Amsterdam fine links!

Image from Solaris (Andrei Tarkovsky, 1972), based on Stanisław Lem's 1961 novel. Read BC Biermann's film-philosophical PhD Thesis chapter on this film adaptation

A little window of opportunity for Film Studies For Free's author to bring you one of this site's regular features today: a report (or, more accurately, a labour-intensive links-harvest) from a University research repository, one of those online archives in which, on occasion, academics choose not only to store references to their published film studies work, but also to provide Open Access to that work.

The repository in question today is that of the University of Amsterdam/Universiteit van Amsterdam (UvA), home to one of the best Film and Media Studies departments in the world. Below is a list of links to an amazing spread of very high quality film research accessible there, most of it in the form of full-length PhD theses.

• Mieke Bal, 'Exhibition as film', in: (Re)visualizing national history: museums and national identities in Europe in the new millennium, ed. R. Ostow (Toronto: Toronto University Press, 2008), p. 15-43 
• M. Behlil , Home away from home: global directors of new Hollywood, PhD Thesis, UvA, 2007
• B.C. Biermann, Travelling philosophy: from literature to film [on A Clockwork Orange, Fight Club, Solaris], PhD Thesis, UvA, 2006 
• C.J. Birdsall, Between Noise and Silence: Sound, Technology and Urban Space during Nazi Germany, PhD Thesis, UvA (2010)
• L.T. Copier, Preposterous revelations: visions of apocalypse and martyrdom in Hollywood cinema 1980 – 2000, PhD Thesis, UvA, 2009
• S Dasgupta, 'Art is going elsewhere: and politics has to catch it : an interview with Jacques Rancière', Krisis, 9.1, 2008
• K. van Driel, Psychology of entertainment, PhD Thesis, UvA, 2003
• JJ Ebbers, Organizational dynamics in social networks : contracts and reputations in the film industry, PhD Thesis, UvA, 2009
• Thomas Elsaesser, 'Constructive Instability, or The Life of Things as the Cinema's Afterlife', Video Vortex: Responses to Youtube, eds. G. Lovink, S. Niederer (Amsterdam: Institute for Network Cultures, 2008)
• C.J. Forceville, 'The source-path-goal schema in the autobiographical journey documentary: McElwee, Van der Keuken, Cole', The New Review of Film and Television Studies, Vol. 4 (2006), p. 241-261 
• Malte Hagener, Avant-garde culture and media strategies: the networks and discourses of the European film avant-garde, 1919-39, PhD Thesis, UvA, 2005
• EM Kedem, The kibbutz and Israeli cinema : deterritorializing representation and ideology, PhD Thesis, UvA 2007
• J de Kloet, 'Cosmopatriot contamination', Cosmopatriots: on distant belongings and close encounters, eds E. Jurriëns, J. de Kloet (Amsterdam: Rodopi, 2007)
• S. Loist, M. de Valck, 'Film festivals/Film festival research: thematic, annotated bibliography', 2nd ed. (Hamburg: Universität Hamburg, Institut für Germanistik II, 2010)
• J. Noordegraaf, "'Facing Forward' with found footage: displacing colonial footage in 'Mother Dao' and the work of Fiona Tan", in: Technologies of memory in the arts (2009), eds Liedeke Plate and Anneke Smelik , p. 172-187 (author's original manuscript)  
• F Paalman, 'The Cheetah of Cinema', Mind the screen: media concepts according to Thomas Elsaesser, eds. J. Kooijman, P. Pisters, W. Strauven (Amsterdam: Amsterdam University Press, 2008)
• F. Paalman, 'Harbor, architecture, film: Rotterdam 1925-1935', in: Films that work: industrial film and the productivity of media, eds V. Hediger, P. Vonderau (Amsterdam: Amsterdam University Press, 2009), p. 391-404 
• MJ Punt, Early Cinema and the Technological Imaginary, PhD Thesis, UvA, 2000
• Laura Schuster, “What does a scanner see?” Techno-fascination and unreliability in the mind-game film", Conference paper: Visions of Humanity in Cyberculture, Cyberpunk and Science Fiction, Oxford, Inter-Disciplinary.Net, July 1-3, 2008
• D.W. Russell, A multifaceted multi-methodological examination of the global movie industry, PhD Thesis, UvA, 2006
• E Thanouli, Post-classical narration: a new paradigm in contemporary world cinema, PhD Thesis, UvA, 2005
• S Vojkovic, Subjectivity in the New Hollywood Cinema: Fathers, Sons and Other Ghosts, PhD Thesis, UvA, 2001

Paranormal cinematic activity: ghost film studies

Latest update: April 27, 2010

 Publicity still for The Innocents (Jack Clayton, 1961). See an excerpt from this film in Nicolas Rapold and Matt Zoller Seitz's L Magazine video essay 'Bad Seeds: Creepy Kids on Film', embedded towards the foot of this entry

Film Studies For Free has gone and spooked itself, today, with its own scary persistence in compiling a list of links to openly accessible, online, scholarly articles, chapters and theses on international ghost film studies. Oh, and there are two related video essays lurking at the bottom to scare the scholarly bejesus out of you for good measure, too (added April 27) .

Like all the best posts at this blog (IOHO), the list below owes its hefty materiality to its connections with FSFF's author's own (hauntological) research, some of which, hopefully, will be directly shared with her fearless readers very shortly. So do please be a revenant, won't you?

• Michael J. Anderson, 'Histoire de Marie et Julien: Jacques Rivette's Material Ghost Story', Senses of Cinema, Issue 32, 2004

• Guy Austin, '"In Fear and Pain": Stardom and the Body in Two French Ghost Films', Scope, Issue 7, February 2007

• Sarah M. Ball, The Uncanny in Japanese and American Horror Film: Hideo Nakata’s Ringu and Gore Verbinski’s Ring, MA thesis, North Carolina State University, 2006  

• Colette Balmain, '“Vengeful Virgins in White”: Female Monstrosity in Asian Cinema', in Niall Scott (ed), Monsters and the Monstrous: Myths and Metaphors of Enduring Evil (Oxford: Inter-Disciplinary Press, 2004) [scroll down through pdf to p. 123]

• Colette Balmain, 'Inside the Well of Loneliness: Towards a Definition of the Japanese Horror Film', Electronic Journal of Contemporary Japanese Studies, Discussion Papers, 2006

• Caetlin Benson-Allott , '“Before you die, you see The Ring”: notes on the immanent obsolescence of VHS, from Jump Cut, No. 49, spring 2007

• Lesley Brill, 'M. Night Shyamalan: A Preliminary Report', Senses of Cinema, Issue 46, 2008

• Ture Bural, 'Endland Umpire: A placement of David Lynch's Inland Empire', Perforations, 29, 2007

• Jodey Castricano, 'Shirley Jackson’s The Haunting of Hill House and the Strange Question of Trans-Subjectivity', Jung: the e-Journal of the Jungian Society for Scholarly Studies Volume 2, Number 3, April, 2006

• Brigid Cherry, 'Gothics and Grand Guignols: Violence and the gendered Aesthetics of Cinematic Horror', Particip@tions, Vol. 5, Issue 1, 2008

• Leah A.Cheyne, 'The Sixth Sense: Humanizing Horror', Offscreen Journal, November 30, 2003

• David Church, 'Return of the Return of the Repressed: Notes on the American Horror Film (1991-2006)', Offscreen Journal, Volume 10, Issue 10 (November 25, 2006)

• Michel Ciment, 'Kubrick and the Fantastic', (1982) The Kubrick Site, (date unknown)

• Robyn Citizen, 'Review of The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity by Linnie Blake', Senses of Cinema,Issue 51, 2009

• Ryan Cooke, 'Review of Jay McRoy, Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam and New York: Editions Rodopi B.V., 2008', Screening the Past,Issue 23, 2008

• Lisa Coulthard, 'Uncanny Memories: Stan Douglas, Subjectivity and Cinema, Scope, 2000

• John Culbert, 'The Well and the Web: Phantoms of Community and the Mediatic Public Sphere', Postmodern Culture, 19.2, January 2009

• Jonathan Eig, 'A beautiful mind(fuck): Hollywood structures of identity', from Jump Cut, Issue 46, 2003

• Thomas Elsaesser, 'The Mind-Game Film' in Warren Buckland (ed), Puzzle Films (Blackwell 2009)

• Carolyn Erler, 'The Obama Code: Ghosts and Monsters in the Visual Datasphere', CTheory.net, Resetting Theory Issue, December 2009
  

• Mark Fisher, 'Home is where the haunt is: The Shining's hauntology', k-punk, January 23, 2006

• Mark Fisher, 'You have always been the caretaker': the spectral spaces of the Overlook Hotel', Perforations, 29, 2007

• Brian Grady, '"We're Engaged to Be Engaged": The Paranormal Activity of Trauma and Relationship', Bright Lights Film Journal, Issue 67, February 2010

• Catherine Grant, 'Giving up Ghosts: Eliseo Subiela's Hombre mirando al sudeste and No te mueras sin decirme a dónde vas', Changing Reels: Latin American Cinema against the Odds, ed. Rob Rix and Roberto Rodríguez-Saona (Leeds: Leeds Iberian Papers - Trinity and All Saints/University of Leeds, 1997), pp. 89-120  

• Coral Houtman, 'Questions of Unreliable Narration in The Sixth Sense', Scope, November 2004

• Wendy F. Hsu , 'Between Narrative and Expressive, Fantasy and Melodrama in Bombay (Bollywood) Film', Virginia Review of Asian Studies, vol. 5 (2003)

• Annamarie Jagose, 'Hollywood Lesbians [Interview with Patricia White about Uninvited: Classical Hollywood Cinema and Lesbian Representability', Genders, 32, 2000

• Fredric Jameson, 'Historicism in The Shining', (1981) The Kubrick Site, (date unknown)

• Brian Jarvis, 'Anamorphic allegory in The Ring, or, seven ways of looking at a horror video', The Irish Journal of Gothic and Horror Studies, 3, 2007

• Bruce Kawin, 'Carnival of Souls', The Criterion Collection, Film Essays, 76

• Antonio Lázaro-Reboll , 'The Transnational Reception of El espinazo del diablo (Guillermo del Toro 2001)', Hispanic Research Journal, Vol. 8, No. 1, February 2007, 39–51

• John Lewis, '"Mother Oh God Mother …": Analysing the 'Horror' of Single Mothers in Contemporary Hollywood Horror', Scope, Issue 2, 2005

• Owen Livermore, 'Gun and Other Play: Takashi Miike and Fantasia Festival 2004', Synoptique, December 2004

• Li Zeng, Horror returns to Chinese cinema: an aesthetic of restraint and the space of horror ', from Jump Cut, No. 51, spring 2009

• Luo Hui, 'Chapter Four: Minor Discourses in New Peripheries', The Ghost of Liaozhai: Pu Songling's Ghostlore and its History of Reception, PhD Thesis,University of Toronto, 2009

• Nina K. Martin, 'Dread of mothering: plumbing the depths of Dark Water', from Jump Cut, No. 50, spring 2008

• Ewa Mazierska, 'Between the Sacred and the Profane, the Sublime and the Trivial: The Magic Realism of Jan Jakub Kolski ', Scope, 2000

• Donna McRae, 'Family Demons: The Ghost as Domestic Inheritance', B for Bad Cinema, Colloquy, Issue 18, December 2009

• Thomas Mical, 'Introduction: Hauntology, or Spectral Space', Perforations, 29, 2007  

• Elizabeth Mullen, 'Synæsthetic Specters: Haunting Hill House on the Silver Screen', Image and Narrative, Vol. 10, Issue 1, 2009

• Lindsay Nelson, 'Ghosts of the Past, Ghosts of the Future: Monsters, Children, and Contemporary Japanese Horror Cinema', Cinemascope, Issue 13, July-December 2009

• John Orr, 'The Trauma Film and British Romantic Cinema 1940-1960', Senses of Cinema, Issue 51, 2009

• Eimi Ozawa , 'Remaking Corporeality and Spatiality: U.S. Adaptations of Japanese Horror Films, 49th Parallel, Conference Special Edition, Autumn 2006

• N. Payasopon, 'The Cultural and Filmic Elements that contribute to the popularity of the Thai film Nang Nak', BU Review, Volume 2, No. 1, January-June 2003

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

• Laurence A. Rickels, 'Recognition Values: Seeing The Sixth Sense Again for the First Time', Other Voices, v.2, n.2 (March 2002)

• Juneko J. Robinson , 'Review: Jay McRoy (2007) Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam: Rodopi', Film-Philosophy, 14.1, 2010

• Caroline Ruddell, 'Breaking Boundaries The Representation of Split Identity in Anime', Animation Studies – Vol.2, 2007

• Steven Schneider, 'World Horror Cinema and the US: Bringing it all back home', Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA

• Aaron Smuts, 'Haunting the House from Within: Disbelief Mitigation and Spatial Experience', Film-Philosophy, Vol. 6 No. 7, April 2002

• Donato Totaro, 'Visual Style in M. Night Shyamalan’s “Fantastic” Trilogy, Part 1: The Long Take., Offscreen Journal, November 30, 2003

• Donato Totaro, Visual Style in M. Night Shyamalan’s “Fantastic” Trilogy, Part 2: Mise en Scène', Offscreen Journal, November 30, 2003

• Donato Totaro, 'Tokyo Sonata: Flirting with the Fantastic: Kiyoshi Kurosawa, 2008', Offscreen Journal,Vol . 13, Issue 5, 2009

• Dennis Tredy, 'Shadows of Shadows - Techniques of Ambiguity in Three Film Adaptations of “The Turn of the Screw”: J. Clayton’s The Innocents (1961), D. Curtis’s The Turn of the Screw (1974), and A. Aloy’s Presence of Mind (1999)', E-rea, 2.1, 2004

• Nicholas de Villiers, 'Leaving the cinema: metacinematic cruising in Tsai Ming-liang’s Goodbye, Dragon Inn', from Jump Cut, No. 50, spring 2008

• Gang Gary Xu, 'Remaking East Asia, Outsourcing Hollywood', Senses of Cinema, Issue 34, 2005

• Young-joon Cho, 'Four Cinema Versions of The Strange Case of Dr. Jekyll and Mr. Hyde', Thannhouser Company Film Preservation, 2006

• Emilie Yueh-yu Yeh and Neda Hei-tung Ng, 'Magic, Medicine, Cannibalism: the China Demon in Hong Kong Horror', David C. Lam Institute for East-West Studies, Working Paper Series, Paper Number: 74, April 2008 

Nicolas Rapold and Matt Zoller Seitz's L Magazine video essay
'Bad Seeds: Creepy Kids on Film',

Matt Zoller Seitz's L Magazine video essay
'Unreal Estate: The Scariest Movie Locations of All Time'

BFI Researchers' Tales: Mulvey, Dyer, Kubrick, Frayling

 Image of Grace Kelly as Lisa Fremont in Rear Window (Alfred Hitchcock, 1954)

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.

Laura Mulvey on the Blonde

8 Mar 2010: The world-renowned film theorist presents her thoughts on the Hitchcock Blonde.

Researchers' Tales: Richard Dyer

8 Mar 2010: The writer and academic discusses his instrumental role in the creation of the BFI London Lesbian and Gay Film Festival, one of the world's most prestigious celebrations of queer cinema.

Kubrick's Napoleon: The Greatest Movie Never Made? (Part 1)

13 Jan 2010: An illustrated lecture on Stanley Kubrick’s most ambitious yet unrealised project.

Kubrick's Napoleon: The Greatest Movie Never Made? (Part 2)

11 Jan 2010: An onstage discussion of the finer points of Stanley Kubrick’s failed production.

Researchers' Tales: Sir Christopher Frayling on Spaghetti Westerns

14 Dec 2009: Eminent academic and writer Sir Christopher Frayling discusses the Spaghetti Western genre as part of the BFI National Library’s Researcher’s Tales strand.

Researchers' Tales: Sir Christopher Frayling on Film Research

14 Dec 2009: Eminent educationalist and writer Sir Christopher Frayling discusses the practice of researching film.

Study of a Single Film: A.I. Artificial Intelligence (Steven Spielberg, 2001)

Part One of Ben Sampson's 'A Visual Study of A.I. Artificial Intelligence', 2010

Part Two of Ben Sampson's 'A Visual Study of A.I. Artificial Intelligence', 2010

What makes A.I. Steven Spielberg’s strangest, most interesting, and (though it may sound ironic to say it) most mature work is that, whether by accident or design, it’s the first of his movies to be both a “children’s” film, ingratiating and manipulative, and a film for adults—complex, ambiguous, brutal and cold. Or, to put it another way, both a Steven Spielberg film and a Stanley Kubrick film.
Tim Kreider, 'A.I.: Artificial Intelligence', originally published in Film Quarterly, Vol. 56, no. 2, December 2002


Although Stanley Kubrick spent almost two decades developing A.I.: Artificial Intelligence (2001), Steven Spielberg would eventually write and direct the final film after Kubrick’s death. While it may seem odd for a single work to result from two creators—especially two directors so distinct in style and temperament—this combination of minds actually reflects the themes and motifs of the film. Within its visual text, A.I.: Artificial Intelligence is obsessed with patterns of doubling and circular design. Throughout the film, faces become superimposed on top of one another, different characters repeat similar actions, and even the film narrative circles around on itself. In addition, specific characters are repeatedly framed through oval structures or reflected against rounded surfaces. These repetitions of shot choice and composition suggest multiple readings and underlying themes, including an interconnection between humans and machines that spans both desire and destiny.
Ben Sampson, ''Intelligence Doubled: A Visual Study of A.I. Artificial Intelligence”, UCLA, 2010

Way back in the increasingly dim and distant past, when Film Studies For Free's author used to teach film studies in a real classroom ... to real people ... (imagine!), one of her favourite courses was called Study of a Single Film. It fruitfully took a single film as its subject and object, for a whole semester,  revealing -- even to students who had hoped they might be able to choose the film themselves... -- the many benefits of truly concentrated film analysis and scholarship.

FSFF was reminded of these benefits when its attention was drawn to a marvellous new video essay on a single film by Benjamin Sampson, a graduate researcher in Cinema and Media Studies at UCLA. Sampson is the creator of another visual essay that this blog loved, on Orson Welles's F for Fake, originally published in the online UCLA journal Mediascape. According to the Mediascape website, prior to his graduate studies, Sampson worked for four years as a freelance videographer and video editor. His current research focuses on the later films of Orson Welles, audience segmentation in the 1950s, and essay films

Sampson's magnificently edited and profoundly argued new essay, embedded above, studies in detail the design and purpose of the many motifs of duality in Steven Spielberg's 2001 A.I. Artificial Intelligence. As Sampson himself notes in his commentary, duality is a particularly interesting aspect to study in relation to A.I., as it was the film with which Spielberg 'completed' Stanley Kubrick's original project in his own fashion. The essay is very timely, too: while somewhat derided by serious film criticism at the time of its release, A.I. recently found its way into some of the most discerning 'Best Films of the Decade' lists (see here [Reverse Shot], here [Glenn Kenny], and here [Jonathan Rosenbaum]), very deservedly in this blog's humble opinion.

In honour of A.I., as well as in celebration of Ben Sampson's wonderful, multimedia essay on it -- a piece of work which really begins to show what scholarly video essays can achieve, FSFF today launches its occasional series of 'Study of a Single Film' blog-posts.

There'll be links galore to online and openly accessible film scholarship or criticism of note (as below), all pertaining to great films of particular relevance to academic film studies. More of the usual, really...

But if you'd like to suggest a fruitful film for this series on which FSFF might base future such blogposts, or if, like Sampson, you have produced a really good scholarly video essay on a single film (or know of someone else who has) that might be centrepiece of future posts, do please get in touch by email.

• Peter Asaro, 'A.I. and Emotional Robots: Collaborative Fiction in Science and Film', Roboexotica November, 2005 Museumsquartier Vienna, Austria

• Pat Brereton, 'Database Logics and New Media Convergences in Science Fiction A reading of Spielberg’s Minority Report and AI', MIT Media in Transition 6 Stone and Papyrus, Storage in Transmission Conference April 24 –26, 2009

• William Brown, 'Grader of the Lost Sharks: Warren Buckland Considers Spielberg’s Overlooked ‘Monster’ Movies', Film-Philosophy, 11.3, 2007

• David Church, 'The “Cult” of Kubrick' Offscreen Journal, Volume 10, Issue 5 (May 31, 2006)

• Patricia Demers, '”Diventassi anch'io un uomo”: Pinocchio's Shared Humanity', Quaderni d'italianistica, Volume XXV, No. 1, 2004

• Ben Forest, 'A.I.: Artificial Intelligence', Journal of Religion & Film, Vol. 6, No. 1 April 2002

• Stephen M. Glaister, 'Saving AI: Artificial Intelligence: Philosophical Aspects of Spielberg's Neglected Robo-Epic', Bright Lights Film Journal, Issue 48, May 2005

• Juan González Etxeberria, 'Metamorphosing Words in the Cinema of the Fantastic', CLCWeb: Comparative Literature and Culture 10.4 (2008)

• Michael Koresky, 'Spielberg Symposium: Connective Tissue', Reverse Shot, April/May 2003

• Jane McGonigal, ʻ”This Is Not a Game”: Immersive Aesthetics and Collective Play [on The Beast/ the A.I game]', MelbourneDAC2003

• Vivienne Muller, 'Motherly Love', M/C Journal, Volume 6, Issue 6, November 2002

• Bert Olivier, 'When Robots would really be Human Simulacra: Love and the Ethical in Spielberg’s AI and Proyas’s I, Robot', Film-Philosophy, 12.2, September 2008

• Beatriz Peña Acuña, 'Social Encounters between Frank Capra and Steven Spielberg', Journal of Alternative Perspectives in the Social Sciences ( 2009) Vol 1, No 2, 382-399

• George Pendle, 'Information Man', Frieze Magazine, Issue 82, April 2004

• Jeff Reichert, 'The Human Kind', Reverse Shot, Issue 26, 2009

• Drehli Robnik, 'Saving One Life: Spielberg’s Artificial Intelligence as Redemptive Memory of Things', from Jump Cut, issue no. 45, 2002

• Stephen Rowley, 'Steven Spielberg', Senses of Cinema, January 2006

• Stephen Rowley, 'Clever Meets Stupid: Criticism, Theory, and Spielberg Apologists', Senses of Cinema, Issue 47, 2008

• Ben Sampson, 'A.I. Artificial Intelligence: A Visual Study', UCLA, 2010

• Jason Sperb, 'A haunted cinephiliac anecdote; or what temporal affects mean', Jamais Vu, July 16, 2009

• Temenuga Trifonova, 'Special Effects: Simulation in Cinema', Kinema, 2008

• The Question Spielberg: A Symposium, Part One: Position Papers, Senses of Cinema, Issue 27, 2003

• The Question Spielberg: A Symposium, Part Two: Films and Moments, Senses of Cinema, Issue 27, 2003

• Keith Uhlich, 'Stanley Kubrick', Senses of Cinema, May 2002

• J. Zornado, 'Children's Film as Social Practice', CLCWeb: Comparative Literature and Culture 10.2 (2008)

Participations: Studying Cinema Audiences

Dr Frank N. Furter/Tim Curry loving his 'audience' (Susan Sarandon and Barry Bostwick) in The Rocky Horror Picture Show (Jim Sharman, UK, 1975)

Film Studies For Free is delighted, as always, to flag up that the new issue of Participations - the Open Access journal of audience and reception studies -- has just gone online. 

It encompasses an excellent special section devoted to cinema audiences, but there are lots of high quality essays throughout, and a great set of Film Studies book reviews.

Participations, Volume 6, Issue 2 (November 2009)

• Martin Barker (Joint Editor): 'Editorial Introduction'
  

Special Edition on Cinema Audiences

• Ailsa Hollinshead (Guest Editor): 'Special Issue Introduction’

• Louise Anderson: 'Postcards from the edge: the untidy realities of working with older cinema audiences, distant memories and newsreels'

• Glen McIver: 'Liverpool’s Rialto: Remembering the Romance'

• Kathryn Mackenzie and Karl Magee (with thanks to John Izod and Isabelle Gourdin-Sangouard): 'In Search of an Audience: Lindsay Anderson’s Britannia Hospital'

• Peter Krämer: '‘Dear Mr. Kubrick’: Audience Responses to 2001: A Space Odyssey in the Late 1960s'

• Karen Boyle: 'Attractions and distractions: Mums, babies and ‘early’ cinemagoing'

• Kerstin Leder: '‘I just don’t think I could sit through [Jurassic Park or The Texas Chainsaw Massacre]’: Films as Cultural and Emotional Measures'

• Jane Arthurs: 'Brands, Markets and Charitable Ethics: MTV’s EXIT Campaign'

Articles

• Dean Biron: 'Betwixt and Between: Musical Taste Patterns and Audience Mobility'

• David Church: 'Of Manias, Shit, and Blood: The Reception of Salò as a ‘Sick Film’'

• Elizabeth Jane Evans and Roberta Pearson: 'Boxed Out: Visually Impaired Audiences, Audio Description and the Cultural Value of the Television Image'

• Merris Griffiths: 'The Edge of Love and the Local Experience: Shooting, Screening and Audience Reception'
  

Reviews

• On Thomas Austin's Watching the World: Screen Documentary and Audiences Caroline Dover

• On Phillip Goldstein & James L. Machor (eds.), New Directions in American Reception Study Mark R. Adams

• On Susan J. Napier's From Impressionism to Anime: Japan as Fantasy and Fan Cult in the Mind of the West Rayna Denison

• On Murray Pomerance's The Horse Who Drank The Sky: Film Theory Beyond Narrative and Theory and Carl Plantinga's Moving Viewers: American Film and the Spectator’s Experience Martin Barker

• On Jeffrey Weinstock's The Rocky Horror Picture Show Julie Lord

Storytelling sans frontières? On Adaptation, Remaking, Intertextuality, and Transmediality

Still from the trailer for (The Twilight Saga:) New Moon (Chris Weitz, 2009)

Another rather long links list today, this time on one of Film Studies For Free's author's main research specialisms: adaptation (and remaking, 'remediation', 'transmediality') and intertextuality. The list -- as always of direct links to openly-accessible scholarly resources -- is particularly meaty in celebration of a very cool happening. A proposed contribution by her on these topics to a panel at the Los Angeles Society of Cinema and Media Studies annual conference in 2010 was accepted this week (woohoo!).

A video-essay version of this work -- entitled 'Intertextuality and Anomalousness: Luis Buñuel’s The Young One (1960)' -- part of a great panel called 'Looking Backwards and Thinking Forwards: Engaging the Cinema of 1960 with Multimedia Scholarship' will appear on this website in due course...

So, in celebration of the above, do please enjoy the following links to very high quality scholarly resources on adaptation and narrative transmediality, with a nice little video embedded at the very end:

• Gunhild Agger, 'Intertextuality Revisited: Dialogues and Negotiations in Media Studies', Canadian Aesthetics Journal / Revue canadienne d'esthétique, Volume 4, Summer/Été 1999

• Joseph Aisenberg, 'Re-examining the Crossed Wires in Kubrick's and Burgess' A Clockwork Orange', Bright Lights Film Journal, No. 61, August 2008

• William Arighi, 'Beyond Black and White: Structural Liminality and Slave Insurrection', Portals: A Journal in Comparative Literature, 2006

• Genilda Azerêdo, 'From Emma to Clueless: ironic representations of Jane Austen1',  Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Martin Ball, 'Cultural Values and Cultural Death in The Lord of the Rings', Australian Humanities Review, January 2003

• Charles Bane, 'Viewing Novels, Reading Films: Stanley Kubrick and the art of adaptation as interpretation, PhD e-thesis, Louisiana State University 2006

• André Bazin, on René Clement and literary adaptation: Two original reviews

• Richard Berger, ‘Are There Any More at Home Like You?’: Rewiring Superman', Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Catharine Walker Bergström, 'Searches for the Significant: Robert Zemeckis' Cast Away as a Late Twentieth Century Response to Daniel Defoe's Robinson Crusoe' Journal of Religion and Film, Volume 9, Number 1 (April 2005)

• Gary Bettinson, 'Penning Dramatic Chance: Adaptation, Dürrenmatt, and The Pledge', Film Studies, Volume 5 (Winter 2004)

• Jack Boozer, 'Introduction: The Screenplay and Authorship in Adaptation', Authorship in Film Adaptation (Austin: University of Texas Press, 2007)

• David Bordwell, 'Now leaving from platform 1 [on transmedia storytelling]', Observations on Film Art, August 19, 2009

• Pat Brereton, 'Database Logics and New Media Convergences in Science Fiction A reading of Spielberg’s Minority Report and AI', MIT Media in Transition 6 Stone and Papyrus, Storage in Transmission Conference April 2009

• Brad Bucknell, 'Faith in the Faithless: An Inter(re)view with Linda Hutcheon', Inter(re)view.indd, February 24, 2008

• Timothy Burke, 'Less-Convergent Culture', Easily Distracted, October 7, 2009

• Sarah Cardwell, 'Present(ing) Tense: Temporality and Tense in Comparative Theories of Literature-Film Adaptation', Scope, July 2000

• Jennie Carlsten, "'Somehow the Hate has got Mislaid': Adaptation and The End of the Affair", UBCInephile,

• John Caughie, 'Small Pleasures: Adaptation and the Past in British Film and Television', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 32 (1997)

• Garrett Chaffin-Quiray, 'An Adaptation With Fangs: Herzog's Nosferatu,' Kinoeye, Vol. 2, Issue 20, December 2002

• Paul Coughlin, 'The Mark of Cain: Blood Simple and The Man Who Wasn't There', Issue 3, November 2005

• Catherine Craft-Fairchild, 'Castaway and Cast Away: Colonial, Imperial, and Religious Discourses in Daniel Defoe and Robert Zemeckis', Journal of Religion and Film, Volume 9, Number 1 (April 2005)

• Thomás Creus, 'When Harry met Zuckerman:self-reflexivity and metafiction in Philip Roth and Woody Allen', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Mary Donaldson-Evans, 'A Medium of Exchange: The Madame Bovary Film', Dix Neuf, Number 4 (April 2005)

• Lindiwe Dovey, 'Towards an Art of Adaptation: Film and the New Criticism-as-Creation', Iowa Journal of Cultural Studies, Issue 2 - Mediations

• Kamilla Elliott, 'Introduction', Rethinking the Novel/Film Debate (Cambridge: University of Cambridge Press, 2003)

• David Foster, 'Adapting Lyricism: Clive Holden's Trains of Winnipeg and the Lyric in Film', Scope, Portals Special Issue, Issue 13, 2008

• Michael Fry, 'Researching the Method: Some Personal Strategies', Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Christine Geraghty, Classic television: a matter of time. In: The Making and Remaking of Classic Television, 19 Mar 2009, University of Warwick

• Lincoln Geraghty, “Realities... blending as one!”: Film Texts and Intertexts in the Star Trek/X-Men Crossover Comics', MeCCSA Papers, January 2005

• Catherine Grant , 'Recognising Billy Budd in Beau Travail: Epistemology and Hermeneutics of Auteurist "Free" Adaptation', Screen ((Spring 2002)) 43 (1):57–73

• Catherine Grant, 'The "Author Function" in Transnational Film Adaptation: The case of El lugar sin límites / The Place Without Limits / Hell Has No Limits (Arturo Ripstein, Manuel Puig, José Donoso)', originally published as 'La función de "los autores": la adaptación cinematográfica transnacional de El lugar sin límites', Revista Iberoamericana, Vol. LXVIII, Núm, 199, Abril-Junio 2002, pp. 253-268

• Yvonne Griggs, 'Ran: Chaos on the ‘Western’ Frontier', Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Asbjørn Grønstad, 'The Gaze of Tiresias: Joyce, Rossellini and the Iconology of "The Dead"', Nordic Journal of English Studies, Vol. 1, No. 2, 2002

• Richard Grusin, 'Dvds, video games, and the cinema of interactions', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Sandra Guardini T. Vasconcelos, 'Literature and cinema: images of femininity in pride and prejudice', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 42 (2002)

• Brian Henderson,'Tense, Mood, and Voice in Film: (Notes after Genette)', Film Quarterly: Forty Years—A Selection, Edited By Brian Henderson and Ann Martin with Lee Amazonas (Berkeley: University of California Press, 1999)

• Lori Hitchcock, 'Third Culture Kids: A Bakhtinian Analysis of Language and Multiculturalism in Swallowtail Butterfly', Scope, February 2004

• Andrew Horton, Play it again, Sam: Retakes on Remakes. Berkeley: University of California Press, 1998

• Linda Hutcheon, 'From Page to Stage to Screen, Inaugural Lecture, January 27, 2003

• Mikhail Iampolski, The Memory of Tiresias: Intertextuality and Film. Berkeley: University of California Press, 1998

• Tim Iles, 'The Matrix and the Subversion of Wu xia: Reasserting the Hollywood Ideological Hegemony', Scope, Issue 8, June 2007

• Mark Jancovich, 'Shadows and Bogeymen: Horror, Stylization and the Critical Reception of Orson Welles during the 1940s', Particpations, Vol. 6, Issue 1, May 2009

• Henry Jenkins, Confessions of an Aca/Fan: Archives: The Aesthetics of Transmedia: In Response to David Bordwell (Part One) ; Confessions of an Aca/Fan: Archives: The Aesthetics of Transmedia: In Response to David Bordwell (Part Two) ; Confessions of an Aca/Fan: Archives: The Aesthetics of Transmedia: In Response to David Bordwell (Part Three) (September 2009)

• David T. Johnson, 'Playgrounds of Unlimited Potential: Adaptation, Documentary, and Dogtown and Z-Boys', Adaptation Vol. 2 , No. 1 , pp. 1 – 16 (2009)

• David L. Kranz and Nancy C. Mellerski, 'Introduction', In/Fidelity: Essays on Film Adaptation (Newcastle: Cambridge Scholars Publishing, 2008)

• Jennifer E. Langdon, Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood (Columbia University Press, 2008)

• Thomas Leitch, 'Adaptation Studies at a Crossroads', Adaptation, 1(1), 2008 ): 63-77 (pdf)

• Phillip Lopate, 'Adapt this: Fiction into Film', Bookforum.com, June/July/Aug 2007

• Richard Maltby, "The problem of interpretation ...": authorial and institutional intentions in and around Kiss me deadly', Screening the Past, June 2000

• Alfredo Michel Modenessi, 'Disney’s “war efforts”: the lion king and Education for death, or Shakespeare made easy For your apocalyptic convenience', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies , Vol. 0, No 49 (2005)

• Kendra Preston Leonard, 'Silencing Ophelia: Male Aurality as a Controlling Element in Olivier's Hamlet', Scope, Issue 14, June 2009

• James MacDowell, 'What Value is There in Gus Van Sant's Psycho?', Offscreen Journal, Vol. 9, Issue 7, 2005

• Elizabeth Mullen, 'Do you speak Kubrick? Orchestrating Transgression and Mastering Malaise in The Shining', Image [&] Narrative, June 2009

• Sarah Neely, Adapting to change in contemporary Irish and Scottish culture: fiction to film. PhD thesis, University of Glasgow, 2003

• Thaïs Flores Nogueira Diniz, 'Is Adaptation truly an adaptation?', Ilha do Desterro, Florianópolis, no 51, p. 217- 233, jul./dez. 2006
  

• Dan North, 'Funny Games Funny Games [on Haneke's 'original' and 'remake']' Spectacular Attractions, October 15, 2009

• R. Barton Palmer, 'Introduction', Twentieth-Century American Fiction on Screen, Edited by R. Barton Palmer (Cambridge: Cambridge University Press, )
  

• R. Barton Palmer, 'Introduction', Nineteenth-Century American Fiction on Screen - Edited by R. Barton Palmer (Cambridge: Cambridge University Press, )

• Thomas Van Parys, 'Now a Major Motion Picture: Film Adaptations of Literature and Drama', Image [&] Narrative, Issue 23, November 2008

• V.F. Perkins, ''Reconsideration: Le Plaisir: "The Mask" and "The Model"', Film Quarterly (Vol. 63, No. 1, Fall 2009)

• Special Issue of Persuasions (Jane Austen Journal Online Vol. 27, No. 2, 2007) on Joe Wright's Pride & Prejudice (2005) (Jane Austen and Mud: Pride & Prejudice (2005), British Realism, and the Heritage Film Carol M. Dole; Inside Out/Outside In: Pride & Prejudice on Film 2005 Laurie Kaplan; Location, Location, Location: The Spaces of Pride & Prejudice Mary M. Chan; “What are men to rocks and mountains?” Romanticism in Joe Wright's Pride & Prejudice Sarah Ailwood; Style over Substance? Pride & Prejudice (2005) Proves Itself a Film for Our Time Catherine Stewart-Beer; Little Women at Longbourn: The Re-Wrighting of Pride and Prejudice Sally B. Palmer; A Bennet Utopia: Adapting the Father in Pride and Prejudice Barbara K. Seeber; “The Most Determined Flirt”: The Dynamics of Romantic Uncertainty in Joe Wright's Pride & Prejudice Rachel Gollay; Sex and the Scullery: The New Pride & Prejudice Jen Camden The Offending Pig: Determinism in the Focus Features Pride & Prejudice Kathleen Anderson; Joe Wright’s Pride & Prejudice: From Classicism to Romanticism Lydia Martin; “Just What a Young Man Ought to Be”: The 2005 Pride & Prejudice and Transitional Ideas of Gentility Ann M. Tandy; “I am a gentleman’s daughter”? Translating Class from Austen’s Page to the Twenty-first-century Screen Megan A. Woodworth; “A Fearsome Thing to Behold”? The Accomplished Woman in Joe Wright's Pride & Prejudice Juliette Wells; Framing Heritage: The Role of Cinematography in Pride & Prejudice Jessica Durgan; Books and Letters in Joe Wright's Pride & Prejudice (2005): Anticipating the Spectator's Response through the Thematization of Film Adaptation David Roche; Staging intimacy and interiority in Joe Wright's Pride & Prejudice (2005) Anne-Marie Paquet-Deyris; Pride and PrejudiceReloaded: Navigating the Space of Pemberley Joyce Goggin)

• Special Issue of Cinemascope on VERSIONS Remakes/Films, Versions/Parodies, No. 2, 2005 (Pierre Sorlin, 'How the Postman Rang Three Times, Or, Why Remakes are Film Analysis'; Daniel Herbert, 'The Thing as Adaptation, Remake and Version; Savas Arsian, 'Zorro of the East'; John Migliore, 'Becoming AUdience Conscious: Hitchcock and The Man who Knew Too Much'; Hans Maes, 'A Celestial Taxonomy of Remakes?'; Massimiliano Gaudiosi, 'Coversiation with Giulio Manfredonia')

• Sally Potter, 'Notes on the Adaptation of the Book Orlando', Virginia Woolf Seminar

• Stuart Price, 'Displacing the Gods? Agency and Power in Adaptations of Ancient History and Myth', Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Luca Prono, 'Whatever Happened to Nelson Algren?: Otto Preminger’s Adaptation Of The Man with the Golden Arm', Links & Letters, 6, 1999

• Sara I. Rauma, 'Reinventing the Story: Inventions in the film adaptation The Green Mile by Frank Darabont', PhD Thesis, UNIVERSITY OF JYVÄSKYLA, 2006

• Anelise Reich Corseuil, 'Film beyond boundaries: film, migrant narratives and other media', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Alistair Renfrew, 'Against adaptation ? the strange case of (Pod) Poruchik Kizhe.', Modern Language Review., 102 (1). 2007, pp. 157-176

• Holger Römers, '“The Moral of the Auteur Theory”: Frank Borzage’s Moonrise (and Theodore Strauss’ Source Novel)', Senses of Cinema, Issue 42, January–March 2007

• Marilyn Rose and Jeannette Sloniowski, '“Home Sweet Havoc”: Howard Engel’s Niagara in Print and Film', Journal of Canadian Studies/Revue d’études canadiennes, Volume 39, No. 3 (Automne 2005 Fall)

• Timotheos Roussos, 'An off-beat adaptation: Orlando', Philament: An Online Journal of the Arts and Culture, Issue 3, 2004

• Steven Jay Schneider, 'A Tale of Two Psychos', Senses of Cinema, 2000

• Anne-Marie Scholz, '"Josef K von 1963...": Orson Welles' ‘Americanized’ Version of The Trial and the changing functions of the Kafkaesque in Postwar West Germany', European Journal of American Studies, No. 1, 2009

• Ian S. Scott, ’"Either you bring the water to L.A. or you bring L.A. to the water": Politics, Perceptions and the Pursuit of History in Roman Polanski’s Chinatown', European Journal of American Studies, No. 2, 2002

• Barbara K. Seeber, 'A Bennet Utopia: Adapting the Father in Pride and Prejudice', Persuasions Online, V.27, NO.2 (Summer 2007)

• Carmen Siu, 'Diabolic Dialogics: Les Possédés, from Dostoevsky to Wajda', Toronto Slavic Quarterly, Issue 13, Summer 2005

• Natalia Skradol, 'Adaptation, 'Adaptation', and Adaptation: Zizek and the Commonplace', Film-Philosophy, Vol. 8, No. 27, 2004

• Lesley Speed, 'A World Ruled by Hilarity: Gender and Low Comedy in the Films of Amy Heckerling', Senses of Cinema, Vol. 22, September 2002

• Jason Sperb, 'The Transmedia Reconstruction of Song of the Soith', Jamais Vu, September 25, 2009

• Robert Stam, 'Hybridity and the Aesthetics of Garbage: the Case of Brazilian Cinema', E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)

• D. Bruno Starrs, 'A Queer New World: Adaptation Theory and the Zeugma of Fidelity in Derek Jarman’s The Tempest', AMERICAN@ Vol. IV. Issue 1, 2006

• Lesley Stern, 'Emma in Los Angeles: Clueless as a remake of the book and the city', Australian Humanities Review, August 1997

• Karyn Stuckey, 'Lolita: a journey with Nabokov and Kubrick from the page to the screen', Archives and Auteurs Conference, University of Stirling, September 2009

• Sung-eun Cho, 'Intertextuality and Translation in Film Adaptation', Journal of British and American Studies no.12 (Jun. 2005)

• Robin Swicord, long excerpt from 'Under the Skin: Adapting Novels for the Screen',  In/Fidelity: Essays on Film Adaptation, eds David L. Kranz and Nancy C. Mellerski (Newcastle: Cambridge Scholars Publishing, 2008)

• Alex Symons, 'Mass-Market Comedy: How Mel Brooks Adapted The Producers for Broadway, and Made a Billion Dollars 2001– 2007',  Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Antônio João Teixeira, 'The construction of national identity in Shakespeare’s King Lear and its filmic adaptation by Peter Brook', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Donato Totaro, 'Psycho Redux', Offscreen Journal, 2004

• Chuck Tryon, 'Transmedia Notes', The Chutry Experiment, September 5, 2009

• Richard Vela, 'The Merchants of Venice: The Importance of Context in Film Versions of the Play', Postscript, 23, No. 2, 2006

• Constantine Verevis, 'Remaking Film', Film Studies, Issue 4, Summer 2004

• William Walling, “Saying What One Thinks: Emma-Emma-at Box Hill.” Re-reading Box Hill: The Practice of Reading the Practice of Everyday Life. Romantic Circles Praxis Ser. (Feb. 2000)

• Tim Watson, 'Improvements and Reparations at Mansfield Park', Literature and Film: A Guide to the Theory and Practice of Film Adaptation, Edited by Robert Stam and Alessandra Raengo (Oxford: Blackwell, 2006)

• James M. Welsh, 'Introduction: Issues of Screen Adaptation: What Is Truth?', Issues of Screen Adaptation (Plymouth: Scarecrow Press, 2007)

• Partick West, 'The Convergence Potentials of Collaboration & Adaptation: A Case Study in Progress." M/C Journal 9.2 (2006)

• Susan J. Wolfson, “Boxing Emma, or the Reader’s Dilemma at the Box Hill Games.” Re-reading Box Hill: The Practice of Reading the Practice of Everyday Life. Romantic Circles Praxis Ser. (Feb. 2000)

• Terry Wright, 'Introduction', Thomas Hardy on Screen, Edited by T. R. Wright (Cambridge: Cambridge University Press, )

Salman Rushdie, Emory Distinguished Writer in Residence, and Emory film studies professor Matthew Bernstein engage in a lively Creativity Conversation about film and literature at Emory University on March 19, 2009