[in]TRANSITION Issues! Rossellini, Marclay, Burnett, Snow, Emoticons, Time, Surveillance, Volumetric Cinema, Experimental Cinema, Spaghetti Westerns, Women in Prison Genre

THEORY OF RELATIVITY by Catherine Grant is an experimental video about digital intertextuality and cinephiliac relativity. It was inspired, in part, by (the non-open access article) "Time and Time Again: Temporality, Narrativity, and Spectatorship in Christian Marclay’s The Clock," just published in the Spring 2015 issue of Cinema Journal (54.3) by film scholar Julie Levinson. You can read a little more about this video and the connections it makes here. It was also made as a reserve entry for the new issue of [in]Transition linked to below.

Film Studies For Free is truly thrilled to present an entry on the last two issues of [in]Transition: Journal of Videographic Film and Moving Image Studies, of which FSFF's author is proud to be a co-editor. The journal and its editors and project managers recently won an 'Award of Distinction' for Innovative Scholarship thanks to the 2015 Anne Friedberg Award Committee and the Society for Cinema and Media Studies Board of Directors, presented at the annual SCMS conference in Montreal. Woohoo! (Btw, look out for content related to this conference in FSFF's next entry, coming soonish!)

The first of the two issues FSFF is catching up with was published to coincide with the Montreal conference back in March. It was the first issue of [in]Transition devoted exclusively to peer-reviewed videographic work! Each video was accompanied by a curatorial statement from the maker, as well as the peer reviewer evaluations, all transparently published in the spirit of openness, to encourage scholarship as conversation, and to help our discipline establish a set of criteria for what constitutes valid scholarship in this emerging, audiovisual form. [in]Transition continues to accept submissions of videographic work for peer-reviewed publication in subsequent issues. Guidelines for submission are here.

[in]Transition: Journal of Videographic Film and Moving Image Studies, 2.1, 2015

• Frames of Mind by Jordan Tynes and Maurizio Viano
• Emoticons by Patricia Pisters
• Volumetric Cinema by Kevin L. Ferguson
• Screening Surveillance by Steve Anderson
• Busting Out by Manohla Dargis, Dawn Fratini and Jen Moorman

And the second issue to be publicised here (commissioned and edited by FSFF's author) has just been published! It features content generated as part of an exciting collaboration with Cinema Journal, its partner publication. That journal's editor, Will Brooker, shared with [in]Transition's editors (some six months in advance of publication) four articles from the latest issue of this highly esteemed journal—54.3, Spring 2015—and asked if we would be interested in commissioning videographic responses to the work. We accepted this challenge, conceiving of it as an experiment to see how audiovisual essays (produced and published relatively quickly) could take up, adapt, or riff off debates and arguments posited by written scholarly texts (which, as is customary, had taken several years to produce and publish).

Five sets of audiovisual essayists accepted the unusual commission, and their creative, critical work forms the basis of the issue. Each video is accompanied by a written statement from the maker(s) discussing the matters at stake in composing such audiovisual responses. Further responses to the work from viewers and readers are invited in the comments threads to the entries.

[in]Transition: Journal of Videographic Film and Moving Image Studies, 2.2, 2015

• Spaghettis in Translation by Austin Fisher. An audiovisual response to Michelle Cho, "Genre, Translation, and Transnational Cinema: Kim Jee-woon’s The Good, the Bad, the Weird", Cinema Journal, 54.3, Spring 2015
• Against the Real by Cristina Álvarez López and Adrian Martin - An audiovisual response to Sarah O'Brien, "Nous revenons à nos moutons: Regarding Animals in Charles Burnett’s Killer of Sheep," Cinema Journal, 54.3, Spring 2015
• So’s Nephew by Remes (thanx to Michael Snow) by Jorrie Penn Croft by Jennifer Proctor. An adaptation of Justin Remes, “Boundless Ontologies: Michael Snow, Wittgenstein, and the Textual Film”, Cinema Journal, 54.3, Spring 2015
• The Definition of Film by Richard Misek. An audiovisual response to Justin Remes, “Boundless Ontologies: Michael Snow, Wittgenstein, and the Textual Film”, Cinema Journal, 54.3, Spring 2015
• The Time Passing by Benjamin Sampson. An audiovisual response to Julie Levinson, "Time and Time Again: Temporality, Narrativity, and Spectatorship in Christian Marclay’s The Clock," Cinema Journal, 54.3, Spring 2015

[Note: The video at the top of this FSFF entry was made as a reserve video for the issue. You can read more about that one here.]

There is further open access content connected to the above articles from the latest issue of Cinema Journal with which [in]Transition 2.2 interacted, as follows:

Cinema Journal Afterthoughts and Postscripts, Spring 2015, 54.3

• Michelle Cho, Postscript to “Genre, Translation, and Transnational Cinema"
• Sarah O'Brien, Postscript to “Nous revenons à nos moutons: Regarding Animals in Charles Burnett’s Killer of Sheep”
• Justin Remes, Movies That Don’t Move

A Long Hard Look at Slow Cinema Studies

Frame grab from Teodors/Theodore (Laila Pakalniņa, Latvia 2006). Read about Pakalniņa's films in the context of "slow cinema"

'Cinema is the art of playing with time.'
(Alain Resnais cited in Freddy Sweet, The Film Narratives of Alain Resnais (Ann Arbor, Michigan: UMI Research Press, 1981), 5. and in Alex Ling, 'Parentheses in Time: L’Année Dernière à Marienbad (1961) as Amorous Event', Screening the Past, 43, 2012)

Film Studies For Free has been taking its time lately. What better subject for it to tackle then, in its latest entry of links to online scholarly (alongside other, high quality and/or highly relevant) work, than slow cinema studies?

With no further ado, FSFF presents the below list, with many thanks to Girish Shambu for his initial, inspirational link.

• Luis Rocha Antunes, 'The Vestibular in Film: Orientation and Balance in Gus Van Sant's Cinema of Walking', Essays in Philosophy, 13.2, 2012
• Phil Ballard, 'In search of truth: Béla Tarr interviewed', Kinoeye 4.2, 2004
• Yvette Bíró, 'The Fullness of Minimalism', Rouge, 9, 2006
• Natalie Boehler, 'The Jungle as Border Zone: The Aesthetics of Nature in the Work of Apichatpong Weerasethakul', ASEAS-Austrian Journal of South-East Asian Studies, 4.2, 2011
• David Bordwell, 'Intensified Continuity: Visual Style in Contemporary American Film', originally in Film Quarterly, Vol. 55, No. 3 (Spring, 2002), pp. 16-28
• David Bordwell, 'Intensified Continuity Revisited', Observations of Film Art, May 2007
• David Bordwell, 'Unsteadicam Chronicles', Observations on Film Art, August 17, 2007
• Jodi Brooks and Therese Davis, 'Untimely Cinema: Cinema Out of Time', Screening the Past, 34, 2012
• Charlotte Brunsdon, ‘"It's a film": medium specificity as textual gesture in Red Road and The Unloved', Journal of British Cinema and Television, 9(3), 2012
• James Callow, A "Post-Historical' Cinema of Suspense: Jean-Luc Nancy and the Limits of Redemption, PhD thesis, University of Bath, 2010
• Thomas Elsaesser, 'Stop/Motion' in Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011) 
• Matthew Flanagan, 'Slow Cinema': Temporality and Style in Contemporary Art and Experimental Film, PhD thesis, University of Exeter, 2012 Also here
• Matthew Flanagan, 'Towards an Aesthetic of Slow in Contemporary Cinema', 16:9, 2008
• Dan Fox, 'Slow, Fast, and Inbetween', Frieze Magazine Blog, May 23, 2010
• Elena Gorfinkel, 'Global Art Networks: The Case of “Slow” Cinema', Global Currents, 8.1, 2012
• Catherine Grant, 'Voyage to Cinema: Studies of the Work of Theo Angelopoulos', Film Studies For Free, Feburary 2, 2012
• Catherine Grant, 'Bazinian, Neo-Bazinian, and Post-Bazinian Film Studies', Film Studies For Free, May 18, 2010
• Catherine Grant, 'Sculpting the Real: Michelangelo Antonioni Studies in the Centenary Year of his Birth', Film Studies For Free, May 23, 2012
• David Hudson, 'Cannes 2010. Cristi Puiu's "Aurora" + "Slow Cinema Vs Fast Films"', MUBI Notebook, May 15, 2010
• Nick James, 'Syndromes of a new century', Sight and Sound, February 2010
• David Jenkins, 'Theo Angelopoulos: the sweep of history', Sight and Sound, February 2012
• Sarah Keller and Jason N. Paul (eds), Jean Epstein: Critical Essays and New Translations (Amsterdam: Amsterdam University Press, 2012)
• Homay King, 'Sign in the Void: Ulrike Ottinger's Johanna d'Arc of Mongolia', Afterall, 16, 2007
• Andrew Klevan, Disclosure of the everyday : the undramatic achievements in narrative film, PhD Thesis, University of Warwick, 1996
• Robert Koehler, 'Twilight Zone: Shadows and fog in the in-between world of Théo Court's Ocaso', Moving Image Source, January 11, 2012
• Ed Krčma, 'Cinematic Drawing in a Digital Age', Tate Online, October 1, 2010
• James Lattimer, 'Beyond Neo-Neo Realism: Reconfigurations of Neorealist Narration in Kelly Reichardt’s Meek’s Cutoff, Cinephile, 7.2, Fall 2011
• Danny Leigh, 'The view: Is it OK to be a film philistine?', The Guardian Film Blog, May 21, 2010
• Alex Ling, 'Parentheses in Time: L’Année Dernière à Marienbad (1961) as Amorous Event', Screening the Past, 43, 2012
• Tiago de Luca, 'Gus Van Sant’s Gerry and Visionary Realism', Cinephile, 7.2, Fall 2011
• Tiago Magalhães De Luca, Realism of the senses: a tendency in contemporary world cinema. PhD thesis, University of Leeds, 2011
• David Martin-Jones, Becoming-other in time: the Deleuzian subject in cinema, PhD Thesis, University of Glasgow, 2002
• Henry K. Miller, 'Doing time:"slow cinema" at the AV Festival', Sight and Sound, March 2012
• Maria O'Connor, 'An Immense Clip: Film, Philosophy and the Proximate Violence of Becoming', FIlm-Philosophy Conference, 2011
• Maria O'Connor and Amanda Yates, '(Im)materialising Time', Studies in Material Thinking, Vol. 5, 2011
• Līva Pētersone, 'Latvian Documentary Cinema: The New Generation', Selection of Articles on Latvian Films (date unknown)
• Michael Pigott, Time and Film Style, PhD thesis, University of Warwick, 2009
• Effie Rassos, 'Everyday Narratives: Reconsidering Filmic Temporality and Spectatorial Affect Through the Quotidian,' PhD Thesis, University of New South Wales, 2005
• Laura Rascaroli and John David Rhodes, 'INTERSTITIAL, PRETENTIOUS, ALIENATED, DEAD: Antonioni at 100', in Rascaroli and Rhodes (eds), Antonioni: Centenary Essays (BFI/Palgrave, 2011)
• Vadim Rizov, 'Slow cinema backlash', IFC.com, May 12, 2010
• Eva Karene Romero, Cine en Emergencia: National Identity in Post-dictatorial Audiovisual Production in Paraguay, PhD. thesis, University of Arizona, 2012
• Jonathan Romney, 'Slow war cinema and Bollysploitation', Sight and Sound, May 2012
• Sukhdev Sandhu, '"Slow cinema" fights back against Bourne's supremacy', The Guardian, March 9, 2012
• Karl Schoonover, 'Slowness as Intimacy in Apichatpong’s Mekong Hotel', In Media Res, December 12, 2012
• Steven Shaviro, 'Slow Cinema Vs Fast Films', The Pinocchio Theory, May 12, 2010
• Deborah Shaw, 'Trans)National Images and Cinematic Spaces:the cases of Alfonso Cuarón’s Y tu mamá también (2001) and Carlos Reygadas’ Japón (2002)', Iberoamericana, XL, 44, 2011
• Justin A. Sully, Cine-Demographies: Population Crisis in Late Twentieth Century Film Culture, PhD thesis, McMaster University, 2009
• Lara Thompson, 'In Praise of Speed: The Value of Velocity in Contemporary Cinema', Dandelion Journal, 2.1, 2011
• Donato Totaro, Time and the long take in The Magnificent Ambersons, Ugetsu and Stalker, PhD Thesis, University of Warwick, 2001
• Harry Tuttle, 'Slower or Contemplative?', Unspoken Cinema, March 17, 2010
• Harry Tuttle, 'Slow films, easy life (Sight and Sound)', Unspoken Cinema, May 12, 2010
• James Udden, 'Child of the Long Take: Alfonso Cuaron’s Film Aesthetics in the Shadow of Globalization', Style, Volume 43, No. 1, Spring 2009
• Noah Viernes, 'Cinematic Forms and the Assembly of Cities', MANUSYA: Journal of Humanities, Special Issue No.15, 2008

DeleuzeCinema.com Needs You!

By Tom McDonald (2010): a reading and discussion of the concepts of movement-image and time-image as developed in the work of philosopher Gilles Deleuze.

Film Studies For Free is delighted to be able to introduce its readers to DeleuzeCinema.com, a valuable, new, free, online resource for students, scholars and researchers run by those wonderful Film Studies folk at the University of St Andrews.

It is a database designed to facilitate ease of access to international networking and collaboration amongst people interested in Gilles Deleuze and cinema. The site contains a database of people and resources related to Deleuze and cinema (including TV, new media and visual culture). It enables discussion of topics of interest to its members, and disseminates announcements and news items.

The site is open access and its content available to everyone. Registered users can contribute content, build a profile for themselves, enter discussion, or post news items. We welcome participation from people all over the world in any language.

The updating of content relies on registered contributors adding information about ongoing work on Deleuze and cinema (their own work, or the work of others). We hope that those who are interested will join us! [site co-editor, David Martin-Jones]

So, Deleuzians (and Deleuzo-Guattarians) please join the fabulous, scholarly Crowd Sourcerors at DeleuzeCinema.com! And also please feel free to enter, or revisit, all of the manifold Deleuze links that FSFF has gathered over the ages: one dedicated list of resources, numerous other Deleuze-filled postings, and even its latest link to philosopher Tom McDonald's brilliant video above.

Merci!