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Showing posts with label Gus Van Sant. Show all posts
Showing posts with label Gus Van Sant. Show all posts

Monday, 4 January 2016

New LOLA, [in]TRANSITION, MOVIE, Film-Philosophy, Senses of Cinema plus a video essay on Todd Haynes' CAROL, and more!


An obvious side-by-side comparison by Catherine Grant, using images from BRIEF ENCOUNTER (David Lean, 1945) and CAROL (Todd Haynes, 2015), and the sound from the official trailer for CAROL, featuring the song ‘My Foolish Heart’ (music by Victor Young/lyrics by Ned Washington, sung by Margaret Whiting, 1950). For another recent video essay on BRIEF ENCOUNTER please visit https://www.caboosebooks.net/node/150. For further video essays on films by Todd Haynes, see (on SAFE): vimeo.com/67203493; and on FAR FROM HEAVEN: vimeo.com/78526414.


 Film Studies For Free wishes its readers a very happy new year! It celebrates the beginning of the year with an auspicious round up of publications that went online either in the last few days of 2015, or in the first days of 2016.
NEW JOURNAL ISSUES

LOLA, 6. 2015, on "Distances," edited by Adrian Martin and Girish Shambu 


This issue of LOLA will be rolled out in two stages. Soon to come: articles on The Smell of Us, Eden, Youth (Shoval), recent Spanish cinema, film criticism, and Alexandre Astruc/Bernard Stiegler …


 [in]Transition: Journal of Videographic Film and Moving Image Studies, 2.4, 2015
A special peer-reviewed issue co-edited by Christian Keathley and Jason Mittell, featuring five of the videos that emerged from the June 2015 workshop Scholarship in Sound & Image, hosted at Middleburg College, U.S.A., and generously funded by the U.S. National Endowment for the Humanities Office of Digital Humanities.

New issue of MOVIE: A Journal of Film Criticism, 6, 2015

Moments of Texture

The Best Years of Our Lives: A Dossier

Book Reviews

Also at MOVIE, new entries in its series of open access ebooks - monographs which originally appeared in the series Close-Up (Wallflower Press, 2006-09). These are free to download, and are available in epub and mobi formats.
Filmmakers' Choices - John Gibbs
Filmmakers’ Choices explores different areas of decision-making within filmmaking, focusing on each in the analysis of a film. The discussion of Talk to Her(Pedro Almodóvar, 2002) examines the detailed construction of point of view; the account of Lured (Douglas Sirk, 1947) reflects on narrative structure and the creative possibilities of coincidence. Other films under investigation include Candyman (Bernard Rose, 1992), The Reckless Moment (Max Ophuls, 1949) and Unforgiven (Clint Eastwood, 1992).
Movies and Tone - Douglas Pye 
The concept of tone gestures towards some of the most crucial issues for film analysis – the relationships of a movie to its material, its traditions and its spectator – and yet tone has had a very limited place in film theory and criticism. This study asks how tonal qualities within a film can be identified, exploring the decisions which lead to our grasp of tone as a dimension of meaning that is both informing and subject to moment-by-moment modulation. Discussion centres on The Deer Hunter, Desperately Seeking Susan, Strangers on a Train, Distant Voices, Still Lives and Some Came Running. 
The Police Series - Jonathan Bignell 
This study focuses on television style in the US police series. Chapters closely analyse the mise-en-scène of programmes in the 1980-2003 period including Hill Street Blues, Miami Vice, NYPD Blue, Homicide: Life on the Street and CSI. Through the detailed investigation of changing aesthetics in the police series, Bignell addresses critical issues around style and ideology, ‘quality’, genre, programme brands and authorship in US television. 
Reading Buffy - Deborah Thomas 
In this book Joss Whedon’s acclaimed television series, Buffy the Vampire Slayer, is seen not just to create a richly detailed and satisfying fictional world, but to be an abundant source of complex meanings. Several aspects of Buffy are examined: its visual intelligence, the playful sophistication of its narrative strategies, and the interest the series takes in its relationship with its many fans. 


Further new articles now online at Film-Philosophy, Vol 19 (2015)



Issue 77 of Senses of Cinema

Including: a dossier entitled CHANTAL AKERMAN: LA PASSION DE L’INTIME / AN INTIMATE PASSION; a dossier entitled  THE LEGACY OF PIER PAOLO PASOLINI; a dossier entitled AUSTRALIAN FILM HISTORY; and the following feature articles:






TONI D'ANGELA / No theory, just movies: le dehors

BRUCE BAILLIE / PAUL SHARITS

PAUL THOMAS ANDERSON

prima linea

l'occhio che uccide

flaming creatures


ASSORTED OTHER LINKS
  • In Artforum, a wonderfully informative articles by Babette Mangolte, Chantal Akerman's cinematographer and collaborator, and by Kathy Halbreich, associate director of the Museum of Modern Art in New York.
  • Chantal Akerman's Jeanne Dielman... Is a True Action Movie, a video essay by Adam Cook
    • RIP Vilmos Zsigmond, legendarily brilliant cinematographer (including for McCabe & Mrs. Miller, The Long Goodbye, Deliverance, The Sugarland Express and Close Encounters of the Third Kind. He also worked on Obsession, Blow Out, The Bonfire of the Vanities, The Black Dahlia, The Deer Hunter, Heaven's Gate, and many more films besides). Here is a 70 minute long masterclass with Zsigmond at the 2014 Toronto International Film Festival:

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Friday, 20 December 2013

New FILM-PHILOSOPHY!!

Frame grab from Double Indemnity (Billy Wilder, 1944). Read Ben Tyrer's article on film noir and this film in the latest issue of Film-Philosophy

Film-Philosophy 17.1 (2013): the second to last of the brilliant new film studies e journal issues out in December with which Film Studies For Free will present you in 2013. And the daddy of them all.

There will be two more FSFF posts to appear before the holidays, that is, if you can tear yourself away from reading the below articles and reviews.

Articles
Book Reviews
  • Hsiu-Chuang Deppman (2010) Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction and Film (Iris Chui Ping Kam) PDF
  • Alain Badiou (2013) Cinema and Alex Ling (2010) Badiou and Cinema (David H. Fleming) PDF
  • Timothy Corrigan, ed. (2012) Film and Literature: An Introduction and Reader. 2nd Edition (Shawn Loht) PDF
  • Michael Charlesworth (2011) Derek Jarman (Justin Remes) PDF
  • Sharon Lin Tay (2009) Women on the Edge: Twelve Political Film Practices (Sheryl Tuttle Ross) PDF
  • Todd Berliner (2010) Hollywood Incoherent: Narration in Seventies Cinema (John Anthony Bleasdale) PDF
  •  M. Keith Booker (2011) Historical Dictionary of American Cinema (Glen Melanson) PDF  
  • Shawn C. Bean (2008) The First Hollywood: Florida and the Golden Age of Silent Filmmaking (Carrie Giunta) PDF
  • Julian Petley (2011) Film and Video Censorship in Modern Britain (Zach Saltz) PDF
  • Suzanne Buchan (2011) The Quay Brothers: Into a Metaphysical Playroom (Micki Nyman) PDF
  • Khatereh Sheibani (2011) The Poetics of Iranian Cinema: Aesthetics and Modernity After the Revolution (Paul Elliott) PDF
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Monday, 27 August 2012

CINEPHILE on Contemporary Realism: Post-Classical Hollywood, Mumblecore, Neo-Neorealism,Tonacci, Reichardt, Greengrass, Van Sant

Framegrab from Meek's Cutoff (Kelly Reichardt, 2010). Read 'Beyond Neo-Neo Realism: Reconfigurations of Neorealist Narration in Kelly Reichardt’s Meek’s Cutoff' by James Lattimer here (large PDF)
[I]n the last decade or so, a reappraisal of realism has risen to the fore. Sparked by the demise of cinema’s ontological basis (the existential link between film’s corporeal nature and its real-world referent) and the renewed pertinence of Bazin’s cardinal question, Qu’est-ce que le cinéma?, realism has been re-framed as a generative area of study in a parlous digital age, enabling new (or newly situated) discourse on cinematic reportage, authenticity, and representation. Recent scholars who have embraced realism’s epistemological subscription—yet managed to traverse the epistemic fissure of a positivist approach—have recognized moments of contingency in contemporary art house and marginal cinemas, rooted either in classical tenets (spatio-temporal integrity, social extension, moral despondence) or emergent ones (“haptic” visuality, profilmic exclusivity, ethical engagement). This issue of Cinephile is situated at the intersection of such discussions. [Editors' Note, Cinephile, Fall 2011]

Film Studies For Free is delighted to announce that the Fall 2011 issue of the great Canadian online film journal Cinephile -- a special issue on realism -- is now available for free download, following its usual period of availability only in a print edition.

The table of contents is given below, and you can download the PDF of the issue here. Below the list of articles, you can find the next Cinephile Call For Papers for an upcoming issue on the New Extremism.

For more on Bazinian, Neo-Bazinian, and Post-Bazinian Film Studies, please check out FSFF's entry as well as other posts accessible via its film realism tag.



Cinephile Fall 2010 Table of Contents
  • Editor’s Note
  • Contributors
  • 'Reenactment and A-filiation in Andrea Tonacci’s Serras da Desordem' by Ivone Margulies
  • 'Post-Classical Hollywood Realism and “Ideological Reality”' by Richard Rushton
  • 'The Sound of Uncertain Voices: Mumblecore and the Interrogation of Realism' by Justin Horton
  • 'The Aesthetics of Trauma: Authenticity and Disorientation in Paul Greengrass’s Bloody Sunday' by Marc Di Sotto
  • 'Beyond Neo-Neo Realism: Reconfigurations of Neorealist Narration in Kelly Reichardt’s Meek’s Cutoff' by James Lattimer
  • 'Gus Van Sant’s Gerry and Visionary Realism' by Tiago de Luca


Call For Papers

Cinephile 8.2, Contemporary Extremism

Deadline for draft submission: September 1, 2012
The last decade has marked an escalation in the treatment of extreme subject matter in European cinema, heralded by the graphic violence and sexuality of French New Extremism at the turn of the millennium and increasingly apparent in films from across Europe. While extreme violence and graphic sexuality have long played a part in the European film tradition (Un Chien Andalou (Buñuel 1929); I Am Curious (Yellow) (Sjöman 1967), Last Tango in Paris (Bertolucci 1972), Salò (Pasolini 1975), etc.), these contemporary films are exceptionally abrasive in the use of transgressive material, employing the sensory capabilities of cinema to impact the spectator on a visceral level. Scholars such as Martine Beugnet, Tanya Horeck, Tina Kendall, and Tim Palmer have pointed to New Extremism as a burgeoning cinematic trend that seeks to re-examine our relationship to the body and to the film screen itself. Onscreen penetrative sex, sexual violence, and explicit gore are central features of films like Lars von Trier’s Antichrist (2009), Gaspar Noé’s Irréversible (2002), Yorgos Lanthimos’s Dogtooth (2009), and Claire Denis’s Trouble Every Day (2001), to name a few films that can be situated within the New Extremist canon.
    With the Fall 2012 issue of Cinephile, we wish to interrogate the parameters and significance of New Extremism. In doing so, we are willing to extend our questions beyond Europe with the hopes of inquiring into Extremism as a global phenomenon. Is New Extremism a feature of European film in particular, prefigured by the European film tradition, or has its influence extended beyond Europe’s borders and bled into other global cinemas? Is Extremism really “new,” or is it merely a contemporary incarnation of old provocations and transgressions? What is the impact of these films, and why should we be watching them (if we should be watching them at all)?
Starting points might include:
  • Extremism outside of Europe: Asian cinema (Ichi the Killer (Miike 2001), Old Boy (Park 2003), etc.), North American cinema (Deadgirl (Sarmiento & Harel 2008), August Underground (Vogel 2001), etc.), and other global cinemas
  • The legitimacy of New Extremism: extreme content in art cinema vs. extreme content in exploitation, horror, and grindhouse cinemas
  • Controversy, notoriety, and censorship (Antichrist, A Serbian Film (Spasojevic 2010), The Human Centipede 2 (Six 2011), etc.)
  • New Extremism and horror cinema (High Tension (Aja 2003), Calvaire (Du Welz 2004), Inside (Bustillo & Maury 2007), Martyrs (Laugier 2008), etc.)
  • Spectatorship, affect, and corporeality
  • Approaches to New Extremism: Genre, mode, movement, or trend?
  • Theory and New Extremism
We encourage submissions from graduate and doctoral students, postdoctoral researchers, and faculty.
    Papers should be between 2000-3500 words, follow MLA guidelines, and include a detailed works cited page, as well as a short biography of the author.  Submissions and inquiries should be directed to: submissions@cinephile.ca
    Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. We are proud to feature a new article by Sarah Kozloff in our Spring 2012 issue. Previous issues have featured original essays by such noted scholars as K.J. Donnelly, Barry Keith Grant, Matt Hills, Ivone Margulies, Murray Pomerance, Paul Wells, and Slavoj Žižek. Since 2009, the journal has adopted a blind peer-review process and has moved to biannual publication.  It is available both online and in print via subscription.
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Tuesday, 19 June 2012

Welcome to NECSUS, A New Open Access Film and Media Studies Journal

Frame grab from The Virgin Suicides (Sofia Coppola, 1999). Read Anna Backman Rogers's article on this film at the new NECSUS journal.

Hot off the press! To coincide with its annual conference, taking place in Lisbon from tomorrow, the European Network for Cinema and Media Studies (NECS) has just launched its new online and open access journal NECSUS. Feast your eyes on the marvellous contents of its first issue on Crisis below.

It has been added to Film Studies For Free's permanent listing of online and open access film and media studies journals. And now FSFF's author will read it! Yay!

Enjoy the conference, fellow NECS members!


Spring 2012: Launch Issue

Special Section: Crisis

Book Reviews:

Conference Reviews:

Festival + Exhibition Reviews:

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Monday, 2 January 2012

New Issue of MOVIE: Lang, Preminger, découpage, PSYCHO and its remake, and filmmakers' choices

Frame grab from Bonjour Tristesse (Otto Preminger, 1958). See Christian Keathley's article on découpage in this film here

Film Studies For Free was thrilled that a new issue of MOVIE: A Journal of Film Criticism -- the best yet of this relaunched journal -- has recently hit the online newstands.

Issue 3 contains part 2 of the marvellous Fritz Lang Dossier, with contributions by, among others, V. F. Perkins, Adrian Martin, Peter Evans, Stella Bruzzi, Ed Gallafent, and Deborah Thomas.

There are also excellent articles on Preminger's film art, Psycho and its remake, and filmmakers' choices by Christian Keathley, Alex Clayton and John Gibbs.

Links to all items are set out for you below.

This issue edited by Douglas Pye and Michael Walker. Designed by Lucy Fife Donaldson, John Gibbs, and James MacDowell.
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Thursday, 28 April 2011

Issues of KINEMA (Spring and Fall 2010)

Image from Paranoid Park (Gus Van Sant, 2007). Read Alessandro's Zir's article on this film for Kinema (Spring 2010)
Film Studies For Free continues with its roundup of recent offerings from online film studies journal by catching up with the last two issues posted at Kinema: a Journal for Film and Audiovisual Media.

Lots of good stuff here, but FSFF particularly enjoyed Alessandro Zir's essay on Paranoid Park, Antonio Sanna on the connections between the Alien series of films and Bram Stoker's Dracula novel, and Des O'Rawe's study of Godard's Film Socialisme.

Spring 2010






Fall 2010






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Tuesday, 7 April 2009

Fruity film and television studies links!



Due to a devastating case of total PC meltdown (following painful months of on-and-off digital trouble and strife), Film Studies For Free brought you nothing new for over a week...

But now it's back.  Its mission is possible once again. And this time it's brought to you by a new, more reliable, and thoroughly inspirational computer host (think Scottish fruit). 

FSFF never wants to go away again (until vacation time at least). But it may struggle for a wee while, while its owner learns the cool new language of her wonderful new i-World.

Anyhoo, here are some choice links to celebrate its stylish return:
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