Happy New Year!

What a crazy year. Seriously, ups, downs, middles, late nights, early mornings, great people. I truly have loads to be thankful for as this year comes to a close. I have wonderful friends and loved ones, I'm employed, and I've become friends with all of YOU! You all have been such a huge part of making this year what it has been, and for that, I'm eternally grateful! You helped me reached my goal of 365 days, and helped me make the decision to keep going. You've understood and been patient when there are days (or multiple days) since I got the second job where I really just don't have the time to create a nail design and post it. You've emailed me ideas, you've offered both praise and criticism, and most of all, you've changed my life.

As we embark upon this new year ahead of us, I will do my best to continue to make this blog a place for inspiration and laughs, and make it a place you still like to visit.

My blog resolution is to make more time to respond to emails and posts (I DO read them all!!) and make sure I get swatching and reviews done in a timely manner.

And, now to the nails...

I used Orly Luxe as a base, with Color Club Sultry Diva over it. For the New Year Baby and Old Man Time, I used American Apparel Mannequin for the skin, American Apparel Hassid to outline, and MAC Vestral White for the white on the robes, sashes, and diaper. For Old Man Time's beard, I added a touch of American Apparel Hassid to the white to paint the beard, and for the scythe I used American Apparel Raccoon for the handle, and China Glaze Millennium for the blade. Topped it all off with 2 coats of Seche Vite.

So... Happy New Year! May 2011 be the best so far, but not the best to come.

It's a TWO-fer!

Hey all!! Two things for you today…

I know I've been kinda M.I.A. lately, I promise I'll be back! Been working from 8 am - 11 pm every day, which means i don't usually get home till 11:45-midnight. After this week and the holidays are over, my life should be ever so slightly less chaotic, so I'll be back to posting more regularly!

Also, there is a CROWN Brush sale on Hautelook today! I have a couple of their brushes that I purchased at the International Beauty Show this year, and I love them! :)

The sale includes several different types of brush sets, travel, professional, synthetic, non-synthetic, as well as a few different eyeshadow and lip palettes!

It's a great way to start a brush collection if you're starting out!

Check out the sale HERE!

Merry Christmas!!

So today is Christmas! CHRISTMAS! The time where families can get together and eat and just enjoy each other. I was lucky enough to get to spend this Christmas with my family, and though I leave in the morning, I miss them and the dogs already. On the bright side, though my trip was extremely short, I got to go to Yesterdog, which is amaaaaazing. The picture for today's nails is a iPhone pic, which will be replaced by a real picture when I'm actually at MY computer and have access to my files, etc.

I hope all of you had a great day, whether you celebrate Christmas or not...and for those of you that DO celebrate Christmas- MERRY CHRISTMAS!!! :-D

Clarification

Just to clarify about the twitter-only contests:

I'm not stopping normal giveaways here on the blog, I'm just adding a few SMALL twitter only giveaways. It might be a single polish, a cosmetic bag, or something like that. It's just a way to engage my loyal twitter followers as well as those here on the blog.

Sorry for the confusion.

Happy Holidays from FSFF!

Having a few days off! But back soon....

On Film Education and Appreciation

Updated January 13, 2011

British Film Institute library in Dean Street in 1950s

BFI Library today in Stephen Street

Film Studies For Free loves the British Film Institute. It's a remarkable cultural institution in many ways - one of the finest in the world. And its online film educational offerings are unrivalled, both at its main website and at Screenonline. 

Today, FSFF celebrates some newly published, online, BFI resources on the subject of film appreciation and education in the 1950s. As is its wont, FSFF has supplemented these links with its own curation of online items on international film education and appreciation. All links may be found below.

But FSFF has been dismayed to hear of proposed changes to the British Film Institute National Library (still going strong after 76 wonderful years) and the Viewing Service at the BFI. The proposals are outlined here. These changes are likely to have serious implications for the field and for research opportunities in film and television in the UK. If any of FSFF's readers are concerned about the proposals, you may like to make your views known to the BFI - possibly through the chairman Greg Dyke. If anyone knows of an online petition to register discontent about these changes please let FSFF know and it will happily publish the link. This has now been set up: Please sign!

Selected resources made available by the BFI in the 1950s to support film appreciation and education:

• 20 Films to use in Junior Film Societies (PDF, 34.3mb) compiled by A. W. Hodgkinson (British Film Institute and The Society of Film Teachers, 1953) Identifies key feature films suitable for studying with young people. Each record includes a summary of the film, examples of critical opinion and suggested discussion points.

• Are They Safe at the Cinema? a considered answer to critics of the cinema (PDF, 3.66mb) by Janet Hills (British Film Institute) Pamphlet examining the effects of cinema on young people. Questions the notion of a causal link between sensationalist or violent films and behaviour, and outlines the potential benefits of film education and appreciation.

• School Film Appreciation (PDF, 7.1mb) by A. W. Hodgkinson, John Huntley, E. Francis Mills and Jack Smith (King's College School and British Film Institute, 1950) Practical notes compiled by educators in the field, detailing appropriate film titles and books for study, with advice for teachers.

• The Artist the Critic and the Teacher (PDF, 1.9mb) (The Joint Council for Education through Art, 1959) Programme for a forum presented by The Joint Council for Education through Art on the relevance of the arts to education, held at the National Film Theatre. Participants included Lindsay Anderson, John Berger, Karel Reisz and Kenneth Tynan.

• Film Study Material (PDF, 850kb) (British Film Institute, 1955) Catalogue of films and extracts available from the British Film Institute for use in film study.

Other Resources on Film Education and Appreciation:

• Charles R. Acland, 'Patterns of Cultural Authority: the National Film Society of Canada and the Institutionalization of Film Education, 1938-1941' Canadian Journal of Film Studies/Revue Canadienne d'etudes cinematographiques, Vol. 10, No. 1, 2001
• Cary Bazalgette, 'Analogue Sunset. The Educational Role of the British Film Institute, 1979-2007', Comunicar, n. 35, v. XVIII, 2010, Scientific Journal of Media Literacy; ISSN: 1134-3478; pages 15-23 
• Richard Berger and Julian McDougall, 'Touching the Void?: Media Education Research in the Twenty-first Century', Media Education Research Journal, Vol. 1, Issue 1, 2010
• William J. Buxton, 'Rockefeller Support for Projects on the Use of Motion Pictures for Educational and Public Purposes, 1935-1954', Rockefeller Archive Center Research Reports Online, 2001
• John Caughie, 'Authors and auteurs: the uses of theory', in Donald, J. and Renov, M. (eds.) The SAGE Handbook of Film Studies (London: Sage, 2007)
• Zoë Druick, 'International Cultural Relations as a Factor in Postwar Canadian Cultural Policy: The Relevance of UNESCO for the Massey Commission'Canadian journal of communication,Vol 31, No 1, 2006 
• Alexander Fedorov, 'Media Education around the World: Brief History', Acta Didactica Napocensia, Volume 1, Number 2, 2008 
• Caroline Jane Frick, Restoration Nation: Motion Picture Archives and “American” Film Heritage, PhD Thesis, University of Texas at Austin, 2005
• Gary Hoctor, The Irish Film Society from 1936 to 1956: An examination in the context of the Cultural Histories of Ireland, MA Thesis, 2006
• Elizabeth Lebas, 'Sadness and Gladness: The Films of Glasgow Corporation, 1922–1938', FilM Studies, Issue 6, 2005
• Toby Miller (ed), Dossier: 'In Focus: The British Film Institute', Cinema Journal 47, No. 4, Summer 2008
• Melanie Selfe, ‘"Doing the Work of the NFT in Nottingham" – or How to Use the BFI to Beat the Communist Threat in Your Local Film Society', Journal of British Cinema and Television, 2007
• Michelle Spinella, Cinema in Cuban National Development: WOmen and Film Making Culture, PhD Thesis, Florida State University, 2004

Sweet Tweets!

Hey all! Are you on Twitter? I am! I wanted to give you all a heads up that I'm going to start doing twitter-only giveaways soon! (I'll announce it on twitter when I decided to start doing it! :))

Follow me at twitter.com/DailyNail and say hi! :)

ChristmaSnails!

So I sat the other day, pondering what sort of Christmas themed nails I could do that hadn't been done yet, and said out loud 'What kind of Christmas nails should I do?" to which Chris replied, "There's your answer!" Me: "huh?!" Chris: "Christmas Snails!" ...and thus, a nail design was born! :) Hope it makes you chuckle! :)

I used American Apparel Echo Park as a base, with Zoya Shawn and BB Couture Poison Ivy for the greens, with each color mixed with American Apparel Hassid to shade. For the gold, I used China Glaze 2030 from Khrome Collection, for the red, I used ORLY Candy Cane Lane, and for the burgundy, I used American Apparel Port. For the string of lights, I used Zoya Envy, with American Apparel Manila, ORLY Candy Cane Lane, and American Apparel Cameo Blue for the lights. Topped it all off with 2 coats of Seche Vite top coat.

Film Studies and Aesthetics video and audio resources from the University of Kent

Image of a domestic interior in A Star is Born (George Cukor, 1954). Listen to John David Rhodes's talk on the encounter between cinema and modernist American domestic architecture, in relation to this film and others.

Today, Film Studies For Free brings you glad tidings of the very high quality, audio and video, Film Studies research resources that have been generously shared through the University of Kent website.  

As FSFF's author well knows, having been fortunate enough to work there for a decade, Kent is one of the largest and best university centres in Europe dedicated to Film Studies. Film research there, in both theory and practice (faculty include the world-leading scholars Murray Smith and Elizabeth Cowie, as well as the award-winning film-makers Clio Barnard and  Sarah Turner), is currently centred in four broad areas: national cinemas – form and history: North American, European, Latin American, Asian; the digital in film; the  documentary film; and, especially, film aesthetics, the latter often in collaboration with the interdisciplinary ‘Aesthetics Research Group’.

Some of these interests, and plenty more besides, are beautifully reflected in the amazing wealth of recordings of conferences, symposia and seminars directly linked to below. Just feast your eyes and ears on them.

Centre for the Interdisciplinary Study of Film and the Moving Image

Audio Resources

• "The Art of Not Playing to Pictures’ in British Cinemas, 1908-1914" Dr Jon Burrows (University of Warwick) Recent scholarship on musical practices in the silent era argues that by the end of the 1900s and throughout the 1910s the typical cinema musician was a lone pianist who occupied a subordinate position in relation to the projected image and provided forms of accompaniment which ignored traditional musical logic and obediently responded instead to the dictates of narrative logic. Using a variety of evidential sources available in the UK (cinema licensing records, police inspection files, trade paper debates) my paper will argue the contrary: that miniature orchestras were extremely common in British cinemas before the First World War, and that, well into the feature film era, careful synchronisation of music and image was probably the exception rather than the rule. Listen to the lecture here (mp3)

• "Theory and Practice in British Film Schools" Prof Duncan Petrie (University of York) Film and media education in the UK has long been characterised by a fundamental polarisation between theory and practice. This is most clearly manifest in the widespread separation between academic study and hands-on production training within University and College departments and programmes...Listen to the lecture here (mp3)

• "Easy Living: The Modernist House and Cinematic Space“ Dr John David Rhodes (University of Sussex) In this paper I will look at a series of encounters—both real and imaginary—between cinema and modernist American domestic architecture. The paper moves from the sets of A Star is Born (Cukor, 1954), to the short experimental film House (1954)...Listen to the lecture here (mp3)

• "World Cinema and the Ethics of Realism" Prof Lucia Nagib (University of Leeds) This paper will address world cinema through an unusual theoretical model, based on an ethics of realism. The juxtaposition of the terms ‘world cinema’, ‘ethics’ and ‘realism’ creates a tension intended to offer a productive alternative to traditional oppositional binaries such as popular vs art cinemas, fiction vs documentary films, Hollywood vs world cinema... Listen to the lecture here (mp3)

University of Kent Aesthetics Research Group

Audio and video resources:

Kendall Walton and The Aesthetics of Photography and Film (2007)

• Interview with Kendal Walton (pdf)
• Videos of all lectures  (flash format)

Jerrold Levinson: Key Concepts in Aesthetics (2008-09)

• Audio - Jerrold Levinson - 'The Aesthetic'(mp3 - 1hr 36s)
• Audio - Jerrold Levinson - 'Beauty'  (mp3 - 1hr 14mins)
• Audio - Jerrold Levinson - 'Art'  (mp3 - 1hr 13s)
• Audio - Jerrold Levinson - 'The Artwork' (mp3 - 1 hr 12m
• Audio - Jerrold Levinson - 'Artform'  (mp3 - 1hr 14m)
• Audio - Jerrold Levinson - 'Artistic form'(mp3 - 1hr 20m)
• Audio - Jerrold Levinson - 'Artistic expression' (mp3 - 1hr 04m)
• Audio - Jerrold Levinson - 'Artistic Interpretation' (mp3 - 1 hr 25m)
• Audio - Jerrold Levinson - 'Artistic Value'  (mp3 - 1hr 28m)

Research Seminars (ongoing)

• Audio - Cynthia Freeland: 'Why Some Art Should Be Censored'  (mp3 - 44mins 7secs)
• Audio - Aaron Meskin: 'Kinds of Multiples' (mp3 - 53mins 39secs)
• Audio - Howard Caygill: ‘Sun Pictures - Photography And The Astronomic Image’ (mp3 - 56mins 24secs)
• Audio - Noël Carroll: ‘The Problem with Movie Stars’ (Introduction by Murray Smith) (mp3 - 57mins 09secs)
  This paper is published in Scott Walden (ed.), Photography and Philosophy: Essays on the Pencil of Nature, New York: Blackwell, 2008.
• Audio - Andrew Kania: ‘The Death of the Narrator: Fiction and Narrative in Literature and Film’ (mp3 - 1hr 33 secs)
• Audio - Jerrold Levinson: 'Defending Hypothetical Intentionalism' (excerpt - mp3 - 19m 28s)
• Audio - Jennifer McMahon: 'Aesthetic Autonomy: the Expression of Freedom (a Pragmatist Reading of Adorno) (mp3 - 1hr 4min 39s)
• Audio - Aaron Meskin: 'Authenticity in the Hybrid and Digital Arts' (mp3 - 50m 35s)

Art, Aesthetics and the Sexual (2009)

• Photos from the conference
• Video - Cain Todd (University of Lancaster): ‘Imagination, Fantasy, and Sexual Desire: the aesthetic and the pornographic attitude’
  Respondent: Jerrold Levinson (University of Maryland)
• Video - Kathleen Stock (University of Sussex): ‘What Pornography Can Tell Us About Imaginative Responses to Fiction’
  Respondent: Murray Smith (University of Kent)
• Video - David Davies (McGill University): ‘Is Pornography in the (Intended) Eye of the Beholder?’
  Respondent: Elisabeth Schellekens (Durham University)
• Audio - Rob van Gerwen: ‘How to do Things with Pictures: Pornography and Real Sexuality’ (mp3 52m 40s) Response by Ted Nannicelli (mp3 19m 53s)
• Audio - Susan Dwyer: ‘Docusex: Display and Desire in Internet Pornography’  (mp3 45m 40s)
  Response by Elizabeth Cowie (mp3 19m 01s)
• Audio - Alex Neill: ‘The Pornographic, the Erotic, and the Charming: remarks on a Schopenhauerian theme’ (mp3 45m 36s)
  Response by Jerrold Levinson (mp3 12m 28s)

HOLY CRAP!

Urban Decay is on Hautelook today and everything is TWO FREAKIN' DOLLARS!! $2! Brushes, pigments, eyeshadows, eye pencils, masrcaras, everything!!!

Check out the sale HERE!!

New from BBC Archive: Hollywood Voices interviews with over 70 Hollywood stars

Glenn Ford and Rita Hayworth in a publicity still for Gilda (Charles Vidor, 1946). Interviews with both actors can be found at the new BBC Archive Hollywood Voices collection.

A star-struck Film Studies For Free has one more item of important news to rush you today. Just feast your eyes on the below release from the BBC Archive.There may be some geo-blocking outside of the UK, unfortunately, but do please check to see if you can download these magnificent resources.

Hollywood Voices looks back at the Golden Age of American cinema with interviews with over 70 movie stars and film makers.

Radio broadcasts by Boris Karloff, Katharine Hepburn, Bette Davis and Charlie Chaplin are joined by previously unreleased interviews with Harold Lloyd, Gregory Peck, Ginger Rogers, Gene Kelly and more. Plus - two galleries of photos show the moments when stars like Edward G Robinson, Judy Garland and Fred Astaire came to the BBC in London.

Originally scheduled for release in January, we're really excited to be able to bring this collection to you now, in advance of a new film season from Radio 4. In fact, make sure you have a listen to the new Radio 4 collection of interviews, which is also now available: 

On Spectatorship, Reception Studies, Fandom and Fan Studies: In Media Res and Flow

Picture from Gadjo Cardenas Sevilla via Flickr, used and altered under Creative Commons License permission.

Film Studies For Free wanted you to know you have to go with the new issue of Flow: A Critical Forum on Television and Media Culture on Fandom and Fan Studies.  Oh, and then you can join the party already started at In Media Res on issues of spectatorship. The great contents of these worthy e-journals are directly linked to below:


In Media Res December 13-17, 2010 (Theme week organized by Ian Peters [Georgia State University])

• Sarah Sinwell (Northeastern University) presents: The Art of Seduction: Film Spectatorship in the Age of the Cell Phone

• Ross Melnick (Emory University) presents: BIG News from India: BIG Cinemas and Diasporic Indian Moviegoing in the United States

• Sarah Hamblin (Michigan State University) presents: Puzzling Spectatorship

• Daniel C. Faltesek (University of Iowa) presents: The 3D Machine: An Experiment With Aura, Television, and Installation

• Jesse Schlotterbeck (University of Iowa) presents: DVDs Like LPs: The Official Websites of Musical Biopics and the Contemporary Film Collector

Flow: A Critical Forumon Television and Media Culture

• "Fandom In/As the Academy" by Paul Booth A look at the specific pedagogical value of fandom as an activity and how it can be appropriated in a variety of educational contexts.

• "We Have Met the Fans, and They Are Us: In Defense of Aca-Fans and Scholars" by Catherine Coker and Candace Benefiel  Fans hold their objects of study to a higher standard. How can the critical study of any text succeed without the passionate and knowledgeable participation of the scholar?

• "The Gathering of the Juggalos and the Peculiar Sanctity of Fandom" by Michael Dwyer The Gathering of the Juggalos is the scene of questionable fan practices contrary to the noble portrait of fandom elaborated by several scholars.

• "'We are all together:' Fan Studies and Performance" by Jen Gunnels and M. Flourish Klink Gunnels and Klink argue that fan studies parallels performance studies in discerning tensions between researcher and subject.

• "Stop Being an Elitist, and Start Being an Elitist" by David Jenemann Given how Aca-fandom has created its own canon and looks down its nose at certain cultural forms like sports broadcasting, we could use a little of Adorno's elitism in the discipline today.

• "Telling Tastes: (Re)producing Distinction in Popular Media Studies" by Eve Ng What we study and how we learn to talk about it is productive of our identities along mostly covert dimensions of power. How do scholars distinguish themselves from the mainstream critics?

• "Embracing the 'Overly Confessional:' Scholar-Fandom and Approaches to Personal Research" by Tom Phillips A scholar argues that embracing an "overly confessional" approach to his academic writing is integral to the fidelity of his research.

• "Revisiting Fandom in Africa" by Olivier J. Tchouaffe The application of fandom and its resources is not the same in all cultures, and African fans might not be recognized as legitimate fans. The point of this piece is to demonstrate that there is a unifying figure of American domination of mass culture.

New Senses of Cinema: Assayas, Ava Gardner, Haneke, Morin, Rouch, Epstein, African Francophone cinema, Citizen Kane, digital cinema

One Touch of Venus (William A. Seiter, 1948), starring Robert Walker and Ava Gardner. See Edgar Morin's essay on Gardner here.

As ever, Film Studies For Free rushes you the latest e-journal news. Today, the latest Senses of Cinema hit the e-newsstands. Without further bloggish ado, read the below links to contents and weep with film-scholarly joy!

Issue 57 Contents

• Editorial

Feature Articles

• An Interview with Olivier Assayas on Carlos by Genevieve Yue

• Introduction to Edgar Morin by Lorraine Mortimer

• Ava Gardner by Edgar Morin

• The America Endangered in The American by Joseph Natoli

• African Francophone Cinema in the French New Wave by Wes Felton

• Citizen Kane: Biography and the Unfinished Sentence by Pedro Blas Gonzalez

• The Older Grows the Body, the Faster Run the Machines by John Downie

• Making Space by Sean Cubitt

• The Cinemas of Interactions by Leon Gurevitch

• disney.go.com/fairies and Pixie Hollow MMOG by Allison Maplesden

• Feminism and Cinema in the Digital Age by Lee-Jane Bennion-Nixon

Great Directors

• Mattias Frey on Michael Haneke

• Matt Losada on Jean Rouch

• Robert Farmer on Jean Epstein

Festival Reports

• Martha P. Nochimson on New York

• Gianluca Pulsoni on Lucca Film Festival

• Celluloid Liberation Front on Venice

• Vera Brunner-Sung on Pusan International Film Festival

• Libertad Gills on Festival de Cine Cero Latitud

• Huw Walmsley-Evans on Brisbane

• Bérénice Reynaud on Vancouver

Book Reviews

• Film, Theory and Philosophy

• John Fidler on The Tactile Eye and Moving Viewers

• Dean Brandum on Michael Winterbottom

• Chris Carter on >Re-Imagining Animation

• Adrian Danks on Humphrey Jennings

• David Melville on Beyond Paradise

Cteq Annotations

• Michael Walsh on Camouflage

• Marcin Wisniewski on Life as a Fatal Sexually Transmitted Disease

• Pedro Blas Gonzalez on The Structure of Crystals

• Adrian Danks on Family Life

Loco Incoco!

Rather than posting nothing for the day, since I had zero time to get nails done (every spare minute this weekend has been spent being elf-like or working. Christmas is exhausting!), I thought I'd post a new product that Incoco sent me to check out and review. I'm sure that you all know Incoco for the solid color, glitter, or french tip nail appliques, but now they have a NEW product out, and seriously, I gasped when I opened the box. They're patterned. Yeah, like Minx, but REAL NAIL POLISH!!! I have to say, too, I'm actually reaaaaally impressed with these, they're much easier to apply than the solid color ones. (they hide imperfections in the nail better as well) The patterns they sent are rad, I chose to show this one today because the colors kinda make me think of Christmas! :) I really love these, they're easy to use and look great– they only took 5 minutes to apply!

I know that these aren't technically one of my nail designs, but I wanted y'all to have something to see, plus, this introduces you to a brand spankin' new item that I'm sure you'll dig!

I used Incoco Nail Appliqués, not sure of the design name, there was no label.

Back to elfing.

Pa Rum Pa Pum Pum

Trying to do Christmas manicures from until Christmas day, hope that's cool with y'all! :) Today's is based on the song 'Little Drummer Boy'. I am completely enamored with the Milani 1-coat glitters right now, so I apologize for overusing them! :-D I thought that Red Sparkle would be PERFECT for the drum body!! The gold polish over it shows you what the texture of that polish is like though... very bumpy!

I used Milani Red Sparkle as a base, with China Glaze 2030 from Khrome Collection for the gold, mixed with American Apparel Hassid to shade. For the holly, I used BB Couture Poison Ivy for the leaves, and ORLY Candy Cane Lane for the berries. Topped everything off with 2 coats of Seche Vite top coat.

Rat-a-tat-tat on your dum-dum-drum. (Can't get that damn song out of my head!)

"The Greatest Disguise": On Cross-Dressing in Films, In Memory of Blake Edwards

James Garner and Julie Andrews in Victor Victoria (Blake Edwards, 1982). Read Véronique Fernández's article on this film: '"People Believe What They See": Clothing and Genders in Victor/Victoria', Lectora, 7, 2001

Police Inspector: You idiot! That's a man! 
Labisse: It can't be! 
Police Inspector: The person in that room was naked from the waist down, and if that was a woman, then she is wearing the greatest disguise I have ever seen! 

Victor Victoria (Blake Edwards, 1982)

It's the day after the news emerged of the death of American screenwriter and director Blake Edwards at the grand age of 88, surrounded by his loved ones in a California hospital. David Hudson's customary gathering of links to tributes is a very good place to begin to find out, if you don't already know, about the warm esteem in which Edwards was held by critics and other filmmakers.

 

Today, Film Studies For Free presents its own little "cross-dressing-in-international-film"-links homage to its favourite Blake Edwards film, the cross-dressing comedy Victor Victoria. It may not be the queerest of queer films, certainly; it may not even be the queerest of Blake Edwards' queerish films... But it is one of the funniest, with plenty of treats for fans of Julie Andrews and James Garner. It thus stands as a fine testimony to Blake Edwards' gently subversive powers as a screenwriter and a director.

FSFF's author first saw this film, memorably, on its French repertory release in 1984, as a year-abroad student. Alone in a packed cinema, she had the doubly funny but also unsettling experience of laughing at the numerous verbal gags as they were delivered in English, and then waiting for the French audience to laugh as the subtitles unerringly delivered a belated punch, a curious case of comic différance.

• James Allan, 'Sissies, Leeches and Sidekicks: Fags and Hags in the ‘60s and the ‘90', Paper presented at the annual meeting of the International Communication Association, Sheraton New York, New York City, NY, 2009-05-25
• Kay Armatage, 'Fetish and Fashion in Canadian Film', TOPIA: Canadian Journal of Cultural Studies, 2006
• Concepción Bados Ciria, Political and cultural cross-dressing, and the negotiation of Cuban-American identities, REDEN, Número 19-20, 2000
• Kathleen Barbara, 'Masquerade: The Female Body in Post-Modern Films', MP: An Online Feminist Journal, December 21, 2004
• Kathleen Barbara,The Post-Modern Body, MA Thesis, Wichita State University, May 2006
• Mark Bernstein, 'Victor/Victoria: It's "Mary Poppins in drag"', from Jump Cut, no. 28, April 1983
• David Boxwell, 'Wheeler and Woolsey Queered', Bright Lights Film Journal, 42, 2003
• Rong Cai, 'Gender Imaginations in Crouching Tiger, Hidden Dragon and the Wuxia World', positions, 13:2, Fall 2005
• Terrell Carver, ‘Sex, Gender and Heteronormativity: Seeing “Some Like it Hot” as a Heterosexual Dystopia’, School of Sociology, Politics and International Studies, University of Bristol, Working Paper No. 03-07, 2007
• Bert Cardullo, 'An Afghan Is a Woman', The Hudson Review, Summer 2005
• Gilbert Gerard Castillo, Gender, Identity and Influence: Hong Kong Martial Arts Films, MA Thesis, University of North Texas, December 2002
• Cynthia C. Degnan, 'Living on Girlboy Time: Queer Childhood Temporality and Kinship in Ma Vie en Rose', MP: A Feminist Journal Online, June, 2007
• Richard Dyer, 'Less and More than Women and Men: Lesbian and Gay Cinema in Weimar Germany', New German Critique, No. 51, Special Issue on Weimar Mass Culture (Autumn, 1990)
• Tanfer Emin-Tunc, 'Glen or Glenda: Psychiatry, Sexuality, and the Silver Screen', Bright Lights Film Journal, Issue 41, August 2003
• Richard Ekins, 'Cross-dressing, sex-changing and film. Fragments from an analysis of screening male femaling', Trans-Gender Archive, University of Ulster, Gendys Conference, 1994
• Heather Erin Emmens, Domestications and Disruptions: Lesibian Identities in Television Adaptations of Contemporary British Novels, PhD Thesis, Queen’s University, Kingston, Ontario, May, 2009
• Brett Farmer, 'Interview with Stacy Wolf about her New Book, A Problem Like Maria: Gender and Sexuality in the American Musical', Gender OnLine Journal, Issue 28, 2002
• Véronique Fernández, '"People Believe What They See": Clothing and Genders in Victor/Victoria', Lectora, 7, 2001
• Elizabeth Fox-Kales, 'Cinematic Cross-Dressing: Sexual Disguise vs. Gender Transformations', IPSA Conference Proceedings, 2004
• Andrew Grossman, 'Better Beauty Through Technology: Chinese Transnational Feminism and the Cinema of Suffering', Bright Lights Film Journal, Issue 35, January 2002
• Robert Hanke, 'The "Mock-Macho" Situation Comedy: Hegemonic Masculinity and its Reiteration', Western Journal of Communication, 62(1) (Winter 1998)
• Susan Hayward, 'Simone Signoret 1921-1985: the star as sign-the sign as scar', Modern Languages Publications Archive, 1995
• Mallory Jagodzinski, Of Bustles and Breeches; Cross-Dressing Romance Novel Heroines and the Performance of Gender Ideology, MA Thesis, Bowling Green State University, 2010
• Nicholas R. Jones, 'Trevor Nunn's Twelfth Night: Contemporary Film and Classic British Theatre', Early Modern Literary Studies, 8.1, May 2002
• M. Alison Kibler, 'Rank Ladies, Ladies of Rank: The Elinore Sisters in Vaudeville', American Studies, 38:1, (Spring 1997)
• Kelly McWilliam, Girl Meets Girl: Lesbian Romantic Comedies and the Public Sphere,PhD Thesis,
  University of Queensland, May 2006
• Deborah Mellamphy, 'The Paradox of Transvestism in Tim Burton's Ed Wood',Wide Screen, Vol 1, No 1 (2009)
• Olga Osinovskaya, 'Cross-Dressing in Soviet CInema: The Case of Hello, I am your Aunt', MA Thesis, Central European Unversity, Budapest, 2007
• Iva Paneva, A study of female aggression as represented in Patty Jenkins' fiction film Monster, e--PhD Thesis, University of Witswatersrand, December 2008
• Sonali Pattnaik, 'Outside the Frame: The Representation of the Hijra in Bollywood Cinema', Intersections: Gender and Sexuality in Asia and the Pacific, Issue 22, October 2009
• Robert M. Payne, 'The Crying Game: Crossed lines', from Jump Cut, no. 39, June 1994 
• Jay Poole, 'Psycho: Queering Hitchcock's Classic', Bright Lights Film Journal, Issue 61, August 2008
• Candida Rifkind, 'Screening Modernity: Cinema and Sexuality in Ann-Marie MacDonald’s Fall On Your Knees', Studies in Canadian Literature/Études en littérature canadienne, 2002
• Thibault Schilt, 'François Ozon', Senses of Cinema, Issue 31, 2004
  
• Sarah Schulman,' Yidl Mitn Fidl: Yiddish fictional cinema from Jump Cut, no. 31, March 1986
• Jérôme Segal and Monika Kaczek, 'Molly Picon and the Cinematic Archetype of a Jewish Woman', Cinemascope, Issue 14, 2010
• Rose T Sengenberger, 'Ma vie en rose', Writing Portfolio,2009 (scroll down to p. 23-41 in PDF)
• Karen Serwer, 'Mariposas en el andamio: Imagining Utopia through Repetition and Excess', Sexuality and the Public Sphere, Hemispheric Institute of Performance and Politics (date unknown)
• Jamie Stuart, The Business and Pleasure of Filmic Lesbians Performing Onstage, PhD Thesis, Bowling Green State University, August 2006
• Isabelle Stauffer, 'Heroines of Gaze. Gender and Self-Reflexivity in Current Espionage Films', Imagendering II, Genders Online Forum, Issue 13, 2006Georgette Wang and Emilie Yueh-yu Yeh, 'Globalization and Hybridization in Cultural Production: A Tale of Two Films', LEWI Working Paper Series, Paper Number: 36, April 2005
• K.E.Sullivan, 'Ed Gein and the figure of the transgendered serial killer', from Jump Cut, no. 43, July 2000
• Chao-Jung Wu, Performing Postmoderm Taiwan: Gender, Cultural Hybridity, and the MaleCross-Dressing Show, PhD Thesis, Wesleyan University, 2007
  
• Simon Chia-rong Wu, 'Gender Pastiche: Thai Queerness in Beautiful Boxer', Cultural Studies Monthly, 78, 2008
• Niamh Thornton, 'Valentinas, Adelitas, Soldaderas: Explosive Women on Film', LASA, 2009
• Diane Torr and Stephen Bottoms, 'Introduction: Why Act Like A Man?', Sex, Drag, and Male Roles (Ann Arbor: University of Michigan Press, 2010)
• Chun-Chi Wang, Lesbianscape of Taiwan: Media History of Taiwan's Lesbians, PhD Thesis, University of Southern California, August 2007
• Stacy Wolf, 'Preface', A Problem Like Maria: Gender and Sexuality in the American Musical (Ann Arbor: University of Michigan Press, 2002)
• Barry Wurst II, 'Blake Edwards vs. Hollywood: Sunset and the Myth of Hollywood's Golden Age', Bright Lights Film Journal, 66, 2009

Take a Bough

Christmastime is upon us, and with a mere 7 days left, many of us are hustling around trying to finish up last minute gift shopping, attend parties, and finish up last-minute holiday decorating. Today's nail design was inspired by the cold winter days spent as a kid with my family picking out the 'perfect' tree. You know, the one that wasn't too tall or too short, too skinny or fat, and heaven forbid it be lopsided! Years have passed and my parents have since switched to artificial, and I've switched to none, unless you count the 2 foot tall one that resides on my desk at work. However, I'll always have fond memories of tree hunting, whether it was at the store or a Christmas tree farm, so this design makes me feel fuzzy on the inside. ;) Hope it evokes fond memories of Christmases past for you too!

I used FingerPaints Winter Wishes from the FingerPaints Winter Dreams collection as a base, LOVE this color- super sparkly champagne color that would also be perfection for New Years! For the tree boughs, I used American Apparel Raccoon for the branch and base for the cones, then Zoya Dea to highlight the cones. For the needles, I started with OPI Here Today, Aragon tomorrow, then used Zoya Envy, then Zoya Shawn, then BB Couture Poison Ivy, then Zoya Envy again to separate some of the needles. Everything was random, but I layered the colors like I did to add depth. Topped everything off with 2 coats of Seche Vite top coat.

Needle little Christmas?

Sorry, my Darlings...

My sincerest apologies for the lack of posting yesterday and today.

Last night, I fell asleep shortly after I got home and took a shower. I got into bed to get warm, and ending up zonking out until this morning. Lights on, TV on, everything left on downstairs.... Yeah. COMA.

Anyway, that brings us to today. Today I worked my full-time job from 8a-5p, then hauled my butt to my second part-time job to work from 5:30p-11:30p. What this means to you is that there won't be any nails until tomorrow, since I won't even get home before midnight.

I hope that you'll forgive me, and come back to the blog! :) (2 days isn't TOO bad in the scheme of things, right??!)

Anyway. I DOUBLE pinky-swear that I'll have nails up tomorrow. Scouts honor. (I totally made it to Brownie status...wait...that's only the first level of Girl Scout isn't it? Whatever, I sold the cookies.)

2-day old nail design hugs to you all,

-M

Cinema: Journal of Philosophy and the Moving Image

Image from Possession (Andrzej Żuławski, 1981). Read Patricia MacCormack's article on the film here.

Film Studies For Free is delighted to pass on news of the launch of Cinema: Journal of Philosophy and the Moving Image. You can find the table of contents for its inaugural issue and links to all article PDFs below

Cinema: Journal of Philosophy and the Moving Image is a refereed publication published online by the Philosophy of Language Institute of the Faculty of Social and Human Sciences of the New University of Lisbon. The journal publishes original essays and critical articles, reviews, conference reports and interviews, and releases original art work in the field of philosophical inquiry into cinema. The term “cinema” is here taken in its broadest sense as moving image (and image that moves). Historically, cinema studies have centered on film, but with the digitization and proliferation of new means of production and distribution have also studied video, television and new media. This deep engagement with cinematic culture, so understood, can provide tools for a better understanding of contemporary visual culture. Cinema is particularly interested in philosophical approaches to the aesthetics of the moving image as well as in philosophical investigations on particular works and about the contexts in which these works are seen and produced. It accepts submissions in Portuguese, English, French, and Spanish and it offers free access to its content.

Cinema aims at:

• disseminating philosophical investigations into cinema in the broadest sense, that is, including video, television, and new media;
• promoting the link between Portuguese and international scientific communities that develop work simultaneously within the fields of cinema studies and philosophy;
• providing a platform for a fruitful dialogue between various approaches, particular methodologies, topics and interdisciplinary contributions, within the scope of the journal.

The make up of the international editorial team bespeaks the very high quality of this new journal. And the star-studded line-up for its first issue, together with its extraordinarily interesting table of contents, shows just how thrilling those all too unusual 'analytic philosophy' and 'continental philosophy' juxtapositions can be!

FSFF really looks forward to reading more, and sincerely wishes CJPMI the very best for a long and always openly accessible life!

Cinema: Journal of Philosophy and the Moving Image

Issue 1 (December 2010) 

Contents: 

Editorial 

• Patrícia Silveirinha Castello Branco, Sérgio Dias Branco, Susana Viegas (New University of Lisbon) 

ARTICLES 

• A Care for the Claims of Theory D. N. Rodowick (Harvard University)

• Carroll on the Moving Image Thomas E. Wartenberg (Mount Holyoke College) 

• Deleuze: The Thinking of the Brain Raymond Bellour (CNRS/Université Sorbonne Nouvelle - Paris 3)

• Mucous, Monsters and Angels: Irigaray and Zulawski’s Possession  Patricia MacCormack (Anglia Ruskin University)

• Film Theory Meets Analytic Philosophy; or, Film Studies and l’affaire Sokal  Murray Smith (University of Kent)

INTERVIEWS 

• Georges Didi-Huberman: « .... Ce qui rend le temps lisible, c’est l´image»  Susana Nascimento Duarte, Maria Irene Aparício (New University of Lisbon)

CONFERENCE REPORTS 

• Cognitive Deleuze: Report on the SCSMI Conference (Roanoke, 2-5 June 2010) and the Deleuze Studies Conference (Amsterdam, 12-14 July 2010)  William Brown (Roehampton University) 

CFP for Issue 2 here.

CINEMA: JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE

Patrícia Silveirinha Castello Branco, editor

Sérgio Dias Branco, associate editor

Susana Viegas, associate editor

www.fcsh.unl.pt/revistas/cjpmi

Perplexed

Ok, so I finally get it. I finally get all the hoopla and drool over Chanel Paradoxal. When Paradoxal came out, I sat back watching, thinking WHAT is so special about it? Well now I have an idea. If Paradoxal is anything like its proclaimed dupe, Revlon Perplex, then I'd have been one of the drooling girls, too! Pictures don't really show all of the awesomeness of this polish! Today I did a basic design, because I was more interested in showing off the base polish!!

I used Revlon Perplex as a base, with China Glaze Millennium applied with a dotting tool. Topped it off with a coat of Seche Vite top coat.

So I know that Christmas is coming up, and everyone is either A) Broke, or B) Looking for gifts, so I'll end this post with a short note letting you know that tomorrow there will be new stuff for sale on the Sale page! :) (A BNIB PH8 Watch, BNWT bebe Sport/PH8 Necklace, BNWT bebe Sport/PH8 jacket, some Body Shop stuff, some older LE MAC items, and a few other things!) Keep an eye out!! :)

Baby, It's Cold Outside!

OK, so it's not really cold out, at least not here in Vegas. Rumor has it that it is frigid in the midwest though... and that's what inspired the nail design today! So, the bullions that I used yesterday survived ALL day, they didn't bug me at all! Because of that, I thought I'd try 'em out today, because I thought they'd be PERFECT for this design!

Guess what today is?! (Besides December 13th) It's my MOM's BIRTHDAY!!! :) Happy Birthday Mom! You're an awesome mom, you put up with Stace and I, with all our projects and harebrained ideas. You always back us up when we decide to do something, even if you don't agree with it. You're amazing, and I wish I could be there to celebrate with you! Thank you for supporting me with this project, too...I know it seemed silly at first, but I loved hearing that you and dad checked it every day! I hope that your birthday was great! I love you! :)

I used Milani Red Sparkle as a base for all nails except the ring finger, where I used Milani Silver Dazzle. For the snowflakes, I used MAC Vestral White, with bullions in certain spots. Topped off with 2 coats of Seche Vite top coat.

Time for some much-needed beauty sleep!

LORAC Sale at Hautelook!

LORAC Sale at Hautelook today!

There is tons of stuff- eye shadows, palettes, mascara, eyeshadow liner pencils, cream eye liners, cocktails, lip polishes (I actually LOVE these- and to top it off- they look like a nail polish bottle!), lip glosses, and lipsticks.

There are some really good prices- like the lip polishes are $3!!!

Awesome.

Check out the sale HERE!