Film Studies For Free's latest entry is replete with openly accessible scholarly goodies. So what's new? Lots of things!

First off, two major journals in our field have moved to new (public) houses! Film Criticism celebrates its fortieth anniversary issue with a move to an open access format, under the expert new editorship of Joseph Tompkins, who, to mark this welcome shift, commissioned lots of scholars to meditate on the ever mutating space of film criticism. Meanwhile, Film-Philosophy, a very long-standing, always fully open access academic journal dedicated to the engagement between film studies and philosophy, is now published by Edinburgh University Press and remains completely open access. A good job by its excellent editor David Sorfa. The new issues of both journals are set out and linked to below, followed by a lovingly compiled list of nine new open access ebooks sourced at Oapen, and a whole host of further delectable items of openly accessible film (and TV) scholarly interest (including three further OA ebooks).

Embedded immediately below, though, are two of the latest instalments in the Fieldnotes series of interviews, with Laura Mulvey and Richard Dyer. Fieldnotes is a Society for Cinema and Media Studies project to conduct, circulate and archive interviews with pioneers of film and media studies. In addition to recognizing the contributions of key scholars, the project also aims to foster knowledge of and interest in the diverse and dynamic developments that have shaped -- and continue to shape -- our expanding field. Fieldnotes is currently led by Haidee Wasson, with the help of a committee comprised of Patrice Petro and Barbara Klinger. It is sponsored both by SCMS and by ARTHEMIS, a Concordia University based research team investigating the history and epistemology of moving image studies.




The full list of Fieldnotes interviewees, to date, is given below - all interviews are accessible here: 

Francesco Cassetti interviewed by Luca Caminati; John Caughie interviewed by Haidee Wasson; Mary Ann Doane interviewed by Patrice Petro; Richard Dyer interviewed by Barbara Klinger; Thomas Elsaesser interviewed by Patrice Petro; Lucy Fischer interviewed by Paula Massud; Tom Gunning interviewed by Scott Curtis; Gertrud Koch interviewed by Robin Curtis; Scott MacDonald interviewed by Joan Hawkins; Laura Mulvey interviewed by Catherine Grant; James Naremore interviewed by Jake Smith; Ted Perry interviewed by Christian Keathley; Janet Staiger interviewed by Charles Acland; Linda Williams interviewed by Tom Waugh.

Film Criticism, 40.1, 2016. 
Now OPEN ACCESS and online at: http://quod.lib.umich.edu/f/fc?page=home (will shortly be accessible also at its existing URL: http://filmcriticism.allegheny.edu)

• Editor's Note: Film Criticism—The Reboot Tompkins, Joe 
• Ethics and Digital Film Aaron, Michele 
• Representations of Arabs, Muslims, and Iranians in an Era of Complex Characters and Storylines Alsultany, Evelyn 
• “Untitled”: Black Sounds and Music Video as an Object of Study Ball, Kevin D. 
• A Case for Close Analysis Belton, John 
• Confessions of a Platform Agnostic, or Film Criticism after Film Benson-Allott, Caitlin 
• The Film Critic Between Theory and Practice; (Or: What Every Film Critic Needs to Know) Buckland, Warren 
• Feminist Film Criticism in the 21st Century Cobb, Shelley; Tasker, Yvonne 
• The Glare of Images, and the Question of Value Corrigan, Timothy 
• The Dysfunction of Criticism at the Present Time Flaxman, Gregory 
• Ideology Critique and Film Criticism in the New Media Ecology Flisfeder, Matthew 
• Netflix Crit in the Twenty-First Century Frey, Mattias 
• On Not Running in Place Ganguly, Keya 
• Beyond Tautology? Audio-Visual Film Criticism Grant, Catherine 
• “‘What Will Students Ever Do with That?’” Griffin, Hollis 
• Film Criticism: the Challenge of the Specific Gunning, Tom 
• Digital Auteurism in Film Criticism Jeong, Seung-hoon 
• The Academic Film Blog (2000-2015), A Eulogy Klein, Amanda Ann 
• What is Evaluative Criticism? Klevan, Andrew 
• On the Couch Martin, Adrian 
• Binge-Reviews? The Shifting Temporalities of Contemporary TV Criticism McNutt, Myles 
• “There’s Something Rotten in Film Criticism, and His Name is, Regrettably, Not Johnny” Metz, Walter 
• “Witness, Worker, Mercenary: Race and Labor in the New Culture Industries” Mukherjee, Roopali 
• GIFs: The Attainable Text Newman, Michael Z. 
• The Task of the Film Critic in Times of Streaming Video Niessen, Niels 
• The Futures-Market for Film Criticism Polan, Dana 
• The Power of Black Film Criticism Reich, Elizabeth 
• In This World, Not Above It Rushton, Richard 
• Third Cinema Now Saljoughi, Sara 
• A Matter of (Informed) Taste Sayad, Cecilia 
• Audiovisual Futures Shaviro, Steven 
• Art and Realism in a Digital Age Sperling, Joshua 
• The More the Change, the More the Same Staiger, Janet 
• The Subject of Film Studies Stoddard, Matthew 
• The Cinematic Return Verevis, Constantine 
• Figures for Figuring Out Yu, Chang-Min 

Film-Philosophy, Vol. 20, No. 1, February, 2016:

• What is Film-Philosophy? David Sorfa

Special Section: Film-Philosophy and a World of Cinemas

• Introduction: Film-Philosophy and a World of Cinemas by David Martin-Jones
• Real Images Flow: Mullā Sadrā Meets Film-Philosophy by Laura U. Marks 
• Islam, Consciousness and Early Cinema: Said Nursî and the Cinema of God by Canan Balan 
• Trolls, Tigers and Transmodern Ecological Encounters: Enrique Dussel and a Cine-ethics for the Anthropocene by David Martin-Jones
• Non-Cinema: Digital, Ethics, Multitude by William Brown
• Non-Cinema, or The Location of Politics in Film by Lúcia Nagib
• The Filmmaker as Metallurgist: Political Cinema and World Memory by Patricia Pisters 
• Sympathy for the Other: Female Solidarity and Postcolonial Subjectivity in Francophone Cinema by Kathleen Scott and Stefanie Van de Peer

9 Open Access eBOOKS sourced at Oapen! (3 more OA ebooks in the list after this!)

• An excellent excerpt from Sophie Mayer's important new book Political Animals: The New Feminist Cinema (I.B. Tauris, 2015)
• A new book by Peter Sutoris on the history of documentary film in India is supported by this website with dozens of films! (Thanks to Anupama Kapse, Rachel Dwyer and Corey Creekmur for alerting us to this amazing resource.)
• Alisa Lebow's magnificent metadocumentary project Filming Revolution features in the online journal Warscapes
• Film scholar Kelley Conway's magnificent lecture on Agnès Varda's LES PLAGES D’AGNÈS/THE BEACHES OF AGNES https://youtu.be/jC7hoJWL2vc and David Bordwell's introduction to her book on the French filmmaker: http://www.davidbordwell.net/blog/2015/11/23/still-agnes/ 
• Further fabulous recent entries at Observations on Film Art:
• Pick your protagonist(s)
• Open secrets of classical storytelling: Narrative analysis 101
• They See Dead People [on how ghosts and other unworldly beings are figured in the movies]
• Living in the spotlight and the shadows: Jeff Smith on TRUMBO
• SERIES Journal, a new open access publication devoted to the study of international TV serials. Two issues are up here: http://series.unibo.it/search/titles
• BFI article: "Colour in Film: the 10 best film colour systems"
• The Problem with Disney Movies......
• Adrian Martin's latest FILMKRANT column, on CAROL and SAINT LAURENT
• Free download (PDF) of Nick Aikens's edited collection on the work of artist Hito Steyerl: TOO MUCH WORLD (thanks to Vinzenz Hediger for the link).
• Max Nelson's book review on "The Wonder of Hand-Painted Early Cinema" (via Thomas Groh)
• New video essay by Shane Denson: hijab.key (http://wp.me/p1xJM8-O7): "In part, it's about suture and ideology in Michael Bay's Benghazi movie. But it's also a formal experiment: the video is made completely in Keynote -- but completely automated, no clicking on my part."
• Geoblocking and Global Video Culture, an open-access edited collection on the politics of region control and circumvention in digital medihttp://flavorwire.com/556553/50-films-by-women-you-can-watch-online-right-now?platform=hootsuitea. Eds. Ramon Lobato and James Meese, Amsterdam: Institute of Network Cultures, 2016. To download the PDF, visit this website.
• Website devoted to women animators from the late 1800s to the present. (Via Isabel Stevens and Girish Shambu)
• 'An Intimate Encounter: Negotiating Subtitled Cinema' by Niall Flynn, at Open Library of Humanities
• Via Adrian Martin comes news of the archive of the Australia/New Zealand-focused SCREEN SOUND journal, which has its whole archives (annual issues since 2010) downloadable online.
• All of documentarist John Pilger's films are online!
• A video essay on Andrea Arnold's adaptation of WUTHERING HEIGHTS by Luis Rocha Antunes. Also see a written articulation of this research by him here: http://journals.sfu.ca/vict/index.php/vict/article/view/157/81
• Really interesting piece on recent cinema and screen culture, including ROOM, by Sophie Mayer.
• Interplay: Audiovisual or Videographic Film Studies Research Publications by Catherine Grant, 2012-2015 - all online and open access.
• COLUMBIA FILM LANGUAGE GLOSSARY - Rather useful online resource. (Via Anupama Kapse)
• New Cinema Journal Teaching Dossier at http://TeachingMedia.org! This one is edited by Leah Shafer and Melanie E.S. Kohnen and focuses on Digital Humanities and Media Studies pedagogical crossovers.
• Jordan Cronk with a wonderful interview with Girish Shambu on the new cinephilia and THE NEW CINEPHILIA.
• Great video playlist for the Q&A sessions of the Institute for Contemporary Art's recent "Onwards and Outwards" programme of films made by British women filmmakers. https://www.ica.org.uk/off-site/ica-cinema/onwards-outwards
• 50 Films by Women You Can Watch Online Right Now
• Some interesting videographic experiments introduced and discussed by Jason Mittell.
• Watch Miklós Kiss's latest audiovisual essay: "Denarration in Michael Haneke's funny FUNNY games GAMES"
• 'Letter to Harmony Korine' from Gerard-Jan Claes and Anton Jaeger at the marvellous Sabzian website, which has lots of items of interest (HT Ruben Demasure)

“What is a movie, in the beginning? A suspicion, a hypothetic[al] story, a shadow of ideas, blurred feelings. And, still, [from that] first impalpable contact, it already seems to be itself, complete, vital, pure.” (Federico Fellini, Fazer um filme (“Making a Movie”). Rio de Janeiro: Editora Civilização Brasileira, 2000., 204 and 205, translated by Marcelo Moreira Santos and cited by him in 'Cinema and Pragmatism: a Reflection on the Signic Genesis in Cinematographic Art', Signs, Vol. 3, 2009: pp. 30-40)

“The movie tells its worlds, its stories, its characters, through images. Its expression is figurative, like [that] of dreams. (...) The movie tries to reproduce a world, an environment, in a vital manner. It tries to remain in this dimension, trying to recreate the emotion, the enchantment, the surprise.” (Fellini, cited in op. cit. 139 and 154)

Inspired by the video, above, of the sublime Richard Dyer talking about "The Wind in Fellini" in simply one of the best Film Studies lectures currently available on the internet, Film Studies For Free today brings you some choice links to openly accessible, and high quality, studies of and further viewing on the work of director Federico Fellini, and of his collaborators, like Nino Rota (the subject of a wonderful new book by Dyer).

Just so you know, FSFF is off on a trip shortly and will be back, joyously labouring away to track down such wondrous links as these below, in just over a week. See ye efter!

• Lior Barshack, 'Intimate Enunciations: Carnival and Apocalypse in Fellini', Cardozo Law Review, 31.4, 2010

• John Baxter, 'Juliet of the Spirits', The Criterion Collection: Notes, March 11, 2002

• Peter Bondanella, 'Federico Fellini: A Life in Cinema' - excerpt, The Films of Federico Fellini (Cambridge: Cambridge University Press, 2002)

• Peter Bondanella, 'Amacord', The Criterion Collection: Notes, November 22, 1999

• Robert Castle, 'Orchestra Rehearsal Reconsidered: In which "Fellini takes us beyond our frailties and chaos', Bright Lights, Issue 40, May 2003

• Adrian Danks, 'Roma', Senses of Cinema, February 2002

• Richard Dyer, 'The Ending of 8 ½ (1963)', in James Walters and Tom Brown (eds), Film Moments: Criticism, History, Theory (2010)

• Richard Dyer, 'Tales of Plagiarism And Pastiche', Nino Rota: Music, Film and Feeling (London: Palgrave/BFI, 2010)  (27 free pages) Book info. 

• David Ehrenstein, 'La Strada', The Criterion Collection: Notes, March 7, 1988

• Federico Fellini, 'Nights of Cabiria', The Criterion Collection: Notes, September 6, 1999

• Federico Fellini, 'And the Ship Sails On', The Criterion Collection: Notes, September 27, 1999

• Manuela Gieri, 'Character and Discourse from Pirandello to Fellini: Defining a Countertradition in an Italian Context', QUADERNI d'italianistica Volume XHl. No. 1, 1992

• David Hannah (with Richard Dyer), 'Film composer Nino Rota's collaborations' (Viewing: 3:24), BBC website, August 31, 2010

• Tullio Kezich, '8¹⁄2: When "He" Became "I"', The Criterion Collection: Notes, December 3, 2001

• Marcia Landy, 'Introduction', Italian Film (Cambridge: Cambridge University Press, 2000)

• David Lavery, 'News From Africa: Fellini-Grotesque', originally published in Post Script 9.1 and 2 (1990): 82-98

• Tony Maraini, 'An Interview with Federico Fellini', Bright Lights Journal, Issue 26, November 1999

• Todd McGowan, 'Fantasy and Showing Too Much', The Real Gaze: Film Theory After Lacan (Albany: State University of New York, 2007)

• Pu Miao, 'The Two Themes: Settings in Fellini's Films', Places, 7.3, 1991

• Marcelo Moreira Santos and cited him in 'Cinema and Pragmatism: a Reflection on the Signic Genesis in Cinematographic Art', Signs, Vol. 3, 2009: pp. 30-40

• Gary Morris, 'Nights of Cabiria', Bright Lights, Issue 22, September 1998 

• Catherine O'Rawe, '‘"I padri e i maestri": Genre, Auteurs and Absences in Italian Cinema', Italian Studies, 63.2, 2008

• Tom Piazza, 'I Vitelloni: A Trip to the Station', The Criterion Collection: Notes, April 23, 2004

• George Porcari, 'Fellini Goes To The Beach', Cineaction, Issue 75, 2008

• Megan Ratner, 'Knocking on Modernity's Door: Fellini's I Vitelloni." Bright Lights Film Journal, vol. 41, August 2003

• Dana Renga, 'Irony and the Aesthetics of Nostalgia: Fellini, Zanzotto and Casanova's Redemption', QUADERNI d'italianistica, Volume XX, No. 1-2, 1999 

• Sam Rohdie, 'Amarcord: Federico of the Spirits', The Criterion Collection: Notes, September 4, 2006

• Jonathan Rosenbaum, 'The White Sheikh', The Criterion Collection: Notes, April 28, 2003

• Andrew Sarris, 'Variety Lights', The Criterion Collection: Notes, August 28, 2000

• Ajay Sekher, 'Ways of Seeing the Self, Subjectivity and History: Filmic Autobiographies, Biopics and Historicals', Academia.edu, date unknown

• Alexander Sesonske, '8¹⁄2: A Film with Itself as its Subject', The Criterion Collection: Notes, December 3, 2001

• Antonia Shanahan, 'Federico Fellini', Senses of Cinema, Issue 21, 2002

• Domenic Siracusa, 'Casanova, Marinetti and the Art of Seduction', Carte Italiane, 2.6, 2010

• 'Agnès Varda on Amacord', Viewing (10:49), BFI Live, May 5, 2010

• Marguerite Waller, 'Whose Dolce Vita is this anyhow? The Language of Feliini's Cinema', QUADERNI d'italianistica, Volume XI, No. 1, 1990

• Peter Wuss, 'Dreamlike Images in Fellini’s 8 1/2 and Tarkovsky’s The Mirror: A Cognitive Approach', Avila, Fall 2003

Image from The Band Wagon ( Vincente Minnelli, 1953) starring Cyd Charisse and Fred Astaire (above)

Today, Film Studies For Free celebrates the bountiful, free, Film Studies book samples available for perusal and download at the Palgrave Macmillan website. These may not be the Open Access works this blog normally labours to ferret out and champion. But there have been some astonishingly generous excerpts available online at Palgrave lately, perhaps most notably 72 pages from one of the most exciting of recent film publishing efforts, edited by and with stunning contributions from some brilliant former students, colleagues and friends of FSFF's author: James Walters and Tom Brown's remarkable collection Film Moments: Criticism, History, Theory.

Full contents of the free sample pages are given below, together with numerous other references and links to Palgrave PDFs below those.

If you are in London tomorrow you may like to know that there will be a Film Moments launch event, with some fascinating-looking talks by a number of the contributors to the collection at 2pm at the BFI Southbank (full details here).

• James Walters and Tom Brown (eds), Film Moments: Criticism, History, Theory (2010) (72 free pages including the chapters below)
• Preface
• PART ONE: CRITICISM 
• Shadow Play and Dripping Teat: The Night of the Hunter (1955); Tom Gunning 
• Between Melodrama and Realism: Under the Skin of the City (2001); Laura Mulvey
• Internalising the Musical: The Band Wagon (1953); Andrew Klevan 
• The Visitor's Discarded Clothes in Theorem (1968); Stella Bruzzi
• Style and Sincerity in Quentin Tarantino's Kill Bill: Vol. 2 (2004); James Walters
• The Moves: Blood (1989); Adrian Martin
• The Properties of Images: Lust for Life (1956); Steve Neale
• Two Views Over Water: Action and Absorption in Ingmar Bergman's Wild Strawberries (1957); Ed Gallafent
• Making an Entrance: Bette Davis's First Appearance in Jezebel (1938); Martin Shingler 
• A Narrative Parenthesis in Life is Beautiful (1997); Deborah Thomas 
• The End of Summer: Conte d'été (1996); Jacob Leigh
• Enter Lisa: Rear Window (1954); Douglas Pye
• Opening Up The Secret Garden (1993); Susan Smith
• A Magnified Meeting in Written on the Wind (1956); Steven Peacock
• 'Everything is connected, and everything matters': Relationships in I [heart] Huckabees (2004); John Gibbs 
• The Ending of 8 ½ (1963); Richard Dyer 
• Full book info.

• Caroline Bainbridge, 'Introduction', A Feminine Cinematics: Luce Irigaray, Women and Film (2008) (16 free pages) Book info.

• Emma Bell, 'Introduction', Reading Management and Organization in Film (2008)  (16 free pages) Book info.

• Daniela Berghahn and Claudia Sternberg (eds), 'Introduction', European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe (2010)  (35 free pages) Book info.

• James Chapman, Mark Glancy and Sue Harper (eds), 'Introduction', The New Film History (2007) (24 free pages) Book info.

• Teresa De Lauretis, 'Introduction: Death @ Work', Freud's Drive: Psychoanalysis, Literature and Film (2008) (29 free pages) Book info.

• Dennis Denisoff,, 'Introduction: Unsightly Desires' Sexual Visuality From Literature To Film 1850-1950 (2004) (24 free pages) Book info.

• K.J. Donnelly, 'Introduction', British Film Music and Film Musicals (2007)  (22 free pages) Book info.

• Reena Dube, 'The Discourse of Colonial Enterprise and Its Representation of the Other Through the Expanded Cultural Critique', Satyajit Ray's The Chess Players and Post Colonial Film Theory: Postcolonialism and Film Theory (2005) (46 free pages) Book info.

• Richard Dyer, 'Tales of Plagiarism And Pastiche', Nino Rota: Music, Film and Feeling (2010)  (27 free pages) Book info.

• Robert Eaglestone and Barry Langford (eds),  'Introduction', Teaching Holocaust Literature and Film (2007)  (20 free pages) Book info.
  

• Martin Flanagan, 'Dialogism and Film Studies: The Dialogic Spectator', Bakhtin and the Movies: New Ways of Understanding Hollywood Film (2009) (48 free pages) Book info.
  

• Thomas S. Freeman, 'Introduction: It’s Only a Movie',  in Susan Doran and Thomas Freeman (eds), Tudors and Stuarts on Film: Historical Perspectives (2008)  (41 free pages) Book info.

• Patrick Fuery, 'Introduction: Film and Theory' and 'The Gaze: Masochism, Identification and Fantasy in the Spectator', New Developments in Film Theory (2000)  (31 free pages) Book info.

• Roberta Garrett, 'Postmodernism, New Hollywood and Women’s Films', Postmodern Chick Flicks: The Return of the Woman's Film (2007) (49 free pages) Book info.
  

• Greg Giesekam, 'Introduction: Contamination or Remediation?', Staging the Screen: The Use of Film and Video in Theatre (2007) (31 free pages) Book info.

• Kristyn Gorton, 'Theorising Desire', Theorising Desire: From Freud to Feminism to Film (2008) (40 free pages) Book info. 

• Julie Grossman, Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up (2009)  (22 free pages) Book info.

• Stephen Hutchings (ed.), 'Introduction', Russia and its Other(s) on Film: Screening Intercultural Dialogue (2006) (36 free pages) Book info.

• Stephen Keane, 'Screens', CineTech: Film, Convergence and New Media (2006)  (30 free pages) Book info.

• Maurice Hindle, 'Introduction', Studying Shakespeare on Film (2007) (19 free pages) Book info.

• Nick Lacey, [various sections], Introduction to Film Studies (2004)  (52 free pages) Book info.  Companion website

• Michael O'Pray, 'Representation, Depiction and Portrayal in Film' Film, Form and Phantasy: Adrian Stokes and Film Aesthetics (2004) (32 free pages) Book info.

• Michael Paris (ed.), 'Introduction: Film, Television, and the Second World War – The First Fifty Years', Repicturing the Second World War: Representations in Film and Television (2007)  (20 free pages) Book info.

For some time now, Film Studies For Free has been enjoying the videos that the British Film Institute has been posting at BFI Live, its online video channel exploring film and TV culture. There are lots of videos worth seeing at the site but, below, FSFF has singled out and directly linked to some which are especially deserving of the attention of film scholars.

As it is so nice and sunny today, and Film Studies For Free's author (not pictured above) likes the outdoors as much as, if not more than, the dark confines of the cinema, or the equally artificially-lit terrain of her happy, new-media, hunting grounds, she will strive to keep her extraneous comments to a bare minimum as she snappily shares with you the following nods to excellent online resources, before heading for the nearby hills...

• Do, please, check out Gramma/Γράμμα: Journal of Theory and Criticism; it's an international peer-reviewed journal, published in English and Greek once a year by the School of English, Aristotle University of Thessaloniki. It welcomes articles and book reviews from a wide range of areas within the theory and criticism of literature and culture, especially ones with an interdisciplinary approach. The latest issue - Vol. 15, Shakespeare Worldwide and the Idea of an Audience, edited by Tina Krontiris and Jyotsna Singh - has a good article on film: Xenia Georgopoulou's 'Parting “totally sucks”: Filming Romeo and Juliet for Generation X'. Back articles of note include the following very interesting pieces: Joan Copjec, The Object-Gaze: Shame, Hejab, Cinema; Sean Homer, “The Roma do not Exist”: The Roma as an Object of Cinematic Representation and the Question of Authenticity; Sylvia Karastathi, Filming the Dutch Still Life: Peter Greenaway’s Objects; and Mary Jacobus, Cloud Studies: The Visible Invisible.
• eSharp: eSharp is an international online journal for postgraduate research in the arts, humanities, social sciences and education. Based at the University of Glasgow and run entirely by graduate students, it aims to provide a critical but supportive entry into the realm of academic publishing for emerging academics, including postgraduates and recent postdoctoral students. There are fewer articles on film, than Gramma, but still some worthwhile ones, for example: Jessie Gibbs, Road Movies Mapping the Nation: Y tu mamá también; Anna Ball, Writing in the Margins: Exploring the Borderland in the Work of Janet Frame and Jane Campion; Sarah Godfrey, Villainous Victims: The Paradox of the 'Damaged' Man in Naked and Nil By Mouth; and last but not least, Shira Segal, The Masculinization Project of Hospital Birth Practices and Hollywood Comedies.
• Westminster Papers in Communication and Culture is a peer-reviewed journal, published four times a year in hard copy and PDF format, and based at the University of Westminster. Particular interests include, but are not limited to, work related to Popular Culture, Media Audiences, Political Economy, Promotional Culture, New Media, Political communication, Migration and Diasporic Studies. A major goal of the WPCC is to help develop a de-westernised and transcultural sphere that engages both young and established scholars from different parts of the world in a critical debate about the relationship between communication, culture and society in the 21st Century. What's on offer here at WPCC is mostly (excellent) Media Studies but a brilliant film-media 'crossover' piece is Su Holmes' (a former colleague of mine, now at the University of East Anglia) unmissable: `Starring Dyer?': Re-visiting Star Studies and Contemporary Celebrity Culture.
• cinetext is a bilingual internet forum for film and philosophy located at the University of Vienna, addressing students, researchers, scholars, and anyone with an interest in the thoughtful exploration of cinema, film, and television. Check out the index at the site as there are far too many worthwhile pieces (in English and German) here to list, but Film Studies For Free's favourites were Daniel Garrett, The Evidence of Things Not Seen: Carl Theodor Dreyer's The Passion of Joan of Arc; and Mattias Frey, Supermodernity, Capital, and Narcissus: The French Connection to Michael Haneke's Benny's Video
• Finally, for today, a warm recommendation for Critical Studies in Television, a new website connected to the hard-copy journal of the same name, published by Manchester University Press (HERE's a link to that journal's Open Access content), and edited by (among others) Kim Akass and Janet McCabe. As well as running the website, McCabe and Akass are also co-Series Editors of the wonderful Reading Contemporary Television series at IB Tauris . CST online is a scholarly resource and critical forum for studying television, sponsored by the Department of Contemporary Arts at Manchester Metropolitan University. Its mission is 'to enrich television studies by providing comprehensive access to information, as well as to disseminate knowledge and stimulate debate'. The website is only just up and running but already has great items about and links to news stories, debate, and other media resources about global television. A particularly nice feature is its 'Featured Archive' spot. The site is updated twice weekly with information on new TV books, Calls for Papers and invitations to forthcoming conferences. And there's a space for 'TV Reflections' currently filled by a nice piece by McCabe and Akass themselves, 'Writing TV into Discourse', with a great clip of one of Film Studies For Free's favourite TV shows, Ugly Betty, in Arabic. Good luck to CST online!

Here below are some more links to great online webcasts of very worthwhile, film and film-studies events, as stored in the Tate Galleries online archive (see previous posts on this topic HERE, HERE, and HERE):

• 'Double Indemnity: Todd Haynes/Edward Hopper:' Todd Haynes with Richard Dyer (4 June 2004) HERE
• 'Anthony Minghella: British Art Lecture' (21 September 2004) HERE
• 'Moving Images': Eija-Liisa Ahtila (11 June 2002) HERE (see also HERE for a good Guardian review of the Tate Modern exhibition of Ahtila's work)
• 'Moving Images': Agnès Varda (25 April 2002) HERE

There is also a webcast of an interview, in the 'Moving Images' series, with Laura Mulvey (7 March 2002) at the Tate Modern, but the link is reported as faulty by the Tate website at present. They say they will fix it, so wait a while, and then try HERE. While on the subject of Mulvey, HERE's a link to an online version of her classic essay, 'Visual Pleasure and Narrative Cinema'.

And, to conclude, HERE's a link to an already pretty widely-known, online 'access point' for Superstar: The Karen Carpenter Story (Todd Haynes, 1987 - also added to Film Studies For Free's regular listing of 'Film Practice As Research Links').