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Tampilkan postingan dengan label digital cinema. Tampilkan semua postingan

Minggu, 05 Juni 2011

New Issue of WIDE SCREEN Journal: Cinemas of the Arab World, Militant Cinema, Film Production Studies, SciFi

Frame grab from Drôle de Félix (Olivier Ducastel and Jacques Martineau, 2000)

Film Studies For Free's author is busy with marking this weekend, and so can only look longingly for now at the below Table of Contents of a bumper new issue of the journal Wide Screen which appears to be going from strength to strength. There are some very enticing and valuable items here, so FSFF wanted to rush its readers the usual direct links to the openly accessible contents.

Wide Screen Vol.3 No.1
  • 'From the Editors' Desk' by Kuhu Tanvir PDF
 Essays:
  • 'Militants and Cinema: Digital Attempts to Make the Multitude in Hunger, Che, Public Enemies' by Joshua Aaron Gooch Abstract PDF
  • 'Minnelli's Yellows: Illusion, Delusion and the Impression on Film' by Kate Hext Abstract PDF
  • Trauma, Post-Apocalyptic Science Fiction and the Post-Human' by Anirban Kapil Baishya Abstract PDF
  • 'Drôle de Félix: A Search for Cultural Identity on the Road' by Zélie Asava Abstract PDF
  • 'An Analysis of the Technoscientific Imaginary in the Remake of The Stepford Wives' by Jessica Johnston and Cornelia Sears Abstract PDF 
  • Home Sweet Home: The Cautionary Prison/Fairy Tale' by Paul Tremblay Abstract PDF 
Film Production Studies (Contd. from W.S. 2.2)
  • Handling Financial and Creative Risk in German Film Production' by M. Bjørn von Rimscha Abstract PDF
  • Opening Pandora’s (Black) Box: Towards A Methodology Of Production Studies' by Graham Roberts Abstract PDF 
Cinemas of the Arab World:  
  • 'Introduction: Cinemas of the Arab World' by Latika Padgaonkar Abstract PDF
  • 'Cinema “Of” Yemen And Saudi Arabia: Narrative Strategies, Cultural Challenges, Contemporary Features' by Anne Ciecko Abstract PDF 
  • Director Profile: Mai Masri' by Latika Padgaonkar Abstract PDF
  • Salah Abu Seif and Arab Neorealism' by Ouissal Mejri Abstract PDF 
  • Review: London River' by Latika Padgaonkar Abstract PDF 
Book Reviews:
  • 'Jaane Bhi Do Yaaro: Seriously Funny Since 1983' by Radha Dayal Abstract PDF
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Minggu, 08 Mei 2011

Unstable Platforms? Film/Moving Image Studies Papers from MIT7 Media in Transition

Teaser image, courtesy of Warner Brothers, from Harry Potter and the Deathly Hallows, Part 2 out on July 15  (David Yates, 2011). Read Debora Lui's paper on Harry Potter: The Exhibition.

Today, Film Studies For Free brings you links to film and moving image related papers from the conference proceedings of the seventh annual Media in Transition conference, which will take place next week, May 13-15, 2011, at the Massachusetts Institute of Technology. 

Here's the conference's mission statement:
Has the digital age confirmed and exponentially increased the cultural instability and creative destruction that are often said to define advanced capitalism? Does living in a digital age mean we may live and die in what the novelist Thomas Pynchon has called “a ceaseless spectacle of transition”? The nearly limitless range of design options and communication choices available now and in the future is both exhilarating and challenging, inciting innovation and creativity but also false starts, incompatible systems, planned obsolescence. How are we coping with the instability of platforms? 
FSFF particularly liked "“Make Any Room Your TV Room:” Media Mobility, Digital Delivery, and Family Harmony" by film and media studies scholar and blogger extraordinaire Chuck Tryon, film and television scholar and media studies blogger extraordinaire Michael Z. Newman's paper 'The Television Image and the Image of the Television", and "Who Told You You Were Special Edition? The Commercialization of the Aura" by Justin Mack.

There are other great papers online connected to the conference theme of unstable platforms and the experience of mediatic transitions that don't treat moving image topics and you can access those here.

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Minggu, 17 April 2011

Great new Essays on Film and Video from Mediascape

The above video is a very short, but effective, introduction to issues affecting small nations as they produce cinema, using the example of the Nordic countries, by film scholar Mette Hjort. It is also a fascinating digital promotional tool for a University of Washington Press book series co-edited by her. See Hjort's excellent essay on 'small nation cinema studies' in the new issue of Mediascape. And also see Tom Zaniello's excellent article there on emerging, new-media forms of documentary including the digital advert.

Film Studies For Free was really delighted to see that there's a new issue out of online journal Mediascape. The Winter 2011 issue explores
the complex notions of the local and global as they intersect with media: industries and studies; cultures of production, distribution, exhibition and reception; as well as the text itself. Some of the questions this issue engages with include: In what ways does the global marketplace facilitate local products and productions? How do actors negotiate the politics of globalization in how they represent themselves in either the digitally enhanced or real worlds? How can digital media balance both the autonomy of local communities and the ongoing impact of corporate globalization? What role do academic scholars and students play in the globalization of media studies? [read more of this introduction here].
As with earlier issues of this high quality and strikingly original journal, there are a good number of items in audiovisual formats (including video essays, video exemplars, etc). Alongside Mette Hjort's and Tom Zaniello's articles, FSFF particularly appreciated Brian Hu's excellent video essay on the use of popular music in Wong Kar-wai’s films: truly wonderful, analytical viewing and listening! But there are many others pieces of great interest and these are all directly linked to below.

Thanks for a really great issue, Mediascape.

Features: 
Reviews:
Meta:
Columns:
Columns Video:
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Minggu, 02 Januari 2011

On Digital Cinema, Visual Effects, and CGI Studies


Faking it? Marla Singer (Helena Bonham Carter) in Fight Club (David Fincher, 1999)

Happy New Year, dear readers! A truly chilled out Film Studies For Free is back from vacation, and raring to go with a pretty impressive (if it says so itself) entry of direct links to openly accessible scholarly work on digital cinema and computer generated imagery studies.

The post was inspired by news of the availability as a free download of 'Digital Bodies' - a chapter, translated into English, from esteemed scholar Barbara Flueckiger's 2008 German-language book Visual Effects. Filmbilder aus dem Computer.

Flueckiger, Associate Professor at the University of Zurich's Institute of Cinema Studies, has also just published her great database on the history of CGI, VFX, and computer animation online.  

Vielen Dank, Barbara! Thanks also to all the scholars listed below for choosing to publish their work in freely accessible venues online! 

Finally, in case you hadn't yet heard of the best website for regular, informed discussions of special and visual effects in the cinema, do check out film scholar Dan North's awe-inspiring blog Spectacular Attractions!
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Senin, 20 Desember 2010

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

Feature Articles

Great Directors

Festival Reports

  • Celluloid Liberation Front on Venice

Book Reviews

Cteq Annotations

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Selasa, 18 Mei 2010

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


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: 
 Post/Neo-Baziniana:
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      Senin, 08 Februari 2010

      The New 'Cinema of Attractions'? Andrew Clay on Web Cinema

      'Web cinema: Mind the Gap!' by Andrew Clay

      Film Studies For Free was extremely impressed by the quality of the above presentation, one of a number of excellent papers (all now online) given at the latest Video Vortex conference in Brussels.
      [In t]he past two years, the [Video Vortex] conference series - which focuses on the status and potential of the moving image on the Internet - has visited Amsterdam, Ankara and Split, growing out into an organized network of organizations and individuals. Time for an interim report, perhaps. [VV] asked some participants of the first Video Vortex editions and publication, as well as new ones, to reflect on recent developments in online video culture.
      Over the past years the place of the moving image on the Internet has become increasingly prominent. With a wide range of technologies and web applications within anyone’s reach, the potential of video as a personal means of expression has reached a totally new dimension. How is this potential being used? How do artists and other political and social actors react to the popularity of YouTube and other ‘user-generated-content’ websites? What does YouTube tell us about the state of contemporary visual culture? And how can the participation culture of video-sharing and vlogging reach some degree of autonomy and diversity, escaping the laws of the mass media and the strong grip of media conglomerates?
      In the videoed paper embedded above, as in his wonderful essay 'BMW Films and the Star Wars Kid: 'Early Web Cinema' and Technology' in the 2008 collection Cinema and Technology, Andrew Clay takes an in-depth look at the current state of online cinema. He asks what will happen to web cinema as we shift from learning to see and how to feel to learning how to participate in this new electronic space of modernity?

      In the talk, Clay examines many important 'participatory media' issues such as the phenomenon of cinematic 'prosumption' and the rise of the digital 'caméra-stylo'. His talk is wonderfully illustrated with clips. You can also read some of his brilliant work on these issues in the article linked to below:
      FSFF thinks that it is well worth keeping an eye on Andrew Clay's work: he is currently Senior Lecturer in Critical Technical Practices at De Montfort University, Leicester and programme leader of BSc (Hons) Media Technology in the Faculty of Computing Sciences and Engineering.
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      Selasa, 26 Januari 2010

      Tune in to Antenna


      [Film Studies For Free will be sorry to say goodbye to Tobey Maguire's Peter Parker/Spider-Man...]

      Film Studies For Free wanted to let its readers know about Antenna, a very stimulating blog from graduate students and faculty in the Media and Cultural Studies area of the Department of Communication Arts at the University of Wisconsin – Madison.

      Here's what this relatively new site says about itself:
      Antenna is a collectively authored media and cultural studies blog committed to timely yet careful analysis of texts, news, and events from across the popular culture spectrum. The site regularly responds to new works and developments in television, film, music, gaming, digital video, the Internet, print, and the media industries.

      Antenna is intended to address a broad public inside and outside the university walls. Within those walls, though, it further intends to bridge the gap between scholarly journals, which remain the paradigm for scholarly discourse but too often lack the ability to reply to issues and events in media with any immediacy, and single-author media scholar blogs, which support swift commentary but are limited in their reliance upon the effort and perspectives of individuals. Coordinated by a group of writers who draw on a variety of approaches and methodologies, Antenna, therefore, exists as a means to analyze media news and texts, both as they happen and from multiple perspectives.

      Antenna is currently operated and edited by graduate students and faculty in the Media and Cultural Studies area of the Department of Communication Arts at the University of Wisconsin – Madison. Although, while in its current stage, the content published on the site is written largely by members of that program, Antenna is currently in the process of expanding our author team, and we hope eventually to include contributions and comments from a diverse collection of writers.
      Antenna’s goal is to create a forum in which readers and contributors participate in active, open, and thoughtful debate about media and culture.

      Antenna is designed to respond quickly to events, and thus rather than be published on a set, periodic schedule, Antenna updates its content continually. Because Antenna is interested in timely responses, we encourage short entries. Extensive presentation of evidence is not required, though supplementary links are encouraged.
      With its extremely lively house style, and wide-ranging topics, FSFF thinks Antenna has a great future ahead of it. For examples of some good film-related posts, it recommends you check out the following to start with:  
      You can also follow Antenna's updates on Twitter.
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      Senin, 21 September 2009

      Angelism and rage: Sally Potter links


      Sally Potter is exceptional among directors in having made both successful commercial features and experimental films. Besides filmmaking, her career incorporates dance, choreography, music and performance art; these elements are interwoven in her films, all of which - while very different from each other - confront issues around performance, gender and genre and appeal to the significance of musicality and movement in a medium which is in essence non-verbal.
      Annette Kuhn

      On the surface a satire on fashion, Rage is an indictment of the very market logic that forces stars to parade themselves on the red carpet in Berlin’s inevitable snow. It’s a reclamation of beauty from the bankers, and central to its ravishing struggle is Jude Law as Minx, a Russian-American supermodel. Minx refers to herself in the third person as “she” but the film leaves open the question of how Minx understands this pronoun for herself.

      While not as centrally queer as Orlando, Rage is deeply concerned with that queerest of themes: what we say of ourselves and what (secretly) we cannot say but long to. Its compassion is amplified by its stunningly simple visual style; shot in tiny photographers’ studios using greenscreen, the film is also a message to budding filmmakers who think their projects are unlikely to get funding. Potter, a friend of Derek Jarman’s, is one of the few filmmakers committed to his mission of: make things with what you have.
      Sophie Mayer

      In a brilliant article discussing the role that other media play within film ("The Film Stilled", Camera Obscura 24, September 1990), Raymond Bellour recently suggested that these singular moments of eruption or invasion can point in two quite contrary directions. On the one hand, there are moments of video in film that point backwards, regressively, to a lost, even archaic past. Here, video becomes a sad, deathly emblem of nostalgia in the lives of people who are finding it hard to get themselves together. This occurs in the current release Falling Down, where the relentless camera movement into Michael Douglas' family video in the final shot expresses the complete disintegration of his identity. But, in a completely different spirit, video moments can point forward to utopian, transcendent, sometimes mystical states and experiences. Bellour gives this trend in cinema the curious name of 'angelism' - and what's most curious about it is that he coined the word before seeing Sally Potter's Orlando, where, in its final vision, video texture fills the screen as a child's video camera [that of Orlando's daughter] discovers an angel hovering in the sky, singing.
      Adrian Martin

      On the day that Rage, Sally Potter's new film, embarks on its 'multiplatform, interactive' release-week (today begin the mobile phone episodes), Film Studies For Free (a big Potter fan of old) is delighted to premiere its own selection of choice, openly accessible, scholarly links to Potter resources:

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