On happy and other endings! Kelly Reichardt, Andrew Klevan and James MacDowell on Video (not all together!)

The filmmaker Kelly Reichardt, Humanitas Visiting Professor in Film and Television, "In Conversation" with Dr Andrew Klevan at the University of Oxford on May 23, 2014. Click here to access the video (1:18:30)

Film Studies For Free brings you tidings of some more wonderful film studies related videos. Both of them, like yesterday's Rancière videos, came from top notch tip offs by Hoi Lun Law (thanks HL!).

In the above video (online here), Andrew Klevan enters into an incredibly thought-provoking and insightful conversation with the great American filmmaker Kelly Reichardt about her work. Reichardt's five feature films are River of Grass (1994), Old Joy (2006), Wendy and Lucy (2008), Meek’s Cutoff (2010) and Night Moves (2013); and she has also made the short narrative Ode (1999). Klevan is Lecturer in Film Studies at the University of Oxford, and author of, inter alia, a recent book on Hollywood film star Barbara Stanwyck (London: BFI/Palgrave, 2013), which he discussed in a number of formats  with Film Studies For Free. He is also a member of the editorial board of Movie: A Journal of Film Criticism.

Below, you can find the embedded recording of a great talk by Klevan's fellow Movie editorial board member James MacDowell, Assistant Professor at the University of Warwick and a film scholar who has shared far more high quality work online for free than many academics produce in a lifetime (see here, here, here, here and here [PDF], for instance).

MacDowell discusses the romantic ‘happy ending’ in Hollywood cinema - its motifs, meanings and potential mutability - in a brilliantly illustrated and entertaining talk for an event for the Zabludowicz Collection which took place on December 6, 2013. MacDowell is the founder of great film critical website Alternate Takes, author of the book Happy Endings in Hollywood Cinema: Cliché, Convention and the Final Couple (Edinburgh University Press, 2013) and he is currently writing a monograph on irony in film for Palgrave MacMillan (forthcoming 2016).

Embracing the Happy Ending: Cliché and Closure in Hollywood Cinema - a talk by Dr. James MacDowell from Zabludowicz Collection on Vimeo.

Magnifying Mirror: On Barbara Stanwyck and Film Performance Studies

 
"[F]ilm and criticism re-united"? MAGNIFYING MIRROR 
Video by Catherine Grant, based on text and narration by Andrew Klevan

Film Studies For Free proudly presents an entry on the wonderful work of American actress Barbara Stanwyck as well as on film performance studies more generally. Stanwyck's illustrious career began in the 1920s and spanned sixty years. During that period she starred in major films of many genres and worked with some of the most distinguished Hollywood directors. Writing on her work may provide, therefore, an excellent, indeed exemplary case for reflection on film critical methodologies in performance studies.

As well as the usual links to online scholarly work on these topics (scroll down for those), the entry presents, below, an interview with Andrew Klevan, Lecturer in Film Studies at the University of Oxford. Klevan discusses the rationale behind his recent book on Hollywood film star Barbara Stanwyck (London: BFI/Palgrave, 2013). He also talks about some of the issues that arise when film performance is the object of study, around intention and attribution of agency and value.

During the interview, which took place in October this year, Klevan read aloud an excerpt from his book, a reading which inspired, and formed the narration of, the above FSFF video on Stanwyck, MAGNIFYING MIRROR. Klevan also wrote a short statement about the video and about his collaboration with FSFF more generally, which you can also find below.

FSFF Interview: Andrew Klevan on writing about Barbara Stanwyck and film performance 

A Note by Andrew Klevan
I am grateful to Film Studies For Free for highlighting my work, and I hope the expression of some nervousness will not be taken as ungracious. The problem of enlarging on rationale and method as I do in the interview is that, aside from risking accusations of self-importance and self-promotion, by simply stating matters which should, perhaps, remain implicit, one overstates the case, and raises expectations, especially with regard to, what we affectionately call, little books. My answers, drawing out many of the things I tried to do, may create the incorrect impression that the Barbara Stanwyck study is comprehensive and voluminous. (Even the use of expressions such as ‘moment-by-moment’ or ‘movement of meaning’ might suggest an exhaustive sequential tracking.) In fact, one of the compositional aims was to try, using the short form of the little book, to achieve a balance between elaboration and concentration, extraction and distillation. This partly reflects a similar balance achieved in the films and performances, and Catherine Grant’s fascinating video riff, ‘Magnifying Mirror’, which matches the film to my pre-existing text, captures some of this by looping a sequence and in doing so emphasises the moment’s compactness by way of repetition.

I am conscious that [fellow film scholar] E.A. Kaplan is a casualty, and it appears as if her comment on Stella Dallas is singled out where actually quite a few accounts are tested in the course of the study and the isolation is a consequence of uprooting. It is true that I take issue with her assessment, but this is a difference over an interpretation, not a charge against her work more generally, or the value of it. I feel that her account reduces, and overlooks an achievement of the film, but this is something that we are all prone to do. Indeed, much nervousness on my part again as the film returns, insistently, to probe my own description and interpretation – alas too late to make adjustments – but also some satisfaction as film and criticism are reunited. This image/speech track relationship struck me as quite different to a DVD commentary (which is limited by the real time of the film) and the narration of audio-visual criticism (which is conceived in relation to the handling of images). I got the sense of a new form of criticism, using audio-visual material, happily meeting an old form of criticism, using words, and not simply exemplifying the ‘close reading’, but enhancing and interrogating, and more generally revivifying (and magnifying). The iteration in Catherine’s video productively interacts with the distension of written representation. The collaboration with FSFF has illuminated for me the stimulating relationship between commentaries in different forms so that the book gets commented upon in an audio interview and in a video film which in turn gets commented upon in this web statement, allowing the different media to differently elucidate.

Andrew Klevan is Lecturer in Film Studies at the University of Oxford, UK. He is author of Disclosure of the Everyday: Undramatic Achievement in Narrative Film and Film Performance: From Achievement to Appreciation. He is the co-editor of The Language and Style of Film Criticism, and is on the editorial boards of MOVIE - A Journal of Film Criticism and Film-Philosophy Journal]

On Barbara Stanwyck

• Linda Berkvens, No Crinoline-Covered Lady: Stardom, Agency, and the Career of Barbara Stanwyck, DPhil Thesis, University of Sussex, 2011
• Linda Berkvens, 'From Below to Above the Title: The Construction of the Star Image of Barbara Stanwyck, 1930-1935', Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol 2, No 1 (2009) 
• Maria DiBattista, 'Fast-Talking Dames, New York Times: Books, 2001
• Gary Johnson, 'Barbara Stanwyck, With her Hands on her Hips', Images Journal, Issue 1 
• Glenn Kenny, 'A Woman's Equipment: Barbara Stanwyck's Anklet in DOUBLE INDEMNITY', Balder and Dash, October 14, 2013
• Andrew Klevan, sample chapters from Barbara Stanwyck (London: BFI/Palgrave, 2013) 
• Andrew Klevan, 'A Reply to Adrian Martin', Undercurrent, Issue 4, 2008
• Michelle Orange, 'Review of  A Life of Barbara Stanwyck: Steel-True, 1907-1940 by Victoria Wilson. Simon & Schuster', Slate, November 8, 2013
• V.F. Perkins, 'Acting on Objects', The Cine-Files, Issue 4, 2013
• Catherine Russell, 'Frank Capra: The Early Collection', Cineaste, 38.3, 2013
  
• Christopher Sharrett, 'Douglas Sirk's There's Always Tomorrow', Cineaste, 35.4, 2010
• Imogen Sara Smith, 'Passing the Test: On Repetition, Performance, and the Greatness of Howard Hawks', Moving Image Source, September 4, 2013
• Suzanna Danuta Walters, 'My Heart Belongs to Mama: Stella Dallas and the Politics of Class', in Lives Together/Worlds Apart: Mothers and Daughters in Popular Culture. Berkeley:  University of California Press,  1992
• Victoria Wilson, author of Barbara Stanwyck Steel-True 1907-1940 interviewed by Warner Archive Podcast, November 7th, 2013 
• 'An Interview with Victoria Wilson, Author of A LIFE OF BARBARA STANWYCK: STEEL-TRUE (1907-1940)', Backlots, October 24, 2013

On film performance

• Nicole Brenez, 'Incomparable Bodies', Screening the Past, 31, 2011
• Dan Callahan, 'Fatal Instincts: The Dangerous Pout of Gloria Grahame." Bright Lights Film Journal, Issue 61, August 2008  
• Charles Chaplin Conference Proceedings, BFI, July 2005
• Anna Dzenis, 'On Film Performance', Screening the Past, 20, 2006
• Julie Grossman, Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up (London: Palgrave/BFI, 2009) Book info. 
• Kylo-Patrick R. Hart, 'Introduction', Film and Television Stardom, ed by K-P R Hart (Newcastle Upon Tyne: Cambridge Scholars Publishing, 2008)
• Susan Hayward, 'Stardom: Beyond Desire?' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007 
• Tamar Jeffers, "Should I surrender?": performing and interrogating female virginity in Hollywood films 1957-64', PhD thesis, University of Warwick 
• 'Jerry Lewis Dossier' in La Furia Umana, Issue 12 - currently offline but will be back soon
• Christian Keathley, 'The Man in the Back Seat', The Cine-Files, Issue 4, 2013 
• Andrew Klevan, 'A Reply to Adrian Martin', Undercurrent, Issue 4, 2008
• Andrew Klevan, 'Expressing the In-Between', LOLA, Issue 1, 2011
• Andrew Klevan, Disclosure of the everyday : the undramatic achievements in narrative film, PhD Thesis, University of Warwick, 1996
• Victoria Lowe, 'Performing Hitchcock': Robert Donat, Film Acting and The 39 Steps (1935)', Scope, Issue 14, June 2009  
• Jean Ma, 'Close Reading: The Mise-en-scène of Song Performance', The Cine-Files, Issue 4, 2013
• Adrian Martin, 'Secret Agents [Review of Andrew Klevan, Film Performance: From Achievement to Appreciation], Undercurrent, Issue 4, 2008
• Adrian Martin, 'Hands Across the Table', The Cine-Files, Issue 4, 2013
• Adrian Martin, 'At Table: The Social Mise en scène of How Green Was My Valley', Undercurrent, no. 5, 2009
• Steve Masters, 'Review of Film Performance: From Achievement to Appreciation by Andrew Klevan', Scope, Issue 9, October 2007
• Daniel Morgan, 'Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement, Critical Inquiry, Autumn 2011 
• Warwick Mules, ''Mise-en-scène and the Figural: A Reading of Terrence Malick’s Tree of Life'', The Cine-Files, Issue 4, 2013
• Rebecca Claire Naughten, Spain Made Flesh: Reflections and projections of the national in contemporary Spanish stardom, 1992-2007, PhD Thesis, University of Newcastle, 2010 
• V.F. Perkins, 'Acting on Objects', The Cine-Files, Issue 4, 2013
• V.F. Perkins, 'Moments of Choice', Rouge, no. 9, 2006
• V.F. Perkins, 'Same Tune Again! Repetition and Framing in Letter from an Unknown Woman' (originally published in CineAction! no. 52), 16:9, September 2003
• VI Pudovkin, Film Technique And Film Acting, Grove Press Inc, 1958 
• Laura Sava, 'Théâtre du Soleil Meets the Cinema: Acting and Mask Work in Ariane Mnouchkine’s Molière', Screening the Past, Issue 31, 2011
• Imogen Sara Smith, 'Passing the Test: On Repetition, Performance, and the Greatness of Howard Hawks', Moving Image Source, September 4, 2013
• Joerg Sternagel, 'From Inside Us: Experiencing the Film Actor in Michael Haneke's Caché', Film International #39, vol. 7, no. 3
• Yvonne Tasker, Spectacular bodies: gender, genre and the action cinema, PhD Thesis, University of Warwick, 1995
• Sarah Thomas, Face-maker : the negotiation between screen performance, extra-filmic persona and conditions of employment within the career of Peter Lorre, PhD Thesis, University of Warwick, 2008
• Dolores Tierney, 'Latino Acting on Screen: Pedro Armendariz Performs Mexicanness in Three John Ford Movies', Revista Candiense de Estudios Hispanicos 37.1, 2012

 
Framing Incandescence: Elizabeth Taylor in JANE EYRE by Catherine Grant

 
Refashioning the Femme Fatale? Gilda in Motion by Catherine Grant

New MOVIE! VERTIGO, Hal Ashby, Luis Buñuel, Charles Chaplin, Kenji Mizoguchi, Robert Altman, Robin Wood, Andrew Sarris, George Toles, Charles Barr, Andrew Klevan, Hoagy Carmichael

Frame grab of Robert Mitchum in The Wonderful Country (Robert Parrish, 1959). Read Pete Falconer's study of this film in the great new issue of MOVIE

Woohoo! The wonderful issue 4 of MOVIE: A Journal of Film Criticism has hit the e-stands!

Edited by Andrew Klevan and Victor Perkins, this one is sure to be a classic. Highlights, for FSFF, include Andrew Sarris (on Buñuel's Viridiana [1960]) and Robin Wood tribute archives, as well as the new 'Opening Shots' feature with great contributions by Charles Barr and Pete Falconer. But there are some truly remarkable feature articles in this issue, too, including Adam O'Brien on Hal Ashby's film The Last Detail and George Toles on cinematic images of luxury.

Thanks for the film critical luxury and largesse, MOVIE people!

MOVIE, Issue 4, 2013

• Regional Horizons in The Last Detail Adam O'Brien
• Luxury and Largesse in Film George Toles
• Talking Space in Vertigo Murray Pomerance
• Play It Again, Butch, Cricket, Chick, Smoke, Happy...: The Performances of Hoagy Carmichael as a Hollywood Bar-room Pianist Ian Garwood
• Rereading A Countess from Hong Kong: Action, Speech, and Style in Charlie Chaplin's Final Feature Donna Kornhaber

• Opening Shots
• Only Yesterday Charles Barr
• The Wonderful Country Pete Falconer

• Andrew Sarris: A Tribute

• The Devil and the Nun Andrew Sarris

• A Robin Wood Archive (2)

• Mashed Marlowe Robin Wood
• Controlling the Situation Robin Wood
• Poet of the Cinema Robin Wood
• Mad Smile of a Hollow Civilisation Robin Wood
• A Matter of Life and Death Robin Wood

This issue was designed by Lucy Fife Donaldson, John Gibbs, and James MacDowell.

Forty more film and moving image studies theses online

Frame grab from Diary of a Country Priest (Robert Bresson, 1951), a film discussed in Andrew Klevan's PhD thesis Disclosure of the Everyday

Film Studies For Free brings you its latest roundup of links to online and openly accessible film and moving image studies theses. These links (all of them to theses stored in European research repositories) will very shortly be added to FSFF's permanent listing of already more than 150 theses (the vast majority of them at PhD level, though one or two high quality MPhils are also included).

Particular highlights in this roundup, in FSFF's view, are the recent online publication of Andrew Klevan's 1996 thesis Disclosure of the everyday, Catherine Fowler's The films of Chantal Akerman (1995), Martin Stollery's 1994 Alternative empires on Soviet montage cinema, the British documentary movement and colonialism, Ximena Triquell's 2000 socio-semiotic approach to cinematic representations of the Argentine military dictatorship (1976-1983),  and David Martin-Jones' 2002 Becoming-other in time: the Deleuzian subject in cinema.

If any of FSFF's esteemed readers know that their own thesis is available online but not yet added to these listings, please email this blog with a link.

1. Aaltonen, Minna-Ella, Touch, taste and devour: phenomenology of film and the film experiencer in the cinema of sensations, MPhil Thesis, University of Glasgow, 2011
2. Archibald, David, The Spanish Civil War in cinema, PhD Thesis, University of Glasgow, 2004
3. Baker, Rosemari Elizabeth, Shklovsky in the Cinema, 1926-1932, PhD Thesis, Durham University, 2010
4. Berridge, Susan, Serialised sexual violence in teen television drama series, PhD thesis, University of Glasgow, 2010
5. Bissell, Laura, The female body, technology and performance: performing a feminist praxis. PhD thesis University of Glasgow, 2011
6. Bourkiba Larbi, Abdelrhaffar, Parody and ideology: The case of Othello, PhD Thesis, Universitat de València, 2005
7. Carrasco, Rocio, Of men and cyborgs: the construction of masculinity in contemporary U.S. science fiction cinema, PhD Thesis, Universidad de Huelva, 2010
8. Chalkou, Maria, Towards the creation of 'quality' Greek national cinema in the 1960s, PhD thesis, University of Glasgow, 2008
9. Copsey, Dickon, Race, gender and nation : the cultural construction of identity within 1990s German cinema, PhD Thesis, University of Glasgow, 2004 
10. Dymek, Mikolaj, Industrial Phantasmagoria : Subcultural Interactive Cinema Meets Mass-Cultural Media of Simulation, PhD Thesis, KTH, Sweden, 2010
11. Ferguson, Laura E., Kicking the Vietnam syndrome? Collective memory of the Vietnam War in fictional American cinema following the 1991 Gulf War, PhD Thesis, University of Glasgow, 2011 
12. Fowler, Catherine, The films of Chantal Akerman: a cinema of displacements, PhD Thesis, University of Warwick, 1995
13. Goode, Ian, Voices of inheritance: aspects of British film and television in the 1980s and 1990s, PhD Thesis, University of Warwick, 2000
14. Heeren, Catherine Quirine van, Contemporary Indonesian film : spirits of reform and ghosts from the past, PhD Thesis, Leiden University, 2009
15. Hibberd, Lynne A., Creative industries policy and practice. a study of BBC Scotland and Scottish Screen, PhD thesis, University of Glasgow, 2009
16. Hinchliffe, Alexander, Contamination and containment: representing the pathologised other in 1950s American cinema, PhD Thesis, University of Nottingham, 2010
17. Johnston, Cristina, The use of the spoken word in contemporary French minority cinema, with specific reference to banlieue and gay cinema (1990-2000), PhD Thesis, University of Glasgow, 2005
18. Joo, Chang-Yun, The interpretative positions of the audience and the invitations of television drama, PhD thesis, University of Glasgow, 1997 
19. King, Martin S., "Running like big daft girls." A multi-method study of representations of and reflections on men and masculinities through "The Beatles", PhD thesis, University of Huddersfield 2009
20. Kiss, Robert James, The Doppelganger in Wilhelmine cinema (1895-1914) : modernity, audiences and identity in turn-of-the-century Germany, PhD Thesis, University of Warwick, 2000 
21. Klevan, Andrew, Disclosure of the everyday : the undramatic achievements in narrative film, PhD Thesis, University of Warwick, 1996
22. Lehin, Barbara, Cinema and society: Thatcher's Britain and Mitterand's France, PhD Thesis, University of Warwick, 2003 
23. Martin-Jones, David, Becoming-other in time: the Deleuzian subject in cinema, PhD Thesis,  University of Glasgow, 2002 
24. Morris, Julia, An investigation into subtitling in French and Spanish heritage cinema, PhD Thesis,  University of Birmingham, 2010
25. Natzén, Christopher, The Coming of Sound Film in Sweden 1928-1932 : New and Old Technologies, PhD Thesis, Stockholm University, 2010 
26. Newsinger, Jack, From the grassroots: regional film policy and practice in England, PhD Thesis, University of Nottingham, 2010
27. Pescetelli, M., The art of not forgetting: towards a practical hermeneutics of film restoration, PhD Thesis, University College London, 2011 
28. Pigott, Michael, Time and film style, PhD Thesis, University of Warwick, 2009
29. Ragazzi, Rossella, Walking on uneven paths : the transcultural experience of migrant children in France and Ireland, PhD Thesis, Dublin Institute of Technology, 2005
30. Robinson, Rebecca Grace, Scottish television comedy audiences, PhD thesis, University of Glasgow, 2002
31. Shand, Ryan John, Amateur cinema: history, theory and genre (1930-80), PhD thesis, University of Glasgow, 2007  
32. Shields, Ryan John, Amateur cinema: history, theory and genre (1930-80), PhD Thesis, University of Glasgow, 2007
33. Smit, Alexia Jayne, Broadcasting the body: affect, embodiment and bodily excess on contemporary television, PhD thesis, University of Glasgow, 2010
    
34. Smith, Sarah, A complicitous critique: parodic transformations of cinema in moving image art,  PhD thesis, University of Glasgow 2007
35. Sorrentino, Giuseppe, The Disappearance of the Real - Mass Media in Thomas Pynchon, Don DeLillo and Cormac McCarthy, PhD Thesis, Università degli studi Roma, 2008
36. Stollery, Martin, Alternative empires : Soviet montage cinema, the British documentary movement and colonialism, PhD Thesis, University of Warwick 1994
37. Thomas, Sarah, Face-maker : the negotiation between screen performance, extra-filmic persona and conditions of employment within the career of Peter Lorre, PhD Thesis, University of Warwick, 2008
38. Triquell, Ximena, Projecting history: a socio-semiotic approach to the representations of the military dictatorship (1976-1983) in the cinematic discourses of Argentine democracy, PhD Thesis, University of Nottingham, 2000
39. Walsh, John, A Space and Time Machine: Actuality Cinema in New York City, 1890s to c. 1905, PhD Thesis, University of Nottingham, 2005
40. Yam, Chi-Keung, Study of popular Hong Kong cinema from 2001 to 2004 as resource for a contextual approach to expressions of christian faith in the public realm after the reversion to Chinese sovereignty in 1997, PhD Thesis, University of Edinburgh, 2008

FILM MOMENTS and other free book excerpts from Palgrave Macmillan and BFI

Image from The Band Wagon ( Vincente Minnelli, 1953) starring Cyd Charisse and Fred Astaire (above)

Today, Film Studies For Free celebrates the bountiful, free, Film Studies book samples available for perusal and download at the Palgrave Macmillan website. These may not be the Open Access works this blog normally labours to ferret out and champion. But there have been some astonishingly generous excerpts available online at Palgrave lately, perhaps most notably 72 pages from one of the most exciting of recent film publishing efforts, edited by and with stunning contributions from some brilliant former students, colleagues and friends of FSFF's author: James Walters and Tom Brown's remarkable collection Film Moments: Criticism, History, Theory.

Full contents of the free sample pages are given below, together with numerous other references and links to Palgrave PDFs below those.

If you are in London tomorrow you may like to know that there will be a Film Moments launch event, with some fascinating-looking talks by a number of the contributors to the collection at 2pm at the BFI Southbank (full details here).

• James Walters and Tom Brown (eds), Film Moments: Criticism, History, Theory (2010) (72 free pages including the chapters below)
• Preface
• PART ONE: CRITICISM 
• Shadow Play and Dripping Teat: The Night of the Hunter (1955); Tom Gunning 
• Between Melodrama and Realism: Under the Skin of the City (2001); Laura Mulvey
• Internalising the Musical: The Band Wagon (1953); Andrew Klevan 
• The Visitor's Discarded Clothes in Theorem (1968); Stella Bruzzi
• Style and Sincerity in Quentin Tarantino's Kill Bill: Vol. 2 (2004); James Walters
• The Moves: Blood (1989); Adrian Martin
• The Properties of Images: Lust for Life (1956); Steve Neale
• Two Views Over Water: Action and Absorption in Ingmar Bergman's Wild Strawberries (1957); Ed Gallafent
• Making an Entrance: Bette Davis's First Appearance in Jezebel (1938); Martin Shingler 
• A Narrative Parenthesis in Life is Beautiful (1997); Deborah Thomas 
• The End of Summer: Conte d'été (1996); Jacob Leigh
• Enter Lisa: Rear Window (1954); Douglas Pye
• Opening Up The Secret Garden (1993); Susan Smith
• A Magnified Meeting in Written on the Wind (1956); Steven Peacock
• 'Everything is connected, and everything matters': Relationships in I [heart] Huckabees (2004); John Gibbs 
• The Ending of 8 ½ (1963); Richard Dyer 
• Full book info.

• Caroline Bainbridge, 'Introduction', A Feminine Cinematics: Luce Irigaray, Women and Film (2008) (16 free pages) Book info.

• Emma Bell, 'Introduction', Reading Management and Organization in Film (2008)  (16 free pages) Book info.

• Daniela Berghahn and Claudia Sternberg (eds), 'Introduction', European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe (2010)  (35 free pages) Book info.

• Peter Brooker, 'American Modernists in Modern London', Modernity and Metropolis: Writing, Film and Urban Formations (2001) (39 free pages) Book info.

• Liora Brosh, 'Introduction', Screening Novel Women: From British Domestic Fiction to Film (2008)  (21 free pages) Book info.

• James Chapman, Mark Glancy and Sue Harper (eds), 'Introduction', The New Film History (2007) (24 free pages) Book info.

• Teresa De Lauretis, 'Introduction: Death @ Work', Freud's Drive: Psychoanalysis, Literature and Film (2008) (29 free pages) Book info.

• Dennis Denisoff,, 'Introduction: Unsightly Desires' Sexual Visuality From Literature To Film 1850-1950 (2004) (24 free pages) Book info.

• K.J. Donnelly, 'Introduction', British Film Music and Film Musicals (2007)  (22 free pages) Book info.

• Reena Dube, 'The Discourse of Colonial Enterprise and Its Representation of the Other Through the Expanded Cultural Critique', Satyajit Ray's The Chess Players and Post Colonial Film Theory: Postcolonialism and Film Theory (2005) (46 free pages) Book info.

• Richard Dyer, 'Tales of Plagiarism And Pastiche', Nino Rota: Music, Film and Feeling (2010)  (27 free pages) Book info.

• Robert Eaglestone and Barry Langford (eds),  'Introduction', Teaching Holocaust Literature and Film (2007)  (20 free pages) Book info.
  

• Martin Flanagan, 'Dialogism and Film Studies: The Dialogic Spectator', Bakhtin and the Movies: New Ways of Understanding Hollywood Film (2009) (48 free pages) Book info.
  

• Thomas S. Freeman, 'Introduction: It’s Only a Movie',  in Susan Doran and Thomas Freeman (eds), Tudors and Stuarts on Film: Historical Perspectives (2008)  (41 free pages) Book info.

• Patrick Fuery, 'Introduction: Film and Theory' and 'The Gaze: Masochism, Identification and Fantasy in the Spectator', New Developments in Film Theory (2000)  (31 free pages) Book info.

• Roberta Garrett, 'Postmodernism, New Hollywood and Women’s Films', Postmodern Chick Flicks: The Return of the Woman's Film (2007) (49 free pages) Book info.
  

• Greg Giesekam, 'Introduction: Contamination or Remediation?', Staging the Screen: The Use of Film and Video in Theatre (2007) (31 free pages) Book info.

• Kristyn Gorton, 'Theorising Desire', Theorising Desire: From Freud to Feminism to Film (2008) (40 free pages) Book info. 

• Julie Grossman, Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up (2009)  (22 free pages) Book info.

• Stephen Hutchings (ed.), 'Introduction', Russia and its Other(s) on Film: Screening Intercultural Dialogue (2006) (36 free pages) Book info.

• Stephen Keane, 'Screens', CineTech: Film, Convergence and New Media (2006)  (30 free pages) Book info.

• Maurice Hindle, 'Introduction', Studying Shakespeare on Film (2007) (19 free pages) Book info.

• Nick Lacey, [various sections], Introduction to Film Studies (2004)  (52 free pages) Book info.  Companion website

• Michael O'Pray, 'Representation, Depiction and Portrayal in Film' Film, Form and Phantasy: Adrian Stokes and Film Aesthetics (2004) (32 free pages) Book info.

• Michael Paris (ed.), 'Introduction: Film, Television, and the Second World War – The First Fifty Years', Repicturing the Second World War: Representations in Film and Television (2007)  (20 free pages) Book info.

• Patrick Russell and James Taylor (eds), 'The Long Tail', Shadows of Progress: Documentary Film in Post-War Britain (2010)  (12 free pages) Book info.

• Adrian Schober, Possessed Child Narratives in Literature and Film: Contrary States (2004)   (49 free pages) Book info.
  

• 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 (2009)  (25 free pages) Book info.

• Keith Tester, 'The Period Films: Tragedies and Miracles', Eric Rohmer: Film as Theology (2008)  (36 free pages) Book info.
  

• Brian Lindsay Thomson, 'Institutional and Critical Priorities at the Beginning of Graham Greene’s Career', Graham Greene and the Politics of Popular Fiction and Film (2009) (24 free pages)  Book info.