Showing posts with label Todd haynes. Show all posts
Showing posts with label Todd haynes. Show all posts

Monday, 4 January 2016

New LOLA, [in]TRANSITION, MOVIE, Film-Philosophy, Senses of Cinema plus a video essay on Todd Haynes' CAROL, and more!


An obvious side-by-side comparison by Catherine Grant, using images from BRIEF ENCOUNTER (David Lean, 1945) and CAROL (Todd Haynes, 2015), and the sound from the official trailer for CAROL, featuring the song ‘My Foolish Heart’ (music by Victor Young/lyrics by Ned Washington, sung by Margaret Whiting, 1950). For another recent video essay on BRIEF ENCOUNTER please visit https://www.caboosebooks.net/node/150. For further video essays on films by Todd Haynes, see (on SAFE): vimeo.com/67203493; and on FAR FROM HEAVEN: vimeo.com/78526414.


 Film Studies For Free wishes its readers a very happy new year! It celebrates the beginning of the year with an auspicious round up of publications that went online either in the last few days of 2015, or in the first days of 2016.
NEW JOURNAL ISSUES

LOLA, 6. 2015, on "Distances," edited by Adrian Martin and Girish Shambu 


This issue of LOLA will be rolled out in two stages. Soon to come: articles on The Smell of Us, Eden, Youth (Shoval), recent Spanish cinema, film criticism, and Alexandre Astruc/Bernard Stiegler …


 [in]Transition: Journal of Videographic Film and Moving Image Studies, 2.4, 2015
A special peer-reviewed issue co-edited by Christian Keathley and Jason Mittell, featuring five of the videos that emerged from the June 2015 workshop Scholarship in Sound & Image, hosted at Middleburg College, U.S.A., and generously funded by the U.S. National Endowment for the Humanities Office of Digital Humanities.

New issue of MOVIE: A Journal of Film Criticism, 6, 2015

Moments of Texture

The Best Years of Our Lives: A Dossier

Book Reviews

Also at MOVIE, new entries in its series of open access ebooks - monographs which originally appeared in the series Close-Up (Wallflower Press, 2006-09). These are free to download, and are available in epub and mobi formats.
Filmmakers' Choices - John Gibbs
Filmmakers’ Choices explores different areas of decision-making within filmmaking, focusing on each in the analysis of a film. The discussion of Talk to Her(Pedro Almodóvar, 2002) examines the detailed construction of point of view; the account of Lured (Douglas Sirk, 1947) reflects on narrative structure and the creative possibilities of coincidence. Other films under investigation include Candyman (Bernard Rose, 1992), The Reckless Moment (Max Ophuls, 1949) and Unforgiven (Clint Eastwood, 1992).
Movies and Tone - Douglas Pye 
The concept of tone gestures towards some of the most crucial issues for film analysis – the relationships of a movie to its material, its traditions and its spectator – and yet tone has had a very limited place in film theory and criticism. This study asks how tonal qualities within a film can be identified, exploring the decisions which lead to our grasp of tone as a dimension of meaning that is both informing and subject to moment-by-moment modulation. Discussion centres on The Deer Hunter, Desperately Seeking Susan, Strangers on a Train, Distant Voices, Still Lives and Some Came Running. 
The Police Series - Jonathan Bignell 
This study focuses on television style in the US police series. Chapters closely analyse the mise-en-scène of programmes in the 1980-2003 period including Hill Street Blues, Miami Vice, NYPD Blue, Homicide: Life on the Street and CSI. Through the detailed investigation of changing aesthetics in the police series, Bignell addresses critical issues around style and ideology, ‘quality’, genre, programme brands and authorship in US television. 
Reading Buffy - Deborah Thomas 
In this book Joss Whedon’s acclaimed television series, Buffy the Vampire Slayer, is seen not just to create a richly detailed and satisfying fictional world, but to be an abundant source of complex meanings. Several aspects of Buffy are examined: its visual intelligence, the playful sophistication of its narrative strategies, and the interest the series takes in its relationship with its many fans. 


Further new articles now online at Film-Philosophy, Vol 19 (2015)



Issue 77 of Senses of Cinema

Including: a dossier entitled CHANTAL AKERMAN: LA PASSION DE L’INTIME / AN INTIMATE PASSION; a dossier entitled  THE LEGACY OF PIER PAOLO PASOLINI; a dossier entitled AUSTRALIAN FILM HISTORY; and the following feature articles:






TONI D'ANGELA / No theory, just movies: le dehors

BRUCE BAILLIE / PAUL SHARITS

PAUL THOMAS ANDERSON

prima linea

l'occhio che uccide

flaming creatures


ASSORTED OTHER LINKS
  • In Artforum, a wonderfully informative articles by Babette Mangolte, Chantal Akerman's cinematographer and collaborator, and by Kathy Halbreich, associate director of the Museum of Modern Art in New York.
  • Chantal Akerman's Jeanne Dielman... Is a True Action Movie, a video essay by Adam Cook
    • RIP Vilmos Zsigmond, legendarily brilliant cinematographer (including for McCabe & Mrs. Miller, The Long Goodbye, Deliverance, The Sugarland Express and Close Encounters of the Third Kind. He also worked on Obsession, Blow Out, The Bonfire of the Vanities, The Black Dahlia, The Deer Hunter, Heaven's Gate, and many more films besides). Here is a 70 minute long masterclass with Zsigmond at the 2014 Toronto International Film Festival:

Posted by at No comments:
Labels: , , , , , , , , , , ,

Friday, 20 December 2013

New FILM-PHILOSOPHY!!

Frame grab from Double Indemnity (Billy Wilder, 1944). Read Ben Tyrer's article on film noir and this film in the latest issue of Film-Philosophy

Film-Philosophy 17.1 (2013): the second to last of the brilliant new film studies e journal issues out in December with which Film Studies For Free will present you in 2013. And the daddy of them all.

There will be two more FSFF posts to appear before the holidays, that is, if you can tear yourself away from reading the below articles and reviews.

Articles
Book Reviews
  • Hsiu-Chuang Deppman (2010) Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction and Film (Iris Chui Ping Kam) PDF
  • Alain Badiou (2013) Cinema and Alex Ling (2010) Badiou and Cinema (David H. Fleming) PDF
  • Timothy Corrigan, ed. (2012) Film and Literature: An Introduction and Reader. 2nd Edition (Shawn Loht) PDF
  • Michael Charlesworth (2011) Derek Jarman (Justin Remes) PDF
  • Sharon Lin Tay (2009) Women on the Edge: Twelve Political Film Practices (Sheryl Tuttle Ross) PDF
  • Todd Berliner (2010) Hollywood Incoherent: Narration in Seventies Cinema (John Anthony Bleasdale) PDF
  •  M. Keith Booker (2011) Historical Dictionary of American Cinema (Glen Melanson) PDF  
  • Shawn C. Bean (2008) The First Hollywood: Florida and the Golden Age of Silent Filmmaking (Carrie Giunta) PDF
  • Julian Petley (2011) Film and Video Censorship in Modern Britain (Zach Saltz) PDF
  • Suzanne Buchan (2011) The Quay Brothers: Into a Metaphysical Playroom (Micki Nyman) PDF
  • Khatereh Sheibani (2011) The Poetics of Iranian Cinema: Aesthetics and Modernity After the Revolution (Paul Elliott) PDF
Posted by at No comments:
Labels: , , , , , , , , , , , , ,

Monday, 17 June 2013

Study of a Single Film: Todd Haynes' [SAFE] (1995)

Video Essay on Todd Haynes's [SAFE] (1995) by Amber Jacobs and Catherine Grant. You can read more about this work in 'Un[Contained]? On Todd Haynes's [SAFE]', Filmanalytical, June 17, 2013

Today, Film Studies For Free brings you one of its regular 'studies of a single film' entries. This one is dedicated to gathering direct links to freely accessible, high-quality studies of Todd Haynes's remarkable film [SAFE] (1995).

The resources are headed (above) by a new video by FSFF's author which was completely inspired by Amber Jacobs's magnificent commentary. This audiovisual essay foregrounds the film's treatment of mothering.

FSFF is also truly delighted and grateful to offer free access (below) to a wonderful, related excerpt from Rob White's recently published book on the cinema of Todd Haynes.

Below the embedded excerpt, readers can find FSFF's customary listing of open access resources on the featured film, and, below that, further offline, bibliographies related to this film.



Embedded excerpts from Rob White, ' The Misery the World Is Made Of: The Cinema of Todd Haynes', TODD HAYNES (Urbana: University of Illinois Press, 2013). © 2013 by the Board of Trustees of the University of Illinois. Reproduced here at Film Studies For Free by kind permission of the author and University of Illinois Press. FSFF's thanks go to the author and publisher, and also to Steven Fast.

Notes on Contributors:
  • Amber Jacobs works on feminist  theories and philosophies, film and visual culture, ancient Greek myth, tragedy and philosophy and post-Lacanian psychoanalytic theories. Her Book On Matricide: Myth, Psychoanalysis and the Law of the Mother came out in 2008 with Columbia University Press. She currently works as a lecturer in the department of psychosocial studies, Birkbeck, University of London.
  • Rob White spent ten years as commissioning editor of BFI Publishing (and series editor of the Classics volumes) before becoming, in 2006, editor of Film Quarterly (until 2013). He has been a columnist for Sight and Sound and is author of The Third Man (BFI Film Classics, 2003) and Freud’s Memory: Psychoanalysis, Mourning and the Foreign Body (Palgrave, 2008). His book on Todd Haynes has been published in the University of Illinois Press series, Contemporary Film Directors.

Open Access Resources on [SAFE]

Film Studies For Free entries on Todd Haynes

Other Resources Mentioned in the Video Essay Bibliography
  • Danielle Bouchard and Jigna Desai, '"There's Nothing More Debilitating than Travel“: Locating US Empire in Todd Haynes' Safe', Quarterly Review of Film and Video 22(4), 2005: 359–370
  • Laura Christian, 'Of Housewives and Saints: Abjection, Transgression, and Impossible Mourning in Poison and Safe', Camera Obscura (2004) 19(3 57): 93-123
  • Glyn Davis], 'Health and Safety in the Home: Todd Haynes's clinical white world', in David Alderson and Linda R. Anderson (eds), Territories of Desire: Refiguring Contemporary Boundaries (Manchester: Manchester University Press, 2000)
  • Mary Ann Doane, 'Pathos and Pathology: The Cinema of Todd Haynes', Camera Obscura (2004) 19(3 57): 1-21
  • Roy Grundmann, 'How Clean Was My Valley? Todd Haynes' Safe', Cineaste 21:4, 1995: 22-5
  • Lisa Lynch, 'The Epidemiology of "Regrettable Kinship": Gender, Epidemic, and Community in Todd Haynes' [Safe] and Richard Powers' Gain', Journal of Medical Humanities vol. 23, nos. 3-4 (Winter, 2002): 203-19
  • José Esteban Muñoz, 'Notes on the Whiteness of New Queer Cinema: Safe', GLQ (1998) 4:1: 126-37
  • Gaye Naismith, 'Tales from the Crypt: Contamination and Quarantine in Todd Haynes's [Safe],' In P. Treichler, L. Cartwright, & C. Penley (eds), The Visible Woman: Imagine Technologies, Gender and Science (New York: New York University Press, 1998)
  • Roddey Reid, 'Un[Safe] at Any Distance: Todd Haynes's Visual Culture of Health and Risk', Film Quarterly (Spring, 1998): 32-44
  • John David Rhodes, 'Allegory, mise-en-scène, AIDS: interpreting Safe', in James Morrison (ed.), The Cinema of Todd Haynes (London: Wallflower Press, 2007)
  • Rob White, Todd Haynes (Chicago: University of Illinois Press, 2013) online excerpt

Further Offline Resources
  • Andrew Burke, '"Do you smell fumes?": Health, Hygiene, and Suburban Life', English Studies in Canada, Winter 2006, Vol. 32 Issue 4, pp. 147-168
  • Matthew Gandy, 'Allergy and Allegory in Todd Haynes' [Safe]', In: Screening the city edited by Mark Shiel and Tony Fitzmaurice (London and New York: Verso, 2003)
  • Todd Haynes, Julianne Moore and Christine Vachon, '"...and all is well in our world" - making Safe', In: Film-makers on film-making edited by John Boorman and Walter Donohue (London: Faber and Faber, 1996)
  • Susan Kollin, 'Toxic Subjectivity: Gender and the Ecologies of Whiteness in Todd Haynes's Safe', Isle: Interdisciplinary Studies in Literature and Environment, vol. 9, no. 1, pp. 121-39, Winter 2002
  • Christopher McQuain, 'Safe Man: Are Todd Haynes' Films Gay Enough?', Film Journal, vol. 1, no. 3, 2002
  • Arij Ouweneel, 'Carol's Predicament" The Body in [Safe] (1995) and Jennifer's Body (2009)', Freudian Fadeout: The Failings of Psychoanalysis in Film Criticism (London: McFarland, 2012)
  • Dorian Stuber, 'Patient Zero? Illness and Vulnerability in Todd Haynes's [Safe]." Parallax Volume 11, Number 2 / April-June 2005  
  
Front cover of Rob White, Todd Haynes (Urbana: University of Illinois Press, 2013).
 
Posted by at No comments:
Labels: , , , , , , , ,

Saturday, 16 March 2013

Society for Cinema and Media Studies 2013 Conference Papers and Contributions Online

            Film Studies and Videographic Assemblage A Video Presentation by Catherine Grant for the S23 Workshop "Writing with Video: Beyond the Illustrated Text", Society for Cinema and Media Studies Conference, Chicago, March 6-10, 2013.

[Catherine Grant's introduction to the above video:] My presentation to this workshop has a somewhat strange take on the notion of the capacity of "video-writing" to move beyond the "illustrated text". The video it presents (embedded above) not only uses a good deal of text, but was also originally inspired by the idea of audiovisually amplifying, or supplementing, a long pre-existing written study of Alfred Hitchcock's 1948 film Rope.
    What making it demonstrated to me is that, in scholarly settings, even the simplest videographic act of presenting an assemblage of compiled film sequences involves medium-specific forms of argumentation, for example, the selection and presentation of audiovisual evidence, montage and mise en scene, titling, sound editing and other creative effects, all aiming to draw from "a broader notion of pathos, logos, and ethos than that which has been reified in the age of print literacy", as Virginia Kuhn has put it.* The result is not only the creation of an audiovisual argument, therefore, but also, importantly, of an active viewing space for live co-research - a framed experience of participant observation which, particularly through its online distribution, dialogically invites responses (including rebuttals!) through forms of remix. [Also see
Bonus Tracks: The Making of Touching the Film Object and Skipping ROPE (Through Hitchcock’s Joins) and Déjà-Viewing?Videographic Experiments in Intertextual Film Studies]
    *Kuhn, Virginia. 2012. "The Rhetoric of Remix." In "Fan/Remix Video," edited by Francesca Coppa and Julie Levin Russo, special issue, Transformative Works and Cultures, no. 9. Online at dx.doi.org/10.3983/twc.2012.0358.
S23 Workshop chaired by Virginia Kuhn (University of Southern California), with presentations by Vicki Callahan, Catherine Grant, Michael Lachney, Virginia Kuhn and Cheryl Ball. The workshop was sponsored by the Media Literacy and Pedagogical Outreach Scholarly Interest Group. The full 2013 SCMS Conference Program PDF is here.
Film Studies For Free is happy to present links to some resources pertaining to papers or presentations at the (recently concluded) annual conference of the Society for Cinema and Media Studies at the Drake Hotel in Chicago.

FSFF's author's own contribution to the conference, embedded and pasted in above, was part of a workshop panel on "Writing with Video" (see all of the assets from this workshop gathered by Virginia Kuhn here). In the end, this year -- for the same reasons it's been so quiet at this blog (major, unexpected construction work taking place at home at the same time as a very busy semester!) -- she was unable to travel to the US to attend this final session of the conference in person. But, thanks to the wonders of modern technology her work was kindly presented in absentia by her fellow panelists. Among these, Vicki Callahan and Michael Lachney presented on their pedagogical practices around teaching video argumentation as part of multimedia literacy programmes. In particular, Callahan discussed her classroom use of online video collaborative authoring tools including WeVideo. Cheryl Ball discussed her experience as editor of Kairos: A Journal of Rhetoric, Technology, and Pedagogy (see Ball's fabulous essay for Kairos on digital scholarship here). And workshop chair Virginia Kuhn presented on her highly innovative large scale video analysis project, a wonderful example of the potential for humanities supercomputing (also see here).

Below are links to a whole host of further conference contributions, mostly collected via Twitter. Thanks very much to those who supplied the links. If you have posted your own SCMS paper online, or know of others not gathered below, please leave the link in a comment. Thank you!



SCMS Digital Humanities J23 Workshop 5_8_13 from scms at livestream.com. Featuring Miriam Posner, Jason Mittell (see below for his paper), Hannah Goodwin, Jasmijn Van Gorp, Jason Rhody and Eric Faden

Also see:
Posted by at No comments:
Labels: , , , , , , , ,

Wednesday, 18 April 2012

Four Issues of IMAGE [&] NARRATIVE: Antonioni, Malick, Nolan, Keaton, Russell, Haynes, Neo-Baroque, and more

Screen grab from Salome's Last Dance (Ken Russell, 1988). Read Christophe Van Eecke's study of this film as "Baroque Performance". And also read Film Studies For Free's memorial listing of links to other studies of Russell's work  
A more systematic way of understanding Russell’s work as baroque could be to simply read it as a contemporary reprise of a form of theatrical performativity associated specifically with seventeenth century baroque theatre. For literary critics one of the key innovations of the baroque stage was its self-reflexivity, its uncanny ability to point at itself in performance and say: look at me, I’m a play! Two important ways of generating this effect were the play-within-the- play and the so-called mise-en-abîme. These two procedures are related yet distinct. The play- within-the-play is a structural feature of baroque theatre, a conceit whereby several characters in a play become spectators of a play performed within the framing narrative, echoing the relationship between the original, framing play and the actual spectators in the theatre. The mise-en-abîme is a thematic trope and is quite literally a mirroring effect (Forestier 13). It refers to the potentially infinite self-reflection that emerges when a play starts mirroring its own action or begins to comment on it. The self-reflexive effect of baroque theatre is most overwhelming when the structural and the thematic self-reflexivity coincide. This happens when a play-within-the- play is used to reveal something about the characters or plot in the original framing story. This is the way the performance of the Mousetrap is used Hamlet. Russell has used the play-within-the- play as a revelatory mise-en-abîme in his film Salome’s Last Dance (1988), which is a play-within-the-film adaptation of Oscar Wilde’s play Salomé (1893). In this film Russell uses these tropes to reflect, through the play-within-the-film, on his own position as an artist. Therefore it would seem to be a very good place to start an investigation of whether and how Russell is ‘baroque’. The film is also one of the director’s most neglected efforts, which makes a critical discussion all the more timely. [Christophe Van Eecke, 'Moonstruck Follies. Ken Russell’s Salome’s Last Dance (1988) as Baroque Performance', Image and Narrative, 13.2, 2012: pp. 6-7]

Film Studies For Free presents a little catch up entry today: links to all the contents of the latest four issues of the very good, Belgium-based, online journal Image [&] Narrative which treats "visual narratology and word and image studies in the broadest sense".

There are some excellent film studies articles, especially in the latest issue, on the "Neo-Baroque", which begins the below list. FSFF particularly liked the article on Russell's 1988 film, and also Peter Verstraten's article on Antonioni and Malick's "Cinema of Modernist Poetic Prose".


Image [&] Narrative, Vol 13, No 2 (2012): Neo-baroque Today 1

Thematic Cluster
  • 'Introduction' by Ralph Dekoninck, Karel Vanhaesebrouck, et al Abstract PDF
  • 'Moonstruck Follies. Ken Russell’s Salome’s Last Dance (1988) as Baroque Performance' by Christophe Van Eecke Abstract PDF
  • 'The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows' by Jack Post Abstract PDF
  • 'Cinematic Neo-Mannerism or Neo-Baroque? Deleuze and Daney' by Sjoerd van Tuinen Abstract PDF  
  • 'Re-visioning the Spanish Baroque: The Ekphrastic Dimension of Constancia and Other Stories for Virgins by Carlos Fuentes' by Reindert Dhondt Abstract PDF
  • 'A Neo-Baroque Tale of Jesuits in Space: Mary Doria Russell’s The Sparrow (1996)' by Daniel J. Worden Abstract PDF
Various Articles
  • 'A Cinema of Modernist Poetic Prose: On Antonioni and Malick' by Peter Verstraten Abstract PDF
  • 'Metaphors in Buster Keaton’s Short Films' by Maarten Coëgnarts, Peter Kravanja Abstract PDF
Review Articles
  • 'Charles Hatfield, Hand of Fire. The Comics of Jack Kirby' by Jan Baetens Abstract PDF

Image [&] Narrative, Vol 13, No 1 (2012): Hauntings II: Uncanny, Figures and Twilight Zones

Thematic Cluster
  • 'Introduction' by Fabio Camilletti Abstract PDF
  • 'Staging the Uncanny: Phantasmagoria in Post-Unification Italy' by Morena Corradi Abstract PDF  
  • 'Freud and Hoffmann, once again' by Tan Wälchli Abstract PDF  
  • 'Phantasmagoria: A Profane Phenomenon as a Critical Alternative to the Fetish' by Christine Blaettler Abstract PDF  
  • 'Engführung as a Case Study of Paul Celan’s Poetics of the Uncanny' by Vita Zilburg Abstract PDF
  • 'Impassively true to life' by Claudia Peppel Abstract PDF
  • 'Medial Techniques of the Uncanny and Anxiety' by Michaela Wünsch Abstract PDF 
Various Articles
  • 'From Thought to Modality: A Theoretical Framework for Analysing Structural-Conceptual Metaphors and Image Metaphors in Film' by Maarten Coëgnarts, Peter Kravanja Abstract PDF
Review Articles
  • 'Inception and Philosophy: Ideas To Die For' by Martin Rosenstock Abstract PDF
  • 'Curious Visions of Modernity. Enchantment, Magic, and the Sacred' by Jan Baetens Abstract PDF

Image [&] Narrative, Vol 12, No 4 (2011): Introduction to The Story of Things: reading narrative in the visual (part 2)

Thematic Cluster
  • 'Introduction' by Jonathan Carson, Rosie Miller Abstract PDF 
  • 'Rephrased, Relocated, Repainted: visual anachronism as a narrative device' by Gyöngyvér Horváth Abstract PDF
  • 'Lost Children, the Moors & Evil Monsters: the photographic story of the Moors murders' by Helen Pleasance Abstract PDF
  • 'Read You Like A Book: Time and Relative Dimensions in Storytelling' by Mike Nicholson Abstract PDF
  • 'The Pre-Narrative Monstrosity of Images: how images demand narrative' by William Brown Abstract PDF
  • 'Towards Ephemeral Narrative' by Gavin Parry, Jacqueline Butler Abstract PDF
Various Articles
  • 'Portrait of the Opportunist as Circus Acrobat: Félicien Champsaur's Entrée de clowns' by Jennifer Forrest Abstract PDF
  • 'Depardon, le DATAR et le paysage' by Raphaële Bertho Abstract PDF
  • 'Historicising achronism. Some notes on the idea of art without history in David Carrier's The Aesthetics of Comics' by Jan Baetens Abstract PDF

Review Articles
  • 'Compte rendu de Myriam Watthee-Delmotte, Littérature et ritualité. Enjeux du rite dans la littérature française contemporaine' by Laurence van Nuijs Abstract PDF
 Image [&] Narrative, Vol 12, No 3 (2011): The Story of Things: reading narrative in the visual

Thematic Cluster
  • 'Introduction' by Jonathan Carson, Rosie Miller Abstract PDF
  • 'Relating the Story of Things' by Patricia Allmer Abstract PDF
  • 'Scrapbook (a visual essay)' by Jonathan Carson, Rosie Miller Abstract PDF
  • 'Seeing the Past/Reading the Past' by Karen Bassi Abstract PDF
  • 'Ephemeral Art: Telling Stories to the Dead' by Mary O’Neill Abstract PDF
  • 'European Locations Dreamed with a Limited Imagination' by Samantha Donnelly Abstract PDF
Various Articles
  • 'Belgian Photography: Towards a Minor Photography' by Jan Baetens, Hilde Van Gelder, Mieke Bleyen Abstract PDF
  • 'The surrealist book as a cross-border space: The experimentations of Lise Deharme and Gisèle Prassinos' by Andrea Oberhuber Abstract PDF
  • 'The Power of Tableaux Vivants in Zola: The Underside of the Image' by Arnaud Rykner Abstract PDF
  • 'Spitting Image and Pre-Televisual Political Satire: Graphics and Puppets to Screens' by Kiene Brillenburg Abstract PDF
Review Articles
  • 'Sarah Sepulchre, dir. Décoder les séries télévisées' by Jan Baetens Abstract PDF
Posted by at No comments:
Labels: , , , , , , , ,

Sunday, 15 April 2012

All That Film Pastiche Allows: Fifty+ Online Studies


All That Pastiche Allows by Catherine Grant

"[Pastiche] can, at its best, allow us to feel our connection to the affective frameworks, the structures of feeling, past and present, that we inherit and pass on. That is to say, it can enable us to know ourselves affectively as historical beings."
Richard Dyer, Pastiche (London and New York: Routledge, 2007)

Film Studies For Free today presents a whole host of links to studies of cinematic pastiche. It begins with the above video -- the latest in FSFF's experiments in videographic comparison -- which is designed to afford its viewers a space for real-time co-contemplation of the opening titles sequences of All That Heaven Allows (Douglas Sirk, 1955) and its 'pastiche' Far From Heaven (Todd Haynes, 2002).
Posted by at No comments:
Labels: , , , , , , , , ,
Subscribe to: Posts (Atom)