Camel Whoa

Today, I managed to snag my major nail polish lemmings- China Glaze Classic Camel and China Glaze Ingrid! :) (I decided to grab Swing Baby as well. I love the Vintage Vixen collection!! Today in Vegas it feels disgusting. I know that I shouldn't complain, but after living in the desert for 2.5 years, 41% humidity is HELL. (on top of the 100°+ temperatures. It makes me think of the days in Michigan where you step out of the shower, and then feel like you have to shower all over again. Humidity is the devil, and the devil is in Las Vegas. I did another relatively simple design today, since a few people expressed that they dug the simpler stuff. I think it sort of has a vintage feel to it as well, so I think it fits with the color collection I used. :) BTW Class Camel was so totally worth the wait. I am in love with this polish, even though it looks horrid with my skin. :-P

I used China Glaze Classic Camel as a base, China Glaze Ingrid for the scrolls, China Glaze Swing Baby for the dots. Topped it off with 2 coats of Seche Vite top coat.

There's No Place Like Home!

It's GIVEAWAY time!!! To thank all my lovely readers, (new and old) I decided to do a giveaway!!!

The theme? HOME.

The challenge? I want to see a nail design that reminds you of home, whether it's a place you love to go when you're home, what you think of when you think of home, or what home means to you.

The rules:

You MUST be a follower. When you send your entry, please put your Google ID in the Subject. Also, I ask that after you send the entry, please comment on this post. :) All entries should be sent to thedailynailcontest@gmail.com by August 8, 2010. One entry per person please! Depending on the number of entries, I will post all of them in one post for you all to vote on, or I will whittle them down to a reasonable number if there are a lot. YAY!

Now the important part: THE PRIZES!!

A special thank you to reader Patti, who donated some fun (and a tad naughty- sorry dad) chapstick holder keyrings, and to the First Place winner, an eyeshadow quad palette with choice of colors! Check out her sites Etsy (chapstick holder) and Bella Sugar Cosmetics.

FIRST PRIZE:

The Daily Nail cosmetic bag (hand screen-printed and sewn by yours truly!)
Color Club Rebel Debutante Set
Sally Hansen Xtreme Wear Nail Color Collection mini set
essie Berry Hard
Claire's Mood Polish in Calm/Wild
Piggy Polish Free Toes
Piggy Polish Teeny Pink-ini
Eyeshadow quad with choice of colors from Bella Sugar Cosmetics!
Naughty Chapstick Holder- ADULT WINNERS ONLY

SECOND PRIZE:

The Daily Nail cosmetic bag (hand screen-printed and sewn by yours truly!)
Sally Hansen Lacquer Shine Nail Color Collection mini set
Orly La Playa
Orly Top 2 Bottom
Dare To Wear Inspiring Surrounding
Rimmel Tequila Sunrise
Revlon Lavender Light
LA Colors Live
Naughty Chapstick Holder- ADULT WINNERS ONLY

THIRD PRIZE:

The Daily Nail cosmetic bag (hand screen-printed and sewn by yours truly!)
Sally Hansen Xtreme Wear Nail Color Collection mini set
Orly Bailamos
Orly Top 2 Bottom
Rimmel Night Before
LA Colors Phenomena
Naughty Chapstick Holder- ADULT WINNERS ONLY

Who else is excited?! I love giveaways!!

Retro Zig Zaggin'

Today's nail design was quick, I'll admit it, I'm in a rush today- lots to do- Colin Hay concert tonight! woo! The design was inspired by the paint job I saw on the side of a building in southern California, I just thought that it had a really retro vibe to it, which, of course, I love. I also got to use a new polish I picked up from Milani- they have a new collection of nudes out now!! :)

I used Milani Teddy Bare (which is pretty close to Essie Mink Muffs) as a base, with American Apparel Cotton for the ivory line, and Zoya Jancyn for the orange line.

Sorry for the lack of complexity today, I feel kinda guilty when I don't do crazy stuff. :-P

Grease is the Word

Lately, Paramount decided to re-release the movie GREASE in select theaters, but this time with a little twist- it's a SING-A-LONG! They added graphics throughout the movie when there were songs to be sung, and how they handled some of the lyrics was pretty damn amusing. The graphics were amusing, but some were distracting and too much. All in all it was a fun experience. In honor of the re-release, I did GREASE nails!! :-D

I used:

Thumb:

American Apparel Hassid as a base, with Sally Hansen Professional Lavender Cloud as a base for the red, and for the letters in 'GREASE', with Nubar Sexy Red for the red of the car.

Index:

Sally Hansen Professional Lavender Cloud as a base with Nubar Sexy Red for the Rydell High logo.

Middle:

American Apparel Hassid as a base, with Sally Hansen Professional Lavender Cloud for the T Birds logo.

Ring:

Yachty Yachty Yadda as a base, with American Apparel Hassid for the words.

Pinky:

Sally Hansen Professional Lavender Cloud as a base, with Nubar Sexy Red for the lightning outline, and China Glaze OMG for the silver.

Topped everything off with 2 coats of Seche Vite top coat.

We go together like rama lama lama ke ding a de dinga a dong, just thought you should know.

We're Gonna Rouge Our Knees

and roll our stockings down...

I have yet to come across a musical that I DIDN'T like, and CHICAGO is no exception. I LOVE this musical. I love the movie version, and though I've only experienced the soundtrack of the stage version, I adore that too! I love the glamour of it all, the sex, the crime, the Richard Gere?! :-P Anyway, today's nails were inspired by all that jazz...

The 'glow' is far more subtle in person, but the camera really seemed to pick it up.

I used American Apparel Hassid as a base, with the orangey red from the Color Club Yacht Club collection for the glow of the neon letters, mixed with a little American Apparel Hassid to try to fade out the glow a bit, and with Sally Hansen Professional Lavender Cloud to create the glowing neon of the middle C. For the black of the other letters, I used American Apparel Hassid.

So who's your favorite Velma? Bebe Neuwirth? Catherine Zeta Jones? Someone else? Are you more of a Roxie Hart fan? Maybe Mama? Billy? *rawr*

Atomic Wedgwood

I've always been a fan of all things retro in the art world, and the plates that today's nail art was inspired by are no exception! I love the atomic era art style, so when my friend Chris showed me his plates and suggested they'd make great nail art, I completely agreed. So, I palmed a plate, and headed to my nail art desk, and got to work!

The inspiration:

The Nails:

I used Sally Hansen Professional Lavender Cloud as a base, with a mixture of Essie Mink Muffs and American Apparel California Trooper for the beige, Orly Gumdrop for the turquoise, Sally Hansen Insta-Dry Spring Green for the green, and MAC Showy for the dark brown line work. Topped everything off with 2 coats of Seche Vite top coat.

On Japanese Cinema

Last updated: August 3, 2010

Film Studies For Free wanted to make sure its readers didn't miss the video embedded above. It's another great offering from Fora.tv, this time a very entertaining and informative interview with Donald Richie about his internationally celebrated work on Japanese cinema and culture. FSFF heard of this via David Hudson and the Japan Society Film Blog.

In addition, FSFF has assembled some links below to openly accessible and very high quality scholarship on Japanese cinema (including numerous full-length studies), with work by Donald Richie, and many other excellent items which are indebted to his studies of Japanese cinema.

This was quite a broad category to research online, so FSFF will inevitably have missed some good resources: suggestions for any high quality additions are, therefore, even more welcome than usual! (Update: See comments  below for some of these, including the tip to link to Eigagogo's bookmarks at Delicious which lists some further great resources).

•  Kaori Ashizu, 'Kurosawa’s Hamlet?', Shakespeare Studies 33 (1995): 71-99

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

• David Bordwell, Ozu and the Poetics of Cinema (Princeton: Princeton University Press, 1988)

• David Bordwell, 'Review of Noël Burch's "To the Distant Observer"', Wide Angle vol. 3, no. 4 (1980): 70–73

• Mio Bryce, Christie Barber, James Kelly, Siris Kunwar and Amy Plumb, 'Manga and Anime: Fluidity and Hybridity in Global Imagery', Electronic Journal of Contemporary Japanese Studies, 2010

• Noël Burch, To the Distant Observer: Form and Meaning in the Japanese Cinema (London : Scholar Press, 1979)

• Robert Castle, 'The Radical Capability of Rashomon', Film-Philosophy, Vol. 7 No. 33, October 2003

• 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

• Christopher J. Coyne, 'Culture, Common Knowledge and Post-Conflict Reconstruction', Journal of Intercultural Communication, No 13 (2007)

• Darrell William Davis, Saving Face: Spectator and Spectacle in Japanese Theatre and Film (LEWI Working Paper Series/David C. Lam Institute for East-West Studies, October 2004)

• Darrell William Davis, 'Reigniting Japanese Tradition with Hana-Bi', Cinema Journal 40, No. 4, Summer 2001

• Rayna Denison, 'On Susan J. Napier's From Impressionism to Anime: Japan as Fantasy and Fan Cult in the Mind of the West', Participations, Volume 6, Issue 2 (November 2009)

• Freda Freiberg, 'The Unkindest Cut of All? Some Reflections on the Recent Cinematic Release of the Uncut Version of Nagisa Oshima's Ai no corrida', Senses of Cinema, Issue 12, Feb-Mar 2001

• Freda Freiberg, 'Pale Flower', Senses of Cinema, Issue 55, 2010

• Freda Freiberg, 'Miyazaki's Heroines', Senses of Cinema, Issue 55, 2010

• New Jinshi Fujii, 'Films That Do Culture : A Discursive Analysis of Bunka Eiga, 1935-1945', Iconics 6, Japan Society of Image Arts and Sciences, 2002

• New Hideaki Fujiki, 'Dual Persona : Onoe Matsunosuke as Japan's Early Cinema Star', Iconics 7, Japan Society of Image Arts and Sciences, 2004

• Tag Gallagher, 'Mizoguchi and freedom', Screening the Past, Issue 13, 2001

• Aaron Gerow, 'One print in the age of mechanical reproduction: film industry and culture in 1910s Japan', Screening the Past, 2000 (11), 11 January 2000

• New Aaron Gerow, 'The Benshi's New Face : Defining Cinema in Taisho Japan', Iconics 3, Japan Society of Image Arts and Sciences, 1994

• Andrew Grossman, 'Gohatto-or the End of Oshima Nagisa?', Bright Lights Film Journal, Issue 33, 2001 July

• New Masato Hase, 'Cinemaphobia in Taisho Japan : Zigomar, delinquent boys and somnambulism', Iconics 4, Japan Society of Image Arts and Sciences, 1998

• New Kyoko Hirano, 'The Banning of Japanese Period Films by the American Occupation,' Iconics 1, Japan Society of Image Arts and Sciences, 1987

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

• Hikari Hori, 'Representing a Woman’s Story: Explicit Film and the Efficacy of Censorship in Japan', Sarai Reader 2005: Bare Acts

• Yuwen Hsiung, 'Kurosawa's Throne of Blood and East Asia's Macbeth', CLCWeb: Comparative Literature and Culture 6.1 (2004)

• Lee Wood Hung, 'Natural Culturalism in The Ballad of Narayama: A Study of Shohei Imamura's Thematic Concerns', Asian Cinema, Spring/Summer 2003

• Timothy Iles, 'Are We There Yet? Travelling Toward the Self in Contemporary Japanese Cinema', Electronic Journal of Contemporary Japanese Studies, 2007

• Mizuko Ito, 'The Gender Dynamics of the Japanese Media Mix', A position paper prepared for the workshop and conference on Girls 'n' Games, May 8-9, University of California, Los Angeles, 2006

• New Kenji Iwamoto, 'Film Criticism and the Study of Cinema in Japan：A Historical Study', Iconics 1, Japan Society of Image Arts and Sciences, 1987

• 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

• Lei Jin, 'Silence and Sound in Kurosawa's Throne of Blood', CLCWeb: Comparative Literature and Culture 6.1 (2004) 

• Journal of the Imaginary and Fantastic Vol. 1.  No. 2.:  The Films of Hayao Miyazaki

• Sato Kenji, 'More animated than life', Japan Echo, Dec 1997; 24, 5; International Module pg. 50

• Chika Kinoshita, '"Choreography of desire: analysing Kinuyo Tanaka's acting in Mizoguchi's films', Screening the Past, Issue 13, 2001

• New Futoshi Koga, 'A Review of Pornographic Images in the 1970s in Japan: Centered Around Nikkatu Roman Porno Film"', Iconics 2, Japan Society of Image Arts and Sciences, 1992

• Colleen A. Laird, 'Japanese cinema, the classroom, and Swallowtail Butterfly', Jump Cut, No. 52, Summer 2010

• Annie Manion, 'Discovering Japan: Anime and Learning Japanese Culture', A Master's Thesis Submitted to the East Asian Studies Center, USC

• Dolores Martinez, 'Where the human heart goes astray: Rashomon, Boomtown and subjective experience', Film Studies, Issue 11, Winter 2007

• Yuji Matson, The Word and The Image: Collaborations between Abe Kôbô and Teshigahara Hiroshi, Masters Thesis, University of Victoria, 2007 

• Bonnie Melchior, 'King Lear and Ran: Identity Translated and Transformed', East-West Connections: Review of Asian Studies Volume 5, Number 1 (2005) [scroll to p. 41 in PDF]

• New Kiseko Minaguchi, 'Yamamoto Satsuo's Haha no kyoku (Mother's Melody) : Making a Father's Story of Stella Dallas', Iconics 6, Japan Society of Image Arts and Sciences, 2002

• Gary Morris, 'The Spirit Moves: The World of Kenji Mizoguchi',  Bright Lights Film Journal, Issue 22, 1999

• New Hisashi Nada, 'An Aspect of the Reception of Avant Garde Films in Japan', Iconics 2, Japan Society of Image Arts and Sciences, 1992

• New Hisashi Nada, 'The Little Cinema Movement in the 1920s and the Introduction of Avant-Garde Cinema in Japan', Iconics 3, Japan Society of Image Arts and Sciences, 1994

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

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

• Chris Payne, 'Burying the Past: Nihonjinron and the Representation of Japanese Society in Itami's The Funeral', Graduate Journal of Asia-Pacific Studies, 1: 1 (2003), 13-20

• Michael Francis Phillips, 'A Cinematic Challenge to Modernity Critical Theory in Postwar Japanese Cinema: An Introduction to Fukasaku Kinji', eCommons@Texas State University, May 2009

• Donald Richie, Japanese Cinema: Film Style and National Character (New York: Anchor Books, 1961; Michigan Electronic Reprint 2004)

• Donald Richie, 'Expressionism in Film', Tokyo - Berlin / Berlin - Tokyo Exhibition Catalogue, Mori Art Museum, 2006

• Donald Richie, 'The Daughter of the Samurai: a German-Japanese co-production', Tokyo - Berlin / Berlin - Tokyo Exhibition Catalogue, Mori Art Museum, 2006

• Donald Richie, writer and film critic, Conversations With History: "Writing, Film, and Japan: An Expatriate's View," 9/21/01

• 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

• Chi-Yun Shin, 'Art of branding: Tartan "Asia Extreme" films', Jump Cut, No. 50, spring 2008

• Greg M. Smith, 'Critical reception of Rashomon in the West', Asian Cinema, Fall/Winter 2002

• Ayumi Suzuki, 'A nightmare of capitalist Japan: Spirited Away', Jump Cut, No. 51, spring 2009

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

• William Tsutsui, 'Godzilla And Postwar Japan', East-West Connections: Review of Asian Studies Volume 5, Number 1 (2005) [Scroll to p. 1 in PDF]

• Paul Waley, 'Re-scripting the city: Tokyo from ugly duckling to cool cat', Japan Forum 18(3) 2006: 361–380

• Gregory A. Walle, Narrating the new Japan: Biograph's The Hero of Liao-Yang (1904) Screen 2006 47: 43-65

• Craig Watts, 'Blood Spear, Mt. Fuji: Uchida Tomu's Conflicted Comeback from Manchuria', Bright Lights Film Journal, Issue 33, July 2001

• Erica Lee Zilleruelo, Shakespeare by Any Other Word? Shakespeare's King Lear and Macbeth Reivented in the Films of Akira Kurosawa, Masters Thesis, Wichita State University, 2002

Just Push Play

So, since I've been feeling pretty under the weather for the last few days, I've become very acquainted with the TV remote. I seem to have caught some sort of bug. *bleck* Anyway. There are a few things I make myself get out of bed/get off the couch for- and this is one!! :) (Groceries is another) Anyway, today's nails were inspired by my buddy, the remote, the clicker, the changer, your children, whatever you call the little thing that allows you to channel surf. :-P

I used American Apparel Factory Grey as a base with American Apparel Cotton for the symbols. For the red of the record 'button', I used Nubar Sexy Red. Topped it all off with 2 coats of Seche Vite top coat.

Did you know the Travel Channel has wicked awesome shows? I'm totally addicted. between that, Discovery, History, and ID, I'm totally hypnotized. In addition, can I say I am loving Anthony Bourdain?

Mapping the Lost Highway: New Perspectives on David Lynch (TATE Modern Event)

Image from Mulholland Drive (David Lynch, 2001)

Film Studies For Free has taken the trouble to gather together in one (hopefully) very easily navigable setting the twelve videos (embedded below) that recorded for posterity a really excellent symposium that took place last year on October 30 2009 at London's Tate Modern. The symposium provided a space in which artists and film theorists insightfully discussed the work of filmmaker David Lynch in a range of theoretical and artistic contexts, including psychoanalysis, philosophy, prosthetics and photography.

One of cinema’s most compelling and innovative directors, David Lynch remains a major influence on contemporary art, film and culture. In this landmark event, Tate Modern [brought] together leading artists, academics and writers from around the world to offer a series of new perspectives on Lynch’s films.

[...] Speakers [included] the visual artists Gregory Crewdson, Daria Martin, and Jane and Louise Wilson, and there [were also] contributions from the writers and academics Parveen Adams, Sarah Churchwell, Simon Critchley, Roger Luckhurst, Tom McCarthy, and Jamieson Webster. A specially commissioned video interview with Lynch himself [was] screened, and an accompanying film programme [took] place at Tate Modern and the Birkbeck Cinema. 

PART 1: Marko Daniel: Welcome; Richard Martin: Introduction

PART 2: The Body: Roger Luckhurst

PART 3: The Body: Tom McCarthy

PART 4: The Body: Q+A (chaired by Marko Daniel)

PART 5: The Eye 1: Gregory Crewdson

PART 6: The Eye 1: Q+A (chaired by Sarah Churchwell)

PART 7: The Eye 2: Daria Martin

PART 8: The Eye 2: Louise Wilson

PART 9: The Eye 2: Q+A (chaired by Stuart Comer)

PART 10: The Mind: Parveen Adams

PART 11: The Mind: Q+A (chaired by Richard Martin)

PART 12: The Ear: Chris Rodley responds to the day's presentations in conversation with Sarah Churchwell. Followed by a Q+A with the symposium's speakers and the public

Puttin' on the Ritz

High hats, and arrowed collars, white spats and lots of dollars....

Who'd have thought that a song would inspire a nail design? Well, whether you like the Fred Astaire version or the Taco version, this is a great song, and it DID inspire today's nail design, spats!

I used Sally Hansen Professional Lavender Cloud as a base, with American Apparel Hassid for the black of the shoes and the buttons. Topped with 2 coats of Seche Vite top coat.

Why don't you go where fashion sits?

Pillow Talk

Today's manicure was inspired by the design on some pillows at IKEA! :) I used the VILMIE RUTA pillow as inspiration, to be precise. :-D I've always been a fan of simple shapes and bold, bright colors, so of course this pillow caught my eye!

I used American Apparel Cotton as a base, with Nubar Sexy Red for the red, Zoya Jancyn for the orange, American Apparel Factory Grey for the lighter grey, and American Apparel Factory Grey mixed with American Apparel Hassid for the darker grey. For the blue, I used Pure Ice French Kiss, and for the beige, I used a mixture of American Apparel California Trooper, American Apparel Manila, and Essie Mink Muffs. I then topped everything off with 2 coats of Seche Vite top coat.

Start Spreadin' the News

Today's nail art was a suggestion from a reader that was traveling to New York City, so she asked me to do NY themed nails. I looked through my emails a million times, and now I can't find her email- so PLEASE, if it was you- email me, so I can credit you!! I had a few other requests for NYC themed nails too, so here you go!! :) I decided to do the iconic I <3 NY image on the thumb, with a city skyline on the other 4 nails, and King Kong hanging off the Empire State Building on the ring finger. :-D (I thought it was a nice touch)

 I used Sally Hansen Professional Lavender Cloud as a base, with American Apparel Hassid for the black, Nubar Sexy Red for the heart, and Nubar Milk Chocolate Creme for King Kong. Topped everything off with 2 coats of Seche Vite top coat.

It's up to you, New York, New York.

On "England" and "Englishness" in British Cinema and Television

Updated July 27, 2010

Image from Went the Day Well? (Alberto Cavalcanti, 1942)

Film Studies For Free was recently very inspired by Nick James's wonderful overview of the career of Brazilian Alberto Cavalcanti for next month's Sight and Sound magazine. As a huge fan of Cavalcanti's work, and in particular of his (and Ealing's) Went the Day Well? (indeed, FSFF's author lives in a English village uncannily like that portrayed in this film), it immediately set about researching a list of links to online scholarly works on the Brazilian filmmaker, only to discover very few openly accessible ones in English (do check out, though, Kristin Thompson and David Cairn's essays on Went the Day Well?, and the latter's other postings on Cavalcanti here, here, here, here, and here).

FSFF's author's rage at this overall lack of anglophone material (see the photographic evidence above) was eventually sublimated in a different curatorial project, one still connected to themes at the heart of Cavalcanti's work, and also to some related topics explored in further August 2010 Sight and Sound articles (ones sadly not [yet] online: William Fowler's 'Absent authors: Folk in artist film', and Rob Young's 'The pattern under the plough').

Anyhow, below you will find the fruit of this inspiration and frustration: a list of links to thoughtful and thought-provoking international scholarship on expressions of "England" and (multifarious) "Englishness" in (mostly) British cinema and television.

• José Arroyo, 'The films of Isaac Julien: Look back and talk black', Jump Cut, no. 36, May 1991

• Victoria Ball, 'Female identity and the British female ensemble drama 1995-1998', PhD thesis. Queen Margaret University, 2007

• Charles Barr, 'Projecting Britain and the British Character: Ealing Studios, Part II', originally Screen, 15(2), 1974

• Alexandra Lynn Barron, 'Postcolonial Unions: The Queer National Romance in Film and Literature', PhD Thesis, University of Texas at Austin, May 2005

• Joe Brooker, 'England's Screening', Film-Philosophy, 3.10, 1999

• Stuart Duncan Brown, 'Uses of Laughter in the Cinematic Representation of the British Working-Class', PhD Thesis, University of Glasgow, December 2007

• Charlotte Brunsdon, 'The Poignancy of Place: London and the Cinema', Visual Culture in Britain, Volume 5, Number 1, Summer 2004 , pp. 59-73

• Charlotte Brunsdon, ‘A fine and private place’: the cinematic spaces of the London Underground' Screen 2006 47: 1-17

• Katherine Byrne, '“Such a fine, close weave”: Gender, Community and the Body in Cranford (2007)', Neo-Victorian Studies, 2.2, Winter 2009/2010

• Elizabeth de Cacqueray, 'New Slants on Gender and Power Relations in British Second World War Films', Miranda, No. 2, 2010

• Mónica Calvo Pascual, 'My Beautiful Laundrette: Hybrid "Identity", or the Paradox of Conflicting Identifications in "Third Space" Asian-British Cinema of the 1980s', Miscelánea: a journal of english and american studies 26 (2002): pp. 59-70

• E. Anna Claydon, ‘Nostalgia in the Post-National: Contemporary British Cinema and the South-Asian Diaspora’, South Asian Cultural Studies,Vol.2 No.1, 2008, pp 26 - 38

• Robin Cohen, ' Fuzzy Frontiers of Identity: The British Case', Social Identities Vol 1. No. 1 1995, 35−62

• Chantal Cornut-Gentille D’Arcy, 'Filmic Representations of the British Raj in the 1980s: Cultural Identity, Otherness and Hybridity', PhD Thesis, Universidad de Zaragoza, March 2009

• Chantal Cornut-Gentille D’Arcy, 'Everything You Always Hated about Thatcher's Britain: A Cultural Analysis of Mike Leigh's High Hopes', Miscelánea: A Journal of English and American Studies, 28, 2003

• Josephine Dolan, 'Englishness: Heroes, heroines and reciprocal encounters', Identity, Self and Symbolism, Volume 1.2 November 2006

• Stephanie Hemelryk Donald, ‘Seeing white: female whiteness and the purity of children in Australian, British and Chinese visual culture’, Social Semiotics, 10:2, 2000, 157-171

• Gillian Dow, 'Lady Bathurst’s Patriotic Ballroom, or “Reading Austen at a Distance”: The French Revolutionary Wars in Recent Adaptations ', Persuasions-Online, Vol. 28, No. 2, 2008

• Geoff Eley, 'Finding the People's War: Film, British Collective Memory and World War II', American Historical Review, 105, 5 (June 2001), 818-838

• Steven Fielding , 'A mirror for England? Cinematic representations of politicians and party politics during the ‘golden age’ of party, c. 1944-64', The First Annual International Conference on Minor Parties, Independent Politicians, Voter Associations and Political Associations in Politics, University of Birmingham, 2007

• Thaïs Flores Nogueira Diniz, 'Representation and Identity: Shakespeare in the Forties', Estudos Anglo Americanos 17-18 (1993-94)

• Andrew Higson, 'Transnational developments in European cinema in the 1920s',Transnational Cinemas Volume 1, Number 1, 2010

• Justin Hindmarsh, 'British Cinema - Style and Context: An Examination of British "New Wave" Films', Discussion Papers in Mass Communications, University of Leicester, January 1997

• Elena Von Kassel, 'An Image of Britain during the Second World War: The films of Humphrey Jennings (1939-1945)',  Revue LISA/LISA e-journal [Online], Vol. IV - n°3 | 2006

• Frank Leishman, 'From Dock Green to Life on Mars: Continuity and Change in TV Copland', University of Gloucestershire Inaugural Lecture No 1, 2008

• Melinda Lewis, 'Renegotiating Britishness through Comedy television', Master Thesis, Graduate College of Bowling Green State University, August 2009

• Chris Louttit, 'Cranford, Popular Culture, and the Politics of Adapting the Victorian Novel for Television', Adaptation, (2009) 2 (1): 34-48

• Robert Mayer, 'Not Adaptation by ‘Drifting’: Patrick Keiller, Daniel Defoe, and the Relationship between Film and Literature', Eighteenth-Century Fiction, Volume 16, Issue 4, 2004

• Michael McCluskey, 'Amateur Film and the Interwar English Countryside', Scope, Using Moving Image Archives, Edited by Nandana Bose and Lee Grieveson, Issue 17, June 2010

• José I. Prieto Arranz, 'Images of English purity: A comparative study of Elizabeth I and Diana, Princess of Wales', Identity, Self and Symbolism, Volume 1.2 November 2006 (scroll to p. 116)

• Cornelis Martin Renes, 'Whose New World? Derek Jarman’s Subversive Vision of The Tempest (1979)', BELLS, 17, 2008

• Josh Romphf , '“Invention in the Name of Community”: Workshops, the Avant-Garde and The Black Audio Film Collective', Kino: The Western Undergraduate Journal of Film Studies, Vol. 1 [2010], Iss. 1

• Pave Skopal, 'DVD marketing in U.S. of Working Title's British romantic comedies: Framing reception and strategies of cultural appropriation', Jump Cut, No. 48, winter 2006

• John C. Tibbetts, 'Between the Map and the Painted Landscape: Kevin Brownlow’s Historical Films',  PREPRINT at Kansas University Repository: Historical Journal of Film, Radio, Television, June 2000. 20(2): 227-251

• Rosie White, 'Englishness and espionage: Edith Cavell as the good spy', Identity, and Symbolism, Volume 1.2 November 2006 (scroll to p. 129)

• Jonathan Wright, 'Rereading the British Social Realist Film: Samantha Lay's British Social Realism', Film-Philosophy, Vol. 8 No. 4, January 2003

To My New Zealand and Australian Readers

I have a special request for you, recently reader Kate brought to my attention the fact that my blog was featured with 7 other blogs in Cosmopolitan magazine, and I would LOVE to have a copy. If any of you would be willing to send it to me, I can paypal the money for the magazine and shipping! It is the Cosmopolitan with Leighton Meester on the cover. :)

E-mail Me!

Thank you!!! :)

On Orange Alert

So my goodies (and Chris) arrived from India today! He brought back awwwwesome stuff!! I posted yesterday about the nail polishes that he found for me, and today, I decided to use them for my nail art!! To my Indian readers, I need your help- do you know what color this is? I have two VERY different colors with the same color name label!

I used Lotus Herbals Colour Dew Orange Alert (different than the one on their website- it's an amazing orange creme, totally looks like the color of papaya) as a base, with American Apparel Cotton for the flower, outlined in the actual Lotus Herbals Colour Dew Orange Alert, which IS the shade on their site, a shimmery golden color. Topped it off with 2 coats of Seche Vite top coat.

My goodies!!

Pashmina shawls, the 2 on the left are mine, the green one flashes orange from different angles, and the one on the right is my roommate's, and is hand embroidered! The beads were the gift of a few of the men Chris was working with in India, they thought I'd like them, and they were right, they're lovely! :)

Emerald green Kurta, it's a type of Indian attire that women wear- somewhat like a tunic. :) Its hand embroidered and lovely!

Lilac colored kurta, this one is also hand embroidered, and is long-sleeved!

Scope on Moving Image Archives

Image from Picturegoer Magazine, archived at the Bill Douglas collection, University of Exeter, as discussed by Lisa Stead in
her article Audiences from the Film Archive: Women's Writing and Silent Cinema.
(Used in accordance with the Original License)

Across the [Using Moving Image Archives] collection, then, scholars ask: how is the archive, as a repository of memory and of the past, used to construct cultural history? What can archives tell us about the formation of particular categories of identity? How can the ephemeral, like the digital, be archived? These are pressing, important questions, and we hope the varied answers here will lead to further reflection and debate upon the place of archival research in the interdisciplinary study of moving images.  From 'Introduction', by Nandana Bose and Lee Grieveson

Film Studies For Free is still catching up with the busy, Summer, electronic educational traffic. Below are links to all the brilliant items in one of the most significant volumes to be published online in its recent absence on holiday: Scope's latest issue on Using Moving Image Archives, edited by Nandana Bose and Lee Grieveson.

FULL ISSUE AS e-BOOK

Notes on Contributors

Acknowledgements and Introduction by Nandana Bose and Lee Grieveson

Part I: The Archive and the Nation

• Amateur Film and the Interwar English Countryside by Michael McCluskey

• Critical Reflections on Film as a Historical Source: A Case Study of the Military Regime in Brazil by Nina Schneider

Part II: The Ephemerality and Textuality of the Archive

• Audiences from the Film Archive: Women's Writing and Silent Cinema by Lisa Stead

• Archival Realities and Contagious Spaces: Shopgirls, Censorship and the City in Damaged Goods by Heida Johannsdottir

Part III: The Televisual and Digital Archive

• Reading Political Comedy: Yes Minister and Comic Coherence by Matt Crowder

• The Representation by French Television of Building Construction Work in and around Paris During the 1960s by Jacob Paskins

• Archives and Prefigurative Practices: Digital Games Walkthrough Archives as Record and Resource by Daniel Ashton

On the Mehndi

My friend Chris is currently en route to Las Vegas from Chennai, India, and with him, he carries 6 beautiful, super awesome Indian Nail Polishes!!!! (for me!) So today's manicure is dedicated to him! I decided to do mehndi nail art today, mehndi is a form of henna skin decoration generally done on the hands and feet of Indian women for wedding celebrations and festivals . I have always loved the look of mehndi designs, and thought it'd be a lovely nail art design. For my nails, I scoured the web for different designs, and chose parts of each design for the different nails.

I used American Apparel California Trooper as a base, with 2 coats of butter LONDON Crumpet on top. For the mehndi design, I used Zoya Dea. Topped everything off with 2 coats of Seche Vite top coat. I'm also trying a new base coat out, it was given to me at the CosmoProf show by Nubar, it's called Nubar Foundation. I'm super curious to see how it holds up! :)

And here are the awesome polishes that are coming to me!! :)

Lotus Herbals Colour Dew Nail Lacquer

Nubar Foundation was given to me for consideration by the manufacturer.