Announcing the launch of MEDIA INDUSTRIES! A new international Open Access Journal

After a hiatus due to some rather pressing research deadlines (and a little holiday), Film Studies For Free pokes its head fleetingly above the e-parapet to announce the exciting launch of a wonderful new open access journal: Media Industries online at http://mediaindustriesjournal.org.

Media Industries is a new peer-reviewed, multi-media, open-access online journal that supports critical studies of media industries and institutions worldwide. The first issue is now online and the journal is also now accepting submissions for future issues.

Issue 1 is the first in a series of three issues to be published over the summer that features essays authored by the journal's highly esteemed editorial board. Each of the board essays discusses the state of the field of media industries studies.


FSFF wishes Media Industries all the very best for a highly industrious open access future.

1.1 Table of Contents (visit the journal for live links)

• “Welcome to Media Industries” - written by the Editorial Collective: Amelia Arsenault, Stuart Cunningham, Michael Curtin, Terry Flew, Anthony Fung, Jennifer Holt, Paul McDonald, Brian McNair, Alisa Perren, and Kevin Sanson.
• “Dirt Research For Media Industries” - Charles R. Acland
• “Media Policy Research and the Media Industries” - Des Freedman
• “The Value of Ethnography” - Tejaswini Ganti
• “The Menace of Instrumentalism in Media Industries Research and Education” – David Hesmondhalgh
• “Placing International Media Production” - Aphra Kerr
• “On Automation in Media Industries: Integrating Algorithmic Media Production Into Media Industries Scholarship” - Philip Napoli
• “Film Studies, Cultural Studies, and Media Industry Studies” - Thomas Schatz
• “Selling Television: Addressing Transformations in the International Distribution of Television Content” - Jeanette Steemers
• “There Is No Music Industry” – Jonathan Sterne
• “Globalization Through the Eyes of Runners: Student Interns as Ethnographers on Runaway Productions in Prague” – Petr Szczepanik
• “The Case for Studying In-Store Media” - Joseph Turow
• “Industry Proximity” – Patrick Vonderau

Call for Papers
Media Industries invites contributions that range across the full spectrum of media industries, including film, television, internet, radio, music, publishing, electronic games, advertising, and mobile communications. Submissions may explore these industries individually or examine inter-medial relations between industrial sectors. We encourage both contemporary and historical studies, and are especially interested in contributions that draw attention to global and international perspectives, and use innovative methodologies, imaginative theoretical approaches, and new research directions.

More About Media Industries
The journal is maintained by a managing Editorial Collective and Editorial Board comprised of an international group of media industries scholars. For additional information about the Board and Collective, as well as a list of forthcoming essays from Board members, please visit:
Media Industries

Website: http://mediaindustriesjournal.org
Email: mediaindjournal@gmail.com
Facebook: http://facebook.com/mediaindustriesjournal
Twitter: http://twitter.com/mediaindjournal

Queer Film Festival Studies

Click here to visit the full interactive version of the above map.

As identity-based festivals, queer film festivals have a specific relationship to the audience to which they cater. More specifically, most of these festivals have had a strong connection to the political and social movement behind the lesbian and gay/queer agenda and try to maintain this relationship between cultural event and political framework [...]. Because of this history, queer film festivals have a strong tradition of a nuanced critical inquiry into the interconnections of cultural event management, community politics, nation state politics, funding and marketing strategies, and organizational structures [...]. [From Skadi Loist and Marijke de Valck, 'LGBT / Queer Film Festivals', Film Festival Research Network, last updated November 2012]

Festivals are the primary markets for international queer film, but they do not simply acquire and screen the films they show; they actually create the economic conditions that enable their production. This is not to imply that queer internationalism is merely inauthentic or commercial and thus without any kind of political viability. Rather, what it indicates is that scholars, activists, and festival directors must begin to look at the economy of queer cultural production as an essential element of queer collectivities and the institutions they form. Conceiving of an international queer community through cultural circulation and consumption begs significant questions about how U.S. audiences understand the role of the festival in defining a gay and lesbian class identity within this global economy. [From Ragan Rhyne, 'The Global Economy of Gay and Lesbian Film Festivals', GLQ: A Journal of Lesbian and Gay Studies, Volume 12, Number 4, 2006]

As the above two scholarly excerpts indicate, the subject of film festivals is one which raises numerous issues of central importance to cultural studies more generally. For this reason, as well as to celebrate the work of scholars who have shared their findings in particular corner of this field online, Film Studies For Free is delighted to announce that the latest set of links to open access queer film studies that it has created for its sibling Global Queer Cinema website is devoted to the topic of Queer Film Festival Studies. You can visit numerous earlier FSFF entries on film festival studies by clicking here.

This most recent collection in the GQC Resources section includes a link to the full, interactive, version of the map at the top of this entry, created by pioneering film festival scholar Skadi Loist (co-founder, with Marijke de Valck,  of the Film Festival Studies Network), which shows 256 LGBT/queer film festivals existing globally since 1977.

For live-link access to all the below resources, please visit this webpage.

• Chris Berry, 'My Queer Korea: Identity, Space, and the 1998 Seoul Queer Film & Video festival', Intersections: Gender, History and Culture in the Asian Context, Issue 2, May 1999
• Noa Ben-Asher, 'Screening Historical Sexualities: A Roundtable on Sodomy, South Africa, and Proteus',Pace Law Faculty Publications, 2005. Paper 589
• Kaucyila Brooke, 'Dividers and Doorways [on the locational politics of Los Angeles's Gay and Lesbian film festival]', Jump Cut, no. 42, December 1998, pp. 50-57
• Phillip B. Cook, 'Gay Sundance 2013: The Year Ahead in Independent Queer Cinema', The Blog, Huff Post Gay Voices, January 17, 2013
• Michael Guillén, The Evening Class blog, 2006-present
• Mel Hogan, '21 years of image & nation: legitimizing the gaze', Nouvelles «vues» sur le cinéma québécois, no. 10, Hiver 2008-2009
• Jamie June, 'Is it Queer Enough?: An Analysis of the Criteria and Selection Process for Programming Films within Lesbian, Gay, Bisexual, Transgender, and Queer Film Festivals in the United States', MA Thesis, University of Oregon, August 2003
• Alice Kuzniar, 'Schwul-lesbisches Kino aus Deutschland', in: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg, ed. by Dorothée von Diepenbroick and Skadi Loist (Hamburg: Maennerschwarm Verlag, 2009)
• Hui-Ling Lin, Bodies in Motion: The Films of Transmigrant Queer Chinese Women Filmmakers in Canada, PhD Thesis, University of British Columbia, 2011
• Skadi Loist, 'Precarious cultural work: about the organization of (queer) film festivals', Screen, 52.2, 2011
• Skadi Loist and Marijke de Valck (2010). “Film Festivals / Film Festival Research: Thematic, Annotated Bibliography: Second Edition.” Medienwissenschaft / Hamburg: Berichte und Papiere 91 (2010). (19. May. 2010 (sections: 1. Film Festivals: The Long View; 2. Festival Time: Awards, Juries and Critics; 3. Festival Space: Cities, Tourism and Publics; 4. On the Red Carpet: Spectacle, Stars and Glamour ; 5. Business Matters: Industries, Distribution and Markets; 6. Trans/National Cinemas; 7. Programming; 8. Reception: Audiences, Communities and Cinephiles; 9. Specialized Film Festivals; 10. Publications Dedicated to Individual Film Festivals; 11. Online Resources; Contact / Bio), 2008
• Skadi Loist, 'Queer Film and the Film Festival Circuit', In Media Res, September 14, 2010
• Skadi Loist, 'Das Queer Cinema und die Bedeutung lesbisch-schwuler Filmfestivals: Monika Treut im Interview mit Skadi Loist'n: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg. Eds. Dorothée von Diepenbroick, and Skadi Loist. Hamburg: Männerschwarm, 2009. pp. 12–20
• Skadi Loist and Marijke de Valck, 'Film Festival Studies: An Overview of a Burgeoning Field', in: Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova and Ragan Rhyne. St. Andrews: St. Andrews Film Studies, 2009. pp. 179–215
• Scott McKinnon, 'Taking the Word ‘Out’ West: Movie Reception and Gay Spaces', Participations, Volume 7, Issue 2 (November 2010) 
• Kelly McWilliam, 'We're Here All Week': Public Formation and the Brisbane Queer Film Festival. Queensland Review 14(2), 2007:pp. 79-91
• Jenni Olson, 'Film Festivals', GLBTQ: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture. 2002. 24 February 2007
• Ricardo Peach, Queer Cinema as a Fifth Cinema in South Africa and Australia, PhD Thesis, University of Technology, Sydney 2005
• Renee Penney, Desperately Seeking Redundancy? Queer Romantic Comedy and the Festival Audience, PhD Thesis, University of British Columbia, 2010
• Mel Pritchard, 'the big queer film festival list', QueerFilmFestivals.org
• Marc Siegel, 'Spilling Out onto Castro Street', Jump Cut No. 41 (May), 1997
• Amy Watson, Being Inappropriate: Queer Activism in Context, MA Thesis, Central European University 2009
• Gerald J. Z. Zielinski, Furtive, Steady Glances: On the Emergence and Cultural Politics of Lesbian and Gay Film Festivals, PhD Thesis, McGill University, August 2008
• Ger Zielinski, 'On the production of heterotopia, and other spaces, in and around lesbian and gay film festivals', Jump Cut, No 54, Fall 2012
• Ger Zielinski, '"Queer Film Festivals." LGBTQ America Today: An Encyclopedia. Eds. John C. Hawley, and Emmanuel S. Nelson. Westport, CT: Greenwood Press, 2009. pp. 980–984
• Ger Zielinski in Conversation with Stephen Kent Jusick, Executive Director of MIX Festival of Queer Experimental Film and Video, FUSE Art Culture Politics (summer issue, 2010), pp. 16-23 

The Future of Cinema: Discussion with David Bordwell, Simon Field, Andréa Picard and Alan Franey

Future of Cinema - Looking Forward After 30 Years

A very quick post at Film Studies For Free today to bring you a fascinating futurological film and film studies resource: the video of a very well informed panel discussion on where cinema is going.

It features, among others, film scholar extraordinaire David Bordwell, who, as a phenomenal researcher of (practically) the entirety of cinema's past and present, is definitely one of the best qualified people in the world to comment on cinema's future.

The video is a must see if you're interested in the future of film technologies of production and especially of distribution and exhibition. It is part of the 2011 Vancouver International Film Festival collection at Vimeo.

Future of Cinema - Looking Forward After 30 Years
Event description:

The first few chapter headings in a film we did not program at this year's [Vancouver International Film Festival] VIFF are: “Technology Is Great”, “The Industry Is Dead”, “Artists Have the Power”, and “The Craft Is Gone.” To which celluloid-loving film festival organizers might ask: Is it? Do they? Where on earth are we headed? And why?

VIFF has come a long way in its 30 years and never has the future of cinema--and VIFF's future--been more uncertain. Will it be bright and splendid and fair or will it move so quickly that a great deal of what is valuable will be lost before we know it? There are now dramatically more “film festivals” and “films” being made than ever, yet some fear that the industry may be dead. Filmmakers are acutely worried for funding, yet need to operate on a growing number of fronts. Given that the numbers of hours in a day and the numbers of days in a life remain fixed, what limits should we council for our own appetites? Why might we miss the Hollywood Theatre and Videomatica? Given that cultural agencies seemingly have shrinking resources but more new media and film festival applicants every year, will the centres hold or is babble ascendant? Will VIFF's function as an annual international universalist festival be superseded by myriad niche events?

Technology is indeed great in that it has put the means of creative motion picture production in almost everyone's hands, but will the best artists be the ones to be recognized? The entrepreneurial spirit tends to favour change in hopes that it may profit from it, but will artists have the power? When entrepreneurs benefit, will consumers benefit? Will cultural institutions that have taken years to build remain viable? Will cinema, metrics of quality and craftsmanship and, ultimately, quality of life be improved or even be sustainable? What do you personally care about for the future of cinema to offer? What should VIFF 2020 aim to be?

Here to wrestle with these sorts of questions—and yours—will be a distinguished group of panellists including: David Bordwell, film critic, academic and author of numerous books on cinema; Simon Field, film producer and former Director, International Film Festival Rotterdam; Andréa Picard, film critic and programmer, formerly of the Toronto International Film Festival and the Cinémathèque Ontario; Tom Charity, film critic and Vancity Theatre program coordinator; and Alan Franey, director, Vancouver International Film Festival.

New JUMP CUT: Hollywood, Reframing, International Cinema, Documentary, Economics and Politics, Porn, Independent/Art/Avant-garde, Horror

"Lyndon Johnson Told the Nation",  Tom Paxton's song contribution to Loin du Vietnam/Far From Vietnam (Joris Ivens, William Klein, Claude Lelouch, Agnès Varda, Jean-Luc Godard, Chris Marker, Alain Resnais, 1967). See Thomas Waugh's great visual essay on the film 'Loin du Vietnam (1967), Joris Ivens and Left Bank documentary'

Back, nicely bronzed, from its holiday, Film Studies For Free has lots of catching up to do. Let it begin with rushing you, below, the table of contents from the latest, utterly brilliant issue of Jump Cut, No. 53, summer 2011. 

There is SO much great reading here, much of it deeply politically committed, as is characteristic of this important journal. But please don't miss its marvellous book reviews section, including a look at recent books on film sound by Michael Chanan (thanks for tipping FSFF off about this latest issue, Michael!).

Hollywood

• The tracks of Sully’s tears: disability in James Cameron’s Avatar by Dana Fore
  Examining disability issues in Cameron's futuristic fairy tale reveals more complex and potentially sinister ideas at work.
• The Social Network: the contemporary pursuit of
  happiness through social connections by Robert Alpert
  The Social Network reenacts the U.S success myth and places it in the contemporary context of virtual realities in which connections are monetized and each person is emotionally detached from the next. 
• Baz Luhrmann’s Australia: when excess isn’t parody  by Stephen Papson
  Parody, excess and mythology intermix, producing contradictory readings of Luhrmann’s Australia.
• Fear and loathing on Brokeback Mountain by Craig Snyder
  A gay love story for the ages? Let's hope not. A textual analysis of how homosexual desire is disciplined within Brokeback Mountain.
• There's a sucker born every minute. Audiences blog about Sucker Punch. by Chuck Kleinhans
  A search for the film Sucker Punch on the microblog Tumblr provides a rich data collection to study commonplace audience discourse about a commercial entertainment film and New Media as an example of phatic communication.

Reframing

• Decay of the aura: modern art in classical cinema by Susan Felleman
  A study of real works of art—including figural sculpture, “Entartete Kunst” (works of modern art deemed “degenerate by the Nazi regime), and abstract painting—as incorporated into three popular fiction films of the classic period (The Song of Songs, 1933; Venus vor Gericht, 1941; and The Trouble with Harry, 1955), reveals that when an art object becomes part of a fiction film, it enters a space of its own symbolic appropriation; aura is replaced by (unstable) signification.
• Oil drilling and the search for the “golden shrimp”:
  the myth of interdependence in oil drilling films by Robin Murray and Joe Heumann
  Louisiana Story (1948), Thunder Bay (1953), Dead Ahead: The Exxon Valdez Disaster (1992), Black Wave: The Legacy of the Exxon Valdez (2009), and Crude (2009) draw on a mythology that suggests the oil and fishing industries can work interdependently once appropriate safety precautions are in place.
• American Medusa: Bette Davis, Beyond the Forest, femininity, and Camp  by David Greven
  King Vidor’s Beyond the Forest allows us to consider the feminist and queer relevance of the theme of female transformation in Bette Davis films and to revisit and challenge the category of the Camp Classic.
• Taken by Muslims: captivity narratives in
  The Lives of a Bengal Lancer and Prisoner of the Mountains by Claudia Springer
  A 1935 Hollywood film's vilification of Muslims is countered by a nuanced Russian film from 1996, with both revolving around the abduction of non-Muslims by Muslims.
• A question of audience: revisiting Perry Henzell’s The Harder They Come by Ulrick Casimir
  A modern attempt to unpack Henzell's iconic film, analyzing the complex relations between British and U.S. conceptualizations of the Caribbean and the film itself.

International cinema

• At the global market: Ousmane Sembène’s Moolaadé
  and the economics of women’s rights by Amy E. Borden
  As both a tool used by contemporary activists, such as Tostan, and within its plot, Ousmane Sembène’s final film Moolaadé demonstrates how West African women may gain collective access to juridical and political power by using local cultural customs to resist the practice of female genital cutting.
• Serbian cutting: assemblage and the archival impulse
  in the films of Dušan Makavejev by Greg DeCuir, Jr.
  "If Serbs are fond of slaughtering people, there must be a method of film cutting that corresponds."
• Global capital’s false choices in the films of Laurent Cantet by Jessica Livingston
  By looking at the four major films of French filmmaker Laurent Cantet, we receive a valuable window through which to view the false choices offered by the contemporary neoliberal economy.
• Narrating topography: Still Life and the cinema of Jia Zhangke by Eric Dalle
  Jia Zhangke’s environmental fiction film, Still Life, explores the effects of the Three Gorges Dam on the emotional lives of individuals from different social strata.
• Redeeming the woman from Maoist China in China Cry: A True Story by Jing Yang
  This 1990 filmic narrative of the Christian redemption of a Chinese woman from Maoist political frenzy exemplifies residual U.S. Cold War thinking that serves to contain the ideological other.
• Let’s get lost: unmapping history and Reformasi in the Indonesian film Tiga Hari Untuk Selamanya by Dag Yngvesson
  Riri Riza's deceptively lazy 2007 Javanese Road Movie attempts to disorient itself from the pervasive sociopolitical apathy of contemporary Indonesian youth by slowly eviscerating the ubiquitous formal, narrative and cultural structures that have imbued the problems of recent history and resulting status quo with a nostalgic, translucent sheen.
• The Nakba and the construction of identity in Palestinian film by Inez Hedges
  Performative memory serves as the counterweight to dispossession from the land.

Economics and cinema

• Capital limits on creativity: Neoliberalism and its uses of art by Jyotsna Kapur:
  Why the “creative economy” is a capitalistic invention, hostile to art and ultimately to human creativity.
• “Creative Industries,” neoliberal fantasies, and the cold, hard facts
  of global recession: some basic lessons by Chuck Kleinhans
  The international financial crisis provides the ultimate stress test for myths about today’s media culture.
• Media art and economics: resources Annotated bibliography by Chuck Kleinhans
  

Politics of media production and distribution

• Woman with the movie camera redux: revisiting the position of women in the production classroom by Jennifer Proctor, River E. Branch, Kyja Kristjansson-Nelson
  A call and template for a responsive pedagogy addressing the pervasive violent representations of women in student films and the continuing under-representation of women the culture of production — a critical echo of and expansion upon Michelle Citron’s and Ellen Seiter’s call in 1981.
• Digital distribution, participatory culture, and the transmedia documentary by Chuck Tryon
  Explores the role of digital media reshaping the distribution, exhibition, and reception of documentary films.
• Claims to be heard: young self-expressivity, social change, and the Educational Video Center by Stephen Michael Charbonneau
  A historical and critical overview of New York-based Educational Video Center, a leading youth media organization, and its auto-ethnographic work with disadvantaged communities.
• Ethics, politics and representation in Child of Mine, a television documentary on lesbian parenting by Lizzie Thynne
  Re-interviewing her main character from a documentary on lesbian custody she made for UK Channel 4, Lizzie Thynne explores the ethics and politics of filming one's own community for broadcast.

Porn

• Clips, clicks and climax: notes on the relocation and remediation of pornography by Julian Hanich
  Moving-image pornography on the Internet has facilitated and intensified the masturbatory experience due to a double tendency toward privatization and individualization. This becomes particularly obvious when compared to the time when porn films were projected in theaters and consumed with other, mostly anonymous viewers.
• The excess of porn: response to Julian Hanich by Magnus Ullén
  Considering the relation between pornography and different media is important, yes; but it will be difficult to historicize pornography without first historicizing the mode of reading that gave rise to the concept of porn in the nineteenth century.
• Back to the Golden Age by Thomas Waugh
  This brief intervention in the current conversation about porn contextualizes the debate within the history of porn studies and Jump Cut’s contribution since the 1970s to a materialist-feminist understanding of sexual representation.
• Porn: it’s not just about sex anymore by Nina K. Martin
  Porn's shift to online and mobile device mediums has de-stigmatized the term to the point of banality, linking "porn" to non-sexualized notions of excess.
• Beyond porno chic by Jose B. Capino
  Internet porn viewing and spectatorship at adult video arcades are more similar than we imagine.
• Pornography, technology, and masturbation: response to Julian Hanich by Peter Lehman
  Society hysterically fears the dangers of pornography and masturbation while academia represses it, and that aspect of the historically complex interaction between media, technology and porn is lost in the process.

Independent/Art/Avant-garde

• Loin du Vietnam (1967), Joris Ivens and Left Bank documentary  by Thomas Waugh
  Far from Vietnam, the collective French film of 1967, produced in solidarity with the Vietnamese people under U.S. attack, is explored in relation to its historical context on three continents, to its coalitional politics and the solidarity genre in general, and to the forum it provided to one contributor, veteran communist filmmaker Joris Ivens.
• Re-conceiving Misconception: birth as a site of filmic experimentation by Roxanne Samer
  This cultural history of Marjorie Keller's birth film Misconception (1977) seeks to release the film from past dichotomizing interpretative binds with the hope of opening it up to further future interpretations, re-looking and better appreciation.

Horror

• Archaeology of flesh: history and body-memory in Taxidermia by Laszlo Strausz
  As a grotesque body film with comic corporeal exaggerations, Taxidermia outlines a complex argument about 20th-century Hungarian history and historical memory.
• Texas Chainsaw Massacre: the Beginning: a cultural critique of the Bush-Cheney Administration by Rod Buxton
  Through a dark poetics of brutality and mayhem, Texas Chainsaw Massacre: the Beginning explores the militarism and economic fallout that resulted from the political policies of the Bush-Cheney Administration.
• It takes a child to raze a village: demonizing youth rebellion by Andrew Scahill
  When children attack! The child collective horror film presents a nightmare scenario of childhood in revolt — a revolution against systems of surveillance, control, and heterosexual kinship.

Books

• Books on film sound review by Michael Chanan
  Two books about film sound come at their subject from completely different angles.
  • Mark Kerins, Beyond Dolby (Stereo), Cinema in the Digital Sound Age
  • Andy Birtwistle, Cinesonica: Sounding Film and Video
• Iranian film opposing regimes of voyeurism review by Jyotika Virdi
  Displaced Allegories: Post-Revolutionary Iranian Cinema by Negar Mottahedeh
  Post-Revolutionary Iranian Cinema is seen as a dynamic alternative to Hollywood's dominant voyeurism codes, while its narratives are displaced allegories that circumvent the state's modesty laws.
• Darwin at the movies by David Andrews and Christine Andrews
  This review of Barbara Creed's book Darwin's Screens also examines the use of evolutionary ideas in the field of film studies.
• Star Trek’s allegorical monomyth review by Elspeth kydd
  David Greven in Gender and Sexuality in Star Trek: Allegories of Desire in the Television Series and Films tackles complex issues within this large and elusive monomyth.
• Nobody’s baby review by Kirsten Pike
  Babysitter: An American History by Miriam Forman-Brunell
  The book examines girls’ domestic labor in the U.S. and also offers significant insight into the contradictory ways that girls are imagined, debated, and targeted by experts, advisors, and creators of popular culture.
• Sexual innocence and film: a look at scholarship on virginity review by Susan Ericsson
  Virgin Territory: Representing Sexual Inexperience in Film, edited by Tamar Jeffers McDonald
  How can virginity be depicted in fiction film and television beyond dialogue or narrative moments when the condition of virginity ends?
• Documentary studies: news from the front line review by Russell Campbell
  Sociopolitical documentary comes under intensive scrutiny in a cluster of new books.
  • Documentary: Witness and Self-Revelation by John Ellis
  • Recording Reality, Desiring the Real by Elizabeth Cowie
  • The Documentary: Politics, Emotion, Culture by Belinda Smaill
  • Intelligence Work: The Politics of American Documentary by Jonathan Kahana
  • The Right to Play Oneself: Looking Back on Documentary Film by Thomas Waugh
• Documentary: intelligence and/or emotion? review by Chuck Kleinhans
  • The Documentary: Politics, Emotion, Culture by Belinda Smaill
  • Intelligence Work: The Politics of American Documentary by Jonathan Kahana

The last word

• Crisis politics On crises and drastic neoliberal economic makeovers by the editors

Australian national cinema studies

Image from Samson and Delilah (Warwick Thornton, 2009)

Film Studies For Free presents its whopping and interdisciplinary list of scholarly links to online and openly accessible studies of one of its favourite national cinemas, that of Australia. A passable effort for a Pom website, it hopes you agree.

There are some veritably beaut resources here, but FSFF would especially like to flag up one great, but time-limited, free download opportunity: Ben Goldsmith and Geoff Lealand (eds.), Directory of World Cinema: Australia and New Zealand (Bristol: Intellect Books, 2010)

• Martha Ansara and Lisa Milner, 'The Waterside Workers Federation Film Unit: the forgotten frontier of the fifties', Metro Magazine vol. 119, pp. 28-39 
• Pieter Aquilia, 'Wog Drama and ‘White Multiculturalists’: The Role of Non Anglo-Australian Film and Television Drama in Shaping a National Identity', originally published in Ruinard and Tilley eds. Fresh Cuts: Journal of Australian Studies no. 67, St Lucia, UQP, 2000
• Susan Barber, 'Runaway, Negligent and Abusive mothers: Alternate mother – daughter relationships in Australian Cinema', Communications, Civics, Industry – ANZCA2007 Conference Proceedings
• Susan Barber, 'Creative Disabilities and Vulnerable Bodies In Women In The Bush', Conference Proceedings, ANZCA, 2006
• Katherine Biber, 'The Threshold Moment: Masculinity at Home and on the Road in Australian Cinema', LIMINA, Volume 7, 2001 
• Christine Boman, '"Let’s get her": Masculinities and Sexual Violence in Contemporary Australian Drama and its Film Adaptations', Journal of Australian Studies, 76: 2003
• Kate Bowles, 'All the evidence is that Cobargo is slipping’: An ecological approach to rural cinema-going', Film Studies, Issue 10, Spring 2007
• Harvey Broadbent, '“A simple epic”: Gallipoli and the Australian media',United Service 61 (1) March 2010
• David Carter, The Empire Dies Back: Britishness in Contemporary Australian Culture', Pacific and American Studies, Vol. 9, 2009
• Felicity Collins, 'History, Myth and Allegory in Australian Cinema', Trames, 2008, 12(62/57), 3, 276–286
• Robert Connolly, 'Embracing Innovation: a new methodology for feature film production in Australia', AFTRS: Centre for Screen Business, February 2008
• Joy Damousi, '“The Filthy American Twang”: Elocution, the Advent of American “Talkies,” and Australian Cultural Identity', The American Historical Review, Vol. 112, No. 2, April 2007
• Joy Damousi and Desley Deacon, Talking and Listening in The Age of Modernity: Essays on the history of sound (ANU E Press, 2007)
• Leanne Downing, 'Sensory Jam: How the Victoria Preserving Company Pushed Australian Cinema Space into the New Millennium', M/C Journal, Vol. 9, Issue 6, December 2006
• Kirsty Duncanson, 'The Scene of the Crime: The Uneasy Figuring of Anglo-Australian Sovereignty in the Landscape of Lantana', Law Text Culture, Vol. 13, 2009
• Kirsty Duncanson, Catriona Elder, and Murray Pratt, 'Entanglement and the Modern Australian Rhythm Method: Lantana’s Lessons in Policing Sexuality and Gender', Portal Vol., 1 No. 1 (2004)
• Katie Ellis, 'Isolation and Companionship: Disability in Australian (Post) Colonial Cinema', Wagadu Volume 4 Summer 2007 • Intersecting Gender and Disability Perspectives in Rethinking Postcolonial Identities
• Katie Ellis, 'Disrupting Strength, Power and Perfect Bodies: Disability as Narrative Prosthesis in 1990s Australian National Cinema', Nebula, 7.1/7.2, June 2010
• John James Emerson, The Representation of the Colonial Past in French and Australian Cinema, from 1970 to 2000, PhD Thesis, Department of French Studies and Centre for European Studies and General Linguistics, University of Adelaide, South Australia, July 2002
• Helen Forscher, Animals in the landscape :an analysis of the role of the animal image in representations of identity in selected Australian feature films from 1971 to 2001, PhD Thesis, Bond University, 2008
• Warwick Frost, 'From Dead Heart to Red Heart: Developing the Destination Image of the Australian Outback',  Monash University, Department of Management Working Paper Series, October 2004
• Ben Goldsmith and Geoff Lealand (eds.), Directory of World Cinema: Australia and New Zealand (Bristol: Intellect Books, 2010) free download for a limited time only
• Ben Goldsmith, 'Australian National Cinema', Australian Policy Online, February 2007
  
• Lisa Gye, 'How can you be found when no-one knows that you are missing? [on Baz Luhrmann's Australia and McLean's Wolf Creek] Fibreculture Journal, Issue 15, 2009
• David Headon, 'Filming the Legends of Phar Lap and the Don — the Who, What, Where and When', Sporting Traditions, Vol. 15, no. 1, November 1998
• Alice Healy, '“Impossible Speech” and the Burden of Translation: Lilian’s Story from Page to Screen', JASAL 5, 2006
• Andrew Jakubowicz,'Australian (Dis(Contents: Film, Mass Media and Multiculturalism', n F Rizvi and S Gunew (eds) Arts for a Multicultural Australia: Issues and Strategies, (Sydney: Allen and Unwin, 2004)
• Anthony Lambert, 'Arresting Metaphors: Anti-Colonial Females in Australian Cinema', Postcolonial Text, Vol. 1, No. 2, 2005
• Anthony Lambert, 'Movement within a Filmic Terra Nullius: Woman, Land and Identity in Australian cinema', Balayi: Journal of Colonialism, Law and Culture, 2:1, pp 7-17, 2000
• Anthony Lambert, '(Re)Producing Country: Mapping Multiple Australias', Space and Culture, 13.3, 2010 
• Anthony Lambert and Catherine Simpson, 'Jindabyne’s Haunted Alpine Country: Producing (an) Australian Badland', M/C Journal, Vol. 11, No. 5, 2008
• Anthony Lambert, 'Landless White Women: Tracking a Non-Aboriginal Landscape Tradition in Australian Cinema', published in Metro, 163, Dec 2009 
• Anthony Lambert, 'White Aborigines: Women, Space, Mobility', Chapter in Diasporas of Australian Cinema (Intellect, 2009)
• Anthony Lambert, 'Mediating crime, mediating culture: Nationality, femininity, corporeality and territory in the Schapelle Corby drugs case', Crime Media Culture 2008; 4; 237
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