On ’Tangibility’ and Relocating Cinema: NECSUS #2, Autumn 2012

To celebrate the new issue of NECSUS on tangibility, above is a reposting of TOUCHING THE FILM OBJECT? by Catherine Grant. Also see version with audio commentary

[A] media, singular, is not just its medium – it is not only a support or a device. A media is also and foremost a cultural form; it is defined by the way in which it puts us in relation with the world and with others, and therefore by the type of experience that it activates. By experience, I mean both a confrontation with reality (to gain experience) and the capacity to manage this relation and to give it meaning (to have experience). From its very beginnings, cinema has been based on the fact that it offers us moving images through which we may reconfigure the reality around us and our own position within it. Cinema has always been a way of seeing and a way of living – a form of sensibility and a form of understanding. [Francesco Casetti, 'The relocation of cinema', NECSUS, Issue 2, Autumn 2012]

A great second issue of NECSUS, the brilliant journal of NECS, the European Network for Cinema and Media Studies has been published. It boasts some superlative articles including Francesco Casetti's must-read article from which Film Studies For Free has excerpted above.

For those interested in hapticity, and our experience of the material properties of film, there's a very special section on that topic.

All in all (and all the contents are directly linked to below), some truly wonderful work. Well done and thank you NECSUS!

Editorial Necsus

Articles:

• The relocation of cinema by Francesco Casetti
• MP3s, rebundled debt, and performative economics: Deferral, derivatives, and digital commodity fetishism in Lady Gaga’s spectacle of excess by Anne Kustritz
• Can you see yourself living here?: Structures of desire in recent British lifestyle television by James Zborowski
• Investigatory art: Real-time systems and network culture by Edward Shanken
• Beyond cognitive estrangement: The future of science fiction cinema by Stephen Zepke
• The care for opacity: On Tsai Ming-Liang’s conservative filmic gesture by Erik Bordeleau

Special Section: Tangibility

• Material properties of historical film in the digital age by Barbara Flueckiger
• Early cinema’s touch(able) screens: From Uncle Josh to Ali Barbouyou by Wanda Strauven
• Aporias of the touchscreen: On the promises and failures of a ubiquitous technology by Timo Kaerlein
• Questions of embodied difference: Film and queer phenomenology by Katharina Lindner
• The intangible ground: A neurophenomenology of the film experience by Adriano D’Aloia
• From subject-effect to presence-effect: A deictic approach to the cinematic by Pepita Hesselberth
• ‘The last ray of the dying sun’: Tacita Dean’s commitment to analog media as demonstrated through FLOH and FILM by Caylin Smith

Festival Reviews:
Edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network

• The Angels’ Share at the 2012 Cannes Film Festival review by David Archibald
• The 37th annual Toronto International Film Festival: Seeking the social in the virtual review by Sarah Dillard
• Alternative Film/Video Belgrade 2011 review by Maja Krajnc

Book Reviews:

• The good, the beautiful and the sublime review by Bavand Behpoor
• A multiplied medium: Reviewing recent publications on television’s transitions review by Markus Stauff
• European nightmares: Horror cinema in Europe since 1945 review by Francesco Di Chiara
• Cinema and experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno review by Malte Hagener

Exhibition Reviews:

• The Abramović Method, PAC Padiglione d’Arte Contemporanea, Milan (March-June 2012) review by Elena Biserna
• Non Non Non – Visiting the exhibition with Yervant Gianikian and Angela Ricci Lucchi review by Miriam De Rosa

Audiovisual Alfred Hitchcock Studies - For the Love of Film: The Film Preservation Blogathon 2012

'Does Your Dog Bite?' 
A video essay by Christian Keathley on a canine moment in Strangers on a Train (Alfred Hitchcock, 1951).

Skipping Rope (Through Hitchcock's Joins) 
A videographic assemblage by Catherine Grant of all the edits in Rope (Hitchcock, 1948), together with adjacent dialogue.
You can read more about Rope and about the context of this video here.

Film Studies For Free proudly presents, above and below, its annual contribution in support of the wonderful "For the Love of Film: The Film Preservation Blogathon", May 13-18, 2012. Two video essays (above) -- one newly published online for this occasion by Christian Keathley, the other newly made for it by FSFF's author -- plus (below) links to/embeds of lots more, fascinating and openly accessible, audiovisual studies of Hitchcock's films.

This year, this Blogathon will raise funds to finance the online streaming of, and recording of a new score for, The White Shadow (1923), directed by Graham Cutts and with everything else done by Hitchcock:

The film was long thought to have be a lost film. In August 2011, the National Film Preservation Foundation announced that the first three reels of the six-reel picture had been found in the garden shed of Jack Murtagh in Hastings, New Zealand in 1989 and donated to the NFPF. The film cans were mislabled Two Sisters and Unidentified American Film and only later identified. The film was restored by Park Road Studios and is now in the New Zealand Film Archive [The White Shadow Wikipedia entry] 

Please consider supporting this cause by making a donation-- however small or large -- at this link. Thank you! 

And a huge thanks, also, to Farran Nehme (read her great post on Farley Grainger who features in both of the new video essays), Marilyn Ferdinand and Rod Heath for devoting their marvellous websites and energies to assembling a team of well over one hundred bloggers from around the world to respond to this cause -- the third, great, year in a row.

If you know of any further Alfred Hitchcock video essays of interest online, which aren't listed above or below, please leave a link in the comments.

1. Vertigo Variations, Pt 1 A few ways of seeing Alfred Hitchcock's impossible object by B. Kite and Alexander Points-Zollo
2. Vertigo Variations, Pt 2 by B. Kite and Alexander Points-Zollo
3. Vertigo Variations, Pt 3 by B. Kite and Alexander Points-Zollo

    
Garden of Forking Paths? Hitchcock's BLACKMAILs by Catherine Grant

Rear Window Timelapse by Jeff Desom

Alfred Hitchcock's cameo performances

(except for: Easy Virtue (1927); Blackmail (1929); Foreign Correspondent (1940); Suspicion (1941); Spellbound (1945); The Paradine Case (1947); Under Capricorn (1949))

 
Saul Bass's Title Sequences for Alfred Hitchcock

 

Vertigini by Ivano
 

DEATH/HITCHCOCK

Death scenes from 36 of Alfred Hitchcock's movies, synchronised to climax in unison (via Buzzfeed)

Touch of Psycho by Matthew Cheney

Psycho(s) by Frank Hudec

 Psycho (1960) vs. Psycho (1998) by Konstantin Mishchenko

McGuffin by Hitchcock by isaac niemand

Film Techniques of Alfred Hitchcock by Pierre Villeneuve and Theresa Villeneuve 

For the Love of Film (Noir)

This time last year, Film Studies For Free was thrilled to support the For the Love of Film Preservation fund-raising blogathon organised by peerless, online, film critics Farran Smith Nehme (Self-Styled Siren) and Marilyn Ferdinand (of Ferdy on Film).

The grand total of money raised for film preservation last year was more than $30,000 in contributions and matching funds; those funds saved films through the National Film Preservation Foundation.

This year, the chosen theme for the blogathon is Film Noir, so you can expect many fine entries on that topic to be appearing all over the film internets in the immediate aftermath of Valentine's Day.

Donations will go to the Film Noir Foundation, which works to preserve and restore movies in this mode from many eras and from many countries. The film to be restored this year is a fine and important noir called The Sound of Fury (aka Try and Get Me) directed by Cy Endfield, possibly more well-known (if not better remembered) for Zulu (1964).

As Marilyn Ferdinand writes:

A nitrate print of [Endfield's] film will be restored by the UCLA Film & Television Archive, using a reference print from Martin Scorsese’s personal collection to guide them and fill in any blanks. Paramount Pictures has agreed to help fund the restoration, but FNF is going to have to come up with significant funds to get the job done. That’s where we come in.

Do check out the wonderful promotional trailer for the event created by Greg Ferrara of Cinemastyles, who also made the e-poster above. The blogathon Facebook page is here. Also, please make sure to visit the all-important donation link.

And do watch out for a further, snazzy entry on film noir by FSFF, in upcoming weeks, as its own original contribution to the whole shebang...

To Decasia and Back: Film Preservation Studies

Short documentary by Louise Lambert (2005) about Bill Morrison's experimental collage film Decasia (2002). You can also read David Cairn's great entry on this film for the Film Preservation Blogathon here. Further articles on this film are listed below.

Film Studies For Free is very honoured to contribute an entry to the "For the Love of Film! Film Preservation Blogathon". As FSFF readers will already know, this highly worthwhile event has been organised by greatly esteemed bloggers Self-Styled Siren and Marilyn Ferdinand (the latter of the wonderful Ferdy on Film). 

Below are embedded some entertaining and informative online videos about film preservation, and below those are some links to further, openly accessible, scholarly material about this essential but expensive art and science.

If you would like to make a donation to the Blogathon's chosen charitable recipient, the National Film Preservation Foundation (U.S.A), one of the most active and important preservers of film anywhere in the world,  please click here.

The National Film Preservation Foundation is the independent, nonprofit organization created by the U.S. Congress to help save America’s film heritage. They work directly with archives to rescue endangered films that will not survive without public support. The NFPF will give away 4 DVD sets as thank-you gifts to blogathon donors chosen in a random drawing: Treasures III: Social Issues in American Film, 1900-1934 and Treasures IV: American Avant Garde Film, 1947-1986.

So you can see for yourselves the important work that the NFPF does, here's the list of films it has helped to preserve so far.

If you would like to contribute to the cause of film preservation in a country other than the U.S. you can find details of all national affiliates to the International Federation of Film Archives (FIAF) via FIAF's online directory here.

To access a list of all entries to the "For the Love of Film" Blogathon to date please click here. If you need further inspiration to donate or otherwise get involved in this cause, do watch Greg Ferrara's wonderful video commercial for the Blogathon at his website Cinema Styles.

A great introduction to the practicalities of film preservation (with a terrifically entertaining voiceover). It looks at the preservation of Humphrey Jennings and Stewart McAllister's 1942 film Listen to Britain at the British Film Institute archive.

 
Treasures of the Academy/"Guardians of History" Documentary Channel/Academy of Motion Picture Arts and Sciences produce an in-depth look at the importance of film preservation. John Huston's World War 2 documentaries, "Battle of San Pietro" and "Let There Be Light," which have been preserved by DOC and AMPAS, are highlighted as examples of film as living history. Featuring interviews with John Huston's son, Tony, and top directors and historians who shed considerable light on this important, exciting subject. Parts 2 & 3 below.
 
Part 2

Part 3

 
Francis Ford Coppola on Film Preservation and Technology



A sad reminder of the extreme end of celluloid's ephemerality through neglect: "Spectacular footage of 1937 Fox Film storage facility fire in Little Ferry, NJ - Digital/upload by F. Fuchs Filmed by W. Zabransky. Theda Bara and other FOX films/negatives were destroyed."

• International Federation of Film Archives (FIAF) The "Journal of Film Preservation" is the Federation's main periodical publication in paper format. It offers a forum for both general and specialised discussion on all theoretical and technical aspects of moving image archival activities. Published twice a year by FIAF Brussels, each issue in paper format will be published one year later on the website. Here's the complete table of contents for the Journal between 1995 and 2008 (in other words, an index to hundreds of online and Open Access articles on this topic!) 
• Matthew Bernstein, 'Exhibition, The Film Reader (review) by Ina Rae Hark', The Moving Image 3.1 (2003) 42-58
• Eileen Bowser and Ronald S. Magliozzi, Ronald S., 'Film Archiving as a Profession: An Interview with Eileen Bowser', The Moving Image 3.1 (2003) 42-58
• Caroline Frick, an expert of film conservation, is founder and executive director of the Texas Archive of the Moving Image (TAMI) and assistant professor at the University of Texas at Austin. In this [ten minute long video] interview, hosted by Luis Figueroa, she emphasizes the importance of film preservation and mentions how the growth of the film media has had a positive influence in the development of this art of conservation. 
• André Gaudreault, Jean-Marc Lamotte, Tim Barnard tr., 'Fragmentation and Segmentation in the Lumière "Animated Views"', The Moving Image 3.1 (2003) 42-58
• Karen F. Gracy, 'Documenting the process of film preservation', The Moving Image, 3.1 (2003) x, 1-41
• André Habib, 'Thinking in the Ruins: Around the Films of Bill Morrison', Offscreen Journal, November 30, 2004  
• André Habib, 'Cinema from the Ruins of the Archives: Matter and Memory: A Conversation with Bill Morrison', Offscreen Journal, November 30, 2004
• Jan-Christopher Horak, 'Film history and film preservation: reconstructing the text of The joyless street (1925)', Screening the Past, November 1998
• Jan-Christopher Horak, 'Cinema 16: Documents toward a History of the Film Society (review) by Scott MacDonald and Amos Vogel', The Moving Image 3.1 (2003) 42-58
• Mary Ide and Leah Weisse, 'Developing Preservation Appraisal Criteria for a Public Broadcasting Station', The Moving Image 3.1 (2003) 42-58
• Priya Jaikumar, 'More Than Morality: The Indian Cinematograph Committee Interviews (1927)', The Moving Image 3.1 (2003) 42-58
• Claudy op den Kemp, 'Decasia: Plus belle que la beauté est la ruine de la beauté', Offscreen Journal, November 30, 2004
• Jennie Saxena with contributions from Ken Weissman and James Cozart, 'Preserving African-American Cinema:The Case of The Emperor Jones (1933)', The Moving Image 3.1 (2003) 42-58
• Christel Schmidt, 'Preserving Pickford: The Mary Pickford Collection and the Library of Congress', The Moving Image 3.1 (2003) 42-58
• Donato Totaro, 'Review of This Film is Dangerous: A Celebration of Nitrate Film ed. Roger Smither, Associate editor Catherine A Surowiec. FIAF (Fédération Internationale des Archives du Film), London: United Kingdom, 2002', Offscreen Journal, November 30, 2004
• Donato Totaro, 'The Old Made New: the Cinematic Poetry of Bill Morrison', Offscreen Journal, November 30, 2004
• Donato Totaro, 'AMIA: The Moving Image Journal: The Association of Moving Image Archivists', Offscreen Journal, April 30, 2003
• Alison Trope, 'Review of Paolo Cherchi Usai's Death of cinema: history, cultural memory, and the digital dark age', The Moving Image 3.1 (2003) 42-58
• Patricia Rodden Zimmermann, 'Moviegoing in America (review) by Gregory A. Waller', The Moving Image 3.1 (2003) 42-5
  

For the Love of Film

Some of Film Studies For Free's favourite bloggers, the Self-Styled Siren of the eponymous blog and Marilyn Ferdinand of the wonderful Ferdy on Film (along with Greg Ferrara of the ever so stylish Cinema Styles) have been involved in launching and whipping up deserved support for a Film Preservation Blogathon' aptly titled 'For the Love of Film'.

It will begin next Sunday, on Valentine's Day appropriately. And the idea is for as many people as possible to join in, either with relevant posts on their blogs and/or by reading said posts and contributing financially to the cause of film preservation.

Here's what the Siren has to say:

The fine folks at the National Film Preservation Foundation have really gotten into the spirit, lending us photos and clips from films that their efforts have saved. Do have a look. And they have also arranged for a DVD giveaway, to be distributed after the blogathon via a drawing from those who have contributed to the fund.
     Because of course, the important part is to contribute to the NFPF. Film preservation is an extremely expensive process, and our goal this Valentine's Week is to help along their good work with as much money as we can give. The link to their donation page is right here.
     If everyone who visits these blogs the week of February 14th kicks something, anything, into the kitty, we could be responsible for saving even more films. And wouldn't that be much, much better than the usual run of sad bonbons and wilted bouquets this time of year?

Now FSFF appreciates sad bonbons and wilted bouquets as much as the next sappy blog, but this is a worthy cause indeed! Do visit the Siren's website to see which topics have been proposed so far (including one by the very blog you are currently reading...). Those of you on Facebook can check out the Blogathon's activities there, too.