Ingmar Bergman Studies

Film Studies For Free brings you, below, a very long list indeed of links to online and openly accessible studies of the work of Ingmar Bergman. The list was especially inspired by hearing of the first of the three video studies above, via Adrian Martin, Corey Creekmur and Christa Fuller. This news led to the subsequent discovery of the rest of this amazing videographic trilogy on Bergman's films by Jonas Moberg.

Bergman scholars and fans should also know about Ingmar Bergman: Face to Face, the beautiful website of the Ingmar Bergman Foundation, which showcases and links to numerous further resources. Sight and Sound has also just featured a fascinating essay by Lena Bergman on her father's viewing habits in his unique private cinema, a converted barn on Fårö, the Baltic island where he lived until his death in 2007. This year’s Bergman Week festival takes place in the cinema on Fårö from 28 June to 3 July. Television viewers in the UK might, in addition, like to hear that Film4 will show 16 Ingmar Bergman films in a series beginning next week. Yay!

If FSFF says so itself, the below list is probably one of its best ever (do scroll right down for all the videos). It was certainly one of the most rewarding to compile... It hopes you will find it in equal parts enjoyable and useful.

• 'Ingmar Bergman: A Bibliography of Materials in the UC Berkeley Library'
• Michael Bird, 'Music as Spiritual Metaphor in the Cinema of Ingmar Bergman', Kinema, Spring, 1996
• Pedro Blas Gonzalez, 'Smiles of a Summer Night', Senses of Cinema, 50, 2009
• Thorsten Botz-Bornstein, 'Review: Irving Singer (2007) Ingmar Bergman, Cinematic Philosopher: Reflections on his Creativity. Cambridge, MASS: MIT Press', Film-Philosophy, 14.1, 2010
• Michael Brashinsky, 'The Spring, Defiled: Ingmar Bergman's Virgin Spring and Wes Craven's Last House on the Left', Play it Again, Sam, ed. by Andrew Horton and Stuart Y. McDougal (Berkeley: University of California Press, 1998)
• Amir Cohen-Shalev, 'Beyond Reconciliation: Filial Relationship as a Lifelong Developmental Theme in Bergman’s Films', Style: Volume 43, No. 1, Spring 2009
• Thomas Elsaesser, 'Ingmar Bergman – Person and Persona: The Mountain of Modern Cinema on the Road to Morocco', European Cinema: Face to Face with Hollywood(Amsterdam University Press, 2005 - Scroll to p. 133 in PDF)
• Thomas Elsaesser, 'Ingmar Bergman in the museum? Thresholds, limits, conditions of possibility', Journal of AESTHETICS and CULTURE Vol. 1, 2009
• Hamish Ford, 'Ingmar Bergman', Senses of Cinema, 23, 2002
• Hamish Ford, 'The Silence', Senses of Cinema, 50, 2009
• Ed Gallafent, 'Two Views Over Water: Action and Absorption in Ingmar Bergman's Wild Strawberries(1957)', in James Walters and Tom Brown (eds), Film Moments: Criticism, History, Theory (2010)[scroll down in large PDF]
• Daniel Garrett, 'Dark Nights of the Soul: Themes in Irving Singer’s book Ingmar Bergman, Cinematic Philosopher: Acts of Love Can Redeem Loneliness', Offscreen, December 31, 2010
• Daniel Garrett, 'Wild Strawberries: A Brief Note about Ingmar Bergman and Pauline Kael', Offscreen, 9.9, September 30, 2005
• Sarah W. Gilmartin , 'The Masks of Performance: Art’s Aesthetic and Social Representation in Ingmar Bergman’s Fanny and Alexander (1983)', Inter-Disciplinary.net, 1st Global Conference (2007)
• Eirik Frisvold Hanssen, 'The Fairy-Tale Theatre: Reception and Authorship at the Margins of the Ingmar Bergman Archive', Archives and Aueturs Conference, Stirling University, September 2009
• Ananya Ghoshal, '“Not a day has gone by in my life when I haven’t thought about death” - Ingmar Bergman', in Mortality, Dying and Death: Global Interdisciplinary Perspectives, edited by T. Chandler Haliburton and Caroline Edwards (Inter-Disciplinary Press, 2008 - scroll to p. 338 in PDF)
• Erik Hedling, 'Shame: Ingmar Bergman’s Vietnam War', Nordicom Review 29 (2008) 2, pp. 245-259
• Erik Hedling,'[English Language review of] Birgitta Steene, Måndagar med Bergman: En svensk publik möter Ingmar Bergmans filmer. Stockholm: Brutus Östlings bokförlag Symposion, 1996', TijdSchriftvoorSkandinavistiek, 1, 1999, pp. 174-179
• Alexandra Heller-Nicholas, 'Silence and Fury: Rape and The Virgin Spring', Screening the Past, 28, 2010
• Vreni Hockenjos, 'Strindberg through Bergman: A Case of Mutation', TijdSchrift voor Skandinavistiek vol. 20 (1999), nr. 1
• Poul Houe, 'Faces as Facts of Fiction', Scandinavian Canadian Studies/Etudes Scandinaves au Canada, 18, 2009
• Jesse Kalin, 'Preface', The Films of Ingmar Bergman (Cambridge: Cambridge University Press, 2003)
• Jesse Kalin, 'Introduction: The Geography of the Soul', The Films of Ingmar Bergman (Cambridge: Cambridge University Press, 2003)
• Maaret Koskinen, 'Ingmar Bergman, the biographical legend and the intermedialities of memory', Journal of AESTHETICS and CULTURE Vol. 2, 2010
• Maaret Koskinen, 'Everything Represents, Nothing Is": Some Relations Between Ingmar Bergman's Films and Theatre Productions', Canadian Journal of Film Studies, 5.1
• Maaret Koskinen, 'From Short Story to Film to Autobiography: Bergman’s Intermedial Variations', Film International, January 14, 2011
• Maaret Koskinen, 'Ingmar Bergman', Swedish Institute, 2007
• Tarja Laine, 'Failed Tragedy and Traumatic Love in Ingmar Bergman’s Shame', in Kooijman, Jaap, Patricia Pisters, Wanda Strauven (eds), Mind the Screen: Media Concepts According to Thomas Elsaesser (Amsterdam University Press, 2008 - scroll to p. 60 in PDF)
• Marco Lanzagorta, 'Cries and Whispers', Senses of Cinema, 25, 2003 
• Kevin B. Lee, 'The Soul of the Megapixel: Ingmar Bergman’s Saraband and Scenes from a Marriage', Reverse Shot, June 9, 2008
• Rikard Loman, 'Bergman’s Vintersagan at the Royal Dramatic Theatre', TijdSchrift voor Skandinavistiek vol. 20 (1999), nr. 1
• Brian McIlroy, '[Review of] Steene, Birgitta. 2005. Ingmar Bergman: A Reference Guide', Scandinavian Canadian Studies/Etudes Scandinaves au Canada, 16, 2006
• Lloyd Michaels, 'Introduction', Ingmar Bergman's Persona (Cambridge: Cambridge University Press, 2000) 
• Karin Nykvist, 'Remembering and Creating Childhood in the Works of Ingmar Bergman and August Strindberg', in Negotiating Childhoods, Edited by Lucy Hopkins, Mark Macleod & Wendy Turgeon (Inter-Disciplinary Press, 2011)
• Darragh O’Donoghue, 'The Seventh Seal', Senses of Cinema, 50, 2009
• John Orr, 'Camus and Carné Transformed: Bergman's The Silence vs. Antonioni's The Passenger', Film International, 3.5, 27, 2007
• S. Ruken Öztürk, 'Besieged and Liberated Woman in 'Art' Films: The Problem of Private Sphere', Ankara Üniversitesi SBF Dergisi, (hakemli dergi) 58 (2), 2003:153-176
• Arthur Rankin, 'The Child Archetype in Ingmar Bergman’s Fanny and Alexander', Senses of Cinema, 50, 2009
• Thomas Redwood, '[Review of] Thorsten Botz-Bornstein, Film and Dreams: Tarkovsky, Bergman, Sokurov, Kubrick and Wong Kar-wai. New York: Lexington, 2007, Screening the Past, 23, 2008
• Daniel Ross, '[Review of works by Irving Singer]', Screening the Past, 25, 2009
• Steven Shaviro, 'Ingmar Bergman', The Pinocchio Theory, July 31, 2007
• Daniel Shaw, 'Woman as vampire: Ingmar Bergman's Persona (1966)', Kinoeye, Vol 2, Issue 15, Oct. 2002
• Irving Singer, 'Ingmar Bergman, Cinematic Philosopher' (video podcast), MIT World, November 2007 (embedded below)
• Murray Smith, '[Review of] Paisley Livingston, Cinema, Philosophy, Bergman: On Film as Philosophy', Notre Dame Philosophical Review, May 19, 2010
• Birgitt Steene, Ingmar Bergman: A Reference Guide (Amsterdam University Press, 2005)
• Birgitta Steene, 'The Transpositions of a Filmmaker: Ingmar Bergman at Home and Abroad', TijdSchrift voor Skandinavistiek, 20, no 1, 1999
• Birgitta Steene, 'The Sjöberg-Bergman Connection: Hets – Collaboration and Public Impact' TijdSchrift voor Skandinavistiek, vol. 20 (1999), nr. 1 
• Michael Stern. 'The Face as a Fingerprint: Mediation, Silence, and the Question of Identity in Ingmar Bergman’s Persona', Konturen, Vol. 3, 2010
• Sharon Lin Tay, 'On the Edges of the Authorial Voice: Liv Ullmann’s Faithless, Gendered Authorship, and Ingmar Bergman', Women on the Edge: Twelve Political Film Practices (London: Palgrave, 2009) (excerpt)
• Egi Törnqvist, Between Stage and Screen: Ingmar Bergman Directs (Amsterdam University Press, 1996)
• Elsie Walker, 'An 'Incorrigible Music: Ingmar Bergman's Autumn Sonata', Kinema, 2008
• Denise Ming-yueh Wang, 'Ingmar Bergman’s Appropriations of the Images of Death in The Seventh Seal', 제17권 1호 (2009): 41-62
• Thomas E. Wartenberg, 'Review of Ingmar Bergman, Cinematic Philosopher: Reflections on His Creativity', Notre Dame Philosophical reviews, May 23, 2008
• Lynn R. Wilkinson, 'Playful Performances: Ingmar Bergman’s Bildmakarna and Film Authorship', TijdSchrift voor Skandinavistiek vol. 30 (2009), nr. 1
• Margareta Wirmark, 'Strindberg versus Bergman: The End of Spöksonaten', TijdSchrift voor Skandinavistiek, vol. 20 (1999), nr. 1 
• Robin Wood, 'Call Me Ishmael [on Fanny and Alexander]', originally published in Canadian Forum, 41, 1983, republished in MOVIE, Issue 2, 2011 
• Rochelle Wright, '[Review of] Philip and Kersti French. Wild Strawberries (Smultronstället). London: BFI Film Classics, 1995. Pp. 77. And Margareta Wirmark. Smultronstället och dödens ekipage. Stockholm: Carlssons, 1998', TijdSchriftvoorSkandinavistiek, 20, 1999, nr. 1
• Rochelle Wright, '[Review of] Marilyn Johns Blackwell, Gender and Representation in the Films of Ingmar Bergman [Studies in Scandinavian Literature and Culture, eds. George C. Schoolfield and Robert E. Bjork], Columbia, SC: Camden House, 1997', TijdSchrift voor Skandinavistiek, vol. 20 (1999), nr. 1  

Irving Singer, 'Ingmar Bergman, Cinematic Philosopher' (video podcast), MIT World, November 2007

Liv Ullmann at the Bergman Week 2010, speaking about the filming of Face To Face with Ingmar Bergman. She talks about the relationship between a director and his actors, and specifically the scene when her character commits suicide in the film.

Wim Wenders talks about Ingmar Bergman

Agnes Varda talks about Bergman.

David Stratton talks about Ingmar Bergman.

Bergman Center interviews American director John Landis about Ingmar Bergman at Venice International Film Festival.

Bergman Center interviews French actor Jean-Marc Barr about Ingmar Bergman at Venice International Film Festival.

On Godard and Philosophy

Trailer for Deux de la Vague/Two in the Wave, an in-depth analysis of the relationship between French New Wave pioneers François Truffaut and Jean-Luc Godard, as seen through rare archival footage, interviews, and film excerpts — written by former Cahiers du Cinéma editor Antoine de Baecque and directed by Emmanuel Laurent. Read more about this film here.

Thanks to the very wonderful Girish Shambu, Film Studies For Free was lucky enough to hear of a special issue of the Journal of French and Francophone Philosophy on Jean-Luc Godard. The table of contents, with direct links to all items, is given below.

For more reading (and viewing) on Godard, do please check out FSFF's last post on this filmmaker in December 2010.

Journal of French and Francophone Philosophy, Vol 18, No 2 (2008-2010) 

Special issue on Godard and Philosophy, co-edited by Burlin Barr and John E. Drabinski 

Table of Contents

• 'Philosophy as a Kind of Cinema: Introducing Godard and Philosophy' by John E. Drabinski

• 'Schizoanalyzing Souls: Godard, Deleuze, and the Mystical Line of Flight' by David Sterritt
  

• 'Happiness is Not Fun: Godard, the 20th Century, and Badiou' by Michael Walsh

• 'The Audible Life of the Image' by David Wills

• 'Shot and Counter-shot: Presence, Obscurity, and the Breakdown of Discourse in Godard’s Notre Musique' by Burlin Barr

• 'Pedagogy of the Written Image' by Jonathan Lahey Dronsfield

• 'Modernism as a Misnomer: Godard's Archeology of the Image' by Gabriel Rockhill

• Notes on Contributors

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

In the Hands of Fate: Existentialism in Film

Image from I’m a Fugitive from a Chain Gang (Mervyn LeRoy, 1932) [See Sam Mithani's thesis, The Hollywood Left: Cinematic Art and Activism in the 1930s for reflections on the existentialism of this film's director]

Viewing (30:43): In the Hands of Fate: Existentialism in Film (October 18, 2010)

Cinema condenses actions and their consequences. It puts the viewer into someone else's shoes. Dilemmas tend to be urgent, up-close and personal: ergo, all films are existential. But several films in this year's [London Film Festival] programme specifically emphasise philosophical struggles with circumstance. Veiko Õunpuu's The Temptation of St Tony makes drama out of the very discourse of existential thought. Xavier Beauvois' Of Gods and Men follows monks whose faith is shaken by fear of execution. Michelangelo Frammartino's Le Quattro Volte links a dying man's end, to the fate of a lost kid (as in goat) and a felled tree. Finally, the dying man in Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives accepts his fate yet the past makes its own demands on him. It's more than just mortal thoughts that brings these films together; it's a heightened sensitivity to our sense of purpose. We are very excited that directors Apichatpong Weerasethakul and Michelangelo Frammartino [joined] Dr David Sorfa (Senior lecturer in Film Studies at Liverpool John Moores University and managing editor of the journal, Film-Philosophy) on a panel chaired by Ian Haydn Smith, Editor of International Film Guide.

Film Studies For Free wanted to alert its readers to the above linked-to, wonderful BFI video on the topic of  existentialism and cinema. In its usual good faith, and as a perfect accompaniment, FSFF also brings you a little list of links to great, openly accessible, scholarly reading, much of it book-length, on the very same theme.

• Anders Albrechtslund, 'Surveillance pleasures: existentialism and ethics as represented in cinematic art' [Draft version], Author's Website, date unknown
• Tomas Axelson, 'Movies and Meaning: Studying Audience, Fiction Film and Existential Matters', Particip@tions, Volume 5, Issue 1, Special Edition (May 2008)
• Brian K. Bergen-Aurand, Seeing and the Seen: Post-Phenomelogical Ethics and the Cinema, PhD Thesis, University of Maryland, 2004  
• Jean-Philippe Derant, 'Existentialist Aesthetics', Stanford Encyclopedia of Philosophy, 2009
• Marty Fairbairn, Cinema as Secular Church: A Phenomenological Typology and Hermeneutics, PhD Thesis, McMaster University, 1995
• Robert Harvey, 'Sartre/Cinema: Spectator/Art That Is Not One', Cinema Journal, 30.3, 1991 
• Sam Mithani, The Hollywood Left: Cinematic Art and Activism in the 1930s, PhD Thesis, University of Southern California, 2007 
• Katherine V. Pettit, The truth and death of indexicality: photography, philosophy and cinema, MA Thesis, University of British Columbia, 2002 
• David C. Simmons, The Dysphoric Style in Contemporary American Independent Cinema, PhD Thesis, Florida State University, Spring 2005
• Benjamin 
P.
 Spencer
, '“Show Me How to See Things the Way You Do": Existentialism in Faith, Philosophy, and Film [on The Thin Red Line]', Honours Thesis, Whitman College, 2010
• Deborah A. Walker, Self-reflexivity and the construction of subjectivity in contemporary French cinema: Alain Resnais, PhD Thesis, University of Auckland, 2001
• Tony Williams, 'Power and Paranoia: 40s Hollwyood', from Jump Cut, no. 35, April 1990, pp. 73-77

In Defense of the Arts and Humanities: On Derek Jarman's Wittgenstein (1993)

In Defense of Philosophy: Derek Jarman's Wittgenstein (1993): A discussion at London's Tate Modern with the film’s producer Tariq Ali and Jonathan Derbyshire, culture editor of the New Statesman on October 22, 2010

A seminal thinker of the twentieth century, Wittgenstein’s revolutionary ideas have had an impact in disciplines beyond philosophy including psychology, the natural sciences, linguistics, mathematics, logic, art, religion, artificial intelligence and software design.

Like all right-thinking scholarly blogs, Film Studies For Free has been terribly alarmed by the increasing international attacks on, as well as actual cutbacks to academic Arts and Humanities subjects in the context of the global economic crisis.

So, today's posting of the latest film-studies related video published by the Tate Channel is a timely one indeed. In this video, film producer and writer Tariq Ali defends these disciplines at the same time as he celebrates the (more relevant than ever) film work of Derek Jarman, the marvellous British artist who created his best works against the backdrop of similar, short-sighted, anti-intellectual and anti-cultural attacks. 

If these developments are of concern to you, why not join in with the dialogue about them at a newly launched, campaigning Facebook group DEFEND the ARTS and HUMANITIES? FSFF's author will be most pleased to see you sounding off there.

In the meantime, below are a couple of highly worthwhile scholarly studies of Jarman's take on philosopher Ludwig Wittgenstein.

• Tracy Bowell, 'Making Manifest: Viewing Wittgenstein's Philosophy Through Jarman's Lens', Teaching Philosophy, 24:2, June 2001
• Martin Stokhof, 'The Quest for Purity. Another Look at the New Wittgenstein', Academia.edu, 2010

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

Bazinian, Neo-Bazinian, and Post-Bazinian Film Studies

Scott Ross, 'The Myth of Total Cinema", New College of Florida January 2007 Independent Study Project. Set to Schoenberg's "Three Pieces for Piano." Based on the essay "The Myth of Total Cinema" by André Bazin.

Film Studies For Free decided to round up some classy links today to studies either by the hugely influential film critic André Bazin (1918-1958), co-founder of the film magazine Cahiers du cinéma, or by those who use or comment upon his work in their own contributions to film studies. As the below, openly accessible works more than amply show, even in this the digital film age, Bazin is an earlier generation film theorist who keeps on giving to the discipline that he, as much as anyone else, helped to found.

Online Baziniana: 

• André Bazin, 'Will CinemaScope Save the Film Industry?' (1953), Film-Philosophy, Vol. 6 No. 2, January 2002

• André Bazin, 'The Ontology of the Photographic Image', translated by Hugh Gray, Film Quarterly, Vol. 13, No. 4. (Summer, 1960), pp. 4-9

• Cahiers du Cinéma Interview with Orson Welles by André Bazin and Charles Bitsch (at Senses of Cinema) translated and annotated by Sally Shafto

• André Bazin, 'Fifteen Years of French Cinema', translated and with an introduction by Bert Cardullo, Bright Lights Film Journal, Issue 64, May 2009

• André Bazin, 'Monsieur Hulot and Time', translated and with an introduction by Bert Cardullo, Bright Lights Film Journal, Issue 64, May 2009

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

• André Bazin, on Claude Autant-Lara and literary adaptation: Four original reviews

• André Bazin, 'The Life and Death of Superimposition'

 Post/Neo-Baziniana:

• Joseph D. Anderson, 'Scene and Surface in the Cinema : Implications for Realism', Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 12, n° 2, 2002, p. 61-73

• Michael J. Anderson, 'Hatari! and the Hollywood Safari Picture', Senses of Cinema, Issue 52, 2009

• Michael J. Anderson, '"Eric Rohmer, Cross-Textuality and the Auteur Theory", Tativille, March 1, 2010

• Michael J Anderson, ''What is Cinema? More than Cinema: The Ontological Discourse of Abbas Kiarostami's Through the Olive Trees (1994)'', Tativille, March 30, 2009

• Michael J. Anderson, 'The Mortal Storm: 1940 and After', Senses of Cinema, Issue 52, 2009

• Michael J Anderson: "Being Above/Being Within: A Taxonomy of the 360° Panorama", Tativille, October 29, 2009

• Dudley Andrew, 'The Camera Searching in the World', What Cinema Is (Oxford: Wiley, 2010)

• Karyn Becker, 'Comments on Tom Gunning’s and Vivian Sobchack’s presentations', Digital Aesthetics, Special Issue of Nordicom Review: The 16th Nordic Conference on Media and Communication Research, Kristiansand, 15-17 August 2003

• David Bordwell, 'Widescreen Aesthetics and Mise-en-Scène Criticism', The Velvet Light Trap no. 21 (Summer 1985):118–25

• Ian Conrich and Estella Tincknell, 'Film Purity, the Neo-Bazinian Ideal, and Humanism in Dogma 95', P:O.V. No.10, 2005

• Sarah Cooper, 'Montage, Militancy, Metaphysics: Chris Marker and André Bazin', Image [and] Narrative, 2010

• Arild Fetveit, 'Comments on Vivian Sobchack’s and Tom Gunning’s presentations', Digital Aesthetics, Special Issue of Nordicom Review: The 16th Nordic Conference on Media and Communication Research, Kristiansand, 15-17 August 2003

• Rosalind Galt, “It’s so cold in Alaska”: Evoking Exploration Between Bazin and The Forbidden Quest', Discourse, 28.1, (Winter, 2006), pp. 53–71

• Michael Grant, 'The Enduring Value of André Bazin: A Report on the 46th Thessaloniki Film Festival, 18–27 November 2005', Film Studies, 2006  (Scroll down to pp 68-69)

• Tom Gunning, 'What’s the Point of an Index? or, Faking Photographs', Digital Aesthetics, Special Issue of Nordicom Review: The 16th Nordic Conference on Media and Communication Research, Kristiansand, 15-17 August 2003

• Jan Holmberg, "Ideals of Immersion in Early Cinema",  Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 14, n° 1, 2003, p. 129- 147

• Wijnand Ijsselsteijn, 'Presence in the Past: what can we learn from Media History?', in Being There: Concepts, effects and measurement of user presence in synthetic environments G. Riva, F. Davide, W.A IJsselsteijn (eds.) ( Amsterdam: Ios Press, 2003)

• Bruce Isaacs, 'The Cinematic Real: Aesthetics and Spectacle', Sydney Studies in English, Vol. 33, 2007

• Bruce Isaacs, 'Film Cool: Towards a New Film Aesthetic', PhD Thesis, University of Sydney, 2006

• Frank Kessler, 'What you get is what you see: Digital images and the claim on the real', Digital Material, Edited by Marianne van den Boomen, Sybille Lammes, Ann-Sophie Lehmann, Joost Raessens, and Mirko Tobias Schäfer (Amsterdam: Amsterdam University Press, 2009) Scroll to p. 187

• Ohad Landesman, 'In and out of this world: digital video and the aesthetics of realism in the new hybrid documentary', Studies in Documentary Film, Volume 2, Number 1, 2008

• David Lavery, 'From Cinespace to Cyberspace: Zionists and Agents, Realists and Gamers in The Matrix and eXistenZ', The Journal of Popular Film and Television, 28 (2001): 150-58

• Mark Le Fanu, 'Metaphysics of the "long take": some post-Bazinian reflections', P:O.V. No.4 - On camera movement and filmic space, 1997

• Stephen Prince, 'The Emergence of Filmic Artifacts: Cinema and Cinematography in the Digital Era', Film Quarterly, Vol. no. 57, Issue no. 3, pages 24-33

• Jonathan Rosenbaum,'What is Cinema? (and, if you know what that is, What is Film Study?) JonathanRosenbaum,com, May 4, 2009

• Jonathan Rosenbaum, 'Goodbye Cinema, Hello Cinephilia', JonathanRosenbaum,com, June 24, 2004'

• Michael Russell, 'The Kuleshov Effect and the Death of the Auteur', Forum, Issue 1, Autumn 2005

• Seung-hoon Jeong, 'André Bazin’s Ontological Other: The Animal in Adventure Films', Senses of Cinema, Issue 51, 2009

• Girish Shambu, 'André Bazin and Caboose', girish, March 11, 2009

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

• Vivian Sobchack, 'Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime', Millennium Film Journal No. 34 (Fall 1999): The Digital

• Robert Alan Spiegel, 'Verga and the Realist Cinema', Carte Italiane, 1(2), 1981

• Donato Totaro, 'Introduction to André Bazin, Part 1: Film Style Theory in its Historical Context', Offscreen, July 31, 2003

• Donato Totaro, 'Introduction to André Bazin, Part 2: Style as a Philosophical Idea', Offscreen, July 31, 2003

• Harry Tuttle, 'Bazin - on Criticism - 1943', Screenville, May 17, 2006

• Harry Tuttle, Bazin - on Criticism - 1958', Screenville, July 14, 2006

• Prakash Younger, 'What is Cinephilosophy? A Bazinian Paradigm, Part 1 and 2', Offscreen Journal, Volume 13, Issue 2 (Bazin Renewed), February 2009

• Prakash Younger, 'Re-reading Bazin’s Ontological Argument', Offscreen, July 31, 2003

La Science de Michel Gondry: online scholarship on his films & videos

Last updated April 19, 2010

Electric Dreams? Above and below, images from Be Kind Rewind (Michel Gondry, 2008)

 

Michel Gondry and Robert Stickgold discuss dreams, filmmaking and the scientific method (SeedMagazine.com, 2007).

Film Studies For Free presents un petit hommage -- en images, hypertexte, et vidéos --to one of its favourite filmmakers, Michel Gondry, French maestro of the music-video form, and also responsible, as director, for the audiovisual brilliance of the following films: Human Nature (2001); Eternal Sunshine of the Spotless Mind (2004); La Science des rêves/The Science of Sleep (2006); Be Kind Rewind (2008); and The Green Hornet (2010).

There are some truly wonderful scholarly resources linked to below: merci bien, as ever, to their authors, editors and publishers for making them freely accessible online.

• Dwayne Avery, 'The Future is behind you: the Reclamation of Place in Be Kind Rewind', Movement 1.1: the futures of cinema, 2009 
• Jim Batcho, 'Overlapping Levels of the Diegesis in Eternal Sunshine of the Spotless Mind', Offscreen Journal, Vol. 11, Nos. 8-9, Aug/Sept 2007
• New Julia Driver, 'Memory, Desire, and Value in Eternal Sunshine of the Spotless Mind', in Christopher Grau (ed), Philosophers on Film: Eternal Sunshine of the Spotless Mind' (Routledge, 2009)
• New Michel Gondry, 'Foreword', in Christopher Grau (ed), Philosophers on Film: Eternal Sunshine of the Spotless Mind' (Routledge, 2009)
• New Christopher Grau, 'Introduction' to Philosophers on Film: Eternal Sunshine of the Spotless Mind' (Routledge, 2009)
• New Christopher Grau, 'Eternal Sunshine of the Spotless Mind and the morality of memory',  Journal of Aesthetics and Art Criticism, 64 (1), Winter 2006
• Carolyn Jess-Cooke, 'Narrative and Mediatized Memory in Eternal Sunshine of the Spotless Mind', Scope, Issue 8, June 2007
• Brandon M. Hancock, 'Eternal Sunshine of the Spotless Mind', Journal of Religion and Film, Vol. 9, No. 1 April 2005
• Erin Hill-Parks, 'From Film to Life: The Construction of Identity in Eternal Sunshine of the Spotless Mind and I “Heart” Huckabees', From Camera Lens To Critical Lens A Collection Of Best Essays On Film Adaptation, edited by Rebecca Housel (Cambridge: Cambridge Scholars Press, 2006) 
• Charlie Kaufman, Eternal Sunshine of the Spotless Mind - screenplay, 2003
• John Finlay Kerr, ‘Rereading’ Be Kind Rewind (USA 2008): How film history can be remapped through the social memories of popular culture', Screening the Past, Issue 24, 2009
• Mike Lim, 'Review of Garrett Stewart, Framed Time: Toward a Postfilmic Cinema. Chicago and London: The University of Chicago Press, 2007', Screening the Past, Issue 23, 2008
• Colm O'Shea, 'Out of His Head: Metaphysical Escape Attempts in the Screenplays of Charlie Kaufman ', Bright Lights Film Journal, Issue 63, February 2009 
• Heidi Peeters , 'The semiotics of music videos: it must be written in the stars', Image [and] Narrative, Issue 8, May 2004
• A Raz, and M Paasivirta, 'The Science and Fiction of Memory Removal', PsycCRITIQUES, Vol 50(42), 2005
• Richard Rushton, 'Cinema After Deleuze After 9/11', Postmodern Culture, Volume 19, No. 2, 2009 
• Fredericka Shulman, 'The Objects of Memory: Collecting Eternal Sunshine', Philament, Issue 5, 2005
• Jason Sperb, 'Be Kind Rewind / or, an incomplete essay on Off-Modern American Cinephilia', Jamais Vu, December 13, 2009
• Gunnar Strøm, 'The Two Golden Ages  of Animated Music Video', Animation Studies, Vol.2, 2007
• Dayton Taylor and Hector Macleod, Digital Air Techniques (2008)
• Scott Thrill, '"How My Brain Works": An Interview with Michel Gondry', Bright Lights Film Journal, Issue 53, August 2006
• José van Dijck, 'Memory Matters in the Digital Age', Configurations, Volume 12, Number 3, Fall 2004
• Thomas E. Wartenberg, 'Film as Argument', Film Studies, Issue 8, Summer 2006

Matt Zoller Seitz shares his thoughts with fellow filmmaker critic Kevin B Lee while rewatching Michel Gondry's 

Eternal Sunshine of the Spotless Mind, May 2009

 

 The original music video of Gary Jules' and Michael Andrews' cover version of Tears for Fears' song Mad World, directed by Michel Gondry. This song features in the soundtrack of Donnie Darko (Richard Kelly, 2001)