Showing posts with label early and silent cinema. Show all posts
Showing posts with label early and silent cinema. Show all posts

Monday, 25 April 2011

30 Online Film Studies Books and PhD Theses from OhioLINK

Image from When Night is Falling (Patricia Rozema, 1995), a film discussed by Jamie L. Stuart
Film Studies For Free shakes itself out of an uncharacteristic, unseasonal, hot-weather related torpor to bring you one of its regular reports (and lists of links) from a University research repository. Today, it's the turn of the utterly brilliant repository at the OhioLINK ETD Center, gathering theses and books (in bold below) by film studies scholars at Ohio State University, Bowling Green State University, Ohio University, and Case Western Reserve University.

As usual, these links will be added in due course to FSFF's permanent listings of Online Film and Moving Image Studies PhD Theses and Open Access Film E-books List.

Friday, 20 August 2010

Routledge Film Studies free online: Celebrity and Stardom; European Cinema; Race and Film; and Audience and Spectatorship

Update at 14.33 BST: The PDF files linked to here are currently not working. Will sort out and update as soon as possible. Apologies for any inconvenience.
Cate Blanchett as Galadriel in the The Lord of the Rings film trilogy.
While it is often the emergence of exceptions that proves rules, the very existence of Film Studies For Free shows that there might occasionally be such a thing as a free lunch.

At the same time, this wily blog is certainly no purist when it comes to campaigning for Open Access in scholarly publishing. FSFF's inbuilt pragmatism means that it is always very happy to pass on news of the experiments of otherwise 'closed' or 'subscription only' academic publishers with marketing strategies involving limited free online access to their scholarly publications.

While there is, as yet, no challenger on the horizon to Intellect's extensive championing of the Film Studies freebie, publishing giant Routledge is currently offering up occasional free 'article collections' for particular subjects. Their Film Studies collection is focused on the following four key themes: Celebrity and Stardom; European Cinema; Race and Film; and Audience and Spectatorship.

Free access to the below articles in their current collection will last until December 31, 2010, so do be sure to download them before then.

    Wednesday, 16 June 2010

    More Film Authorship Studies: Romero, Welles, Portillo, Mamet, and the studio system

    Film Studies For Free brings you some more great essays on film authorship (a favourite topic at this here blog), following the serendipitous discovery that a special issue on that subject by the (normally) subscription only periodical The Velvet Light Trap was chosen to be that journal's free online sample.


    Do also check out FSFF's earlier related posts if this is a topic of particular interest: On Auteurism and Film Authorship Theories, film authorship Orson Welles. 

    Monday, 8 February 2010

    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.

    Thursday, 21 January 2010

    Horror Studies, Issue 1 for free!


    Image from The Exorcist (William Friedkin, 1973)

    ' There are [...] two significant [subliminal cuts] in The Exorcist [...] --- firstly during [Father Damien] Karras' [(Jason Miller))] dream of his mother, the screen is filled for two frames with a white-painted image of Jason Miller's leering face, appearing as a death mask; and during the exorcism itself, Linda Blair's tossing head is replaced momentarily with Miller's similarly deathly visage.'  Mark Kermode, 'Devilish Deceptions' (From Fear Magazine, Issue 24 December 1990)
    'Only Father Karras, in a final, desperate act of self-sacrifice – of somatic and spiritual simpatico with the demon – comes to reconcile and transcend these extremes, thus restoring Regan to her former state of being.' Larrie Dudenhoeffer , ‘"Evil against Evil": The Parabolic Structure and Thematics of William Friedkin’s The Exorcist', Horror Studies, 1.1, 2010, p. 11 (pdf)

    Film Studies For Free is trembling with delicious terror at the news of yet another freely accessible issue of a new journal from Intellect Press - there's just too much to read already... Aaaarrggghhhh...

    But seriously, Horror Studies is a peer-reviewed, biannual, academic journal devoted to the study of the aesthetics of horror in all of its cultural and historical forms, from film and literature, music and dance, to fine art, photography and beyond: "With a strong commitment to interdisciplinarity, Horror Studies seeks to foster fruitful dialogue on horror between a wide range of different critical and scholarly traditions."

    The first issue contains a good number of excellent film-related articles: on The Exorcist; abjection and masculinity in Todd Solondz’s Happiness; Werewolf of London (Walker, 1935); Dracula in early cinema; the submarine myth and its relation to the shark myth, as it has been propagated in film since Steven Spielberg’s Jaws (1975); and a Deleuzian study of Michael Almereyda's horror films.


    As usual, here at FSFF, links to all contents are given below.


    Tuesday, 19 January 2010

    From Screen: essays on screen theory, art film and affect, and early Japanese and Chinese cinema


    Image from The Piano (Jane Campion, 1993) 


    Film Studies For Free was ever so happy to discover that Screen, the leading international journal of academic film and television studies -- a journal with which FSFF's author has been proud to be associated as an editorial advisory board member since 1995 -- has a number of wonderful articles and reviews which have been made freely accessible online in full-text and pdf formats.  

    This blog particularly liked the essays, linked to below, by Annette Kuhn (a great reflection on screen theorizing on the occasion of Screen's 50th anniversary) and by Barbara Klinger in which she revisits film theories of affect as well as the debates around Jane Campion's 1993 film The Piano.

    This blogpost won't mean too much to those readers who can take institutional subscriptions to Screen for granted, but FSFF knows it will be appreciated by many others, in lots of different parts of the world, who don't enjoy that particular scholarly benefit.
     
    Volume 50, Number 1, Spring 2009 (50th anniversary issue)

    • Annette Kuhn, Screen and screen theorizing today Screen 2009 50: 1-12; doi:10.1093/screen/hjp001[FREE Full Text][PDF]

    Volume 47, Number 1, Spring 2006 (first fully digital issue)

    • Charlotte Brunsdon, ‘A fine and private place’: the cinematic spaces of the London Underground' Screen 2006 47: 1-17; doi:10.1093/screen/hjl001 [Abstract][FREE Full Text][PDF]

    • Barbara Klinger, The art film, affect and the female viewer: The Piano revisited Screen 2006 47: 19-41; doi:10.1093/screen/hjl002 [Abstract][FREE Full Text][PDF]

    • Gregory A. Walle, Narrating the new Japan: Biograph's The Hero of Liao-Yang (1904) Screen 2006 47: 43-65; doi:10.1093/screen/hjl003 [Abstract][FREE Full Text][PDF] 

    • Laikwan Pang,Walking into and out of the spectacle: China's earliest film scene Screen 2006 47: 66-80; doi:10.1093/screen/hjl004[Abstract][FREE Full Text][PDF]

    Research note 

    • Deborah Allison, Multiplex programming in the UK: the economics of homogeneity Screen 2006 47: 81-90; doi:10.1093/screen/hjl005[FREE Full Text][PDF]

    Debate 

    • Sylvia Harvey, Ofcom's first year and neoliberalism's blind spot: attacking the culture of production Screen 2006 47: 91-105; doi:10.1093/screen/hjl006[FREE Full Text][PDF] 
      • Don Reddin, The non-democratic regulator: a response to Sylvia Harvey Screen 2006 47: 107-111; doi:10.1093/screen/hjl007 [FREE Full Text][PDF]

      Report 

      • Astrid Söderbergh Widding, Rune Waldekranz: Swedish pioneering film historian Screen 2006 47: 113-117; doi:10.1093/screen/hjl008[FREE Full Text][PDF]

        Reviews 

        • James Bennett, Inventing Television Culture: Men, Women and the Box • New Media and Popular Imagination: Launching Radio, Television and Digital Media in the United States Screen 2006 47: 119-124; doi:10.1093/screen/hjl009[FREE Full Text][PDF]
          • John Corner, The Subject in Documentary Screen 2006 47: 125-128; doi:10.1093/screen/hjl010[FREE Full Text][PDF]  
          • Julie Light, Uncertain Vision: Birt, Dyke and the Reinvention of the BBC Screen 2006 47: 129-132; doi:10.1093/screen/hjl011[FREE Full Text][PDF] 
          • Helen Piper, Understanding Reality Television • Reality TV – Audiences and Popular Factual Television Reality TV – Realism and Revelation Screen 2006 47: 133-138; doi:10.1093/screen/hjl012 [FREE Full Text][PDF] 

          Wednesday, 3 September 2008

          The Bioscope's 'Lost sites' posting

          Over on Luke McKernan's supreme, early and silent cinema blog The Bioscope there's an essential posting of links to 'Lost sites', a list of vital web resources on the subject of silent cinema that are no more. Although the seeming impermanence of the Web can be a problem for scholarly activities on it, such as archiving, many such 'lost sites' can still be found via the Internet Archive and its ‘Wayback Machine'. But one needs to know what to look for, and this is where The Bioscope's posting comes in. McKernan lists nine such sites as an initial guide to lost early and silent cinema resources (including sites on Italian early cinema, the Lumière brothers, and Muybridge). He adds that,
          Archiving the Internet is becoming a subject of increasing concern. The Internet Archive leads the field, of course, but the UK Web Archiving Consortium is building up to the day when every UK website will be archived as a matter of legal deposit. For those intrigued by dead sites in general, take a look at Ghost Sites of the Web (these are sites that still exist on the Web, but which have been abandoned).
          While I'm on the subject of The Bioscope, I should mention that this blog is also very deservedly celebrating surpassing 150,000 visits since 2007, a remarkable achievement, but unsurprising considering the truly unrivalled wealth of scholarly and other resources that The Bioscope opens up for its readership. Dr Luke McKernan is Curator, Moving Image at the British Library, and has written on early cinema, newsreels, film propaganda and Shakespearean cinema. His current areas of research include early colour cinematography and children’s cinema-going before the First World War. What is particularly wonderful about his contribution to online film scholarship is that he exhibits a so-far unparalleled enthusiasm (I would say) for making a very large part of his scholarly work available to anyone who wishes to access it electronically, at the same time as being in a great position to do this, as a national library curator. He runs two further, excellent scholarly websites on early and silent cinema: Who’s Who of Victorian Cinema and, on the subject of his PhD thesis, Charles Urban, Motion Picture Pioneer.

          I enjoyed reading a summary posted on the British Film Institute website, a while back, of McKernan's contribution to a series of talks at the BFI entitled 'Researchers' Tales', in which he spoke about setting up The Bioscope. You can read the full talk he gave in a pdf download available HERE. Or, read a nice (html) summary of the talk HERE. Here's the conclusion he reaches, about the value of web scholarship, in the summary version:
          The web is not only an unmatched research tool, but an outstanding means to publish research, to engage with not only one's established research community but to reach out to other disciplines and new audiences. The tools that now exist, such as blogs, enable us to ask new questions of cinema history and to construct revitalised means of conveying understanding. If you know something, there is no excuse for not publishing it, sharing it, and collectively contributing to a greater body of knowledge.

          Film Studies For Free takes its film scholarly-blogger's hat off to the inspirational Luke McKernan.