Showing posts with label Audiovisualcy. Show all posts
Showing posts with label Audiovisualcy. Show all posts

Tuesday, 13 December 2016

My Year’s Work in Audiovisual Essays and Videographic Film Studies


There is a bumper entry still to come here at Film Studies For Free before the global annus horribilis of 2016 is out, you mark this blog's words.

But in the meantime, below is a handy list of links to the thirteen free film-studies videos its author has made and formally published in the last twelve months (see here for more information). There are a few unlisted ones that were also made this year and await publication, including yet another videographic work on Brief Encounter... These should see the light of online day in the next calendar year.

  • SPARKLE: A tiny video-remix comparison of some glimmering audio/visual moments from Picnic at Hanging Rock (Peter Weir, 1975), The Virgin Suicides (Sofia Coppola, 1999) and The Falling (Carol Morley, 2014). https://vimeo.com/157653540
  • THE PERSISTENCE OF VISION: A video tribute to the work of film scholar Elizabeth Cowie, featuring Morocco, Now, Voyager and Let There Be Light, as well as the voices and choices of Andrew Klevan, Christine Evans, Coral Houtman and Sarah Wood https://vimeo.com/169120246
  • MATCHES - featuring Johnny Guitar (Nicholas Ray, 1954) Mujeres al borde de un ataque de nervios / Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, 1988) https://vimeo.com/178181337


Monday, 13 June 2011

Viewing Modes and Mise en Scene: 50 YEARS ON by Christian Keathley


 
Film Studies For Free is thrilled to present a brilliant video essay by Christian Keathley. Keathley's latest video is a revision of a contribution made for the Society of Cinema and Media Studies' 50th anniversary conference.

It beautifully posits and explores the idea of two different viewing strategies in the cinema: what Keathley calls a "literate" mode in which "a single-minded gaze is directed torward the obvious [cinematic] figure on offer" on the screen; and a "non-literate" mode, less narrowly focused, roaming instead "over the frame, sensitive to its textures and surfaces".

Keathley's work provides an interesting cinephilic counterpoint to Tim Smith's important psychological film studies research into how our eyes scan and sample images, as highlighted by David Bordwell at his website back in February.

See also Keathley's excellent Pass the Salt  - a videographic study of a moment in Preminger's Anatomy of a Murder,  as well as his written essay on the "obvious' in Preminger at World Picture journal.

FSFF will be out of action until the beginning of July while an acute shoulder injury heals. It hopes you enjoy Keathley's work, as well as other videos at Audiovisualcy, in the meantime.