You Really Turn Me On

Today's manicure is another nerdy manicure. :-P They were inspired by the power button on your computer, monitor, XBOX, TV, etc. Silly, I know, but I like doing nerdy designs. Plus, I have been on the XBOX waaaaay too much lately. I watched the entire five seasons of Weeds on streaming Netflix in a matter of days. Yeah, I don't half-ass stuff, I go ALL out. :-D I call it dedication, others call it sad. :)



I used China Glaze Millennium as a base, and I have to say, as much as I love and rave about this color for nail art and Konading, I do NOT like it as an all-over color on me. For the On symbols, I used China Glaze Millennium mixed with American Apparel Hassid. Topped it off with Seche Vite top coat.

What a turn-on.

Ch-Ch-Chain of Fools

Today's nails were inspired by the obvious... chains. :-D My friend at work said I should've done whips on the other hand and gone with a whole bondage theme. :-P I've have this idea milling about in my head for a while now, and finally decided to do it. Originally in my brain, it was more complex, with shading and depth and whatnot, but once I laid down the initial shapes, I liked it simple and graphic, so I left it. :) (hope you like it too!!)



I used American Apparel Hassid as a base, with China Glaze Millennium for the silver chains, and China Glaze 2030 for the gold. :) Topped it all off with 2 coats of Seche Vite top coat, because I wouldn't want the chains to break, right?!

So in closing, I feel the need to add this.... because it kept coming up when I was trying to think of titles for this post....

You ARE the Weakest Link.... Goodbye! :-P

(p.s. none of you are weak links, I just found this amusing :-P )

BB Couture Polish Sale

Hey all!! There are few BB Couture Polishes on sale for 50% off on bbnailpolish.com

Go here to see the sale polishes!!

The sale ones are all the way at the bottom! :)

Hurry though, rumor has it that these are only on sale through March!!

Flight of the Bumblebee

Fun fact of the day: Melissa means bee/honey. It comes from Greek mythology, where Melissa was a nymph who discovered honey and its uses, and fed Zeus honey when he was a baby instead of milk. Crazy, eh? Today's nails are inspired by my name! :)



I used Orly Snowcone as a base, with American Apparel Hassid for the flight path, and for the black outlines/stripes of the bee, American Apparel Manila for the body of the bee, and a mix of American Apparel Cotton and American Apparel Mount Royal for the wings. Topped it off with only one coat of Seche Vite top coat, as I was running low on time.

Where do you think the bee is heading to?

Maybe to see his 'honey'? haha!

It's like But-tah

Today's nails were inspired by the fact that I wanted to use my new butterLONDON polish in Rosie Lee. :-D I'm usually not a pink girl, but I this is a very purty glitter. :-P Adding the halftone dots make it less girly, right?! RIGHT?! I just finished Season 3 of Weeds on Netflix Instant Queue or whatever its called when I watch it through my XBOX. That makes 3 seasons in less than a week. I think I may have a problem. Or drink too many caffeinated beverages, not sure.



I used butterLONDON Rosie Lee as a base, with American Apparel Peacock applied with Konad Plate m60. Topped off with two coats of Seche Vite top coat.

That's Just Grey-t

Hey there kids!! (Don't worry, I call everyone kid, regardless of their years) So the Bad Religion concert las night was PUNK-tastic. I had a blast, and got a rad t-shirt that earns me dirty looks when I wear it. (Google Bad Religion images, you'll see why) Today was a busy day- I went and tried on (and bought) the bridesmaid dress for the wedding I'm going to be in in May, and it was surprisingly VERY flattering. (the color will be a different story- Guava is not a color that should be in a redhead's vocabulary. (or wardrobe). After that, I helped a good friend paint his bedroom- Ground Cumin is the color, and it turned out fantastic. He was smart not to question my interior design skills. :-P I love picking out paint colors for people, perhaps one day I'll have my own house and can do it for myself!! I managed to squeeze in a nap in there, which was great, too.

Today's nails are simple, but I really like them, and despite the beginning of my experience with butterLondon (took 5.5 weeks to get my polishes due to Paypal marking the order as complete, and no one returned emails from BL), I am 100% in love with the one polish I've tried out of the 3 I bought... Billy No Mates! It applied smoothly, and only took 2 coats to be opaque.



I used 2 coats of butterLONDON Billy No Mates as base, with 1 coat of Essie Matte About You, then for the moons, I used about 8,000 coats of Urban Outfitters Grey 1, it was pretty hard to get opaque and even. For the ring finger moon, I used American Apparel Berry. I also used American Apparel Berry for the 'stitching' on the grey moon fingers, and Urban Outfitters Grey 1 for the stitching on the ring finger.

How is everyone's weekend going? I get to wake up early for class, blargh. :-D My weekend off last week because of Spring Break felt nice. :)

Dukes of 'Hazard'

ACK! People are sick here at work, everywhere I turn, *cough* *HACK* *sniff*. Gross. Major gross. They inspired today's nails... the Biohazard symbol. :) I really hope that I don't get sick, that is about the last thing I need right now. :-/ On the bright side, going to a Bad Religion concert tonight- woo! :)



I used Electric Orange as a base, with American Apparel Hassid. Sealed the deal with 2 coats of Seche Vite top coat.

Put your dukes up!

I Ain't No Ho-Ho!

:-D ok, I'll admit, today's title cracks me up. I'm SUCH a dork.

The inspiration for today's nails came a few months ago via email from Niki C., of Polish on Digital Paper fame, and while I've gotten inspiration from other designs people have sent in before, (with permission, of course ;)) I usually don't copy them stroke for stroke... These however, were too awesome not to, I loved their quirky simplicity. Thanks Niki, you rock! :)



I used MAC Showy as a base (can't find it for sale), then used my white Migi Nail Art Pen for the frosting swirl. Topped it all off with 2 coats of Seche Vite top coat to simulate the tasty glossy chocolate frosting. Oh damn, I know what I'm going to buy at lunch. *drool*

Anybody got any milk?!

New Issue of Scope online now: Lynch, Haneke, horror, Spanish comedy, auteurism and digital cinema

Image from Caché (Michael Haneke, 2005)

Film Studies For Free is delighted, as ever, to announce that a new issue of Scope: An Online Journal of Film and Television Studies has been published.

It's yet another extremely successful issue for this journal, with a full set of very strong articles, and a rich offering of book and film reviews, plus conference reports. The full table of contents is reproduced below with direct links to all items.

FSFF particularly liked Matthew Croombs' article on afterwardsness and trauma in two films by Resnais and Haneke.

Scope #16 (February 2010)

Articles

• Algeria Deferred: The Logic of Trauma in Muriel and Caché by Matthew Croombs

• The Influence of the American Sitcom on the Production of TV Comedy in Spain by Mar Grandio and Patricia Diego

• DavidLynch.com: Auteurship in the Age of the Internet and Digital Cinema by Zoran Samardzija

• Terrorist Attack!: The Spectacle of Evil in the Blended Horror of Cloverfield by James Aston

• Violent Affect, Aesthetic Intimacy and Salvific Pain in The Passion Of The Christ by Anthony McCosker

[ALL ARTICLES ON ONE PAGE]

Book Reviews

• The Picture of Abjection: Film, Fetish, and the Nature of Difference By Tina Chanter, Reviewer: Adrienne Angelo

• Comedy Incarnate: Buster Keaton, Physical Humor, and Bodily Coping By Noël Carrol, Reviewer: Alissa Burger

• Hollywood Highbrow: From Entertainment to Art By Shyon Baumann, Reviewer: Beth Corzo-Duchardt

• Beautiful TV: The Art and Argument of Ally McBeal By Greg M. Smith, Reviewer: Dave Sagehorn

• Quality TV: Contemporary American Television and Beyond By Janet McCabe and Kim Akass (eds.), Reviewer: David Simmons

• Celluloid Vampires: Life After Death in the Modern World By Stacey Abbott, Reviewer: Edmund P. Cueva

• Andrei Tarkovsky: Elements of Cinema By Robert Bird, Reviewer: Erik Heine

• Figures of Resistance: Essays in Feminist Theory By Teresa de Lauretis. Edited and with an Introduction by Patricia White, Reviewer: Flavia Monceri

• Watching with The Simpsons: Television, Parody, and Intertextuality By Jonathan Gray and Rome: Season One: History Makes Television, Reviewer: Gareth James

• War and Film By James Chapman and Hollywood's Cold War, Reviewer: Kevin M. Flanagan

• Writing History and Film By William Guynn and The Hollywood Historical Film (New Approaches to Film Genre), Reviewer: Laura E. Ferguson

• "Evil" Arabs in American Popular Film: Orientalist Fear By Tim Jon Semmerling, Reviewer: Martin Fradley

• Holocaust and the Moving Image: Representations in Film and Television since 1933 By Toby Haggith and Joanna Newman (eds.), Preface by David Cesarani and Haunted Images: Film, Ethics, Testimony and the Holocaust, Reviewer: Nathan Waddell

• International Adventures. German Popular Cinema and European Co-Productions in the 1960s By Tim Bergfelder, Reviewer: Nick Hodgin

• Conscientious Viscerality: The Autobiographical Stance in German Film and Video By Robin Curtis, Reviewer: Sarah Heinz

• Film, Media and Popular Culture in Ireland: Cityscapes, Landscapes, Soundscapes By Martin McLoone and Emeralds in Tinseltown: The Irish in Hollywood, Reviewer: Sinéad Moynihan

• Documentaries…and how to make them By Andy Glynne, Reviewer: Stefano Odorico

• Bound by Law? Tales from the Public Domain By Keith Aoki, James Boyle and Jennifer Jenkins, Reviewer: TJ McIntyre

• Undead TV: Essays on Buffy the Vampire Slayer By Elana Levine and Lisa Parks (eds.), Reviewer: Lucia Blanchet

• Understanding the Global TV Format By Albert Moran and Justin Malbon and Television Entertainment, Reviewer: Baerbel Goebel-Deigert

[ALL BOOK REVIEWS ON ONE PAGE]

Film Reviews

• Funny Games, Reviewer: Mike Miley
• Gomorrah, Reviewer: Jonathan Murray
• The Other Boleyn Girl and The Other Boleyn Girl, Reviewer: Llewella Burton
• Blindness, Reviewer: Sofia Sampaio
• Yemeketyiz, Reviewer: Laurence Raw

[ALL FILM REVIEWS ON ONE PAGE]

Conference Reports

• Colour and the Moving Image, University of Bristol, 10-12 July 2009, Reporter: Heather Heckman
• Televising History 2009, University of Lincoln, 22– 25 July 2009, Reporter: Debra Ramsay 
• Researching Cinema History: Perspectives and Practices in Film Historiography, University of Portsmouth and the British Universities Film & Video Council Geological Society 6-7 July 2009, Reporter: Stacey Abbott
• Screen Studies Conference: Screen Theorizing Today, University of Glasgow, July 3-5, 2009, Reporter: Su-Anne Yeo
• Sepancine Conference 2009, 5º Congreso Internacional de Teoría y Análisis Cinematográfico (5th International Congress on Film Theory and Analysis), 1–3 October 2009, Morelia, Michoacán, México, Reporter: Dale Hudson 
• Images of the Afterlife in Theology and Film, Conference of the International Research Group "Film and Theology" Catholic Academy, Schwerte, Gemany, 25-28 June 2009, Reporter: Marie-Therese Mäder
• Beyond the Politics of Identity, University of Aberdeen, 20th June 2009, Reporter: Tom Smith
• Beyond Life: The Undead in Global Cult Media, Cine Excess: The Third International Conference on Cult Film Traditions, Curzon Soho Cinema and Odeon Covent Garden, London, 30th April - 2nd May 2009, Reporter: Rachel Mizsei Ward
• B for Bad Cinema: Aesthetics, Politics and Cultural Value, Reporter: Ramon Lobato
• American Independent Cinema: Past, Present, Future, Co-organised by Liverpool John Moores University and University of Liverpool. Hosted by Liverpool Screen School, Liverpool John Moores University, 8-10 May 2009, Reporter: Carl Wilson

[ALL CONFERENCE REPORTS ON ONE PAGE]

Fit As a Fiddle

Today's manicure was inspired by violins/fiddles/guitars, etc. I came up with the technique of layering several colors, and then using a big fluffy brush that was wet with acetone and brushing lightly, until the colors from underneath started to show. I'm fairly pleased with how it turned out, it gave the effect of aged, varnished wood, which is precisely what I was going for. :-P I'll probably try this again at some point with crazier colors.



I used 2 coats of American Apparel Manila as a base, then 2 coats of American Apparel Pinto, then two coats of Sally Hansen Leather Frost, which I got at the Dollar Tree. Topped this off with 1 coat of Seche Vite top coat, let it dry, then proceeded to brush off the color with the acetone remover. For the F holes, I used American Apparel Hassid. Topped everything off with Seche Vite top coat.

Stila Cosmetics Sale on Hautelook - everything is 40% off!!

Stila Cosmetics on sale on Hautelook today!!

Everything from the Barbie Paint Can to palettes, Barbie Smudge Pots, lipglazes, eyeshadows, tons of stuff- and everything is 40% off!!! Awesometastical!!

The link:

Stila Sale on Hautelook

Et tu, Brute?

Today's nails are simple, and remind me of toga embellishments, or borders in roman art/architecture. Today has been a super long day, got a new project at work that I'm excited about- wish I could say more, but confidentiality agreements put the kibosh on that. :-P Went to the dentist today for a routine cleaning, and #1 found out that Sonicare toothbrushes are the shiz, and really DO work, and #2, I need a root canal. *cry* Luckily, I'm assured that it won't hurt, as the tooth is not inflamed, just an old sports injury (one where I caught a softball with my face) is coming back to haunt me. *sigh* Ah well, at least NCIS is on tonight. ;)



I used American Apparel Cotton as a base, with China Glaze 2030 from Khrome Collection for the pattern. Topped it off with 2 coats of Seche Vite top coat.

Man, this makes me want some salad... Caesar, anyone?

The Hollywood Left and the Blacklist Era

Private Property - Joseph Losey's The Prowler by Matt Zoller Seitz 
at The L Magazine, March 2010
(also see Justin Stewart's essay on this film in the same issue)

A ghost town also frames the haunting final scenes of Joseph Losey's The Prowler, when an adulterous couple (Evelyn Keyes and Van Heflin) take refuge in an abandoned Mojave desert village so that the woman can secretly give birth to their child. Webb killed Susan Gilvray's husband, successfully making it look like an accident, and he fears that proof of their affair will put him under suspicion.

He's a shady, disaffected cop who first meets Susan when he responds to her report of a prowler. She's a lonely housewife whose husband is an all-night DJ, a disembodied voice on the radio, unable to provide her with the child she craves. Webb takes one look at the wistful blonde and her luxurious Spanish-style suburban palace and decides he wants both. Reluctantly Susan succumbs to his aggressive persistence, as he keeps turning up to investigate an imaginary intruder, finally gunning down her husband, ostensibly by mistake. Fragile and passive, Susan believes Webb's story and marries him; their wedding is mirrored by a funeral at the church across the street.

Isolated in the desert ruin, Susan struggles through a difficult labor. The refuge turns deadly, with dust storms raging, and in desperation Webb finally fetches a doctor to save his wife, and she learns the truth about him when she realizes he plans to kill the man who saved her. The setting is appropriate: though they conceived a child, their relationship built on greed and deception is more barren than Susan's first, childless marriage.   Imogen Sara Smith, 'In Lonely Places: Film Noir Outside the City', Bright Lights Film Journal, Issue 65, August 2009 [my emphasis]

Film Studies For Free, a born "fellow traveller" blog if ever there was one, today brings you some choice links to high quality material pertaining to the study of the Hollywood Blacklist era.

The post begins with Matt Zoller Seitz's latest video essay - a wonderful dissection of Joseph Losey's 1951 film noir thriller The Prowler. This was one of the last films Losey made in Hollywood before fleeing the US, refusing to inform on his friends to the House of Un-American Activities Committee (HUAC). Zoller Seitz compellingly teases out The Prowler's concerns with social class and property; these would become even more central themes in Losey's film work after his exile to England.  

• Peter Biskind, 'Hollywood, the Blacklist, the Cold War The way they were', from Jump Cut, no. 1, 1974
• Dan Callahan, 'Joseph Losey', Senses of Cinema, February 2003
• J.M. Caparros-Lera and Sergio Alegre, 'Cinematic Contextual History of High Noon (1952, dir. Fred Zinnemann)', Film-Historia, VoI. VI, No.1 (1996): 37-61
• 'Dossier: An Interview with Albert Ruben', Film Studies, Volume 7 (Winter 2005) 
• 'Dossier: An Interview with Cy Endfield', Film Studies, Volume 7 (Winter 2005)
• Arthur Eckstein, 'The Hollywood Ten in history and memory', Film History, Volume 16, pp. 424-436, 2004 
• David Eldridge, 'Hollywood Censors History', 49th Parallel, Vol.20 (Winter 2006-2007)
• Myron Coureval Fagan, Red stars in Hollywood: Their helpers, fellow travelers, and co-conspirators (1948) 
• Jack R. Fischel, Reds and Radicals In Hollywood [review of Radical Hollywood, by Paul Buhle and David Wagner. The New Press. And Hollywood Party: How Communism Seduced the American Film Industry in the 1930s and 1940s, by Kenneth Lloyd Billingsley]', Virginia Quarterly Review, Winter 2003
• Dan Gilbert, Moscow over Hollywood (1948) 
• Saverio Giovacchini, 'Introduction: Taking Hollywood Seriously', Hollywood Modernism: Film and Politics in the Age of the New Deal (Temple University Press, 2001)
• Sam B. Girgus, 'Hollywood and American Politics: The Play's the Thing [Review of RONALD REAGAN IN HOLLYWOOD: Movies and Politics. By Stephen Vaughn. Cambridge: Cambridge University Press. 1994.]', American Studies,
• Heather Heckman, 'Gray or Black? Howard Koch and the Elusive Architecture of the Hollywood “Lists”', Mediascape, Fall 2008
• John Hess and Chuck Kleinhans, 'Reds on Reds', from Jump Cut, no. 28, April 1983
• Jake Hinkson, 'At the center of the storm: He Ran All the Way and the Hollywood Blacklist', Noir City Sentinel, Nov/Dec 2009
• Jennifer Langdon-Teclaw, 'Negotiating the Studio System: Adrian Scott and the Politics of Anti-Fascism in Cornered', Film Studies, Volume 7 (Winter 2005)
• Karen McNally, '"Sinatra, Commie Playboy": Frank Sinatra, Postwar Liberalism and Press Paranoia', Film Studies, Volume 7 (Winter 2005)
• Steve Neale, 'Swashbucklers and Sitcoms, Cowboys and Crime, Nurses, Just Men and Defenders: Blacklisted Writers and TV in the 1950s and 1960s', Film Studies, Volume 7 (Winter 2005) 
• Brian Neve, 'The Hollywood Left: Robert Rossen and Postwar Hollywood', Film Studies, Volume 7 (Winter 2005)
• Erica Sheen, 'Un-American: Dmytryk, Rossellini and Christ in Concrete', Film Studies, Volume 7 (Winter 2005)
• Imogen Sara Smith, 'In Lonely Places: Film Noir Outside the City', Bright Lights Film Journal, Issue 65, August 2009 
• Jeff Smith, 'Are You Now Or Have You Ever Been A Christian?: The Strange History Of The Robe As Political Allegory', Film Studies, Volume 7 (Winter 2005)
• Peter Stanfield, 'A Monarch for the Millions: Jewish Filmmakers, Social Commentary and the Postwar Cycle of Boxing Films', Film Studies, Volume 7 (Winter 2005)
• Brad Stevens, 'Review of A Very Dangerous Citizen: Abraham Lincoln Polonsky And The Hollywood Left by Paul Buhle and Dave Wagner (University of California Press, 2001)', Senses of Cinema, Issue 15, 2001

I Have a Code to Protect

...a BAR code.

Today's nails are inspired by UPC codes. They're on EVERYTHING we buy, no matter what. I'm a total shopaholic, (If I were a dinosaur- I'd be a Shopasaurus Rex) so I see these bad boys on a VERY regular basis. I used to have to create them at my old job, too, so I'm fairly familiar. I couldn't fit an entire one on a nail, so they're just bits and pieces, buuuut, yeah. :-D (I wonder what these nails would cost if they were whole bar codes?!)



I used Sally Hansen All the White Stuff as a base, with American Apparel Hassid for the bar codes. Topped it off with 2 coats of Seche Vite top coat.

butterLONDON sale on Hautelook!

Heck yeah! butterLONDON polishes (usually $14 each) are on sale on Hautelook for only $5 today!!! They also have leg and foot lotions for only $10 each! (usually $28)

KICK A$$!

the link:

Hautelook sale

The Moody Blue(brown)s

Hey all!! So I thought I'd try my hand at making a polish out of one of my MAC pigments that I particularly love, and thought would make a killer polish...BLUE BROWN! It's far more red brown with the polish added, but the bluey-green sheen comes through nicely in person... not so much on camera, but I tried.



I used the Blue Brown homemade polish as a base, with Claire's new Mood Polish in Peaceful/Confident for the Swirls. Topped it off with Seche Vite top coat, which for some reason made the blue brown polish pucker as soon as it hit it. Did the same thing on the swatch nail I made, not sure why, I've never had it happen before. I kept it, because I thought it made an interesting texture because the puckers reflected the light differently.

The swatch, though it doesn't show off how blue/green the reflect is:

A 'Mary' Widow, Perhaps?

The title is a spin (pun intended) of the term Merrywidow- a type of lingerie, and because the colorful gender of Black Widow spiders are the females....the males are dull and brown. (I know the title is a stretch, but I tried. ;)) In just a few short months, our backyards will be overrun with these stupid things, with their ominous-looking red hourglass markings, and their venomous bite. I had never seen one until I moved out west, and man, they're everywhere. Creepy buggers.



I used American Apparel Hassid as a base, and then painted the hourglass with China Glaze Salsa over Sally Hansen All the White Stuff. Two coats of Seche Vite top coat to seal the deal.

OMG, Like, Totally 80s!

Sorry for the lateness of today's post, I estimate that of the past 24 or so hours, I've been awake only a handful of them..maybe 4? Today's mani is also simple, and I get to use one of my new polishes that I got the other day from ROSS!! (Super cheap, too!) The colors totally remind me of 80s fashion colors, hence the title.



I used Color Club Pure Energy from the Electro Candy Collection as a base, with Massini Power Pack applied with a pipe cleaner. Topped it off with 2 coats of Seche Vite top coat.

Back to bed. Sleeping is my only relief from the neck and shoulder agony right now. It even hurts to breathe. The chiro yesterday didn't help much, but it didn't hurt that he was smokin' hot, either. ;)

Read all about it: first issue of Celebrity Studies

Publicity shot of the celebratedly "eternally young"
(boyishly middle-aged) film star Jackie Chan

Film Studies For Free is delighted to flag up Routledge's new journal Celebrity Studies as its inaugural issue is available free to download online. A quick glance at the names of editors and contributors will show that this is a highly worthwhile new venture. A detailed examination of its rationale and its contents underscores that very positive first impression.

Celebrity Studies focuses on the critical exploration of celebrity, stardom and fame. It seeks to make sense of celebrity by drawing upon a range of (inter)disciplinary approaches, media forms, historical periods and national contexts.

FSFF's increasingly ancient author particularly enjoyed the most 'film studies' oriented article in this issue: Chris Holmlund's wonderful essay 'Celebrity, Ageing, And Jackie Chan: Middle-Aged Asian In Transnational Action'. Below is the abstract for that contribution, and below that are direct links to all the issue's contents:

Assessing ageing is one of the key tasks confronting celebrity and star studies today. If film could reflect upon its own relation to death only from the 1950s on, in films such as Sunset boulevard (1950) and Whatever happened to Baby Jane (1962), where 'the aging process of the first generation of stars exposed a glamour worn thin on screen', today 'the allure of the star' is most definitely 'inseparable from his or her heroism and ruin' (Celeste 2005, Journal of Popular Film and Television, 33, pp. 32, 29). Today, moreover, middle age increasingly matters. With 78 million people in the US aged 44-62, internet and print marketing, movies, television and more tout rejuvenation through Botox, steroids, plastic surgery and wardrobe/cosmetic make-overs. Hollywood stars and celebrities point us towards a brave new world where mature adulthood is seen primarily in chronological, biological and medical terms. It is no coincidence that photographs of healthy, wealthy stars grace each issue of AARP Magazine. Trainers, nips, tucks, lighting, make-up and digital retouching all help. Nor is it coincidence that roughly half are men - most white; a goodly number black. What, however, of middle-aged, Asian, male celebrities? Global mega-star Jackie Chan offers the perfect opportunity to explore ageing, race and masculinity in transnational action. Drawing upon Gina Marchetti's analysis of Chan's 'flexible masculinity' in the Rush hour trilogy (2009), I study the nine films released theatrically post-2000 featuring the middle-aged star. In conclusion, I speculate upon what the future will bring, remembering that we are all 'aged by culture.' Screen Actors Guild (SAG) statistics chillingly indicate just how few roles are available to actors (if especially to actresses) of all races after 40. Asians in particular are marginalised. Might other models of ageing be possible? How do film stars and celebrities impact upon conceptions and experiences of ageing today in our increasingly 'mediagenic' culture? Jackie Chan serves here as 'special case' and as 'test case'.

Volume 1, Issue 1: Table of Contents

• Editorial: A Journal in Celebrity Studies  - Su Holmes and Sean Redmond

Articles:

• Approaching Celebrity Studies - Graeme Turner

• The Adventures of the Bridge Jumper - Jacob Smith

• The promotion and presentation of the self: Celebrity as marker of presentational media - P. David Marshall

• ‘A trust betrayed': celebrity and the work of emotion - Heather Nunn and Anita Biressi

• The ‘place' of television in celebrity studies - James Bennett and Su Holmes

• Avatar Obama in the Age of Liquid Celebrity - Sean Redmond

• Celebrity, Ageing, And Jackie Chan: Middle-Aged Asian In Transnational Action - Chris Holmlund

Celebrity Forum:

• Introduction - James Bennett

• Public Personas, Private Lives and the Power of the Celebrity Comedian: A consideration of the Ross and Brand ‘Sachsgate' affair - Lisa Kelly

• Female Celebrities and the Media: the gendered denigration of the ‘ordinary' celebrity - Milly Williamson

• Celebrity Diplomacy, Spectacle and Barack Obama - Douglas Kellner

Book Reviews:

•  Seeing Stars: Spectacle, Society and Celebrity Culture – by Pramod K. Nayar reviewed by Steve Spittle 

• Fame by Mark Rowlands - Reviewed by Emma Bell

I'm With the Band-ana.

Howdy, y'all!! (best read with a country accent) Today's nails have been in my mind for ages, ever since I got the plate actually... I totally think that the paisley design on plate m60 looks like a Bandana print... so I did bandana nails.



I used China Glaze Salsa as a base on the red nails, and American Apparel Mount Royal as a base on the blue nail. For the pattern, I applied Sally Hansen All the White Stuff with Konad Plate m60. Topped it off with 2 coats of Seche Vite top coat, so my nails will be ready for any rodeo that comes along!! :-P

K, I'm going to lay down, just got back from the Chiro, which felt good for about 5 min after, and now I'm in pain again. *sigh*

Drink Me, I'm Irish!

Ok, so I'm not Irish, but with my naturally pale skin, freckles, and red hair, I certainly look the part! :-P Sooooo, in honor of St. Patty's Day, I painted pints of Guinness on my nails (and some shamrocks, of course!!) My favorite part is that the brown I used is MAC's Rick, Dark, Delicious....could there be a more PERFECT color name to use for Guinness?!



I used MAC Rich, Dark, Delicious as a base, then mixed with American Apparel Cotton for the 'head' or foam. For the Shamrocks, I used Pure Ice Wild Thing. Topped everything off with 2 coats of Seche Vite top coat.

And, to match my nails.....

GUINNESS CUPCAKES!!!!





Here is where I found the recipe, since so many people were interested in it:

Guinness Cupcake recipe

Sláinte!

Dorothy Arzner and female film authorship

Like some film blogs of great note, Film Studies For Free has been pondering Kathryn Bigelow's recent Oscar for achievement in film directing. All in all, it concurs with Steven Shaviro's assessment in his wonderful recent blogpost on this event:

Given the Academy’s lame choices for best film and best director over the years, Bigelow’s Oscars can scarcely be credited as a verification or proof of her auteurial status; but I am nonetheless greatly pleased, and indeed thrilled, and indeed a bit amazed, that so singular and powerful an artist has actually (and quite unusually) received this sort of recognition.

FSFF's very own Bigelow links post is in preparation, but today, in part prompted by an excellent article in the latest issue of Sight & Sound by Sophie Mayer, this blog brings you a little list of links to online and openly accessible scholarly writing touching on the wonderful work of Dorothy Arzner, one of Bigelow's (acclaimed but unrewarded by the Academy) female forbears in the commercially-successful, Hollywood, movie-directing business.

Like Bigelow, Arzner has been a hugely important figure to feminist film scholars and theorists, and so some of the work below explores her work in that context.

• Sarahjane Blum, 'The Decade After The Decade Before: Merrily We Go to Hell', Brooklyn Rail, June 2009

• Nicholas Butler, 'The Bride Wore Red', Senses of Cinema, No. 33, 2004

• Louise Cole, 'Dance Girl, Dance', Senses of Cinema, No. 33, 2004 

• Kendahl Cruver, 'The Wild Party', Senses of Cinema, No. 33, 2004 

• Jane Gaines, 'Dorothy Arzner's Trousers', from Jump Cut, no. 37, July 1992, pp. 88-98 

• Jane Gaines, 'Women and representation', from Jump Cut, no. 29, February 1984, pp. 25-27 

• Theresa Geller, 'Dorothy Arzner', Senses of Cinema, April 2003 

• Catherine Grant, ‘Secret Agents: Feminist Theories of Women’s Film Authorship’, Feminist Theory Vol. 2, No. 1, April 2001, pp. 113-130 

• E. Ann Kaplan, 'Aspects of British feminist film theory: A critical evaluation of texts by Claire Johnston and Pam Cook', from Jump Cut, no. 2, 1974, pp. 52-55

• Aspasia Kotsopoulos, 'Reading against the grain revisited', from Jump Cut: A Review of Contemporary Media, No. 44, Fall 2001

• Erich Kuersten, 'Dizzy from the Altitude, Happy to Plummet: Pre-Code Cinema and the Post-Code-Shock Syndrome', Bright Lights Film Journal, Issue 63, February 2009

• Sophie Mayer, 'Queen of Hollywood', Sight and Sound, March 2009

• Rosanna Maule, 'The Importance of Being a Film Author: Germaine Dulac and Female Authorship', Senses of Cinema, No. 23, 2002

• Lauren Rabinovitz, 'Past Imperfect: Feminism and Social Histories of Silent Film', Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, Volume 16, numéro 1, Automne 2005, p. 21-34

• Anneke Smelik, 'Gay and Lesbian Criticism' Hill and Church Gibson, eds., The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998)

• Rachel Williams, '"It's Like Painting Toys Blue and Pink" (Martha Coolidge, 1996): Marketing and the Female-Directed Hollywood Film', Scope, December 2000

The Digital Humanities: Culture Machine Call for Papers

Image from The Pillow Book (Peter Greenaway, 1996)

Every so often, Film Studies For Free chooses to circulate important calls for papers for kindred-spirited projects. The CFP for the longstanding advocate of Open Access scholarship Culture Machine below falls absolutely into that category. The CFP says it welcomes "papers that ... suggest a new, somewhat different take on the relationship between the humanities and the digital". It seems to FSFF that some Audiovisual/Moving Image Studies material would be essential to that take, especially when it comes to thinking about  scholarship beyond the written text....

CALL FOR PAPERS: THE DIGITAL HUMANITIES: BEYOND COMPUTING

Special issue of Culture Machine, vol. 12; http://www.culturemachine.net
edited by Federica Frabetti (Oxford Brookes University)

The emerging field of the Digital Humanities can broadly be understood as embracing all those scholarly activities in the humanities that involve writing about digital media and technology as well as being engaged in processes of digital media production and practice (e.g. developing new media theory, creating interactive electronic literature, building online databases and wikis). Perhaps most notably, in what some are describing as a ‘computational turn’, it has seen techniques and methodologies drawn from Computer Science – image processing, data visualisation, network analysis – being used increasingly to produce new ways of understanding and approaching humanities texts.

Yet just as interesting as what Computer Science has to offer the humanities, surely, is the question of what the humanities have to offer Computer Science; and, beyond that, what the humanities themselves can bring to the understanding of the digital. Do the humanities really need to draw so heavily on Computer Science to develop their sense of what the Digital Humanities might be? Already in 1990 Mark Poster was arguing that ‘the relation to the computer remains one of misrecognition’ in the field of Computer Science, with the computer occupying ‘the position of the imaginary’ and being ‘inscribed with transcendent status’. If so, this has significant implications for any so-called ‘computational turn’ in the humanities. For on this basis Computer Science does not seem all that well-equipped to understand even itself and its own founding object, concepts and concerns, let alone help with those of the humanities.

In this special issue of Culture Machine we are therefore interested in investigating something that may initially appear to be a paradox: to what extent is it possible to envisage Digital Humanities that go beyond the disciplinary objects, affiliations, assumptions and methodological practices of computing and Computer Science?

At the same time the humanities are not without blindspots and elements of misrecognition of their own. Take the idea of the human. For all the radical interrogation of this concept over the last 100 years or so, not least in relation to technology, doesn’t the mode of research production in the humanities remain very much tied to that of the individualized, human author? (Isn’t this evident in different ways even in the work of such technology-conscious anti-humanist thinkers as Deleuze, Guattari, Kittler, Latour, Negri, Ranciere and Stiegler?)

So what are the implications and possibilities of ‘the digital beyond computing’ for the humanities and for some of the humanities’ own central or founding concepts, too? The human, and with it the human-ities; but also the subject, the author, the scholar, writing, the text, the book, the discipline, the university...

What would THAT kind of (reconfigured) Digital Humanities look like?

We welcome papers that address the above questions and that suggest a new, somewhat different take on the relationship between the humanities and the digital.

Deadline for submissions: 1 October 2010

Please submit your contributions by email to Federica Frabetti:
<kikka66it@yahoo.it>

All contributions will be peer-reviewed.

******************************

**********************
Established in 1999, CULTURE MACHINE http://www.culturemachine.net is a fully refereed, open-access journal of cultural studies and cultural theory. It has published work by established figures such as Mark Amerika, Alain Badiou, Simon Critchley, Jacques Derrida, Henry Giroux, Mark Hansen, N. Katherine Hayles, Ernesto Laclau, J. Hillis Miller, Bernard Stiegler, Cathryn Vasseleu and Samuel Weber, but it is also open to publications by up-and-coming writers, from a variety of geopolitical locations.
****************************************************

--
Gary Hall
Professor of Media and Performing Arts
School of Art and Design, Coventry University
Co-editor of Culture Machine http://www.culturemachine.net
Co-founder of the Open Humanities Press
http://www.openhumanitiespress.org
My website http://www.garyhall.info

Latest: 'Deleuze's "Postscript on the Societies of Control"', Culture Machine 11, 2010 http://www.culturemachine.net/index.php/cm/article/view/384/407

I'm Not at 'Liberty' to Say

Sorry today's post is late today, I fell asleep on the couch last night while watching TV, and woke up late this morning, too late to do my nails before work. SOOOOO you get after-work nails!! YAYYYYY! Tonight I get to make Guinness Chocolate Cupcakes for St. Pat's Day tomorrow!!! They're delish!! MMMM.



I used MAC Blue India, the gorgeous new color from their Liberty of London Collection as a base, with Sally Hansen All the White Stuff sponged on the tips, and then two layers of Essie Funky Limelight sponged over that! :)

Thinking I might drink a Guinness while the cupcakes bake- good idea? I think so.

In Gilded Cage

The idea for today's manicure came to me a while ago, and I had it written amongst the ideas in my notebook. I think when I originally thought of the idea, I envisioned the cage black, but I think this way works too! :)



I used Orly Snowcone as a base, with American Apparel Manila for the yellow birds, and China Glaze Salsa over Sally Hansen All the White Stuff for the red birds. American Apparel Hassid for the legs and the eyes, and China Glaze 2030 from Khrome Collection for the birdcages.

Show Me Your Tooth.

Today's nails are simple, bread class wears me out, so I usually don't have much time to paint my nails before I fall into a bread class induced coma. I did, however, get a chance to use my new American Apparel Office polish that I got the other day. This polish, sadly, was less than stellar. The color is amaaaaazing, but it took 3, and probably should've used 4, coats to have full coverage, a far cry from my beloved 1-coat Hassid. Seems like the AA polishes are hit-and-miss pigment-wise. They're all great great great colors, but some are vastly more pigmented than others. Anyway.



I used American Apparel Office as a base, with China Glaze Millennium applied with Konad Plate m63. Topped everything off with 2 coats of Seche Vite top coat.

On the Dotted Line

Hey all! Today's manicure was inspired by a set of notecards that I found in the $1 section of Target!! I love graphic prints, and one of my favorite color combos is aqua and chocolate brown...soooo... here you go!

The inspiration:



The nails:



I used China Glaze For Audrey as a base, with Nubar Milk Chocolate Creme for the dots and lines. Topped it all off with 2 coats of Seche Vite top coat. (Kinda makes it look like they're wrapped in cellophane, like the notecards!! :-P

Deleuzian film studies in memory of David Vilaseca

Image of Ingrid Bergman as Karin in Stromboli (Roberto Rossellini, 1950)

Read 'Eruptions of God. Roberto Rossellini. Stromboli' by Corry Shores

For [French philosopher Henri] Bergson, the brain does not produce a representation of what it perceives. Perception is the mutual influence of images upon one another, of which the brain is only another image—it does not “produce” anything, but filters impulses into actions or non-actions. The implications for film are two-fold. By addressing the perceiving subject as one image among the world of images, Bergson steps outside models that locate perception and memory within the mind of the subject. I would further suggest, following [Gilles] Deleuze, that Bergson’s theory of matter allows us to see film not as a fixed representation, a concrete image of a “real” object, but as an image in its own right, with its own duration and axes of movement. What we might call the film-image thus occurs in the gap between subject and object, through the collision of affective images.

Deleuze’s formulation of the film-image as a mobile assemblage (sometimes a frame, sometimes a shot, a sound, or the film as a whole) lends itself to this reading. It refuses to reduce the physical image on the screen to a mere reproduction of an assumed “real” object it represents. Such a formulation similarly reevaluates the relationship between the concrete optical and sonic images that comprise the film. Rather than conceiving of each component as a “building block,” it allows for the shifting conglomerations of elements which are themselves dynamic and mobile. A film cannot be distilled to a structure that originates from outside itself. Instead, each film-image is contingent, particular, and evolving.

The distinction between the time- and movement-images becomes more clear in this context. Rather than a question of either content or form, the difference lies in their affective power, whether they are bent toward action, in the case of the movement image, or if they open into different temporal modalities. It is in this second case that the time-image falls, and it is here that Deleuze locates the creative potential of film. This potential does not exist solely within the physical image itself, however, but is contained as well in the modes of perception and thinking that it triggers. Much like the time-image, the mental faculty most attuned to the openness of time, according to Bergson, is that of intuition.

Amy Herzog, 'Affectivity, Becoming, and the Cinematic Event: Gilles Deleuze and the Futures of Feminist Film Theory', in Koivunen A. & Paasonen S. (eds),Conference proceedings for affective encounters: rethinking embodiment in feminist media studies , University of Turku, School of Art, Literature and Music, Media Studies, Series A, No. 49

Film Studies For Free lovingly presents its long list of links to online and openly accessible film-studies resources of note pertaining to the work of French philosopher Gilles Deleuze. Like lots of continental theorists invoked in Film Studies, 'Deleuze' has been somewhat of a moveable feast, but, as the links below testify, in recent years this particular feast has been a highly nourishing one for a variety of approaches to this discipline.

This FSFF entry is one of two posts to be dedicated to the fond memory of David Vilaseca, Professor of Hispanic Studies and Critical Theory at Royal Holloway, University of London. Professor Vilaseca tragically died in a road traffic accident in London on February 9, 2010. His achievements in life were many, as this touching obituary written by his good friend and mentor Professor Paul Julian Smith eloquently sets out. Both in person and in his writing he was an inspiration. He will be much missed.

FSFF's author had met David Vilaseca on a number of occasions over the years and is a keen follower of his brilliant work on queer, Catalan, and Hispanic culture. She wishes to express her sincere condolences to David's family, friends, and colleagues.

David Vilaseca had a particular interest in Deleuzian philosophy as well as in the critique of Deleuze's work by fellow French philosopher Alain Badiou. Three of his related essays are linked to below, and interested FSFF readers should also look out for his third book Negotiating the Event: Post-deconstructive Subjectivities in Spanish Literature and Film, to be published this Autumn, which will undoubtedly explore further the pertinence of Deleuze and Badiou's work for film studies.

Good Film and Cultural Studies-related Deleuzian websites:

• Rhizomes

• The Pinocchio Theory (Steven Shaviro)

• Radio Deleuze

• Immanence (Adrian Ivakhiv) (see especially the entries on 'Why Deleuze?' and 'ecology, Deleuze/Tarkovsky, and the time-image')

• Spittin' Change (Kara Keeling)

• Pirates and Revolutionaries (Corry Shores)

• Deleuze Cinema Project 1 (Corry Shores) 

• Differences and Repetitions blogspot and Differences and Repetitions wiki (Ted Striphas)

• Inmanencia

Deleuzian film studies:

• Carolyn Abbs, 'Virginia Woolf and Gilles Deleuze: Cinematic e-motion and the Mobile Subject', Interactive Media, Issue 1, 2005

• Lisa Åkervall, 'Cinema, Affect and Vision', rhizomes 16, Summer 2008

• Don Anderson, 'Deleuze and Horror Film', rhizomes 11/12, fall 2005/spring 2006

• Dyrk Ashton, Feeling Time: Deleuze's Time Image and Aesthetic Effect', rhizomes 16, Summer 2008

• Jeffrey A. Bell, 'Thinking with Cinema: Deleuze and Film Theory', Film-Philosophy, Vol. 1, 1997

• Garnet Creighton Butchart, 'Thinking Through Cinema: On Rodowick's Gilles Deleuze's Time Machine', Film-Philosophy, Vol. 4, 2000

• Don Callen. 'Action and Image in The Time of the Dismal Tide', rhizomes 16, Summer 2008

• Jinhee Choi, 'Bergson: Before the Deleuze', Film-Philosophy, Vol. 5 No. 35, November 2001

• Mary Flanagan , 'Mobile Identities, Digital Stars, and Post-Cinematic Selves', Wide Angle, 1999

• D.H. Fleming , 'Review: Patricia Pisters (2003) The Matrix of Visual Culture: Working with Deleuze in Film Theory Stanford: Stanford University Press', Film-Philosophy, 13:1, April 2009

• Theresa L. Geller, 'The Cinematic Relations of Corporeal Feminism', rhizomes 11/12, fall 2005/spring 2006

• Michael Goddard, 'Beauty Lies in the Eye (So Why Can't I Touch It?) [on 'Deleuze, Guattari and the Philosophy of Expression', special issue of the Canadian Review of Comparative Literature/Revue Canadienne de Littérature Comparée, guest edited by Brian Massumi ]', Film-Philosophy, No. 25, September 1998

• Catherine Grant, 'Cinesexuality [review of Patricia MacCormack's book]', Times Higher Education, December 18, 2008

• Markos Hadjioannou, 'Into Great Stillness, Again and Again: Gilles Deleuze's Time and the Constructions of Digital Cinema', rhizomes 16, Summer 2008

• Amy Herzog, 'Reassessing the Aesthetic: Cinema, Deleuze, and the Art of Thinking', Film-Philosophy, Deleuze Special Issue, Vol. 5 No. 40, November 2001

• Amy Herzog, 'Affectivity, Becoming, and the Cinematic Event: Gilles Deleuze and the Futures of Feminist Film Theory', in Koivunen A. & Paasonen S. (eds),Conference proceedings for affective encounters: rethinking embodiment in feminist media studies , University of Turku, School of Art, Literature and Music, Media Studies, Series A, No. 49

• Will Higbee, 'Ungrounding the Narrative of Nation (Review: David Martin-Jones (2006) Deleuze, Cinema and National Identity: Narrative Time in National Contexts Edinburgh: Edinburgh University Press)', Film-Philosophy, 13:1, April 2009

• Jan Jagodzinski, 'Michael Haneke: The Spectatorship of Self-refleXivity; Between Lacan and Deleuze', 'The Scope of Interdisciplinarity' Conference, Center for Integrated Studies, November 2008

• John Johnston, 'Machinic Vision', Critical Inquiry, Vol. 26, No. 1. (Autumn, 1999), pp. 27-48

• Jeff Karnicky, 'Georges Bataille and the Visceral Cinema of Kathryn Bigelow', Enculturation, Vol. 2, No. 1, Fall 1998

• Kara Keeling, 'Deleuze and Cinema', Critical Commons, 2010 ("The following selection of film clips from films discussed by French philosopher Gilles Deleuze were compiled in the Fall of 2009 by the participants in Professor Kara Keeling's Critical Studies graduate seminar on Deleuze and Culture at the University of Southern California")

• Barbara M. Kennedy, 'Fugitive Spaces -- Between the Critical and the Creative: A Reply to Amy Herzog', Film-Philosophy, Deleuze Special Issue, Vol. 5 No. 41, November 2001

• Jeanne Marie Kusina, 'Difference, Repetition, Disappearance, and Death: A Deleuzian Consideration of Kiyoshi Kurosawa's Kairo', rhizomes 16, Summer 2008

• Matt Lee, 'Taking Deleuze (On)', Film-Philosophy, No. 33, October 1998

• Patricia MacCormack, 'Necrosexuality', rhizomes 11/12, fall 2005/spring 2006

• Patricia MacCormack on Pleasure, Perversion, Death and the Viewing Body e-book

• Laura U. Marks, 'Haptic Visuality: Touching with the Eyes', Framework" the Finnish Art Review, No. 2, 2004 (large pdf - scroll down to p. 79)

• David Martin-Jones, 'Site for Sore Eyes', Film-Philosophy, Volume 3 Number 15, April 1999

• Antonio Negri, 'On Gilles Deleuze & Félix Guattari, A Thousand Plateaus', Graduate Faculty Philosophy Journal, Volume 18, Number 2, 1995

• David Neo, 'Fractal Images of Memory in Mother and Son: Pt 1', Offscreen Journal, November 30, 2001

• David Neo, 'Fractal Images of Memory in Mother and Son: Pt 2', Offscreen Journal, November 30, 2001

• Jakob Nilsson, ' Crystal Matter: Virtual Structures and the Search for Belief', rhizomes 16, Summer 2008

• Jenny O'Connor, 'Quentin Tarantino: Gilles Deleuze's Cinematic "Falsifier"', rhizaomes 16, Summer 2008

• Tom O’Connor, ‘Uncontrollably Herself’: Deleuze’s Becoming-woman in the Horror Films of Michael Almereyda', Horror Studies, 1:1, 2010

• Edward R. O'Neill, 'Apprehending Deleuze Apprehending Cinema [on Der Film bei Deleuze/Le cinema selon Deleuze, edited by Fahle & Engell], Film-Philosophy, Vol. 2, No. 2, January 1998

• Susan Pelle and Catherine Fox, 'Queering Desire/Querying Consumption: Rereading Visual Images of ‘Lesbian' Desire in Lisa Cholodenko’s High Art',thirdspace 6/1, 2006

• Claire Perkins, 'Becoming-democratic: Donnie Darko and other Recent Suburban Utopias', rhizomes 16, Summer 2008

• Claire Perkins, 'Cinephilia and Monstrosity: The Problem of Cinema in Deleuze's Cinema Books', Senses of Cinema, No. 8, 2000

• Patricia Pisters, 'From Mouse to Mouse: Overcoming Information', Enculturation, Vol. 2, No. 1, Fall 1998

• Richard I. Pope, 'In Kubrick's Crypt, a Derrida/Deleuze Monster; or, An-Other Return to 2001', Film-Philosopy, Vol. 7 No. 22, August 2003

• Gregg Redner, 'Dmitri Shostakovich's score for Kozintsev's Hamlet', rhizomes 16, Summer 2008

• Jason Kelly Roberts, 'Review of The Virtual Life of Film by D.N. Rodowick [London: Harvard University Press, 2007]', Scope, Issue 13, February 2009

• D.N. Rodowick, 'Ethics in film philosophy (Cavell, Deleuze, Levinas)', Unpublished essay

• D.N. Rodowick, 'An Elegy for Theory' October, 121 (Summer 2007):  99-110

• D.N. Rodowick, 'Unthinkable Sex: Conceptual Personae and the Time-Image,' (In)Visible Culture 3 (2000)

• D.N. Rodowick, Webcast: from “Immanent Choreographies: Deleuze and Neo-Aesthetics,” Tate Modern, London, England, 21-22 September 2001

• Ilaria Serra, 'The Female Spectator’s Laughter: Anti- Oedipus to Free Female Spectatorship', Deleuze and Feminism special issue, edited by Claire Claire Colebrook, theory@buffalo.edu, no.8, 2003 (scroll down pdf to p. 100)

• Steven Shaviro, 'The Cinematic Body Redux', originally published in Parallax 14:1 (February 2008), 48-54, The Pinocchio Theory

• Steven Shaviro, 'Emotion Capture: Affect in Digital Film', Projections, Volume 1, Issue 2, Winter 2007: 63-82

• Steven Shaviro , 'The “Wrenching Duality” of Aesthetics: Kant, Deleuze, and the “Theory of the Sensible”', The Pinocchio Theory, November 10, 2007

• Robert Sinnerbrink, 'Time, Affect, and the Brain: Deleuze’s Cinematic Aesthetics', Film-Philosophy, 12:1, 2008

• Jacob Skeet, 'Woolf plus Deleuze: Cinema, Literature and Time Travel', rhizomes 16, Summer 2008

• Jason Sperb, 'Time Passing in the Simulacrum of Videodrome', Intertheory, Vol. 3, 2006 

• Andreas Spiegl, 'Empire as Cinema', Afterall, Issue 8, Autumn/Winter 2003

• Melanie Swalwell, 'The Senses and Memory in Intercultural Cinema [on Laura U. Marks's The Skin of the Film]', Film-Philosophy, Vol. 6, No. 32, 2002

• Michael Angelo Tata, 'Warholian Machinehood II: World Text as External Time Consciousness', rhizomes 16, Summer 2008

• Donato Totaro, 'Gilles Deleuze's Bergsonian film Project: Part 1: Cinema 1: The Movement-Image', Offscreen Journal, March 31, 1999

• Donato Totaro, 'Gilles Deleuze's Bergsonian Film Project: Part 2: Cinema 2: The Time-Image', Offscreen Journal, March 31, 1999

• Donato Totaro, 'Deleuzian film Analysis: The Skin of the Film', Offscreen Journal, June 30, 2002

• David Vilaseca, 'Deleuze and the Barcelona School: Time in Vicente Aranda's Fata Morgana (1965), in Cristina Sánchez-Conejero, ed., Spanishness in the Spanish Novel and Film of the 20th Century. Cambridge: Cambridge Scholars Publishing, 2008; pp.21-32 (Two page excerpt - scroll down in pdf)

• David Vilaseca, 'Antonio Roig's Kafkaesque Laughter: (Anti-)Oedipal Parody in Todos los parques no son un paraíso', rhizomes 11/12, fall 2005/spring 2006

• David Vilaseca, 'How Does One Escape One’s Own Simulacrum? Subjectivity and the Asceticism of Being in Terenci Moix’s Autobiography', Hispanic Review (spring 2008) 

• Thomas Carl Wall, 'The Time-Image: Deleuze, Cinema, and Perhaps Language', Film-Philosophy, Vol. 8 No. 23, July 2004

• Maria Walsh, 'Zizek, Deleuze, and the Feminine Cinematic Sublime', rhizomes 16, Summer 2008

• Edward Willatt, 'Review: Eyal Peretz (2007) Becoming Visionary: Brian De Palma’s Cinematic Education of the Senses. Stanford University Press: Palo Alto, CA', Film-Philosophy, 12:1, 2008

• James Williams, The Transversal Thought of Gilles Deleuze: Encounters and Influences, 2005 (large pdf)

• Daniel Ziegert, 'Radical Measures: 9/11 and | as Deleuze's Time-Image', rhizomes 16, Summer 2008

• Nina Zimnik, 'What Will This Century Be Known As? Deleuze and Resistance for Theory on 'A Deleuzian Century?', special issue of theSouth Atlantic Quarterly, Film-Philosophy, No. 16, June 1998

• Nina Zimnick, ''Give me a body': Deleuze's Time Image and the Taxonomy of the Body in the Work of Gabriele Leidloff', Enculturation, Vol. 2, No. 1, Fall 1998