• Conflicting Images, Contested Realities: An Introduction to Frames 7 by Eileen Rositzka and Amber Shields

• "Goya on his Shoulders: Tim Hetherington, Genre Memory, and the Body at Risk" by Robert Burgoyne and Eileen Rositzka
• "New Ethical Questions and Social Media: Young People’s Construction of Holocaust Memory Online" by Victoria Grace Walden
• "The War Tapes and the Poetics of Affect of the Hollywood War Film Genre" by Cilli Pogodda and Danny Gronmaier
• "A Revolution for Memory: Reproductions of a Communist Utopia through Tsui Hark’s The Taking of Tiger Mountain and Posters from the Cultural Revolution" by Nathan To
• "The Long Life of Belgian WWI Documentaries in the Interwar Period" by Natalia Stachura
• "'Choirs of Wailing Shells': Poetic and Musical Engagements in Derek Jarman’s War Requiem –between Documentary and Fiction" by Caroline Perret

• "Matricídio, or Queerness Explained to My Mother" by Diego Costa
• "Bollywood Bodies: Turning the Gaze from Babes to Boys and Back Again in Farah Khan’s Happy New Year" by Amber Shields
• "Civil War Photography and the Contemporary War Film" by John Trafton
• "Argentine Documentaries on the Malvinas (Falklands) War: Between Testimony and Televisual Archive" by Mirta Varela
• "The British Docudramas of the Falklands War" by Georges Fournier

• In Contrast: Croatian Film Today by Ana Grgić

1. Vertigo Variations, Pt 1 A few ways of seeing Alfred Hitchcock's impossible object by B. Kite and Alexander Points-Zollo
2. Vertigo Variations, Pt 2 by B. Kite and Alexander Points-Zollo
3. Vertigo Variations, Pt 3 by B. Kite and Alexander Points-Zollo

My paintings are done by a filmmaker, sculpture by a musician, films by a painter, music by a filmmaker, paintings by a sculptor, sculpture by a filmmaker, films by a musician, music by a sculptor ... sometimes they all work together. (Michael Snow)

[N]o other artist has done so much to destabilise our approximation of the visible than Michael Snow. By threatening the very tools we rely on to process what we perceive, the artist creates unnerving yet frequently poetic works. His avant-garde film-making is less about a way of understanding the camera as a device for recording than as an instrument whose structural, material properties can form the main focus of the work. (Tim Clarke)

Lindsay Seers's Extramission 6 (Black Maria) [is] one of the real finds of [the Altermodern: Tate Triennal exhibition, 2009]. Seers shows a semi-autobiographical, quasi-documentary film about her life, screened in a mock-up shed whose design is a copy of Thomas Edison's Black Maria, his New Jersey film studio. The story is implausible, troubling, and beautifully told by different narrators.

As a child, Seers is so overwhelmed by visual stimulus that she cannot speak. As soon as she sees a photograph, she decides she wants to be a camera. She uses her mouth as the camera, and goes about with a black bag over her head. As she grows up, Seers stops being a camera, and wants instead to be a projector. She wears a model of Edison's studio on her head, projecting the movies in her mind. She struggles to illuminate the world.

The whole story is both dreamlike and moving. How much of it is true? There are interviews with Seers's mother and with a psychologist. Are they really who we think they are? As I staggered out, someone muttered "What is she on?" Adrian Searle, guardian.co.uk, February 3, 2009

Film Studies For Free is very happy to add its congratulations to the many being deservedly delivered today to Lindsay Seers following the award to her yesterday of this year's Jarman prize for artists working with the moving image. Seers, whose hypnotic work as an artist includes film practice-based research produced as a lecturer in arts practice at London's Goldsmiths College, receives a cash prize, but also a very valuable broadcast commission – to make four artworks for Channel 4’s acclaimed Three Minute Wonder slot (3MW). FSFF looks forward to watching those.

The Jarman Award was inspired by British avant-garde film-maker Derek Jarman, one of the most innovative, esteemed and visionary artists of the last century. Interviews and features on this year’s award shortlist and Jarman's legacy can be found at Engine, an online forum from Animate Projects.

Below are some further links to online and openly accessible resources, reviews and information about Lindsay Seers' work.

• David Berridge, 'Lindsay Seers: It has to be this way, More Milk Yvette: A Journal of the Broken Screen, February 9, 2009
• Chris Fite-Wassilak, 'Lindsay Seers', Frieze Magazine, Issue 122, April 2009
• Rebecca Geldard, 'Lindsay Seers: It Has to Be This Way', ArtReview magazine, 21 April 21, 2009
• Tom Morton, 'Remember Me [monograph on Lindsay Seers]', Frieze Magazine, Issue 124, June-August 2009
• Jennifer Poole, 'Lindsay Seers: Eyes of Others...', Circa Arts Magazine, 2005
  
• Lindsay Seers at the Event Horizon exhibition (2008) webpage at the Royal Academy
• Lindsay Seers' webpages at Smart Project Space
• Lindsay Seers, 'Artist's Text', Arts Council England website, 2003