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

George A. Romero, Daddy of the Dead (a Wired.com video)

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. 

The Velvet Light Trap Number 57, Spring 2006 Special Issue: Authorship

• Introduction
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• Joe Kember, The Cinema of Affections: The Transformation of Authorship in British Cinema before 1907
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• Jerome Christensen, Studio Authorship, Warner Bros., and The Fountainhead
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• Brooke Rollins, "Some Kind of a Man": Orson Welles as Touch of Evil's Masculine Auteur
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• Matt Becker, A Point of Little Hope: Hippie Horror Films and the Politics of Ambivalence
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• Yannis Tzioumakis, Marketing David Mamet: Institutionally Assigned Film Authorship in Contemporary American Cinema
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• Mónica F. Torres, Exorcizing/Exercising Treachery: Robust Subjectivity in Lourdes Portillo's The Devil Never Sleeps [Access article in HTML] [Access article in PDF]

• Anna Notaro, Technology in Search of an Artist: Questions of Auteurism/Authorship and the Contemporary Cinematic Experience
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The thrill of transcendence: Kathryn Bigelow Studies

Updated with video and new links on April 12, 2010

Jamie Lee Curtis as Megan Turner in Blue Steel (Kathryn Bigelow, 1990)

[Kathryn] Bigelow’s earliest works are often radical experiments with genres—combinatory, subtractive, subversive, offering a tool for crafting a mode of vital self-reflexive cinema in which the spectator becomes a thrill junkie, like the restless characters in Bigelow’s films. Ultimately, however, the raw exhilaration experienced by Bigelow’s characters must end so they can come to terms with reality and the laws—be they legal or gravitational—that anchor them to society. The later films show an interest in group dynamics as a form of politics or, perhaps, as an ideal of social living contained but not determined by politics. The turning point between these two parts of Bigelow’s career is Strange Days, whose protagonist attempts to wean himself off his addiction to spectacle in order to face the violence of his urban surroundings.
     This is the double bind Bigelow investigates: while thrill is ultimately an alienating form of individualism, the “real world” tends to be a trap, whether confining or merely banal. While Bigelow’s films reveal genre cinema’s promise of glossy escapism to be a dead end, they also pointedly argue that re-engagement with community is tantamount to conformity. One possible escape is offered to Bigelow’s protagonists by seeking out those extreme situations on the bohemian, criminal and physically fraught margins of society, where the rules can be broken and the self fleetingly transcended. Kathryn Bigelow, 'Filmmaking at the Dark Edge of Exhilaration', Harvard Film Archive, 2009

A little while back, Film Studies For Free promised a list of links to openly accessible scholarly essays on the work of filmmaker Kathryn Bigelow, recent recipient of the Academy Award for Best Director for Iraq War drama The Hurt Locker (2009; see that film's Press Kit/Production Notes). And now FSFF's Bigelow Study Day has finally arrived - maybe not its longest links list ever, but one full of highest quality material nonetheless. The links follow the wonderful embedded video 'Outlaw Vision: Kathryn Bigelow's The Hurt Locker' created for The L Magazine by Michael Joshua Rowin and Matt Zoller Seitz.

• Kate Adams, 'Review of The Cinema of Kathryn Bigelow: Hollywood Transgressor. By Deborah Jermyn and Sean Redmond (eds.) London & New York: Wallflower Press, 2003', Scope, Issue 2, June 2005

• Katherine Barscay, 'Kathryn Bigelow's Gen(d)re', Cinephile (Post Genre Issue), Vol. 4, Summer 2008

• Robert Burgoyne, 'The Hurt Locker: Abstraction and Embodiment in the War Film', University of Minnesota Press Blog, March17, 2010
  

• Kevin L. Ferguson, 'Yuppie devil: villainy in Kathryn Bigelow’s Blue Steel', from Jump Cut, No. 50, spring 2008 

• Tom Jennings, 'Rose Coloured Spectacles', Variant,27, Winter 2006

• Jeff Karnicky, 'Georges Bataille and the Visceral Cinema of Kathryn Bigelow', Enculturation, Vol. 2, No. 1, Fall 1998

• Victoria Large, 'Young Vampires in Love: Kathryn Bigelow's Near Dark', Bright Lights Film Journal, Issue 53, August 2006

• Jenna Ng, 'The Handheld Digital Camera Aesthetics of The Blair Witch Project and Cloverfield (via Strange Days)' 16:9, No. 32, June 2006

• Karl Palmås, 'Bodies without Bodhis', First published in Glänta 2-3/2009
  

• Parallax View Special Section on Kathryn Bigelow  February-March, 2010
  
  
  

  • The Loveless Worlds of Kathryn Bigelow by Robert C. Cumbow

  • Black Arts by Kathleen Murphy

  • True Fiction: Kathryn Bigelow on The Hurt Locker – Interview by Sean Axmaker

  • The Way You Don’t Die: The Hurt Locker by Sean Axmaker

• Patricia Pisters, 'Logistics of Perception 2.0: Multiple Screen Aesthetics in Iraq War Films', Film-Philosophy, 14.1, 2010

• Laura Rascaroli, 'Strange Visions: Kathryn Bigelow's Metafiction', Enculturation, Vol. 2, No. 1, Fall 1998

• Laura Rascaroli, 'Scopic Drive, Time Travel and Film Spectatorship in Gilliam's Twelve Monkeys and Bigelow's Strange Days', Kinema, 15 (Spring 2001)

• Michael Joshua Rowin and Matt Zoller Seitz, 'Outlaw Vision: Kathryn Bigelow's The Hurt Locker ', The L Magazine, June 26, 2009

• Steven Shaviro, 'Kathryn Bigelow', The Pinocchio Theory, March 10, 2010

• Brenda Wilson, 'Blurring the Boundaries: Auteurism and Kathryn Bigelow', Cinephile (Gender and Violence Issue), Vol. 1, April 2005

Dorothy Arzner and female film authorship

Like some film blogs of great note, Film Studies For Free has been pondering Kathryn Bigelow's recent Oscar for achievement in film directing. All in all, it concurs with Steven Shaviro's assessment in his wonderful recent blogpost on this event:

Given the Academy’s lame choices for best film and best director over the years, Bigelow’s Oscars can scarcely be credited as a verification or proof of her auteurial status; but I am nonetheless greatly pleased, and indeed thrilled, and indeed a bit amazed, that so singular and powerful an artist has actually (and quite unusually) received this sort of recognition.

FSFF's very own Bigelow links post is in preparation, but today, in part prompted by an excellent article in the latest issue of Sight & Sound by Sophie Mayer, this blog brings you a little list of links to online and openly accessible scholarly writing touching on the wonderful work of Dorothy Arzner, one of Bigelow's (acclaimed but unrewarded by the Academy) female forbears in the commercially-successful, Hollywood, movie-directing business.

Like Bigelow, Arzner has been a hugely important figure to feminist film scholars and theorists, and so some of the work below explores her work in that context.

• Sarahjane Blum, 'The Decade After The Decade Before: Merrily We Go to Hell', Brooklyn Rail, June 2009

• Nicholas Butler, 'The Bride Wore Red', Senses of Cinema, No. 33, 2004

• Louise Cole, 'Dance Girl, Dance', Senses of Cinema, No. 33, 2004 

• Kendahl Cruver, 'The Wild Party', Senses of Cinema, No. 33, 2004 

• Jane Gaines, 'Dorothy Arzner's Trousers', from Jump Cut, no. 37, July 1992, pp. 88-98 

• Jane Gaines, 'Women and representation', from Jump Cut, no. 29, February 1984, pp. 25-27 

• Theresa Geller, 'Dorothy Arzner', Senses of Cinema, April 2003 

• Catherine Grant, ‘Secret Agents: Feminist Theories of Women’s Film Authorship’, Feminist Theory Vol. 2, No. 1, April 2001, pp. 113-130 

• E. Ann Kaplan, 'Aspects of British feminist film theory: A critical evaluation of texts by Claire Johnston and Pam Cook', from Jump Cut, no. 2, 1974, pp. 52-55

• Aspasia Kotsopoulos, 'Reading against the grain revisited', from Jump Cut: A Review of Contemporary Media, No. 44, Fall 2001

• Erich Kuersten, 'Dizzy from the Altitude, Happy to Plummet: Pre-Code Cinema and the Post-Code-Shock Syndrome', Bright Lights Film Journal, Issue 63, February 2009

• Sophie Mayer, 'Queen of Hollywood', Sight and Sound, March 2009

• Rosanna Maule, 'The Importance of Being a Film Author: Germaine Dulac and Female Authorship', Senses of Cinema, No. 23, 2002

• Lauren Rabinovitz, 'Past Imperfect: Feminism and Social Histories of Silent Film', Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, Volume 16, numéro 1, Automne 2005, p. 21-34

• Anneke Smelik, 'Gay and Lesbian Criticism' Hill and Church Gibson, eds., The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998)

• Rachel Williams, '"It's Like Painting Toys Blue and Pink" (Martha Coolidge, 1996): Marketing and the Female-Directed Hollywood Film', Scope, December 2000

Glasgow's Finest: work by Caughie, Geraghty, and great e-theses, too

Image from The Godfather (Francis Ford Coppola, 1972), a film studied in Philip Drake's PhD thesis on Hollywood performance

It's been a busy month here at Film Studies For Free, but let's end it on a high note. Today's little film and media studies links list is of salient items from Enlighten, the e-prints archive at the University of Glasgow, an institution of which FSFF's author is personally very fond, given its wonderful department of Theatre, Film & Television Studies.

This research repository houses some true Open-Access treasures by very important authorities in these disciplines, such as a recent item on film authorship by John Caughie, editor (and author of much) of Theories of Authorship, and four articles by Christine Geraghty, one of the most significant figures in British cinema and television studies. There are also some further excellent items by great, younger scholars, like Philip Drake (now a lecturer in the Film, Media, and Journalism Department at the University of Stirling).

• Stuart Duncan Brown, The subversion of sympathy in British social realism: uses of laughter in the cinematic representation of the British working-class. MPhil(R) thesis, University of Glasgow, 2008
  

• John Caughie, 'Authors and auteurs: the uses of theory', In: Donald, J. and Renov, M. (eds.) Handbook of Film Studies. Sage, 2007

• Philip J. Drake, Stardom after the star system: economics of performance in contemporary Hollywod cinema. PhD thesis, University of Glasgow, 2002

• Robert J. Edmonstone, Beyond “Brutality”: understanding the Italian Filone’s violent excesses. PhD thesis, University of Glasgow, 2008

• B. Franks, 'Constructing "The Wicker Man"', Chapter 3. In Murray, J. and Stevenson, L. and Harper, S. and Franks, B. (Eds) Constructing "The Wicker Man": Film and Cultural Studies perspectives, pp. 63-78: Glasgow: University of Glasgow, Crichton Publications, 2005
  

• Christine Geraghty, Classic television: a matter of time. In: The Making and Remaking of Classic Television, 19 Mar 2009, University of Warwick.
  

• Christine Geraghty, Paris, Hollywood and Kay Kendall. In: Moseley., R. (ed.) Fashioning Film Stars : Dress, Culture, Identity. London: BFI, 2005, pp. 121-133.
  

• Christine Geraghty, The study of the soap opera. In: Wasko, J. (ed.) Companion to Television. Blackwell companions in cultural studies . Blackwell Publishing, 2005, pp. 308-323
  

• Christine Geraghty, Continuous serial - a definition. In: Dyer, R. (ed.) Coronation Street. Television monographs (British Film Institute), 13 . London: BFI, 1981, pp. 9-26.
  

• Sarah Neely, Adapting to change in contemporary Irish and Scottish culture: fiction to film. PhD thesis, University of Glasgow, 2003
  

• L. Smith, 'Making history: post-historical commemorations of the past in British television', Groundings 1, 2007

• Lisa E. Williamson, Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era, PhD Thesis, The University of Glasgow Department of Theatre, Film and Television Studies 2008
  

New Journal of Screenwriting - Issue 1 Free Online

Image from Hiroshima mon amour (France, 1959; directed by Alain Resnais, based on a screenplay by Marguerite Duras)

Film Studies For Free is happy to announce that the first issue of the new Journal of Screenwriting (Volume 1 Number 1 - published by Intellect) has been made freely accessible online. Below are direct links to download the PDF files of articles and reviews. Some great stuff here, FSFF thinks.

Articles

• Jill Nelmes, 'Editorial'
• Ian W. Macdonald, 'Editorial'
  
• Kathryn Millard, 'After the Typewriter: the screenplay in a digital era'
• Bridget Conor, '"Everybody’s a Writer": Theorizing screenwriting as creative labour'
• Ian W. MacDonald, '"‘…So it’s not surprising I’m neurotic": The Screenwriter and the Screen Idea Work Group'
• Eva Novrup Redvall, 'Teaching screenwriting in a time of storytelling blindness: the meeting of the auteur and the screenwriting tradition in Danish film-making'
• Patrick Cattrysse, 'The protagonist’s dramatic goals, wants and needs'
• Jasmina Kallay, 'Cyber-Aristotle: towards a poetics for interactive screenwriting'
• Riikka Pelo, 'Tonino Guerra: the screenwriter as a narrative technician or as a poet of images? Authorship and method in the writer–director relationship'
• Isabelle Gourdin-Sangouard, 'Creating Authorship? Lindsay Anderson and David Sherwin’s collaboration on If.... (1968)'
• Rosamund Davies, 'Screenwriting strategies in Marguerite Duras’s script for Hiroshima, Mon Amour (1960)'
• J. J. Murphy, 'No room for the fun stuff: the question of the screenplay in American indie cinema'
• Nathalie Morris, 'Research Resources'

Reviews:

• Screenwriting: History Theory and Practice, Steven Maras (2009), reviewed by Adam Ganz
• And the Best Screenplay Goes to…, Linda Seger (2008), reviewed by Tim Maloney
• Authorship in Film Adaptation, Jack Boozer (ed.) (2008), reviewed by Lawrence Raw
• Embodied Visions: Evolution, Emotion, Culture and Film, Torben Grodal (2009), reviewed by Jule Selbo

This and that (Perkins, Rich on Kuchar Bros, Westerns, Fan Videos, Timecode, Kubrick and the Coens)

Trailer for It Came From Kuchar - As Alexandra Juhasz writes at Media Praxis: '[This] documentary does little more than let the brothers, their films, and fans speak for themselves. And what more do we need? Inventive, life-long bohemians making their work outside dominant structures and to an international fanbase of crazed cineastes. As I implied regarding Fig Trees recently: it becomes an increasingly rare pleasure to see work that resides outside the dumbed down regime of the popular.'

Having been briefly out of action, Film Studies For Free is sorting through its in-tray and to-do lists. Below are some assorted bits of online news and links that it wanted you not to miss:

• Film Studies For Free was delighted to hear from VF Perkins who generously offered up some frame stills to help illustrate the first of the two sequence analyses in his online essay "You Only Live Once" which FSFF linked to some weeks back (also see HERE). FSFF has posted the stills in three sections, one HERE, two HERE and three HERE.
• Listen to B Ruby Rich on the Kuchar Brothers (also see video above) in a great podcast interview for Outtake:

In this audio interview Emmy Winner Charlotte Robinson talks with B Ruby Rich, American Scholar and Film Critic about Director Jennifer M. Kroot’s documentary “It Came From Kuchar.” Long before YouTube, there were the outrageous, no-budget movies of underground, filmmaking twins George and Mike Kuchar. George and Mike grew up in the Bronx in the 1950’s. At the age of twelve, they became obsessed with Hollywood melodramas and began making their own homespun melodramas with their aunt’s 8mm camera. They used their friends and family as actors and their Bronx neighborhood as their set. Early Kuchar titles featured in this film include “I Was A Teenage Rumpot” and “Born of the Wind”. In the early 1960’s, alongside Andy Warhol, the Kuchar brothers shaped the New York underground film scene. Known as the “8mm Mozarts”, their films were noticeably different than other underground films of the time. They were wildly funny, but also human and vulnerable. Their films have inspired many filmmakers, including John Waters, Buck Henry, Atom Egoyan, Guy Maddin and Wayne Wang (all are interviewed in this film). Despite having high profile fans, the Kuchars remain largely unknown because they are only ambitious to make movies, not to be famous.

• Thanks to David Hudson's indispensable Twitter feed for The Auteurs Daily, FSFF was happy to hear of a great blog about Westerns -- Decisions at Sundown -- by Joseph "Jon" Lanthier, Ed Howard, Kevin J. Olson, Tony Dayoub, and Tommy Salami. You must read Ed Howard's lovely piece on Rio Bravo.
• Karen Hellickson has a nice essay on some 'fairly high profile transformative fan artworks': '“The Hunt for Gollum” and “Battlestar Redactica”'.
• Do check out Nick Davis's innovative approaches to Mike Figgis's Timecode (2000). Also see HERE (it works best on Firefox).
• And two interesting English-language film articles from the latest special issue of online journal Image [&] Narrative (Vol.X, issue 2 (25.) June 2009), devoted to 'The author and his imaginary: the development of particularity': Elizabeth Mullen's 'Do you speak Kubrick? Orchestrating Transgression and Mastering Malaise in The Shining' (for those interested in Kubrick, please also see The Kubrick Site and Kubrick Multimedia Archive - thanks to Jason Sperb) and Arne De Boever's 'The Politics of Retirement: Joel and Ethan Coen's No Country for Old Men after September 11'
  

Suzhou River and 'Sixth-Generation' Chinese Filmmaking

Film Studies For Free's author has been busy writing, for her day job, about 婁燁/ Lou Ye's Chinese/German coproduction 苏州河 /Suzhou he/Suzhou River (2000), a striking film which plays much more cleverly than most movies with the idea of implied authorship.

Below are some links to the freely-accessible, online resources of note pertaining to that film, as well as to 'Sixth-Generation' Chinese filmmaking more generally, which were gleaned as part of the research process:

• Cody Beckman, 'Suzhou River', Transnational Chinese Cinemas, December 8, 2008
• Robert Chi, 'Review of Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice, by Jerome Silbergeld', MCLC Resource Center Publication, September 2006
• Jerry Clode, 'Suzhou River', Intersections: Gender, History and Culture in the Asian Context Issue 7, March 2002
• Gavin Collinson, 'Suzhou River', BBC4 website, April 24, 2004
• Richard Corliss, 'Bright Lights,'Time Asia 157, 12 (March 26, 2001)
• Kirk A. Denton, Bibliography of Chinese Film, Chinese Media & Print Culture resources MCLC
• Lizzie Francke, 'Review of Suzhou RIver' , Sight & Sound, Dec. 2000
• Stephanie Hemelryk Donald and John G. Gammack, 'Shanghai: World City?', Tourism and the Branded City (Ashgate, 2007)
• J. Hoberman, 'Eternal Return', Village Voice, November 7th 2000
• Brian Hu, 'Above Ground and Over His Head', Asia Pacific Arts, February 3, 2005
• Julia Kny, 'A Chinese Vertigo? Tracing Suzhou River's Musical Independence and Innovation', Jörg Lemberg's website, 2006
• Shelly Kraicer, 'Suzhou River', chinesecinemas.org, April 2000
• Jenny Kwok Wah Lau, 'Introduction' and 'Globalization and Yoythful Subculture: The Chinese Sixth-Generation Films at the Dawn of the New Century', Multiple modernities: cinemas and popular media in transcultural East Asia (Temple University Press, 2003)
• Yung Adam Lam, Identity, tradition and globalism in post-Cultural Revolution Chinese feature films, PhD e-thesis, The University of Auckland, 2000
• Charles Leary, 'Performing the Documentary, or Making it to te Other Bank', Senses of Cinema, July 2003
  
• Shannon May, Film for the New Long March: The Search for National Identity in Chinese Cinema, 1984-2000. Magna Cum Laude Thesis. Cambridge, MA: Harvard University, 2000
• Shannon May, 'Power and Trauma in Chinese Film: Experiences of Zhang Yuan and the Sixth Generation” Journal for the Psychoanalysis of Culture and Society 8:1 (Spring 2003), 156-160
• Peter Nellhaus, 'Two by Lou Ye', Coffee, Coffee, and More Coffee, September 24, 2006
  
• Jenni Peisa, The Unable Individual: The Actantial Analyses of Three Chinese Films and Discussion on Their Representations of the Individual’s Position in Contemporary Chinese Society, Masters e-Thesis, University of Helsinki, April 2008
• Polar Bear, 'Suzhou River (Ye Lou, 2000)', Polar Bear's Film Journal, August 4, 2008
• Peter C. Pugsley, 'Review of The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century by Zhang Zhen (ed.), Durham and London: Duke University Press, 2007, Scope, Issue 12, 2008
• Ma Ran, 'The Sixth-Generation Cinema: To Continue the Dialogue with the West', Cina Oggi, September 17, 2007
  
• Bérénice Reynaud, 'Dancing with Myself, Drifting with My Camera: The Emotional Vagabonds of China's New Documentary,' Senses of Cinema, No 28, 2003
  
• Jonathan Rosenbaum, 'The World is Watching: Suzhou River', Chicago Reader - On Film, 2001
• Damion Searls, 'Suzhou River', Film Quarterly, Vol. 55, No. 2, 2001
• Donato Totaro, 'FCMM: Into the 21st Century', Offscreen Journal, November 28, 2000
• Lara Vanderstaay, 'A case study of the influence of directorial gender on the representation of female sexuality in four contemporary Chinese films [Red Sorghum, Soul of A Painter, Blush and Suzhou River]', Proceedings of the 15th Biennial Conference of the Asian Studies Association of Australia in Canberra 29 June - 2 July 2004
• Mike Walsh, 'Review of Zhang Zhen (ed.), The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century.Durham and London: Duke University Press, 2007', Screening the Past, September 20, 2008
• Gary G. Xu, 'Introduction: China's (Cinematic) Century', Sinascape: Contemporary Chinese Cinema (Rowman & Littlefield, 2007)
• Neil Young, 'Suzhou River', Jigsaw Lounge, February 28, 2001

María Luisa Bemberg: online resources

Still on the subject of film authorship (see here and here), Film Studies For Free chirpily (cheekily?) cross-posts (again, with Directing Cinema - do visit that blog for some great video clips) a little list of choice, freely-accessible online resources pertaining to the Argentine film director María Luisa Bemberg.

A somewhat late starter as a filmmaker, at the tender age of fifty-eight, Bemberg directed six films against the odds of a hugely difficult economic and political situation in Argentina in the 1980s and 1990s. She has been an important influence on a number of young filmmakers, most notably a favourite of FSFF, Lucrecia Martel (also see HERE). Martel's films have been produced by Bemberg's legendary producer and friend Lita Stantic.

In honour of Bemberg and her films, below is a list of high-quality and freely-accessible online studies of her work:

In English:

• Caleb Bach, 'Maria Luisa Bemberg tells the untold,' Americas 46 (Mar/Apr 1994): 20-7
• Michael Chanan, 'Latin American Cinema in the 90's: Representational Space in Recent Latin American Cinema,' Estudios Interdisciplinarios de América Latina y el Caribe 9:1 (enero-junio 1998)
• Catherine Grant, 'Intimista transformations: María Luisa Bemberg's First Feature Films,' originally published in An Argentine Passion: María Luisa Bemberg and Her Films, John King, Sheila Whitaker and Rosa Bosch, eds. (London: Verso, 2000), 73-109
• John King, Sheila Whitaker and Rosa Bosch, eds., An Argentine Passion: María Luisa Bemberg and Her Films (London: Verso, 2000)
• Bernard McGuirk, 'Review of An Argentine Passion: María Luisa Bemberg and her Films, by John King, Sheila Whitaker and Rosa Bosch (eds.), London & New York: Verso, 2000,' Scope, May 2003
• Hugo Salas, 'Some Girls Are Bigger Than Others: María Luisa Bemberg,' Senses of Cinema 22 (September-October 2002)
• Cynthia L. Stone, 'Beyond the Female Gaze: María Luisa Bemberg's Sor Juana Ines de la Cruz,' Ciberletras, Number 13, July 2005
• Fernanda Vitor Bueno,'The Myth of Camila O'Gorman in the Works of Juana Manuela Gorriti, María Luisa Bemberg and Enrique Molina', PhD e-thesis, The University of Texas at Austin, December 2007
• Bruce Williams, 'Bemberg’s Third Sex: Argentine Mothers at the Dawn of Democracy', Cinémas/Cinémas, Volume 15, numéro 1, Automne 2004, p. 125-144
  

In Spanish:

• Mary Elizabeth Barnard, 'Nietzsche y el cine latinoamericano: un estudio de tres obras,' Espéculo: Revista de Estudios Latinoamericanos (marzo-julio 2006)
• Anke van Haastrecht, 'Mujeres en rebelión: el discurso cinematográfico de María Luisa Bemberg', (date unknown)
• Clara Kuschnir, 'La narrativa, el cine y las mujeres,' Estudios feministas = Etudés feministes (agosto-diciembre 2005)
• Jane Mooney, 'Directoras latinoamericanas: Susana Amaral, María Luisa Bemberg, Viviana Cordero y María Novaro', La Tatuana number 3, (Cinenavaja), 2005
• Lourdes Vázquez, 'De identidades: María Luisa Bemberg, filmografía y bibliografía, 1967-2006 [Segunda edición],' SALALM Latin American Information series, no. 6a, edited by Laura D. Shedenhelm, University of Georgia Libraries, 2007
• Guillermina Walas, 'María Luisa frente al espejo: la (auto)_reflexión en María Luisa Bemberg', La Tatuana number 3, (Cinenavaja), 2005
  

In Italian:

• Raffaella Bassetti, et al., María Luisa Bemberg: la passionaria . Italy: Associazione L'Occhio delle donne, 2004

On Auteurism and Film Authorship Theories

Director Jane Campion (right) and cinematographer Laurie Mcinnes on the set of After Hours (1984). Photograph (1981) by Gayle Pigalle

Film Studies For Free will be concentrating on some shorter (but hopefully still useful) posts in the next few weeks. But here's another long one in the meantime: a whole (shiny) host of links to writing devoted to FSFF's author's main topic of research: film authorship and auteur theory. It has consequently been cross-posted at her other blog Directing Cinema, where lots of discussions of authorship and auteurism may be found. The below list of links to freely accessible online material on these topics will be kept updated, so do consider yourselves warmly encouraged to bookmark this post, and also to suggest further good resources to add to the list (by commenting or via email). Latest update: June 3, 2009

• Eduardo Abrantes, ''The Principle of Revelation (review of Catherine Lupton (2005) Chris Marker: Memories of the Future London: Reaktion Books)', Film-Philosophy 10.1, 2006
• Richard Armstrong, 'They Lost It at the Movies: Film Culture in the Age of Positif and Cineaste', Bright Lights Film Journal, Issue 40, May 2003
• Karyn Ball, 'Hitchcock's 'Material Whirl (Review of Tom Cohen, Hitchcock's Cryptonomies. Volume 1: Secret Agents; Volume II: War Machines. Minneapolis and London: University of Minnesota Press, 2005)', Culture Machine, 2006
• Charles Bane, 'Viewing Novels, Reading Films: Stanley Kubrick and the art of adaptation as interpretation, PhD e-thesis, Louisiana State University 2006
• Shyon Baumann, Intellectualization and Art World Development: Film in the United States', American Sociological Review 66:3 (June 2001) pp. 404-426
• Jack Boozer, 'Introduction: The Screenplay and Authorship in Adaptation', Authorship in Film Adaptation (Austin: University of Texas Press, 2007)
• David Bordwell, Ozu and the poetics of cinema, e-book, originally published by London: British Film Institute; Princeton: Princeton University Press, 1988
• Peter Brunette, 'Nowell-Smith Meets Visconti, Redux: The Old and the New,', Film-Philosophy, vol. 9, no. 16, March 2005 (See also Geoffrey Nowell- Smith, “It Ain’t Me Babe: A Response to Brunette,' Film-Philosophy, vol. 9, no. 17, March 2005)
• Alan Cholodenko - '(The) Death (of) the Animator, or: The Felicity of Felix1, Part II', Animation Studies, December 9, 2007
• David Church, 'The "Cult" of Kubrick', Offscreen Journal, May 31, 2006
• Paul Coughlin, 'The Mark of Cain: Blood Simple and The Man Who Wasn't There', Scope 3, November 2005
• David Clarke, 'Welcome to Tykwer-World: Tom Tykwer as Auteur', Welcome to Tykwer-World: Tom Tykwer as Auteur', gfl-journal, No. 3/2006
• James A. Davidson, 'Some Thoughts on Alfred Hitchcock and Vladimir Nabokov', Images Journal, Issue 3, 1997
• Alexander Dhoest, 'How queer is L'Air de Paris? -- Marcel Carné and Queer Authorship', Scope, May 2003
• Lucy Fife, 'Review of Joe McElhaney, The Death of Classical Cinema: Hitchcock, Lang, Minnelli. (New York; State University of New York Press, 2006)', Film-Philosophy 11.3, December 2007
• Richard Franklin, “What I Really Want to do is Direct”: (1) Directors as Depicted on Film and Television', Senses of Cinema, Issue 42, Jan-Mar 2007
• Jane Gaines, 'Dorothy Arzner's trousers', from Jump Cut, no. 37, July 1992, pp. 88-98
• Tag Gallagher, 'Reading, Culture, and Auteurs' , Screening the Past, March 1, 2001
• Tag Gallagher, 'American Triptych: Vidor, Hawks and Ford', Senses of Cinema, Issue 42, Jan-Mar 2007
• David Gerstner, 'Queer Modernism: The Cinematic Aesthetics of Vincente Minnelli', Modernity, Vol 2 2000
• Barry Keith Grant, 'Theories of Authorship: Rethinking authorship', from Jump Cut, no. 31, March 1986, pp. 14-16
• Catherine Grant, ‘www.auteur.com?’, originally published in Screen, Vol. 41:1, 2000, 101-108
• Catherine Grant, ‘Secret Agents: Feminist Theories of Women’s Film Authorship’, originally published in Feminist Theory 2:1, 2001, 113-130
• Catherine Grant, ‘Recognizing Billy Budd in Beau Travail: Epistemology and Hermeneutics of an Auteurist “Free” Adaptation’, originally published in Screen 43:1, 2002: 57-73
• Catherine Grant, 'The "Author Function" in Transnational Film Adaptation: The case of El lugar sin límites / The Place Without Limits / Hell Has No Limits (Arturo Ripstein, Manuel Puig, José Donoso)', originally published as 'La función de "los autores": la adaptación cinematográfica transnacional de El lugar sin límites', Revista Iberoamericana, Vol. LXVIII, Núm, 199, Abril-Junio 2002, pp. 253-268
• Asbjørn Grønstad, 'Coppola's Exhausted Eschatology: Apocalypse Now Reconsidered', Nordic Journal of English Studies, Vol. 4, No. 1, 2005
• Andrew Grossman, 'The Belated Auteurism of Johnnie To', Senses of Cinema, January 2001
• Fiona Handyside, 'The Auteur as Imposter', Film-Philosophy, 10.1, 2006
• John Hess, 'La politique des auteurs (part one) World view as aesthetics', from Jump Cut, no. 1, 1974, pp. 19-22
• John Hess, 'La politique des auteurs (part two) Truffaut's manifesto', from Jump Cut, no. 2 (1974), pp. 20-22
• Roger Hillman, 'Fassbinder, and Fassbinder/Peer Raben', Screening the Past, March 1, 2001
• Brian Hu, 'Neither Personal nor Political (review of John Anderson (2005) Edward Yang (Urbana and Chicago: University of Illinois Press)', Film-Philosophy 10.1, 2006
• Noel King, 'Changing the Curriculum: The Place of Film in an English Department', Australian Journal of Cultural Studies, Vol. 1, No. 1, 1983
• Donald F. Larsson, 'Every Picture Tells A Story: Agency And Narration In Film', Panel: Movies as Paradigmatic Narratives, Modern Language Association Annual Conference, Washington, D.C., December, 2000
• Katerina Loukopoulou , 'Godard Alone? (review of Michael Temple, James S.Williams and Michael Witt (eds) (2004) For Ever Godard (London: Black Dog Publishing)', Film-Philosophy, 10. 1, 2006
• Harriet Margolis, 'Introduction: "A Strange Heritage" - from Colonization to Transformation?', in Margolis (ed.), Jane Campion (Cambridge: Cambridge University Press, 2000)
  
• Adrian Martin, 'Sign your name across my heart, or:"I want to write about Delbert Mann" ', Screening the Past, March 1, 2001
• Tony McKibbin, 'Art Variables and Life Variables in La Belle noiseuse', Senses of Cinema, Issue 42, Jan-Mar 2007
• Andrew Neal, 'Review of Fifty Contemporary Filmmakers, edited by Yvonne Tasker (London: Routledge, 2002) and Contemporary North American Filmmakers: A Wallflower Critical Guide (Second Edition), edited by Yoram Allon, Del Cullen and Hannah Patterson (London: Wallflower, 2002), Scope, May 2004
• Dan North, 'Review of Directed by Allen Smithee, edited by Jeremy Braddock and Stephen Hock (Minneapolis/London: University of Minnesota Press, 2001), Scope, May 2004
• Karla Oeler, 'Signs of the Times: The thirty year trajectory of Signs and Meaning in the Cinema', Film-Philosophy, Volume 3 Number 25, June 1999
• Matt Pearson, Authorship and the Films of David Lynch, e-book, BritishFilm.org.uk, 1997
• VF Perkins, 'Moments of Choice', first published in The Movie, no. 58 (Orbis Publishing, 1981), Rouge 9, 2006
• Dana Polan, 'Auteur Desire', Screening the Past, March 1, 2001
• Trevor Ponech, 'Authorship and Authorial Autonomy: The Personal Factor in the Cinematic Work of Art', Æ Canadian Aesthetics Journal / Revue canadienne d'esthétique, Volume 4 Summer/Été 1999
• Lauren Rabinovitz, 'Past Imperfect: Feminism and Social Histories of Silent Film', Cinémas/Cinémas, Volume 16, numéro 1, Automne 2005, p. 21-34
• Nicholas Rombes, 'The Rebirth of the Author, CTheory, June 2005
• Holger Römers, '“The Moral of the Auteur Theory”: Frank Borzage’s Moonrise (and Theodore Strauss’ Source Novel)', Senses of Cinema, Issue 42, Jan-March 2007
• Jonathan Rosenbaum, 'Potential Perils of the Director’s Cut', originally published in French as Le Mythe du Director’s cut (Paris: Presses Sorbonne Nouvelle, 2008), JonathanRosenbaum.com, August 6, 2008
• William D. Routt, 'Lois Weber, or the exigency of writing', Screening the Past, March 1, 2001
  
• William D Routt, 'L'Evidence', Continuum: The Australian Journal of Media & Culture, vol. 5 no 2 (1990)
• Girish Shambu, 'On Auteurism', girish, March 30, 2008
• David Sorfa, 'Introduction: Reanimating the Auteur', Film-Philosophy , 10.1, 2006
• David Sterritt, Introduction', The Films of Alfred Hitchcock (Cambridge: Cambridge University Press, 1993)
• Tony Todd, 'Meanings and Authorships in Dune', Film-Philosophy 13.1, 2009
• Kristof Van Den Troost, « Stephen Teo, Director in Action: Johnnie To and the Hong Kong Action Film », China perspectives, n°2009/1, 2009
• NEW Harry Tuttle, 'Truffaut's manifesto : La Politique des Auteurs- Part 1', Indian Auteur, February 1, 2009
  
• NEW Harry Tuttle, 'La Politique Des Auteurs-2', Indian Auteur, May 3, 2009
• NEW Harry Tuttle, 'French [cinephilic and auteurist] terms and their pronunciation', Indian Auteur, May 20, 2009
  
• Paula Willoquet-Maricondi, 'Peter Greenaway: A User's Manual', Film-Philosophy, Volume 2, 1998
• Brenda Wilson, 'Blurring the Boundaries: Auteurism & Kathryn Bigelow', UBCinephile, Vol. 1, 2005
• Ronald W. Wilson, 'Review of Chris Fujiwara, The Auteur of Darkness: Jacques Tourneur', Film-Philosophy, Vol. 7 No. 2, January 2003
• Daniel Yacavone, 'Towards a Theory of Film Worlds', Film-Philosophy 12.2, September 2008