Image from The New World (Terrence Malick, 2005), the subject of Robert Sinnerbrink's great article in the latest issue of Screening the Past
Donning its fetching town-crier e-garb, Film Studies For Free shouts out "Hear ye, hear ye: new Screening the Past, people! Lots of links to great stuff below." The issue features wondrous items by old and valued friends of FSFF (Adrian Martin and Frances Guerin, in particular) as well as by up and coming Film Studies greats (Robert Sinnerbrink, among others).
Issue 26: Special Issue: Early Europe
Guest Editor: Louise D’Arcens
Louise D’Arcens: Screening Early Europe: Premodern Projections.
Adrian Martin: The Long Path Back: Medievalism and Film.
Stephanie Trigg: Transparent Walls: Stained Glass and Cinematic Medievalism.
Anke Bernau: Suspended Animation: Myth, Memory and History in Beowulf.
Sylvia Kershaw and Laurie Ormond: “We are the Monsters Now”: The Genre Medievalism of Robert Zemeckis’ Beowulf.
Robert Sinnerbrink: From Mythic History to Cinematic Poetry: Terrence Malick’s The New World Viewed.
Helen Dell: Music for Myth and Fantasy in Two Arthurian Films.
Narelle Campbell: Medieval Reimaginings: Female Knights in Children’s Television.
Louise D’Arcens: Iraq, the Prequel(s): Historicising Military Occupation and Withdrawal in Kingdom of Heaven and 300.
Christina Loong: Reel Medici Mobsters? The Medici: Godfathers of the Renaissance Reassessed.
Laura Ginters: “A Continuous Return”: Tristan and Isolde, Wagner, Hollywood and Bill Viola.
Appendix: Raúl Ruiz: Three Thrusts at Excalibur.
Contributors.
First Release
Adrian Danks, Fishing from the Same Stream: The New Iranian Cinema, Close-Up and the “Film-on-film” Genre.
Peter Limbrick, Playing Empire: Settler Masculinities, Adventure, and Merian C. Cooper’s The Four Feathers (US 1929).
Lesley Speed, Strike Me Lucky: Social Difference and Consumer Culture in Roy Rene’s Only Film.
Deane Williams, ‘The Circulation of Ideas’: An Interview with Tom O’Regan.
Deane Williams, Shifts and Interventions: Cultural Materialism and Australian Film History.
Ina Bertrand reviews Kathryn H. Fuller-Seeley (ed.), Hollywood in the Neighbourhood: Historical Case Studies of Local Moviegoing.
Nathalie Brillon reviews Jane Mills, Loving and Hating Hollywood: Reframing Global and Local Cinemas.
Adam Broinowski reviews Sabine Nessel, Winfried Pauleit, Christine Rüffert (eds), Wort und Fleisch: Kino zwischen Text und Körper.
Rachael Cameron reviews André Gaudreault, From Plato to Lumière: Narration and Monstration in Literature and Cinema.
Ryan Cook reviews Matthew H. Bernstein, Screening a Lynching: The Leo Frank Case on Film and Television.
Maura Edmond reviews Jacob Smith, Vocal Tracks: Performance and Sound Media.
Victor Fan reviews Pak Tong Cheuk, Hong Kong New Wave Cinema (1978-2000).
Mike Fleming reviews The Encyclopedia of British Film (Third Edition).
Freda Freiberg reviews Alexander Jacoby, A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day, and Aaron Gerow, A Page of Madness: Cinema and Modernity in 1920s Japan.
Gin Chee Tong reviews Brooke Erin Duffy and Joseph Turow (eds), Key Readings in Media Today: Mass Communication in Contexts.
Frances Guerin reviews Kristen Whissel, Picturing American Modernity: Traffic, Technology, and the Silent Cinema.
Alexandra Heller-Nicholas reviews Barry Curtis, Dark Places: The Haunted House in Film.
Roger Hillman reviews Mark Betz, Beyond the Subtitle: Remapping European Art Cinema.
Jan-Christopher Horak reviews Rob King, The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture.
Irene Javors reviews Joe McElhaney, Albert Maysles.
D.B. Jones reviews Philip Gillett, Movie Greats: A Critical Study of Classic Cinema.
Harry Kirchner reviews Steven Maras, Screenwriting: History, Theory and Practice.
Roger Macy reviews Bert Cardullo, Out of Asia: The Films of Akira Kurosawa, Satyajit Ray, Abbas Kiraostami, and Zhang Yimou; Essays and Interviews.
Harriet Margolis reviews Gönül Dönmez-Colin, Turkish Cinema: Identity, Distance and Belonging.
Harriet Margolis reviews Deb Verhoeven, Jane Campion.
Craig Martin reviews Tony Shaw, Hollywood’s Cold War.
Josh Nelson reviews Roger Ebert, Scorsese by Ebert.
Violeta Politoff reviews Joanna Page, Crisis and Capitalism in Contemporary Argentine Cinema.
Thomas Redwood reviews Michel Ciment, Film World: Interviews with Cinema’s Leading Directors.
Christopher Rowe reviews Jane Stadler with Kelly McWilliam, Screen Media: Analysing Film and Television.
Kirsten Stevens reviews Dina Iordanova with Ragan Rhyne (eds), Film Festival Yearbook 1: The Festival Circuit.
Jay Daniel Thompson reviews Amit Sarwal and Reema Sarwal (eds), Creative Nation: Australian Cinema and Cultural Studies Reader.
Mike Walsh reviews Michael Ingham, Johnnie To Kei-fung’s PTU.
Mike Walsh reviews Joe McElhaney (ed.), Vincente Minnelli: The Art of Entertainment.
Mike Walsh reviews Catherine Russell, The Cinema of Naruse Mikio: Women and Japanese Modernity.
Tony Williams reviews Stella Hockenhull, Neo-Romantic Landscapes: An Aesthetic Approach to the Films of Powell and Pressburger.
Janice Yu reviews Jane Blocker, Seeing Witness: Visuality and the Ethics of Testimony.
Adrian Martin: The Long Path Back: Medievalism and Film.
Stephanie Trigg: Transparent Walls: Stained Glass and Cinematic Medievalism.
Anke Bernau: Suspended Animation: Myth, Memory and History in Beowulf.
Sylvia Kershaw and Laurie Ormond: “We are the Monsters Now”: The Genre Medievalism of Robert Zemeckis’ Beowulf.
Robert Sinnerbrink: From Mythic History to Cinematic Poetry: Terrence Malick’s The New World Viewed.
Helen Dell: Music for Myth and Fantasy in Two Arthurian Films.
Narelle Campbell: Medieval Reimaginings: Female Knights in Children’s Television.
Louise D’Arcens: Iraq, the Prequel(s): Historicising Military Occupation and Withdrawal in Kingdom of Heaven and 300.
Christina Loong: Reel Medici Mobsters? The Medici: Godfathers of the Renaissance Reassessed.
Laura Ginters: “A Continuous Return”: Tristan and Isolde, Wagner, Hollywood and Bill Viola.
Appendix: Raúl Ruiz: Three Thrusts at Excalibur.
Contributors.
First Release
Adrian Danks, Fishing from the Same Stream: The New Iranian Cinema, Close-Up and the “Film-on-film” Genre.
Peter Limbrick, Playing Empire: Settler Masculinities, Adventure, and Merian C. Cooper’s The Four Feathers (US 1929).
Lesley Speed, Strike Me Lucky: Social Difference and Consumer Culture in Roy Rene’s Only Film.
Australian Film Culture
Ina Bertrand, Some Early History of the Australian Film Institute: A Memoir of the 1970s.Deane Williams, ‘The Circulation of Ideas’: An Interview with Tom O’Regan.
Deane Williams, Shifts and Interventions: Cultural Materialism and Australian Film History.
Reviews
Ina Bertrand reviews Raymond Longford’s The Sentimental Bloke: The Restored Version, Madman/NFSA/ATOM, 2009.Ina Bertrand reviews Kathryn H. Fuller-Seeley (ed.), Hollywood in the Neighbourhood: Historical Case Studies of Local Moviegoing.
Nathalie Brillon reviews Jane Mills, Loving and Hating Hollywood: Reframing Global and Local Cinemas.
Adam Broinowski reviews Sabine Nessel, Winfried Pauleit, Christine Rüffert (eds), Wort und Fleisch: Kino zwischen Text und Körper.
Rachael Cameron reviews André Gaudreault, From Plato to Lumière: Narration and Monstration in Literature and Cinema.
Ryan Cook reviews Matthew H. Bernstein, Screening a Lynching: The Leo Frank Case on Film and Television.
Maura Edmond reviews Jacob Smith, Vocal Tracks: Performance and Sound Media.
Victor Fan reviews Pak Tong Cheuk, Hong Kong New Wave Cinema (1978-2000).
Mike Fleming reviews The Encyclopedia of British Film (Third Edition).
Freda Freiberg reviews Alexander Jacoby, A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day, and Aaron Gerow, A Page of Madness: Cinema and Modernity in 1920s Japan.
Gin Chee Tong reviews Brooke Erin Duffy and Joseph Turow (eds), Key Readings in Media Today: Mass Communication in Contexts.
Frances Guerin reviews Kristen Whissel, Picturing American Modernity: Traffic, Technology, and the Silent Cinema.
Alexandra Heller-Nicholas reviews Barry Curtis, Dark Places: The Haunted House in Film.
Roger Hillman reviews Mark Betz, Beyond the Subtitle: Remapping European Art Cinema.
Jan-Christopher Horak reviews Rob King, The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture.
Irene Javors reviews Joe McElhaney, Albert Maysles.
D.B. Jones reviews Philip Gillett, Movie Greats: A Critical Study of Classic Cinema.
Harry Kirchner reviews Steven Maras, Screenwriting: History, Theory and Practice.
Roger Macy reviews Bert Cardullo, Out of Asia: The Films of Akira Kurosawa, Satyajit Ray, Abbas Kiraostami, and Zhang Yimou; Essays and Interviews.
Harriet Margolis reviews Gönül Dönmez-Colin, Turkish Cinema: Identity, Distance and Belonging.
Harriet Margolis reviews Deb Verhoeven, Jane Campion.
Craig Martin reviews Tony Shaw, Hollywood’s Cold War.
Josh Nelson reviews Roger Ebert, Scorsese by Ebert.
Violeta Politoff reviews Joanna Page, Crisis and Capitalism in Contemporary Argentine Cinema.
Thomas Redwood reviews Michel Ciment, Film World: Interviews with Cinema’s Leading Directors.
Christopher Rowe reviews Jane Stadler with Kelly McWilliam, Screen Media: Analysing Film and Television.
Kirsten Stevens reviews Dina Iordanova with Ragan Rhyne (eds), Film Festival Yearbook 1: The Festival Circuit.
Jay Daniel Thompson reviews Amit Sarwal and Reema Sarwal (eds), Creative Nation: Australian Cinema and Cultural Studies Reader.
Mike Walsh reviews Michael Ingham, Johnnie To Kei-fung’s PTU.
Mike Walsh reviews Joe McElhaney (ed.), Vincente Minnelli: The Art of Entertainment.
Mike Walsh reviews Catherine Russell, The Cinema of Naruse Mikio: Women and Japanese Modernity.
Tony Williams reviews Stella Hockenhull, Neo-Romantic Landscapes: An Aesthetic Approach to the Films of Powell and Pressburger.
Janice Yu reviews Jane Blocker, Seeing Witness: Visuality and the Ethics of Testimony.
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