30 Online Film Studies Books and PhD Theses from OhioLINK

Image from When Night is Falling (Patricia Rozema, 1995), a film discussed by Jamie L. Stuart

Film Studies For Free shakes itself out of an uncharacteristic, unseasonal, hot-weather related torpor to bring you one of its regular reports (and lists of links) from a University research repository. Today, it's the turn of the utterly brilliant repository at the OhioLINK ETD Center, gathering theses and books (in bold below) by film studies scholars at Ohio State University, Bowling Green State University, Ohio University, and Case Western Reserve University.

As usual, these links will be added in due course to FSFF's permanent listings of Online Film and Moving Image Studies PhD Theses and Open Access Film E-books List.

• Savas Arslan Hollywood alla Turca: A history of popular cinema in Turkey, PhD, Ohio State University, 2005

• Dyrk Ashton, Using Deleuze: The Cinema Books, Film Studies and Effect, PhD, Ohio State University, 2006

• Rihab Kassatly Bagnole, Imaging the Almeh : Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950, PhD, Ohio State University, 2005

• Holly Lynn Baumgartner, Visualizing Levinas: Existence and Existents Through Mulholland Drive, Memento, and Vanilla Sky, PhD, Ohio State University, 2005

• Rebecca H. Bias, From golden age to silver screen: French Music-Hall Cinema from 1930-1950, PhD, Ohio State University, 2005

• Rose Mary Bremer, Screening gender and sexuality in contemporary Quebec film adaptation, PhD, Ohio State University, 2004

• Marie Katheryn Connelly, The films of Martin Scorsese: A critical study, PhD, Ohio State University, 1991

• Carolina Siqueira Conte, Bonds: A Theory Of Appropriation For Shakespeare’s The Merchant Of Venice Realized In Film, PhD, Ohio State University, 2005

• Stefan Hall, "You've Seen the Movie, Now Play the Game": Recoding the Cinematic in Digital Media and Virtual Culture, PhD, Ohio State University, 2011

• Cheryl Lynn Hindrichs, Lyric narrative in late modernism: Virginia Woolf, H.D., Germaine Dulac, and Walter Benjamin, PhD, Ohio State University, 2006 (available from May 19, 2011)

• Daniel O. Jones, The Soul That Thinks: Essays on Philosophy, Narrative and Symbol in the Cinema and Thought of Andrei Tarkovsky, PhD, Ohio University, 2007

• Se Young Kim, A Sociohistorical Contextual Analysis of the Use of Violence in Park Chan-wook's Vengeance Trilogy, MA thesis, Ohio State University, 2010

• Joanna Klein, Making Pictures: The Pinter Screenplays (1985)

• Yo-Hsin Cindy Liu, The Examination of the Appearance and Use of French Horn in Film Scores from 1977 to 2004, DMA Thesis, Ohio State University, 2005

• Cileine I. de Lourenco, Negotiating Africanness in national identity: studies in Brazilian and Cuban cinema, PhD, Ohio State University, 1998

• Judith Mayne, Kino and the Woman Question (1989)

• Denis Mueller, John Dewey and Documentary Narrative, PhD, Bowling Green State University, 2007

• James Phelan and Peter J. Rabinowitz (eds), Understanding Narrative (1994)

• Rob Prince, Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero, PhD, Bowling Green State University, 2009

• Barbara L. Romanczuk, Screening Zola’s women, PhD, Ohio State University, 2002

• John Edward Ryan, Ordinary people: The cinema of John Sayles, PhD, Case Western Reserve University, 1994

• Thibaut Schilt, Marginal pleasure and auteurist cinema: the sexual politics of Robert Bresson, Jean-Luc Godard, Catherine Breillat and François Ozon, Ohio State University, 2005

• Lisa K. Stein, The Travel Narrative as Spin: Mitigating Charlie Chaplin's Public Persona in My Trip Abroad and "A Comedian sees the World", PhD, Ohio State University, 2005

• Jamie L. Stuart, The Business and Pleasure of Filmic Lesbians Performing Onstage, PhD, Bowling Green State University, 2006

• Joan Marie Titus, Modernism, socialist realism, and identity in the early film music of Dmitry Shostakovich, 1929-1932, PhD, Ohio State University, 2006

• Maruta Zane Vitols, From the Personal to the Public: Juris Podnieks and Latvian Documentary Cinema, PhD, Ohio State University, 2008

• Stacey A. Weber-Fève, There's no place like home: homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the MÉTROPOL and the MAGHREB, PhD, Ohio State University, 2006

• Marilyn Yaquinto, Policing the World: American Mythologies and Hollywood’s Rogue Cop Character, PhD, Ohio State University, 2006

• Yi-hui Huang, An Interpretivist Study of Knowledge Provided by Seamless Digital-Synthesized Photographs, PhD, Ohio State University, 2008

• Rui Zhang, Feng Xiaogang and Chinese cinema after 1989, PhD, Ohio State University, 2005 

Study of a Single Film: Forbidden Planet (in memory of Leslie Nielsen)

Leslie Nielsen and Anne Francis star in Forbidden Planet (Fred M. Wilcox, 1956)

Film Studies For Free was sad to hear that the king of deadpan movie humour, actor Leslie Nielsen, has died at the age of 84. Of all the films he starred in, the one that has most often been the subject of scholarly studies was the hugely influential science fiction movie Forbidden Planet, a film in which Nielsen played a sincerely serious role.

In (metonymic) memory of Nielsen's wonderful career (the straight part standing for the mostly comic whole), FSFF has assembled a list of links to openly accessible academic studies of this 1956 film. With its groundbreaking electronic music score by Louis and Bebe Barron, its highly personable robot character, its loose adaptation of a high culture text (Shakespeare's The Tempest), and its well elaborated allusions to classical (and post-classical) mythology, as well as to Freud (the Id monster), Forbidden Planet will probably keep film academics in business for quite some time. But, FSFF hopes some will also turn their attention to Nielsen's comic performances, before too long.

Shirley, they merit that, at the very least.

• Martin Stig Andersen, 'Audiovisual Correspondences', CEC: eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l'œuvre électroacoustique (August 2010)
• Simone Caroti, "Science Fiction, Forbidden Planet, and Shakespeare’s The Tempest"    page 2 of 12 CLCWeb: Comparative Literature and Culture 6.1 (2004)
• David Cooper, '[Review of] James Wierzbicki: Louis and Bebe Barron’s Forbidden Planet: A Film Score Guide', The Journal of Film Music, Volume 2, Number 1, Fall 2007
• Ted Friedman, 'Jung and Lost', FlowTV, May 1, 2009
• Robert M. Geraci, 'Robots and the Sacred in Science and Science Fiction: Theological Implications of Artificial Intelligence', Zygon, vol. 42, no. 4 (December 2007)
• Miguel Angel González Campos, 'Shakespeare in Outer Space: Forbidden Planet as Adaptation of The Tempest', Sederi 9 (1998)
• Greg Grewell, 'Colonizing the Universe: Science Fictions Then, Now, and in the (Imagined) Future', Rocky Mountain Review, Fall 2001
• Laurie Johnson, 'Felix and Gilles's tempestuous, monstrous machine', M/C Journal: Journal of Media and Culture, 2 (6) 1999 
• David A. Kirby, 'The Devil in Our DNA: A Brief History of Eugenics in Science Fiction Films', Literature and Medicine 26, no. 1 (Spring 2007)
• T.J. Matheson, 'Marcuse, Ellul, and the Science-Fiction Film: Negative Responses to Technology', Science Fiction Studies, #58, Volume 19, Part 3, November 1992
• Anthony Miller, '"In this last tempest": Modernising Shakespeare’s Tempest on Film', Sydney Studies in English, Vol 23 (1997)
• Roy Schwartzman, '“Engenderneered Machines in Science Fiction Film.” Studies in Popular Culture 22.1 (October 1999): 75-87
• Rachel Weissbrod, 'Inter-Semiotic Translation: Shakespeare on Screen', Journal of Specialised Translation, Issue 5, January 2006

Narratology and Narration in Film and Transmedia Storytelling

Image from Storytelling (Todd Solondz, 2001)

Narration in the Fiction Film

[David] Bordwell bases his theory of cinematic narration on the work of the Russian Formalists. It is a theory that assumes a distinction between ‘the story that is represented and the actual representation of it’ (1985: 49); a distinction between the narrative as it is constructed by the spectator (the fabula) and the formal systems of representation employed in a film (syuzhet and style). Bordwell describes the spectator’s activity in constructing a narrative in the following terms:

Presented with two narrative events, we look for causal or spatial or temporal links. The imaginary construct we create, progressively and retrospectively, was termed by the Formalists the fabula (sometimes translated as ‘story’). More specifically, the fabula embodies the action as a chronological, cause-and-effect chain of events occurring within a given duration and spatial field. … The fabula is thus a pattern which perceivers of narratives create through assumptions and inferences. It is the developing result of picking up narrative cues, applying schema, framing and testing hypotheses. … It would be an error to take the fabula, or story, as the profilmic event. A film’s fabula is never materially present on the screen or soundtrack. … What is given? … The syuzhet (usually translated as ‘plot’) is the actual arrangement and presentation of the fabula in the film. It is not in the text in toto. It is a more abstract construct, the patterning of a story as a blow-by-blow recounting of the film could render it (Bordwell 1985: 49-50. Original emphasis). [Nick Redfern, 'Film as Text: Radical Constructivism and the Problem of Narrative in Cinema', Amsterdam International Electronic Journal for Cultural Narratology, No. 2, Autumn 2005]

Unreliable narration in film and literature

As discussed by Volker Ferenz (Ferenz 2005) in an article on the status of the concept of the unreliable narrator in film studies, the present scope has been wide and highly diverse. Seymour Chatman - one of the few who deals with film and literature equally well - uses it to describe a character who appears to be our source of the shown (i.e. in control of the image) and who turns out to be unreliable (i.e. the picture has not been true), and to describe voice-over narrators whose telling is undermined by the image-track. (Chatman 1978: 235ff, Chatman 1990: 131 ff.) These two uses are pretty much in agreement with what literary studies have been doing. But others, like David Bordwell, George M. Wilson and Gregory Currie, have applied the concept to films with non-personalised narrators where important omissions of information lead the spectator to draw his or her own or false conclusions as the film progresses (Bordwell 1985; Wilson 1986; Currie 1997), and yet others have applied it to films where the normal causal-logic of reality is suspended - either in favour of metafictional manoeuvres, as seen in Alain Resnais' L'année dernière à Marienbad (1961), or as in ghost stories like Alejandro Amenábar's The Others (2001) or M. Night Shyamalan's The Sixth Sense (1999)[2], both partly constructed around the axis of what Tzvetan Torodov labelled the fantastic-marvellous (Todorov 1980). Ferenz shows that Tamar Yacobi's five strategies for the naturalization of textual ambiguities and inconsistencies (Yacobi 1981) is an excellent tool for sorting out some of these (mis)understandings. In Yacobi's taxonomy it is the 'perspectival principle', by which the reader brings discordant elements into a pattern by attributing them to the peculiarities of the speaker or observer through whom the world is mediated, that are congruent with what literary studies label as an unreliable narrator, and Ferenz shows that many of the films described as unreliably narrated are better understood in accordance with Yacobi's other principles - i.e. as a matter of generic or functional principles. [Per Krogh Hansen, 'Unreliable Narration in Cinema: Facing the Cognitive Challenge Arising from Literary Studies', Amsterdam International Electronic Journal for Cultural Narratology, No. 5, Autumn 2008-Autumn 2009]

Film Studies For Free presents one of its regular bumper links lists to openly accessible scholarly materials. Today's category of choice is an essential one for our discipline: the study of narratology in film and transmedia storytelling.

As it's such a long list, FSFF will start off proceedings by singling out two particularly useful resources with which those new to this topic might like to begin:

1. Manfred Jahn, 'A Guide to Narratological Film Analysis'. Poems, Plays, and Prose: A Guide to the Theory of Literary Genres. English Department, University of Cologne, 1.7. August 2, 2003 
2. Dino Felluga, 'General Introduction to Narratology', Introductory Guide to Critical Theory, Purdue University, 2003

• Frederick Luis Aldama, 'New Horizons: Cognitive and Narrative Approaches to US Ethnic and Postcolonial Film, Animation, Graphic Novel, and the Arts', Image and Narrative, 11.2, 2010
• Deborah Allinson, 'Novelty title sequences and self-reflexivity in classical Hollywood cinema', Screening the Past, 20, 2006
• Chiara Armentano, '"The Image-Interface": New Forms of Narrative Visualization, Space and Time in Postmodern Cinema', Reconstruction, 8.3 (2008)
• Mieke Bal, 'The GAPS Video Project', Amsterdam International Electronic Journal for Cultural Narratology, No. 3, Autumn 2006
• David Bordwell, 'Classical Hollywood Cinema: Narrational Principles and Procedures', Philip Rosen (ed). In Narrative, Apparatus, Ideology. New York: Columbia U P, 1986. 17-34
• David Bordwell interviewed by Erlend Lavik, 'The Way Bordwell tells it on classical and post-classical Hollywood cinema', University of Bergen, Norway, June (Year unknown)
• David Bordwell, 'Introduction', The Way Hollywood Tells It: Story and Style in Modern Movies (Berkeley: University of California Press, 2006)
• David Bordwell, 'Anatomy of the Action Picture', Observations on film art and FILM ART, January 2007
• David Bordwell, 'The Hook: Scene Transitions in Classical Cinema', Observations on film art and FILM ART, January 2008
• David Bordwell, 'ApProppriations and ImPropprieties: Problems in the Morphology of Film Narrative', Cinema Journal, 27.3, 1988 
• Catalin Brylla, 'How are Film Endings shaped by their socio-historical context? (part I)', Image and Narrative, Issue 8, May 2004
• Catalin Brylla, 'How are Film Endings shaped by their socio-historical context? (part II)', Image and Narrative, Issue 9, October 2004
• George Butte, 'I Know That I Know That I Know: Reflections on Paul John Eakin’s “What Are We Reading When We Read Autobiography?”', Narrative, 13.3, 2005
• Chris Cagle, 'More thoughts on Classicism', Category D: A Film and Media Studies Blog, February 14, 2007
• Chris Cagle, 'Post-Classicism', Category D: A Film and Media Studies Blog, February 15, 2007
• Chris Cagle, 'More on Post-Classicism', Category D: A Film and Media Studies Blog, February 18, 2007
• Chris Cagle, 'Self-Reflexivity in Classical Cinema', Category D: A Film and Media Studies Blog, September 2, 2007
• Celestino Deleyto, 'Focalisation in Film Narrative', Atlantis, Vol. 13, No. 1-2, 1991 
• Kamilla Elliott, 'Introduction', Rethinking the Novel/Film Debate (Cambridge: University of Cambridge Press, 2003)
• Thomas Elsaesser, 'The Mind-Game Film' in Warren Buckland (ed), Puzzle Films (Oxford: Blackwell 2009)  
• Markku Eskelinen, 'The Gaming Situation', Game Studies, 1.1, 2001
• Dino Felluga, 'General Introduction to Narratology', Introductory Guide to Critical Theory, Purdue University, 2003
• Rosalind Galt, 'The Obviousness of Cinema', World Picture Journal, Issue 2, Autumn 2008
• Sofie De Grauwe, 'The cognitivist approach to film in the light of systemic-functional theory: a changing of the guards?', Image and Narrative, 1.1, 2000 
• Miriam Bratu Hansen, 'The Mass Production of the Senses: Classical Cinema as Vernacular Modernism', Modernism-Modernity, Vol. 6.2, 1999
• Per Krogh Hansen, 'Unreliable Narration in Cinema: Facing the Cognitive Challenge Arising from Literary Studies', Amsterdam International Electronic Journal for Cultural Narratology, No. 5, Autumn 2008-Autumn 2009
• Tim Henderson, 'Classic Film Narrative and Flying with Pigs: What Have we been Missing?', Nausicaa.net, May 2005
• David Herman, 'Narratology as a cognitive science', Image and Narrative, 1.1, 2000
• Curt Hersey, 'Diegetic Breaks and the Avant-Garde', Journal of Moving Image Studies, Volume 1, 2002
• Silke Horstkotte, 'Seeing or Speaking: Visual Narratology and Focalization, Literature to Film', in Narratology in the Age of Cross-Disciplinary Narrative Research, Edited by Heinen, Sandra, and Sommer, Roy, Berlin, New York (Walter de Gruyter) 2009
• Coral Houtman, 'Questions of Unreliable Narration in The Sixth Sense', Scope, November 2004
• Kevin Howley, Breaking, Making, and Killing Time in Pulp Fiction', Scope, May 2004
• Manfred Jahn, 'A Guide to Narratological Film Analysis'. Poems, Plays, and Prose: A Guide to the Theory of Literary Genres. English Department, University of Cologne, 1.7. August 2, 2003 
• Manfred Jahn, 'Narratology: A Guide to the Theory of Narrative', English Department, University of Cologne, 2005 (pdf)
• Henry Jenkins, 'Game Design As Narrative Architecture',  in P. Harrington and N. Frup- Waldrop (Eds.), First Person. MIT Press, Cambridge, MA, 2002 and also at CMS / MIT, 2004
• Lilian Joesaar, 'Adapting Prose Narrative into Film Narrative: the Case of The Remains of the Day',  MA Thesis, University of Tartu, 2007
• Jesper Juul, 'Games Telling Stories? - A brief note on games and narratives', Game Studies, 1,1 2001
• Hermann Kappelhoff, 'Narrative Space – Plot Space – Image Space', trans. by Brian Currid, Herman Kappelhof Articles Online, 2005
• Michelle Langford, '[Reflections on and syllabus for the teaching of] The Hollywood System', The Australasian Journal of American Studies, Vol. 26, No. 1, July 2007
• Erlend Lavik , "Changing Narratives: Five Essays on Hollywood History", PhD Thesis, University of Bergen, 2007
• Thomas Y. Levin, 'Rhetoric of the Temporal Index: Surveillant Narration and the Cinema of “Real Time”', In CTRL[SPACE]: Rhetorics of Surveillance from Bentham to Big Brother, eds. Thomas Y. Levin, Ursula Fronhe and Peter Weibel, 578-93. Karlsruhe, Germany: ZKM Center for Art and Media; Cambridge, Mass.: MIT Press, 2002
• Kia Lindroos, 'Non-Linear Narrative As a Form of Political Action: Viewing Chris Marker’s Film Sans Soleil', ECPR Joint Sessions of Workshops, Mannheim Workshop: 'THE POLITICAL USES OF NARRATIVE' With Maureen Whitebrook and Fabrice Larat (date unknown)
• Patrick McEntaggart, 'Once Upon a Paradigm Shift: Interactive Storytelling in a New Media Context', Inter-Disciplinary.Net, 5th Global Conference, Salzburg, March 14, 2010 
• Jason Mittell, Narrative Complexity in Contemporary American Television", The Velvet Light Trap #58, Fall 2006 
• Janet H. Murray, 'The Last Word on Ludology v Narratology in Game Studies', DiGRA 2005, Vancouver, Canada, June 17, 2005
• Angela Ndalianis, 'Architectures of Vision: Neo-Baroque Optical Regimes and Contemporary Entertainment Media', MIT Communications Forum, December 19, 1999
• Steve Neale, 'Review of Storytelling in the New Hollywood: Understanding Classical Narrative Technique by Kristin Thompson, Cambridge, Mass.: Harvard University Press, 1999', Scope, November 2000
• Lizzie Nixon, 'I Focalize, You Focalize, We All Focalize Together: Audience Participation in Persepolis', Image and Narrative, 11.2, 2010
• John Orr, 'Otto Preminger and the End of Classical Cinema', Senses of Cinema, 40, 2006
• Iva Paneva,“Chapter 1: Monster versus mainstream: classical narrative structure and the representation of women”, A study of female aggression as represented in Patty Jenkins' fiction film Monster, e--PhD Thesis, December 2008 (rest of thesis on Monster HERE)
• James Parsons, 'Genette on Film - Temporal Order and Tense in Non-chronological Cinema', Enquiry, Vol 2, No 1 (2010)
• Ágnes Petho, 'Intermediality in Film: A Historiography of Methodologies', Acta Univ. Sapientiae, Film and Media Studies, 2 (2010) 39–72
• Brock Poulin, 'Dark time (s): non-linear narratives in the postmodern film noir', Masters Thesis, University of British Columbia, April 2005  
• Nick Redfern, 'Film as Text: Radical Constructivism and the Problem of Narrative in Cinema', Amsterdam International Electronic Journal for Cultural Narratology, No. 2, Autumn 2005 
• Anelise Reich Corseuil , 'John Huston's Adaptation of James Joyce's "The Dead": the Interrelationship between Description and Focalization', Cadernos de Tradução, Vol. 1, No. 7 (2001) 
• Marie-Laure Ryan, 'Defining Media from the Perspective of Narratology', Århus : Handelshøjskolen i Århus, Institut for Sprog og Erhvervskommunikation, 2005. 14 s. (VÆRK working paper series)
• Marie-Laure Ryan, 'Beyond Myth and Metaphor: The Case of Narrative in Digital Media', Game Studies, 1.1, July 2001
• Marie-Laure Ryan, 'On Defining Narrative Media', Image and Narrative, 3.2, 2003
• Marie-Laure Ryan, 'Computer Games as Narrative: The Ludology versus Narrativism Controversy', Avatars of Story, at www.dichtung-digital.org/2006
• Tytti Rantanen, 'Gazing me, gazing you: Narrativity, visuality and the questions of power and desire in Marguerite Duras' Le Ravissement de Lol V. Stein and India Song', Hortus Semioticus, No. 3, 2008
• Vivek Sachdeva, A Study of Narratology in Fiction and Film with Special Reference to The Householder and Heat and Dust, PhD Thesis, Panjab University, Chandigargh, 2007 
• Torben Schmidt, 'Christopher Nolan’s Memento – Analysis of the narrative structure of a noirish revenge film', Seminar: “Decadence and Modernism in Late 20th Century American Cinema, 2003
• Ralf Schneider, Panel on Cognitive Approaches to Character MLA Philadelphia 2006 
• Kevin Schut, 'Technology tells a tale: digital games and narrative', Proceedings of Digra, 2003
• Janet Staiger, 'Self-Regulation and the Classical Hollywood Cinema', Journal of Dramatic Theory and Criticism, Fall 1991
• Jan Simons, 'Narrative, Games, and Theory', Game Studies, 7.1, 2007
• Eleftheria Thanouli, '"Art Cinema" Narration: Breaking Down a Wayward Paradigm', Scope, Issue 14, June 2009
• Eleftheria Thanouli, Post-classical narration: a new paradigm in contemporary world cinema, PhD Thesis, UvA, 2005 
• Kristin Thompson, 'Classical cinema lives! New evidence for old norms!', Observations on film art and FILM ART, February 12, 2007
• Jan-Noël Thon, 'Computer Games, Fictional Worlds, and Transmedia Storytelling: A Narratological Perspective', The Philosophy of Computer Games Conference, Oslo 2009
• Dennis Tredy, 'Shadows of Shadows - Techniques of Ambiguity in Three Film Adaptations of “The Turn of the Screw”: J. Clayton’s The Innocents (1961), D. Curtis’s The Turn of the Screw (1974), and A. Aloy’s Presence of Mind (1999)', E-rea, 2.1, 2004
• David Trotter, 'Virginia Woolf and Cinema', Film Studies, Issue 6, Summer 2005
• Andrew Vassiliou, Analysing Film Content: A Text-Based Approach, PhD Thesis, University of Surrey, 2006
• Yigit Yuksel, 'Classical Narration And Art Narration. Or: Hollywood vs Western Europe in 1950s' , The Long Take, September 21, 2008

Tenth Anniversary SCOPE !! On Cultural Borrowings: Appropriation, Reworking, Transformation

Sissy Spacek as Carrie (Brian de Palma, 1976). See Queering the Cult of Carrie: Appropriations of a Horror Icon in Charles Lum's Indelible by Darren Elliott in the new Scope issue

Hooray! It's OUT. Film Studies For Free has been checking almost every day for a couple of months now because it knew that an amazing issue of Scope: an online journal of film and tv studies -- its TENTH anniversary issue -- was just about to be published. It's here now *Scope* # 15: an issue and  an e-book -- see the contents links below -- and contains some fantastic items of film and media studies. 

Congratulations to the whole editorial team at Scope, who do a fabulous job. These have been ten great years of remarkably high quality and FREELY ACCESSIBLE scholarly works. Thank you.


Cultural Borrowings: Appropriation, Reworking, Transformation
Edited by Iain Robert Smith

Notes on Contributors

Acknowledgements Iain Robert Smith

Foreword: Scope's Tenth Anniversary  Mark Gallagher and Julian Stringer

Introduction Iain Robert Smith

Part I: Hollywood Cinema and Artistic Imitation

Exploitation as Adaptation I. Q. Hunter

The Character-Oriented Franchise: Promotion and Exploitation of Pre-Sold Characters in American Film, 1913-1950 Jason Scott

Novelty through Repetition: Exploring the Success of Artistic Imitation in the Contemporary Film Industry, 1983-2007 Stijn Joye

Part II: Found Footage and Remix Culture

A Taxonomy of Digital Video Remixing: Contemporary Found Footage Practice on the Internet Eli Horwatt

Ethical Possession: Borrowing from the Archives Emma Cocker

Music Videos and Reused Footage Sérgio Dias Branco

Part III: Modes of Parody and Pastiche

From Cult to Subculture: Re­imaginings of Cult Films in Alternative Music Video Brigid Cherry

Queering the Cult of Carrie: Appropriations of a Horror Icon in Charles Lum's Indelible Darren Elliott

Irony Inc.: Parodic-Doc Horror and The Blair Witch Project Jordan Lavender-Smith

Part IV: Transnational Screen Culture

A Marxist's Gotta Do What a Marxist's Gotta Do: Political Violence on the Italian Frontier Austin Fisher

"Tom Cruise? Tarantino? E.T.? ...Indian!": Innovation through Imitation in the Cross-cultural Bollywood Remake Neelam Sidhar Wright

"La Television des Professeurs?": Charles Dickens, French Public Service Television and Olivier Twist Pamela Atzori

Storytelling sans frontières? On Adaptation, Remaking, Intertextuality, and Transmediality

Still from the trailer for (The Twilight Saga:) New Moon (Chris Weitz, 2009)

Another rather long links list today, this time on one of Film Studies For Free's author's main research specialisms: adaptation (and remaking, 'remediation', 'transmediality') and intertextuality. The list -- as always of direct links to openly-accessible scholarly resources -- is particularly meaty in celebration of a very cool happening. A proposed contribution by her on these topics to a panel at the Los Angeles Society of Cinema and Media Studies annual conference in 2010 was accepted this week (woohoo!).

A video-essay version of this work -- entitled 'Intertextuality and Anomalousness: Luis Buñuel’s The Young One (1960)' -- part of a great panel called 'Looking Backwards and Thinking Forwards: Engaging the Cinema of 1960 with Multimedia Scholarship' will appear on this website in due course...

So, in celebration of the above, do please enjoy the following links to very high quality scholarly resources on adaptation and narrative transmediality, with a nice little video embedded at the very end:

• Gunhild Agger, 'Intertextuality Revisited: Dialogues and Negotiations in Media Studies', Canadian Aesthetics Journal / Revue canadienne d'esthétique, Volume 4, Summer/Été 1999

• Joseph Aisenberg, 'Re-examining the Crossed Wires in Kubrick's and Burgess' A Clockwork Orange', Bright Lights Film Journal, No. 61, August 2008

• William Arighi, 'Beyond Black and White: Structural Liminality and Slave Insurrection', Portals: A Journal in Comparative Literature, 2006

• Genilda Azerêdo, 'From Emma to Clueless: ironic representations of Jane Austen1',  Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Martin Ball, 'Cultural Values and Cultural Death in The Lord of the Rings', Australian Humanities Review, January 2003

• Charles Bane, 'Viewing Novels, Reading Films: Stanley Kubrick and the art of adaptation as interpretation, PhD e-thesis, Louisiana State University 2006

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

• Richard Berger, ‘Are There Any More at Home Like You?’: Rewiring Superman', Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Catharine Walker Bergström, 'Searches for the Significant: Robert Zemeckis' Cast Away as a Late Twentieth Century Response to Daniel Defoe's Robinson Crusoe' Journal of Religion and Film, Volume 9, Number 1 (April 2005)

• Gary Bettinson, 'Penning Dramatic Chance: Adaptation, Dürrenmatt, and The Pledge', Film Studies, Volume 5 (Winter 2004)

• Jack Boozer, 'Introduction: The Screenplay and Authorship in Adaptation', Authorship in Film Adaptation (Austin: University of Texas Press, 2007)

• David Bordwell, 'Now leaving from platform 1 [on transmedia storytelling]', Observations on Film Art, August 19, 2009

• Pat Brereton, 'Database Logics and New Media Convergences in Science Fiction A reading of Spielberg’s Minority Report and AI', MIT Media in Transition 6 Stone and Papyrus, Storage in Transmission Conference April 2009

• Brad Bucknell, 'Faith in the Faithless: An Inter(re)view with Linda Hutcheon', Inter(re)view.indd, February 24, 2008

• Timothy Burke, 'Less-Convergent Culture', Easily Distracted, October 7, 2009

• Sarah Cardwell, 'Present(ing) Tense: Temporality and Tense in Comparative Theories of Literature-Film Adaptation', Scope, July 2000

• Jennie Carlsten, "'Somehow the Hate has got Mislaid': Adaptation and The End of the Affair", UBCInephile,

• John Caughie, 'Small Pleasures: Adaptation and the Past in British Film and Television', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 32 (1997)

• Garrett Chaffin-Quiray, 'An Adaptation With Fangs: Herzog's Nosferatu,' Kinoeye, Vol. 2, Issue 20, December 2002

• Paul Coughlin, 'The Mark of Cain: Blood Simple and The Man Who Wasn't There', Issue 3, November 2005

• Catherine Craft-Fairchild, 'Castaway and Cast Away: Colonial, Imperial, and Religious Discourses in Daniel Defoe and Robert Zemeckis', Journal of Religion and Film, Volume 9, Number 1 (April 2005)

• Thomás Creus, 'When Harry met Zuckerman:self-reflexivity and metafiction in Philip Roth and Woody Allen', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Mary Donaldson-Evans, 'A Medium of Exchange: The Madame Bovary Film', Dix Neuf, Number 4 (April 2005)

• Lindiwe Dovey, 'Towards an Art of Adaptation: Film and the New Criticism-as-Creation', Iowa Journal of Cultural Studies, Issue 2 - Mediations

• Kamilla Elliott, 'Introduction', Rethinking the Novel/Film Debate (Cambridge: University of Cambridge Press, 2003)

• David Foster, 'Adapting Lyricism: Clive Holden's Trains of Winnipeg and the Lyric in Film', Scope, Portals Special Issue, Issue 13, 2008

• Michael Fry, 'Researching the Method: Some Personal Strategies', Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Christine Geraghty, Classic television: a matter of time. In: The Making and Remaking of Classic Television, 19 Mar 2009, University of Warwick

• Lincoln Geraghty, “Realities... blending as one!”: Film Texts and Intertexts in the Star Trek/X-Men Crossover Comics', MeCCSA Papers, January 2005

• Catherine Grant , 'Recognising Billy Budd in Beau Travail: Epistemology and Hermeneutics of Auteurist "Free" Adaptation', Screen ((Spring 2002)) 43 (1):57–73

• Catherine Grant, 'The "Author Function" in Transnational Film Adaptation: The case of El lugar sin límites / The Place Without Limits / Hell Has No Limits (Arturo Ripstein, Manuel Puig, José Donoso)', originally published as 'La función de "los autores": la adaptación cinematográfica transnacional de El lugar sin límites', Revista Iberoamericana, Vol. LXVIII, Núm, 199, Abril-Junio 2002, pp. 253-268

• Yvonne Griggs, 'Ran: Chaos on the ‘Western’ Frontier', Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Asbjørn Grønstad, 'The Gaze of Tiresias: Joyce, Rossellini and the Iconology of "The Dead"', Nordic Journal of English Studies, Vol. 1, No. 2, 2002

• Richard Grusin, 'Dvds, video games, and the cinema of interactions', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Sandra Guardini T. Vasconcelos, 'Literature and cinema: images of femininity in pride and prejudice', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 42 (2002)

• Brian Henderson,'Tense, Mood, and Voice in Film: (Notes after Genette)', Film Quarterly: Forty Years—A Selection, Edited By Brian Henderson and Ann Martin with Lee Amazonas (Berkeley: University of California Press, 1999)

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

• Andrew Horton, Play it again, Sam: Retakes on Remakes. Berkeley: University of California Press, 1998

• Linda Hutcheon, 'From Page to Stage to Screen, Inaugural Lecture, January 27, 2003

• Mikhail Iampolski, The Memory of Tiresias: Intertextuality and Film. Berkeley: University of California Press, 1998

• Tim Iles, 'The Matrix and the Subversion of Wu xia: Reasserting the Hollywood Ideological Hegemony', Scope, Issue 8, June 2007

• Mark Jancovich, 'Shadows and Bogeymen: Horror, Stylization and the Critical Reception of Orson Welles during the 1940s', Particpations, Vol. 6, Issue 1, May 2009

• Henry Jenkins, Confessions of an Aca/Fan: Archives: The Aesthetics of Transmedia: In Response to David Bordwell (Part One) ; Confessions of an Aca/Fan: Archives: The Aesthetics of Transmedia: In Response to David Bordwell (Part Two) ; Confessions of an Aca/Fan: Archives: The Aesthetics of Transmedia: In Response to David Bordwell (Part Three) (September 2009)

• David T. Johnson, 'Playgrounds of Unlimited Potential: Adaptation, Documentary, and Dogtown and Z-Boys', Adaptation Vol. 2 , No. 1 , pp. 1 – 16 (2009)

• David L. Kranz and Nancy C. Mellerski, 'Introduction', In/Fidelity: Essays on Film Adaptation (Newcastle: Cambridge Scholars Publishing, 2008)

• Jennifer E. Langdon, Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood (Columbia University Press, 2008)

• Thomas Leitch, 'Adaptation Studies at a Crossroads', Adaptation, 1(1), 2008 ): 63-77 (pdf)

• Phillip Lopate, 'Adapt this: Fiction into Film', Bookforum.com, June/July/Aug 2007

• Richard Maltby, "The problem of interpretation ...": authorial and institutional intentions in and around Kiss me deadly', Screening the Past, June 2000

• Alfredo Michel Modenessi, 'Disney’s “war efforts”: the lion king and Education for death, or Shakespeare made easy For your apocalyptic convenience', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies , Vol. 0, No 49 (2005)

• Kendra Preston Leonard, 'Silencing Ophelia: Male Aurality as a Controlling Element in Olivier's Hamlet', Scope, Issue 14, June 2009

• James MacDowell, 'What Value is There in Gus Van Sant's Psycho?', Offscreen Journal, Vol. 9, Issue 7, 2005

• Elizabeth Mullen, 'Do you speak Kubrick? Orchestrating Transgression and Mastering Malaise in The Shining', Image [&] Narrative, June 2009

• Sarah Neely, Adapting to change in contemporary Irish and Scottish culture: fiction to film. PhD thesis, University of Glasgow, 2003

• Thaïs Flores Nogueira Diniz, 'Is Adaptation truly an adaptation?', Ilha do Desterro, Florianópolis, no 51, p. 217- 233, jul./dez. 2006
  

• Dan North, 'Funny Games Funny Games [on Haneke's 'original' and 'remake']' Spectacular Attractions, October 15, 2009

• R. Barton Palmer, 'Introduction', Twentieth-Century American Fiction on Screen, Edited by R. Barton Palmer (Cambridge: Cambridge University Press, )
  

• R. Barton Palmer, 'Introduction', Nineteenth-Century American Fiction on Screen - Edited by R. Barton Palmer (Cambridge: Cambridge University Press, )

• Thomas Van Parys, 'Now a Major Motion Picture: Film Adaptations of Literature and Drama', Image [&] Narrative, Issue 23, November 2008

• V.F. Perkins, ''Reconsideration: Le Plaisir: "The Mask" and "The Model"', Film Quarterly (Vol. 63, No. 1, Fall 2009)

• Special Issue of Persuasions (Jane Austen Journal Online Vol. 27, No. 2, 2007) on Joe Wright's Pride & Prejudice (2005) (Jane Austen and Mud: Pride & Prejudice (2005), British Realism, and the Heritage Film Carol M. Dole; Inside Out/Outside In: Pride & Prejudice on Film 2005 Laurie Kaplan; Location, Location, Location: The Spaces of Pride & Prejudice Mary M. Chan; “What are men to rocks and mountains?” Romanticism in Joe Wright's Pride & Prejudice Sarah Ailwood; Style over Substance? Pride & Prejudice (2005) Proves Itself a Film for Our Time Catherine Stewart-Beer; Little Women at Longbourn: The Re-Wrighting of Pride and Prejudice Sally B. Palmer; A Bennet Utopia: Adapting the Father in Pride and Prejudice Barbara K. Seeber; “The Most Determined Flirt”: The Dynamics of Romantic Uncertainty in Joe Wright's Pride & Prejudice Rachel Gollay; Sex and the Scullery: The New Pride & Prejudice Jen Camden The Offending Pig: Determinism in the Focus Features Pride & Prejudice Kathleen Anderson; Joe Wright’s Pride & Prejudice: From Classicism to Romanticism Lydia Martin; “Just What a Young Man Ought to Be”: The 2005 Pride & Prejudice and Transitional Ideas of Gentility Ann M. Tandy; “I am a gentleman’s daughter”? Translating Class from Austen’s Page to the Twenty-first-century Screen Megan A. Woodworth; “A Fearsome Thing to Behold”? The Accomplished Woman in Joe Wright's Pride & Prejudice Juliette Wells; Framing Heritage: The Role of Cinematography in Pride & Prejudice Jessica Durgan; Books and Letters in Joe Wright's Pride & Prejudice (2005): Anticipating the Spectator's Response through the Thematization of Film Adaptation David Roche; Staging intimacy and interiority in Joe Wright's Pride & Prejudice (2005) Anne-Marie Paquet-Deyris; Pride and PrejudiceReloaded: Navigating the Space of Pemberley Joyce Goggin)

• Special Issue of Cinemascope on VERSIONS Remakes/Films, Versions/Parodies, No. 2, 2005 (Pierre Sorlin, 'How the Postman Rang Three Times, Or, Why Remakes are Film Analysis'; Daniel Herbert, 'The Thing as Adaptation, Remake and Version; Savas Arsian, 'Zorro of the East'; John Migliore, 'Becoming AUdience Conscious: Hitchcock and The Man who Knew Too Much'; Hans Maes, 'A Celestial Taxonomy of Remakes?'; Massimiliano Gaudiosi, 'Coversiation with Giulio Manfredonia')

• Sally Potter, 'Notes on the Adaptation of the Book Orlando', Virginia Woolf Seminar

• Stuart Price, 'Displacing the Gods? Agency and Power in Adaptations of Ancient History and Myth', Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Luca Prono, 'Whatever Happened to Nelson Algren?: Otto Preminger’s Adaptation Of The Man with the Golden Arm', Links & Letters, 6, 1999

• Sara I. Rauma, 'Reinventing the Story: Inventions in the film adaptation The Green Mile by Frank Darabont', PhD Thesis, UNIVERSITY OF JYVÄSKYLA, 2006

• Anelise Reich Corseuil, 'Film beyond boundaries: film, migrant narratives and other media', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Alistair Renfrew, 'Against adaptation ? the strange case of (Pod) Poruchik Kizhe.', Modern Language Review., 102 (1). 2007, pp. 157-176

• Holger Römers, '“The Moral of the Auteur Theory”: Frank Borzage’s Moonrise (and Theodore Strauss’ Source Novel)', Senses of Cinema, Issue 42, January–March 2007

• Marilyn Rose and Jeannette Sloniowski, '“Home Sweet Havoc”: Howard Engel’s Niagara in Print and Film', Journal of Canadian Studies/Revue d’études canadiennes, Volume 39, No. 3 (Automne 2005 Fall)

• Timotheos Roussos, 'An off-beat adaptation: Orlando', Philament: An Online Journal of the Arts and Culture, Issue 3, 2004

• Steven Jay Schneider, 'A Tale of Two Psychos', Senses of Cinema, 2000

• Anne-Marie Scholz, '"Josef K von 1963...": Orson Welles' ‘Americanized’ Version of The Trial and the changing functions of the Kafkaesque in Postwar West Germany', European Journal of American Studies, No. 1, 2009

• Ian S. Scott, ’"Either you bring the water to L.A. or you bring L.A. to the water": Politics, Perceptions and the Pursuit of History in Roman Polanski’s Chinatown', European Journal of American Studies, No. 2, 2002

• Barbara K. Seeber, 'A Bennet Utopia: Adapting the Father in Pride and Prejudice', Persuasions Online, V.27, NO.2 (Summer 2007)

• Carmen Siu, 'Diabolic Dialogics: Les Possédés, from Dostoevsky to Wajda', Toronto Slavic Quarterly, Issue 13, Summer 2005

• Natalia Skradol, 'Adaptation, 'Adaptation', and Adaptation: Zizek and the Commonplace', Film-Philosophy, Vol. 8, No. 27, 2004

• Lesley Speed, 'A World Ruled by Hilarity: Gender and Low Comedy in the Films of Amy Heckerling', Senses of Cinema, Vol. 22, September 2002

• Jason Sperb, 'The Transmedia Reconstruction of Song of the Soith', Jamais Vu, September 25, 2009

• Robert Stam, 'Hybridity and the Aesthetics of Garbage: the Case of Brazilian Cinema', E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)

• D. Bruno Starrs, 'A Queer New World: Adaptation Theory and the Zeugma of Fidelity in Derek Jarman’s The Tempest', AMERICAN@ Vol. IV. Issue 1, 2006

• Lesley Stern, 'Emma in Los Angeles: Clueless as a remake of the book and the city', Australian Humanities Review, August 1997

• Karyn Stuckey, 'Lolita: a journey with Nabokov and Kubrick from the page to the screen', Archives and Auteurs Conference, University of Stirling, September 2009

• Sung-eun Cho, 'Intertextuality and Translation in Film Adaptation', Journal of British and American Studies no.12 (Jun. 2005)

• Robin Swicord, long excerpt from 'Under the Skin: Adapting Novels for the Screen',  In/Fidelity: Essays on Film Adaptation, eds David L. Kranz and Nancy C. Mellerski (Newcastle: Cambridge Scholars Publishing, 2008)

• Alex Symons, 'Mass-Market Comedy: How Mel Brooks Adapted The Producers for Broadway, and Made a Billion Dollars 2001– 2007',  Journal of Adaptation in Film & Performance, Vol. 1, Issue 2, 2008

• Antônio João Teixeira, 'The construction of national identity in Shakespeare’s King Lear and its filmic adaptation by Peter Brook', Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, Vol. 0, No 51 (2006)

• Donato Totaro, 'Psycho Redux', Offscreen Journal, 2004

• Chuck Tryon, 'Transmedia Notes', The Chutry Experiment, September 5, 2009

• Richard Vela, 'The Merchants of Venice: The Importance of Context in Film Versions of the Play', Postscript, 23, No. 2, 2006

• Constantine Verevis, 'Remaking Film', Film Studies, Issue 4, Summer 2004

• William Walling, “Saying What One Thinks: Emma-Emma-at Box Hill.” Re-reading Box Hill: The Practice of Reading the Practice of Everyday Life. Romantic Circles Praxis Ser. (Feb. 2000)

• Tim Watson, 'Improvements and Reparations at Mansfield Park', Literature and Film: A Guide to the Theory and Practice of Film Adaptation, Edited by Robert Stam and Alessandra Raengo (Oxford: Blackwell, 2006)

• James M. Welsh, 'Introduction: Issues of Screen Adaptation: What Is Truth?', Issues of Screen Adaptation (Plymouth: Scarecrow Press, 2007)

• Partick West, 'The Convergence Potentials of Collaboration & Adaptation: A Case Study in Progress." M/C Journal 9.2 (2006)

• Susan J. Wolfson, “Boxing Emma, or the Reader’s Dilemma at the Box Hill Games.” Re-reading Box Hill: The Practice of Reading the Practice of Everyday Life. Romantic Circles Praxis Ser. (Feb. 2000)

• Terry Wright, 'Introduction', Thomas Hardy on Screen, Edited by T. R. Wright (Cambridge: Cambridge University Press, )

Salman Rushdie, Emory Distinguished Writer in Residence, and Emory film studies professor Matthew Bernstein engage in a lively Creativity Conversation about film and literature at Emory University on March 19, 2009