festival in Italy,  conveyed very movingly their opinion that he left this world while doing what he loved.

Those of us who followed Peters activities and travels, at least from the vantage point of his social media network, certainly loved his updates on them, like his final Facebook posting above. His death was a huge shock, and a great loss, notably to the two spheres -- film scholarship and theory, and film criticism -- that he managed to join up, much more successfully than most, through his own prolific practice (he gave an account of some of the issues at stake in this choice in an interview here, and Gerald Pearys obituary beautifully refers to his unusual trajectory, for an academic, here).

FSFFs authors acquaintance with Peter Brunette began with his director books (listed with his other work in his CV here), and in particular with his marvellous study of the films of Roberto Rossellini, now one of the best freely accessible e-books online, thanks to Peter and his publishers. Peter was a fan and an important supporter of freely accessible culture and ideas on the Web, as this article he wrote in 2000 testifies.

Fortunately, a very good selection of other articles and chapters (and a substantial podcast) by him may be experienced at the click of a mouse, quite aside from the virtual reams of online movie criticism under his byline. That means that the following list of links to the former work - to Peter Brunettes formal film studies - is, then, the most fitting tribute that FSFF can give to a scholar who gave so much and influenced so many in his too short (or just long enough) life.

• Peter Brunette, Roberto Rossellini (Berkeley: University of California Press, c1996 1996)
• 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)
• Peter Brunette, Miniature Movies, Big Ideas: Cinephiles move on to the Web, Adobe Magazine, June-August 2000
• Peter Brunette, The Flowers of St. Francis: Gods Jester, The Criterion Collection: Film Essays, August 22, 2005 
• Peter Brunette, The Children are Watching Us: A Movement is Born, The Criterion Collection, Film Essays, March 27, 2006 
• Peter Brunette, Nowell-Smith Meets Visconti, Redux: The Old and the New, Film-Philosophy, Vol. 9 No. 16, March 2005
• Peter Brunette, Rossellini and Cinematic Realism, Cinema Journa1, 25,  No 1, Fall 1985
• Podcast: Peter Brunette interviewed by Colin Marshall about his University of Illinois Press study of Michael Hanekes films (see below), April 15, 2010

Read More..

On Pleasure free Perkins in new Film Quarterly

Image from Le Plaisir (Max Ophüls, 1952)

Thanks to The Auteurs Daily, Film Studies For Free heard about the new issue of Film Quarterly (Vol. 63, No. 1, Fall 2009) which comes with a wonderful, freely-accessible article by V.F.Perkins: Reconsideration: Le Plaisir: "The Mask" and "The Model". Its a fabulously illustrated study of Max Ophüls’s 1952 film Le Plaisir, an adaptation of three short stories by Guy de Maupassant: Le Masque, La Maison Tellier, and Le Modèle.

Other freely-accessible items in this issue include: Rob White, Editors Notebook: Against Nature; Joshua Clover, Marx and Coca-Cola: The Future in Labor; Danny Birchall, Talking Point: The Avant-Garde Archive Online

Read More..

In the Hands of Fate Existentialism in Film

Image from I’m a Fugitive from a Chain Gang (Mervyn LeRoy, 1932) [See Sam Mithanis thesis, The Hollywood Left: Cinematic Art and Activism in the 1930s for reflections on the existentialism of this films director]

Viewing (30:43): In the Hands of Fate: Existentialism in Film (October 18, 2010)

Cinema condenses actions and their consequences. It puts the viewer into someone elses shoes. Dilemmas tend to be urgent, up-close and personal: ergo, all films are existential. But several films in this years [London Film Festival] programme specifically emphasise philosophical struggles with circumstance. Veiko Õunpuus The Temptation of St Tony makes drama out of the very discourse of existential thought. Xavier Beauvois Of Gods and Men follows monks whose faith is shaken by fear of execution. Michelangelo Frammartinos Le Quattro Volte links a dying mans end, to the fate of a lost kid (as in goat) and a felled tree. Finally, the dying man in Apichatpong Weerasethakuls Uncle Boonmee Who Can Recall His Past Lives accepts his fate yet the past makes its own demands on him. Its more than just mortal thoughts that brings these films together; its a heightened sensitivity to our sense of purpose. We are very excited that directors Apichatpong Weerasethakul and Michelangelo Frammartino [joined] Dr David Sorfa (Senior lecturer in Film Studies at Liverpool John Moores University and managing editor of the journal, Film-Philosophy) on a panel chaired by Ian Haydn Smith, Editor of International Film Guide.

Film Studies For Free wanted to alert its readers to the above linked-to, wonderful BFI video on the topic of  existentialism and cinema. In its usual good faith, and as a perfect accompaniment, FSFF also brings you a little list of links to great, openly accessible, scholarly reading, much of it book-length, on the very same theme.

• Anders Albrechtslund, Surveillance pleasures: existentialism and ethics as represented in cinematic art [Draft version], Authors Website, date unknown
• Tomas Axelson, Movies and Meaning: Studying Audience, Fiction Film and Existential Matters, Particip@tions, Volume 5, Issue 1, Special Edition (May 2008)
• Brian K. Bergen-Aurand, Seeing and the Seen: Post-Phenomelogical Ethics and the Cinema, PhD Thesis, University of Maryland, 2004  
• Jean-Philippe Derant, Existentialist Aesthetics, Stanford Encyclopedia of Philosophy, 2009
• Marty Fairbairn, Cinema as Secular Church: A Phenomenological Typology and Hermeneutics, PhD Thesis, McMaster University, 1995
• Robert Harvey, Sartre/Cinema: Spectator/Art That Is Not One, Cinema Journal, 30.3, 1991 
• Sam Mithani, The Hollywood Left: Cinematic Art and Activism in the 1930s, PhD Thesis, University of Southern California, 2007 
• Katherine V. Pettit, The truth and death of indexicality: photography, philosophy and cinema, MA Thesis, University of British Columbia, 2002 
• David C. Simmons, The Dysphoric Style in Contemporary American Independent Cinema, PhD Thesis, Florida State University, Spring 2005
• Benjamin 
P.
 Spencer
, “Show Me How to See Things the Way You Do": Existentialism in Faith, Philosophy, and Film [on The Thin Red Line], Honours Thesis, Whitman College, 2010
• Deborah A. Walker, Self-reflexivity and the construction of subjectivity in contemporary French cinema: Alain Resnais, PhD Thesis, University of Auckland, 2001
• Tony Williams, Power and Paranoia: 40s Hollwyood, from Jump Cut, no. 35, April 1990, pp. 73-77

Read More..

New BRIGHT LIGHTS FILM JOURNAL

"Your body is a microcosm of all existence." – On Michelle LeBruns Death: A Love Story: Bodies Politic/Body Politics: The Political and the Personal in Contemporary Film Essays by Matt Brennan

Film Studies For Free continues to catch up with Augusts bumper crop of new online journal issues. Over the weekend, it has been thoroughly enjoying the lively and eclectic brilliance of Bright Lights Film Journals latest offering of very savvy, and sometimes sassy, articles.

They may not be peer reviewed in the strict scholarly sense, but film studies academics and cinephiles will miss these at their peril.

The entire table of contents for Issue 73 is thus reproduced below. And dont miss Bright Lights After Dark, BLFJs fabulous film blog for further, essential, movie musings. 

Bright Lights Film Journal, August 2011 | Issue 73

From the Editor

• "You cant have your cinema and eat it too" - or can you? 


• Gary Morris

Features

• Bodies Politic/Body Politics: The Political and the Personal in Contemporary Film Essays


• Matt Brennan 

• Boris Barnet: The Lyric Voice in Soviet Cinema by Giuliano Vivaldi

Articles

• Cylons, Avatars, and Barack Obama: Science Fiction and Hybridity After 9/11 by Natalie Bograd

• The Envelope of Time: Wrapping Up the Past in Chris Marker, Alexander Sokurov, and Josè Luis Guerìn


• Lesley Chow

• Eating Cinema: The Frozen Dessert as Audiovisual Synaesthesia


• Andrew Grossman

• Darkening the Image of American Wealth and Power: Unstoppable and The Lincoln Lawyer 


• Joseph Natoli

• Carnivorous Lunar Activities: The Origins of 1980s Metamorphosis Cinema by Alex Kirschenbaum

• Rally Round the Flag, Boys: Revisiting Frank Borzages No Greater Glory and the 1930s Boy Soldier Genre by Peter Lee  

• Young Ones and Swan Songs: Luis Bunuel in Mexico, Bela Tarr in Edinburgh  


• D. J. M. Saunders

Movies

• Misery Loves Fantasy: Kim Ki-duks Arirang (2011) by Jonathan McCalmont

• Between Silence and Sound: Children of a Lesser God  by Ian Murphy

• The Green Hornet Makes America Bossy Bottom: Whos Topping Who? by L. Andrew Cooper

• Green Lantern: The Allegory of Fear and Will Unfolded 


• Joseph Natoli

• Still Hungover: Todd Phillips and Rape Culture by Terri Carney

• You Say Goodbye, and I Say Hello: The Long Goodbye and the End of the Crime (and Competition) in American Detective Films by Allen H. Redmon

• Desert Solitaire: On Kelly Reichardts Meeks Cutoff (2010) 


• Jacob Mikanowski

• Space Dust: On Terrence Malicks The Tree of Life 


• Jacob Mikanowski

Television

• Talk Is Cheap: On Aaron Sorkins Moral Compass 


• Matt Brennan

• Concocting Character in Television: The Case of Star Treks Annoying Old Men – and the Beautiful Young Women Who Love Them 


• Mervyn Nicholson

Short Features

• Short Takes: Cinematography "But It Did Happen" – Paul Thomas Andersons Magnolia by Matthew Sewell

Stars

• Greer Garson and the Good War: How We All Learned to Stop Worrying and Love the Great Lady by Meredith Hicks

Directors

• A Dream That Was Not All a Dream: The Films of André Delvaux by Santiago Rubín de Celis

Festivals

• Crafting Community: The 2011 QDoc International Film Festival 


• Gary Morris

Columns

• Bright Sights: Recent DVDs 


• Gordon Thomas

Books

• The Celluloid Closet, by Vito Russo. Reviewed by Mark Adnum

• Nightmare Movies: Horror on Screen Since the 1960s, by Kim Newman. Reviewed by Joseph Aisenberg

• Shock Value: How A Few Eccentric Outsiders Gave Us Nightmares, Conquered Hollywood, And Invented Modern Horror, by Jason Zinoman. Reviewed by Cynthia C. Scott

• They Live, by Jonathan Lethem. Reviewed by Chad Trevitte

Read More..

Download ebook berjudul A to Z Film Indonesia

Langsung saja Download ebook ini yang berjudul A to Z Film Indonesia. berikut Linknya;

A to Z Film Indonesia
Download

Read More..