Great new Essays on Film and Video from Mediascape

The above video is a very short, but effective, introduction to issues affecting small nations as they produce cinema, using the example of the Nordic countries, by film scholar Mette Hjort. It is also a fascinating digital promotional tool for a University of Washington Press book series co-edited by her. See Hjort's excellent essay on 'small nation cinema studies' in the new issue of Mediascape. And also see Tom Zaniello's excellent article there on emerging, new-media forms of documentary including the digital advert.

Film Studies For Free was really delighted to see that there's a new issue out of online journal Mediascape. The Winter 2011 issue explores

the complex notions of the local and global as they intersect with media: industries and studies; cultures of production, distribution, exhibition and reception; as well as the text itself. Some of the questions this issue engages with include: In what ways does the global marketplace facilitate local products and productions? How do actors negotiate the politics of globalization in how they represent themselves in either the digitally enhanced or real worlds? How can digital media balance both the autonomy of local communities and the ongoing impact of corporate globalization? What role do academic scholars and students play in the globalization of media studies? [read more of this introduction here].

As with earlier issues of this high quality and strikingly original journal, there are a good number of items in audiovisual formats (including video essays, video exemplars, etc). Alongside Mette Hjort's and Tom Zaniello's articles, FSFF particularly appreciated Brian Hu's excellent video essay on the use of popular music in Wong Kar-wai’s films: truly wonderful, analytical viewing and listening! But there are many others pieces of great interest and these are all directly linked to below.

Thanks for a really great issue, Mediascape.

Features: 

• 'From Synthespian to Avatar: Re-framing the Digital Human in Final Fantasy and The Polar Express' by Jessica Aldred
• 'Tsuruko Aoki: Wife, Lover, Transcultural Star (visual essay)' by Bryan Hikari Hartzheim
• 'Pop Music and Wong Kar-wai (visual essay)' by Brian Hu
• 'Impact on Soft Power of Cultural Mobility: Japan to East Asia' by Seiko Yasumoto

Reviews:

• 'Suturing the Wound of Globalization: Immigration and Organs in Dirty Pretty Things' by Abby Hinsman
• 'Coming of Age in Media/Cultural Studies: Critical Approaches' by Dennis Lo

Meta:

• 'Small Cinemas: How They Thrive and Why They Matter' by Mette Hjort
• 'Roundtable Discussion on the Local and Global in Media Studies' Respondents: Amelie Hastie, Roshanak Khesti and Laura U. Marks (link not yet working)

Columns:

• 'Introduction' by Ross Lenihan and Ben Sampson
• 'Robert Greenwald Interview' by Ross Lenihan and Ben Sampson
• 'Ina Inaba Interview' by Ross Lenihan
• 'Amie Williams Interview' by Ben Sampson
• 'Globalization, Digital Films, and New Directions in Documentary' by Tom Zaniello
• 'Speculations on the Virtual and the Viral Witness to Human Rights Crises' by Sam Gregory and Patricia Zimmermann

Columns Video:

• 'Local/Global in Documentary Films: Traditional Media and New Media (video interview)' by Ross Lenihan and Ben Sampson
• 'Local/Global in Documentary Films: Short Format vs Long Format (video interview)' by Ross Lenihan and Ben Sampson
• 'Local/Global in Documentary Films: New Media and Social Change (video interview)' by Ross Lenihan and Ben Sampson
• 'Local/Global in Documentary Films: Effectiveness of Advocacy Media (video interview)' by Ross Lenihan and Ben Sampson

On Japanese Cinema

Last updated: August 3, 2010

Film Studies For Free wanted to make sure its readers didn't miss the video embedded above. It's another great offering from Fora.tv, this time a very entertaining and informative interview with Donald Richie about his internationally celebrated work on Japanese cinema and culture. FSFF heard of this via David Hudson and the Japan Society Film Blog.

In addition, FSFF has assembled some links below to openly accessible and very high quality scholarship on Japanese cinema (including numerous full-length studies), with work by Donald Richie, and many other excellent items which are indebted to his studies of Japanese cinema.

This was quite a broad category to research online, so FSFF will inevitably have missed some good resources: suggestions for any high quality additions are, therefore, even more welcome than usual! (Update: See comments  below for some of these, including the tip to link to Eigagogo's bookmarks at Delicious which lists some further great resources).

•  Kaori Ashizu, 'Kurosawa’s Hamlet?', Shakespeare Studies 33 (1995): 71-99

• Sarah M. Ball, The Uncanny in Japanese and American Horror Film: Hideo Nakata’s Ringu and Gore Verbinski’s Ring, MA thesis, North Carolina State University, 2006  

• Colette Balmain, 'Inside the Well of Loneliness: Towards a Definition of the Japanese Horror Film', Electronic Journal of Contemporary Japanese Studies, Discussion Papers, 2006 

• Colette Balmain, '“Vengeful Virgins in White”: Female Monstrosity in Asian Cinema', in Niall Scott (ed), Monsters and the Monstrous: Myths and Metaphors of Enduring Evil (Oxford: Inter-Disciplinary Press, 2004) [scroll down through pdf to p. 123]

• David Bordwell, Ozu and the Poetics of Cinema (Princeton: Princeton University Press, 1988)

• David Bordwell, 'Review of Noël Burch's "To the Distant Observer"', Wide Angle vol. 3, no. 4 (1980): 70–73

• Mio Bryce, Christie Barber, James Kelly, Siris Kunwar and Amy Plumb, 'Manga and Anime: Fluidity and Hybridity in Global Imagery', Electronic Journal of Contemporary Japanese Studies, 2010

• Noël Burch, To the Distant Observer: Form and Meaning in the Japanese Cinema (London : Scholar Press, 1979)

• Robert Castle, 'The Radical Capability of Rashomon', Film-Philosophy, Vol. 7 No. 33, October 2003

• Ryan Cooke, 'Review of Jay McRoy, Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam and New York: Editions Rodopi B.V., 2008', Screening the Past,Issue 23, 2008

• Christopher J. Coyne, 'Culture, Common Knowledge and Post-Conflict Reconstruction', Journal of Intercultural Communication, No 13 (2007)

• Darrell William Davis, Saving Face: Spectator and Spectacle in Japanese Theatre and Film (LEWI Working Paper Series/David C. Lam Institute for East-West Studies, October 2004)

• Darrell William Davis, 'Reigniting Japanese Tradition with Hana-Bi', Cinema Journal 40, No. 4, Summer 2001

• Rayna Denison, 'On Susan J. Napier's From Impressionism to Anime: Japan as Fantasy and Fan Cult in the Mind of the West', Participations, Volume 6, Issue 2 (November 2009)

• Freda Freiberg, 'The Unkindest Cut of All? Some Reflections on the Recent Cinematic Release of the Uncut Version of Nagisa Oshima's Ai no corrida', Senses of Cinema, Issue 12, Feb-Mar 2001

• Freda Freiberg, 'Pale Flower', Senses of Cinema, Issue 55, 2010

• Freda Freiberg, 'Miyazaki's Heroines', Senses of Cinema, Issue 55, 2010

• New Jinshi Fujii, 'Films That Do Culture : A Discursive Analysis of Bunka Eiga, 1935-1945', Iconics 6, Japan Society of Image Arts and Sciences, 2002

• New Hideaki Fujiki, 'Dual Persona : Onoe Matsunosuke as Japan's Early Cinema Star', Iconics 7, Japan Society of Image Arts and Sciences, 2004

• Tag Gallagher, 'Mizoguchi and freedom', Screening the Past, Issue 13, 2001

• Aaron Gerow, 'One print in the age of mechanical reproduction: film industry and culture in 1910s Japan', Screening the Past, 2000 (11), 11 January 2000

• New Aaron Gerow, 'The Benshi's New Face : Defining Cinema in Taisho Japan', Iconics 3, Japan Society of Image Arts and Sciences, 1994

• Andrew Grossman, 'Gohatto-or the End of Oshima Nagisa?', Bright Lights Film Journal, Issue 33, 2001 July

• New Masato Hase, 'Cinemaphobia in Taisho Japan : Zigomar, delinquent boys and somnambulism', Iconics 4, Japan Society of Image Arts and Sciences, 1998

• New Kyoko Hirano, 'The Banning of Japanese Period Films by the American Occupation,' Iconics 1, Japan Society of Image Arts and Sciences, 1987

• Lori Hitchcock, 'Third Culture Kids: A Bakhtinian Analysis of Language and Multiculturalism in Swallowtail Butterfly', Scope, February 2004

• Hikari Hori, 'Representing a Woman’s Story: Explicit Film and the Efficacy of Censorship in Japan', Sarai Reader 2005: Bare Acts

• Yuwen Hsiung, 'Kurosawa's Throne of Blood and East Asia's Macbeth', CLCWeb: Comparative Literature and Culture 6.1 (2004)

• Lee Wood Hung, 'Natural Culturalism in The Ballad of Narayama: A Study of Shohei Imamura's Thematic Concerns', Asian Cinema, Spring/Summer 2003

• Timothy Iles, 'Are We There Yet? Travelling Toward the Self in Contemporary Japanese Cinema', Electronic Journal of Contemporary Japanese Studies, 2007

• Mizuko Ito, 'The Gender Dynamics of the Japanese Media Mix', A position paper prepared for the workshop and conference on Girls 'n' Games, May 8-9, University of California, Los Angeles, 2006

• New Kenji Iwamoto, 'Film Criticism and the Study of Cinema in Japan：A Historical Study', Iconics 1, Japan Society of Image Arts and Sciences, 1987

• Brian Jarvis, 'Anamorphic allegory in The Ring, or, seven ways of looking at a horror video', The Irish Journal of Gothic and Horror Studies, 3, 2007

• Lei Jin, 'Silence and Sound in Kurosawa's Throne of Blood', CLCWeb: Comparative Literature and Culture 6.1 (2004) 

• Journal of the Imaginary and Fantastic Vol. 1.  No. 2.:  The Films of Hayao Miyazaki

• Sato Kenji, 'More animated than life', Japan Echo, Dec 1997; 24, 5; International Module pg. 50

• Chika Kinoshita, '"Choreography of desire: analysing Kinuyo Tanaka's acting in Mizoguchi's films', Screening the Past, Issue 13, 2001

• New Futoshi Koga, 'A Review of Pornographic Images in the 1970s in Japan: Centered Around Nikkatu Roman Porno Film"', Iconics 2, Japan Society of Image Arts and Sciences, 1992

• Colleen A. Laird, 'Japanese cinema, the classroom, and Swallowtail Butterfly', Jump Cut, No. 52, Summer 2010

• Annie Manion, 'Discovering Japan: Anime and Learning Japanese Culture', A Master's Thesis Submitted to the East Asian Studies Center, USC

• Dolores Martinez, 'Where the human heart goes astray: Rashomon, Boomtown and subjective experience', Film Studies, Issue 11, Winter 2007

• Yuji Matson, The Word and The Image: Collaborations between Abe Kôbô and Teshigahara Hiroshi, Masters Thesis, University of Victoria, 2007 

• Bonnie Melchior, 'King Lear and Ran: Identity Translated and Transformed', East-West Connections: Review of Asian Studies Volume 5, Number 1 (2005) [scroll to p. 41 in PDF]

• New Kiseko Minaguchi, 'Yamamoto Satsuo's Haha no kyoku (Mother's Melody) : Making a Father's Story of Stella Dallas', Iconics 6, Japan Society of Image Arts and Sciences, 2002

• Gary Morris, 'The Spirit Moves: The World of Kenji Mizoguchi',  Bright Lights Film Journal, Issue 22, 1999

• New Hisashi Nada, 'An Aspect of the Reception of Avant Garde Films in Japan', Iconics 2, Japan Society of Image Arts and Sciences, 1992

• New Hisashi Nada, 'The Little Cinema Movement in the 1920s and the Introduction of Avant-Garde Cinema in Japan', Iconics 3, Japan Society of Image Arts and Sciences, 1994

• Lindsay Nelson, 'Ghosts of the Past, Ghosts of the Future: Monsters, Children, and Contemporary Japanese Horror Cinema', Cinemascope, Issue 13, July-December 2009

• Eimi Ozawa , 'Remaking Corporeality and Spatiality: U.S. Adaptations of Japanese Horror Films, 49th Parallel, Conference Special Edition, Autumn 2006

• Chris Payne, 'Burying the Past: Nihonjinron and the Representation of Japanese Society in Itami's The Funeral', Graduate Journal of Asia-Pacific Studies, 1: 1 (2003), 13-20

• Michael Francis Phillips, 'A Cinematic Challenge to Modernity Critical Theory in Postwar Japanese Cinema: An Introduction to Fukasaku Kinji', eCommons@Texas State University, May 2009

• Donald Richie, Japanese Cinema: Film Style and National Character (New York: Anchor Books, 1961; Michigan Electronic Reprint 2004)

• Donald Richie, 'Expressionism in Film', Tokyo - Berlin / Berlin - Tokyo Exhibition Catalogue, Mori Art Museum, 2006

• Donald Richie, 'The Daughter of the Samurai: a German-Japanese co-production', Tokyo - Berlin / Berlin - Tokyo Exhibition Catalogue, Mori Art Museum, 2006

• Donald Richie, writer and film critic, Conversations With History: "Writing, Film, and Japan: An Expatriate's View," 9/21/01

• Juneko J. Robinson , 'Review: Jay McRoy (2007) Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam: Rodopi', Film-Philosophy, 14.1, 2010 

• Caroline Ruddell, 'Breaking Boundaries The Representation of Split Identity in Anime', Animation Studies – Vol.2, 2007

• Chi-Yun Shin, 'Art of branding: Tartan "Asia Extreme" films', Jump Cut, No. 50, spring 2008

• Greg M. Smith, 'Critical reception of Rashomon in the West', Asian Cinema, Fall/Winter 2002

• Ayumi Suzuki, 'A nightmare of capitalist Japan: Spirited Away', Jump Cut, No. 51, spring 2009

• Donato Totaro, 'Tokyo Sonata: Flirting with the Fantastic: Kiyoshi Kurosawa, 2008', Offscreen Journal,Vol . 13, Issue 5, 2009

• William Tsutsui, 'Godzilla And Postwar Japan', East-West Connections: Review of Asian Studies Volume 5, Number 1 (2005) [Scroll to p. 1 in PDF]

• Paul Waley, 'Re-scripting the city: Tokyo from ugly duckling to cool cat', Japan Forum 18(3) 2006: 361–380

• Gregory A. Walle, Narrating the new Japan: Biograph's The Hero of Liao-Yang (1904) Screen 2006 47: 43-65

• Craig Watts, 'Blood Spear, Mt. Fuji: Uchida Tomu's Conflicted Comeback from Manchuria', Bright Lights Film Journal, Issue 33, July 2001

• Erica Lee Zilleruelo, Shakespeare by Any Other Word? Shakespeare's King Lear and Macbeth Reivented in the Films of Akira Kurosawa, Masters Thesis, Wichita State University, 2002

On "England" and "Englishness" in British Cinema and Television

Updated July 27, 2010

Image from Went the Day Well? (Alberto Cavalcanti, 1942)

Film Studies For Free was recently very inspired by Nick James's wonderful overview of the career of Brazilian Alberto Cavalcanti for next month's Sight and Sound magazine. As a huge fan of Cavalcanti's work, and in particular of his (and Ealing's) Went the Day Well? (indeed, FSFF's author lives in a English village uncannily like that portrayed in this film), it immediately set about researching a list of links to online scholarly works on the Brazilian filmmaker, only to discover very few openly accessible ones in English (do check out, though, Kristin Thompson and David Cairn's essays on Went the Day Well?, and the latter's other postings on Cavalcanti here, here, here, here, and here).

FSFF's author's rage at this overall lack of anglophone material (see the photographic evidence above) was eventually sublimated in a different curatorial project, one still connected to themes at the heart of Cavalcanti's work, and also to some related topics explored in further August 2010 Sight and Sound articles (ones sadly not [yet] online: William Fowler's 'Absent authors: Folk in artist film', and Rob Young's 'The pattern under the plough').

Anyhow, below you will find the fruit of this inspiration and frustration: a list of links to thoughtful and thought-provoking international scholarship on expressions of "England" and (multifarious) "Englishness" in (mostly) British cinema and television.

• José Arroyo, 'The films of Isaac Julien: Look back and talk black', Jump Cut, no. 36, May 1991

• Victoria Ball, 'Female identity and the British female ensemble drama 1995-1998', PhD thesis. Queen Margaret University, 2007

• Charles Barr, 'Projecting Britain and the British Character: Ealing Studios, Part II', originally Screen, 15(2), 1974

• Alexandra Lynn Barron, 'Postcolonial Unions: The Queer National Romance in Film and Literature', PhD Thesis, University of Texas at Austin, May 2005

• Joe Brooker, 'England's Screening', Film-Philosophy, 3.10, 1999

• Stuart Duncan Brown, 'Uses of Laughter in the Cinematic Representation of the British Working-Class', PhD Thesis, University of Glasgow, December 2007

• Charlotte Brunsdon, 'The Poignancy of Place: London and the Cinema', Visual Culture in Britain, Volume 5, Number 1, Summer 2004 , pp. 59-73

• Charlotte Brunsdon, ‘A fine and private place’: the cinematic spaces of the London Underground' Screen 2006 47: 1-17

• Katherine Byrne, '“Such a fine, close weave”: Gender, Community and the Body in Cranford (2007)', Neo-Victorian Studies, 2.2, Winter 2009/2010

• Elizabeth de Cacqueray, 'New Slants on Gender and Power Relations in British Second World War Films', Miranda, No. 2, 2010

• Mónica Calvo Pascual, 'My Beautiful Laundrette: Hybrid "Identity", or the Paradox of Conflicting Identifications in "Third Space" Asian-British Cinema of the 1980s', Miscelánea: a journal of english and american studies 26 (2002): pp. 59-70

• E. Anna Claydon, ‘Nostalgia in the Post-National: Contemporary British Cinema and the South-Asian Diaspora’, South Asian Cultural Studies,Vol.2 No.1, 2008, pp 26 - 38

• Robin Cohen, ' Fuzzy Frontiers of Identity: The British Case', Social Identities Vol 1. No. 1 1995, 35−62

• Chantal Cornut-Gentille D’Arcy, 'Filmic Representations of the British Raj in the 1980s: Cultural Identity, Otherness and Hybridity', PhD Thesis, Universidad de Zaragoza, March 2009

• Chantal Cornut-Gentille D’Arcy, 'Everything You Always Hated about Thatcher's Britain: A Cultural Analysis of Mike Leigh's High Hopes', Miscelánea: A Journal of English and American Studies, 28, 2003

• Josephine Dolan, 'Englishness: Heroes, heroines and reciprocal encounters', Identity, Self and Symbolism, Volume 1.2 November 2006

• Stephanie Hemelryk Donald, ‘Seeing white: female whiteness and the purity of children in Australian, British and Chinese visual culture’, Social Semiotics, 10:2, 2000, 157-171

• Gillian Dow, 'Lady Bathurst’s Patriotic Ballroom, or “Reading Austen at a Distance”: The French Revolutionary Wars in Recent Adaptations ', Persuasions-Online, Vol. 28, No. 2, 2008

• Geoff Eley, 'Finding the People's War: Film, British Collective Memory and World War II', American Historical Review, 105, 5 (June 2001), 818-838

• Steven Fielding , 'A mirror for England? Cinematic representations of politicians and party politics during the ‘golden age’ of party, c. 1944-64', The First Annual International Conference on Minor Parties, Independent Politicians, Voter Associations and Political Associations in Politics, University of Birmingham, 2007

• Thaïs Flores Nogueira Diniz, 'Representation and Identity: Shakespeare in the Forties', Estudos Anglo Americanos 17-18 (1993-94)

• Andrew Higson, 'Transnational developments in European cinema in the 1920s',Transnational Cinemas Volume 1, Number 1, 2010

• Justin Hindmarsh, 'British Cinema - Style and Context: An Examination of British "New Wave" Films', Discussion Papers in Mass Communications, University of Leicester, January 1997

• Elena Von Kassel, 'An Image of Britain during the Second World War: The films of Humphrey Jennings (1939-1945)',  Revue LISA/LISA e-journal [Online], Vol. IV - n°3 | 2006

• Frank Leishman, 'From Dock Green to Life on Mars: Continuity and Change in TV Copland', University of Gloucestershire Inaugural Lecture No 1, 2008

• Melinda Lewis, 'Renegotiating Britishness through Comedy television', Master Thesis, Graduate College of Bowling Green State University, August 2009

• Chris Louttit, 'Cranford, Popular Culture, and the Politics of Adapting the Victorian Novel for Television', Adaptation, (2009) 2 (1): 34-48

• Robert Mayer, 'Not Adaptation by ‘Drifting’: Patrick Keiller, Daniel Defoe, and the Relationship between Film and Literature', Eighteenth-Century Fiction, Volume 16, Issue 4, 2004

• Michael McCluskey, 'Amateur Film and the Interwar English Countryside', Scope, Using Moving Image Archives, Edited by Nandana Bose and Lee Grieveson, Issue 17, June 2010

• José I. Prieto Arranz, 'Images of English purity: A comparative study of Elizabeth I and Diana, Princess of Wales', Identity, Self and Symbolism, Volume 1.2 November 2006 (scroll to p. 116)

• Cornelis Martin Renes, 'Whose New World? Derek Jarman’s Subversive Vision of The Tempest (1979)', BELLS, 17, 2008

• Josh Romphf , '“Invention in the Name of Community”: Workshops, the Avant-Garde and The Black Audio Film Collective', Kino: The Western Undergraduate Journal of Film Studies, Vol. 1 [2010], Iss. 1

• Pave Skopal, 'DVD marketing in U.S. of Working Title's British romantic comedies: Framing reception and strategies of cultural appropriation', Jump Cut, No. 48, winter 2006

• John C. Tibbetts, 'Between the Map and the Painted Landscape: Kevin Brownlow’s Historical Films',  PREPRINT at Kansas University Repository: Historical Journal of Film, Radio, Television, June 2000. 20(2): 227-251

• Rosie White, 'Englishness and espionage: Edith Cavell as the good spy', Identity, and Symbolism, Volume 1.2 November 2006 (scroll to p. 129)

• Jonathan Wright, 'Rereading the British Social Realist Film: Samantha Lay's British Social Realism', Film-Philosophy, Vol. 8 No. 4, January 2003

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
• Anthony Lambert, 'Woman as Cure: Cynthia, Praise and Cinematic Politics of Difference', Metro Magazine No. 124/125
• Raffaele Lampugnani, 'Comedy and Humour, Stereotypes and the Italian Migrant in Mangiamele’s Ninety Nine Per Cent', FULGOR (Flinders University Languages Group Online Review), Volume 3, Issue 1, December 2006
• Suzanne Langford , 'In Search of an Australian Soul: Reflections on Religion and Spirituality in Rabbit-Proof Fence and Japanese Story', in Eternal Sunshine of the Academic Mind: Essays on Religion and Film, edited by Christopher Hartney (Sydney Studies in Religion 2009)
• Pat Laughren, Debating Australian Documentary Production Prolicy: Some Practitioner perspectives', Media International Australia, Vol. 2008 (129), pp. 116-128
• Pat Laughren, 'Australian Documentary: Notes on the State of the Art of the Art of the State in the 1960s', ACUADS 2009 Conference: Interventions in the Public Domain
• David Lowe, 'An Outlaw Industry: Bushrangers on the big screen: 1906-1993', self-published, March 1995
• Sean Maher, 'The internationalisation of Australian film and television through the 1990s', Australian Film Commission Sydney, Melbourne, Brisbane 2004 
• Martin Mantle, 'Disability, Heroism and Australian National Identity', M/C Journal, Vol. 11, No. 3, 2008
• Adrian Martin, excerpt from 'Introduction', The Mad Max Movies (Sydney: Currency Press/Australian Screen Classics, 2003)
• Greg McCarthy, 'Australian Cinema and the Spectres of Post- Coloniality: Rabbit-Proof Fence, Australian Rules, The Tracker and Beneath Clouds', London Papers in Australian Studies No. 8, 2004
• Greg McCarthy, 'The Obstinate Memory in Australian Films', Refereed paper presented to the Australasian Political Studies Association Conference University of Tasmania, Hobart 29 September — 1 October 2003 
• Jordi McKenzie, 'Stable Distribution and Paretian Tails: Australian Box Office Revenue Evidence', AFTRS Media, April 23, 2007
• Jordi McKenzie and Nicolas De Roos, '‘Cheap Tuesdays’ and Estimating Movie Demand: An Empirical Analysis of the Australian Cinema Industry', Discipline of Economics, University of Sydney, NSW, 2006
• Trevor Melksham, 'What Manner of Men are These? Peter Weir’s Gallipoli as an Expression of an Australian Civil Religion', in Eternal Sunshine of the Academic Mind: Essays on Religion and Film, edited by Christopher Hartney (Sydney Studies in Religion 2009)
• Toby Miller, The Dawn of an Imagined Community: Australian Sport on Film', Sporting Traditions 7, no. 1. (1990): 48–59
• Lisa Milner, ‘Commos and ratbags: the origins of trade union cinema in Australia’, Journal of Australian Studies, vol. 60, 1999, pp. 133-139 
• Lisa Milner, 'Kenny and Australian cinema in the Howard era', in H Radner and P Fossen (eds), Remapping cinema, remaking history: XIVth Biennial Conference of the Film and History Association of Australia and New Zealand. Conference Proceedings. Volume Two: Selected Full Refereed Papers , Dunedin, New Zealand, 27-30 November, Department of Media, Film and Communication, University of Otago, Dunedin, New Zealand, pp. 171-181
• Tony Mitchell, '“Wogs still out of work": Australian television comedy as colonial discourse', Australasian Drama Studies, No. 20, 1992, 119-133
• Albert Moran and Errol Vieth, 'Historical Dictionary of Australian and New Zealand Cinema', Historical Dictionaries of Literature and the Arts, No. 6, The Scarecrow Press, Inc. Lanham, Maryland • Toronto • Oxford 2005 (long exceprt)
• Meaghan Morris, 'The Man from Hong Kong in Sydney, 1975', in Judith Ryan and Chris Wallace-Crabbe (eds), Literature and Culture in the New, New World, pp. 235 -266, Cambridge, MA and London: Harvard University Committee on Australian, Studies, 2004
• Caroline M. Pascoe, Screening Mothers: Representations of motherhood in Australian films from 1900 to 1988, PhD Thesis, University of Sydney, September 1998
• Mariacristina Petillo, 'Translating Australian Cinema for an Italian Audience The bloody case of Ned Kelly and Picnic at Hanging Rock', inTRAlinea, Vol. 12, 2010
• Ingo Petzke, 'Phillip Noyce', Humanities & Social Sciences papers, Bond University 2006
• Jonathan Pickering. 'Globalisation: A Threat to Australian Culture?', Multicultural Austrlia Research Library, November 2004
• Nick Prescott, '“All we see and all we seem...” – Australian Cinema and National Landscape', Understanding Cultural Landscapes Symposium, 11-15 July 2005
• Fiona Probyn, 'An Ethics of Following and the No Road Films: Trackers, Followers and Fanatics', Australian Humanities Review, Issue 37, December 2005
• Gaetano Rando, 'Migrant images in Italian Australian movies and documentaries', AltreItalie, 16, luglio-dicembre 1997
• Suneeti Rekhari, 'Film Representation and the Exclusion of Aboriginal Identity: Examples from Australian Cinema', TASA & SAANZ Joint Conference 2007, Refereed Papers, 4-7 December 2007 Auckland, New Zealand
• Alan Rosen, Garry Walter, Tom Politis and Michael Shortland, 'From shunned to shining: doctors, madness and psychiatry in Australian and New Zealand cinema', Medical Journal of Australia, 1997
• Mark David Ryan, 'Whither culture? Australian horror films and the limitations of cultural policy', Media International Australia incorporating Culture and Policy (No 133), 2009, pp. 43-55  
• Mark David Ryan, 'At Breaking Point? Challenges for Australian Film Policy through the Lens of Genre (horror) Films', ANZCA09 Communication, Creativity and Global Citizenship. Brisbane, July 2009 
• Mark David Ryan (2010) 'Towards an understanding of Australian genre cinema and entertainment : beyond the limitations of ‘Ozploitation’ discourse', Continuum : Journal of Media & Cultural Studies, 24(6)
• Olga Seco Salvador, 'Strictly Ballroom (1991): Departure from Traditional Discourses or Veiled Confirmation of old National Encouragement Mechanisms?'miscelánea: a journal of english and american studies 32 (2005): pp. 103-114
• Catherine Simpson, 'Antipodean Automobility and Crash: Treachery, Trespass and Transformation of the Open Road', Australian Humanities Journal Issue 39-40, September 2006 
• Brian Tecies, 'Transformative Soundscapes: Innovating De Forest Phonofilms Talkies in Australia', Scope, Issue 1, February 2005
• Keyan Tomaselli, 'The South African and Australian Film Industries: A Comparison', Culture, Communication and Media Studies, 2007
• David Thomas, Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday. PhD Thesis, School of Media, Communication and Culture Murdoch University 2006
• Deborah Tudor, 'Cultural Intersections in Early Australian Sound Films: Rangle River (1936)', Democratic Communique, 19, Spring 2004
• Deb Verhoeven, 'Wool blend: Sheep and the Australian social fabric', from Sheep and the Australian Cinema (MUP Academic Monograph Series, Melbourne University Publishing, Carlton, 2006)
• Susan Ward, 'National Cinema or Creative Industries? Film Policy in Transition', Media International Australia incorporating Culture and Policy, No. 112 — August 2004
• B. Yecies, 'Failures and successes: local and national Australian sound innovations, 1924-1929. Screening The Past: An International, Refereed, Electronic Journal of Visual Media and History, (16), 2004

Irish cinema studies online (I gcuimhne ar Michael Dwyer)

Film Studies For Free would like to offer its condolences to the partner, family, and friends of renowned Irish film festival founder and Irish Times film correspondent Michael Dwyer, who very sadly died on Friday at the far too young age of 58. 

Dwyer (pictured above) was a very talented, and much admired, film critic, broadcaster, and programmer, 'a true star of Irish film', as a great tribute to him in the Irish Times put it. Known very much as a keen internationalist in his film tastes and championings, Dwyer did make an incalculably important contribution to Irish national film culture, as many of the personal tributes to him since his untimely death have made very clear (see, for instance, those posted here and here). Here is a link to his last column for the Irish Times with his favourite film lists for 2009 and the last decade.

Below, in his memory, FSFF has assembled its own list of links to high quality, online, and openly accessible scholarly resources on Irish cinema.

• Desmond Bell, 'Interview with Filmmaker Pat Murphy', Kinema, 2008

• Maeve Connolly, 'Excluded by the Nature of Things? Irish Cinema and Artist’s Film', CIRCA 106, winter 2003: 33-39

• Seán Crosson, 'Vanishing Point: An examination of some consequences of globalization for contemporary Irish film', e-Keltoi: Journal of Interdisciplinary Celtic Studies, Volume 2: 1-23

• Seán Crosson, "‘They can't wipe us out, they can't lick us. We'll go on forever pa, ‘cause we're the people' - Misrepresenting death in Jim Sheridan's In America (2003)", Estudios Irlandeses: Journal of Irish Studies, Issue 3, (2008)

• Christine Evans, 'On Genre and Semantic Quibbling: Or, there's no pleasing a genre critic', Genre and Irish Cinema Conference, University of British Columbia, March 2005
  

• Peter Flynn, 'Some Mother's Son: Postcolonial, Postnational, Posthistorical?', Bright Lights Film Journal, Issue 29, July 2000  

• Roddy Flynn, 'Raiders of the Lost Archive: the Report of the Interdepartmental Committee on the Film Industry 1942', Irish Communications Review, Volume 10, 2007 (large pdf - scroll down)
  

• Debbie Ging, 'A ‘Manual on Masculinity’? The consumption and use of mediated images of masculinity among teenage boys in Ireland', Irish Journal of Sociology, Vol. 14(2) 2005, pp. 29–52

• Rosa Gonzalez Casademont, 'Ireland on Screen. A View from Spain', International Journal of English Studies, vol. 2 (2), 2002, pp. 71-82

• Brendan Kelly, 'Psychiatry in contemporary Irish cinema: a qualitative study', Irish Journal of Psychological Medicine, 2006; 23(2): 74-79

• Cornelis Martin Renes, 'The Quiet Man and Angela's Ashes: Hollywood Representations of Irish Emigration as Male Quest Narrative', Estudios Irlandeses, Issue 2, 2007

• Brian McIlroy, 'The Repression of Communities: Visual Representations of Northern Ireland during the Thatcher Years', first published in Fires Were Started: British Cinema and Thatcherism., ed. Lester Friedman. Revised edition. London: Wallflower Press, 2006: 77-90
  

• Brian McIlroy, 'Exodus, Arrival & Return: The Generic Discourse of Irish Diasporic and Exilic Narrative Films', first published in Keeping It Real: Irish Film and Television, eds. Ruth Barton and Harvey O’Brien (London: Wallflower Press, 2004): 69-77
  

• Raita Merivirta-Chakrabarti, 'Between Irish National Cinema and Hollywood: Neil Jordan's Michael Collins', Estudios Irlandeses, Issue 2, 2007

• Raita Merivirta, 'Like Cain and Abel: Michael Collins and Eamon de Valera in Neil Jordan’s film Michael Collins', Wider Screen, 1, 2005
  

• Paula Murphy, 'The Irish Phone Home: Reflections of Ireland in Jim Sheridan’s In America', Estudios Irlandeses, Issue 4, 2009
  

• Paula Murphy, 'Interrogating Intermission', Kritikos: A Journal of Postmodern Cultural Sound, Text and Image, Volume 3, 2006

• Kim Newman, 'Irish Horror Cinema', The Irish Journal of Gothic and Horror Studies, Issue 1, October 2006

• Harvey O’Brien, The identity of an Irish cinema, 3rd edition, 2007
  

• Renée Penney, 'Bloody Sunday: Classically Unified Trauma?', Vol. 1, UBCinephile, April 2005

• Renée Penney, 'Genre and Irish Cinema Conference Review - March 2005', Center for Cinema Studies,University of British Columbia
  

• Sarah Pierce, 'The Archival Fourth Dimension', Afterall, November 23, 2009

• Marita Ryan, 'Answering the Question: “What is Intermission?” – An Exploration of Intermission as a Postmodern Film', International Journal of Baudrillard Studies, Volume 5, Number 1 (January, 2008)

• Matthew Ryan, 'Ourselves Alone: Solipsism in Neil Jordan's Novels and Films', Barcelona English Language and Literature Studies, no.11, 2000, pp.187-98

• Sean Ryder, 'Representing Ireland: Literary Adaptation and Irish Cinema', Barcelona English Language and Literature Studies 9, 1998, 119-130

• Tony Tracy (ed.), 'Irish Film and Television - 2005' (including Introduction Tony Tracy; Irish Film 2005: An Industry in Crisis? Roddy Flynn;Boy Eats Girl Ruth Barton; Masculinity in Contemporary Irish Cinema Debbie Ging;Adam and Paul Barry Monahan;The Trouble with Sex Emma Grealy;Pure Mule Tony Tracy;Fair City Helena Sheehan;Mickybo and Me and The Mighty CeltPádraic Whyte; Man About Dog Díóg O’Connell;Documentary Film and TelevisionHarvey O’Brien; Pavee Lackeen Seán Crosson;Adaptations: Tara Road and Breakfast on Pluto Tony Tra), Estudios Irlandeses, Issue 1, 2006
  

• Tony Tracy (ed.), 'Irish Film and Television – 2006' (including Introduction Tony Tracy; Industrial In/Activity Roddy Flynn; TG 4 Eithne O'Connell; The Wind that Shakes the Barley Ruth Barton; Isolation Barry Monahan; Capital Letters Debbie Ging; Once Tony Tracy; Middletown Jane Ruffino; Six Shooter Seán Crosson; Brendan Gleeson Harvey O'Brien; The Clinic Diog O Connell; The Tiger's Tail and The Pope's Children Pat Brereton) Estudios Irlandeses, Issue 2, 2007

• Tony Tracy (ed.),'Irish Film and Television – 2007 (including Introduction Tony Tracy; From Kings to Cáca Mílis: Recent Trends in Irish Film and Television as Gaeilge Seán Crosson; Cré na Cille Gearóid Denvir The Kings’ Irish: Dialogue, Dialect and Subtitle in Kings Eithne O’Connell; Altered Images: Shrooms and Irish Cinema Roddy Flynn; Small Engine Repair Ruth Barton; Lenny Abrahamson’s Garage: A Drama of Cinematic Silence Barry Monahan; Prosperity: Social Realism in the New Millennium; Díog O’Connell; The Celtic ‘Chick-flick’: How About You and PS I Love You Debbie Ging; The Brave One Maria Pramaggiore; Experimental Conversations: Ourselves Connected? Donal Foreman; Ghosts of Empire: Mitchell and Kenyon inIrelandand Saoirse? Harvey O’Brien; At Home With the Clearys Pat Brereton; Interview with Simon Perry Tony Tracy), Estudios Irlandeses, Issue 3, 2008

• Tony Tracy (ed.), 'Irish Film and Television – 2008',(including Irish Film and Television Review 2008 Tony Tracy; In the Beginning: Ardmore Studios Celebrates 50 Barry Monahan; Kisses Ruth Barton; Hunger Seán Crosson; Staging Space: Cinema, Image, and Text in Declan Recks’ Eden Harvey O’Brien; In Bruges Joan Dean; Entering the Dark Place: Visions of Irish Horror in SeerZélie Asava; 32A Roddy Flynn; Níl aon tinteán mar do hinteán féin: Home insecurity in recent Irish Cinema Veronica Johnson; Tom Jordan Murphy: An Appreciation Michael Patrick Gillespie; The Short Film and Irish Cinema Conn Holohan; Drawing Conclusions: Irish Animation and National CinemaLiam Burke; Meltdown makeover: TV3’s The Apprentice Gavin Titley; Fairytale of Katmandu Laura Canning; Bertie: Portrait of a Politician Under Suspicion Pat Brereton; Striapacha Tri Chead Bliain Duailcis Niamh O’Reilly), Estudios Irlandeses, Issue 4, 2009
  

• Pilar Villar-Argáiz, 'Latter-day Mother Irelands: The Role of Women in Michael Collins and The Wind that Shakes the Barley', Estudios Irlandeses, Issue 2, 2007