30+ articles from the Journal of Aesthetics and Culture

Frame grab from The Wind (Victor Sjöström, 1928). Read Bo Florin's article on this film

[Traditionally, aesthetics] has been based on national perspectives and contexts, as well as contained within the limits of specific disciplines. However, the changing society has made this focus all too narrow. Due to globalization, media and territories merge and move in new ways, where regional, national, international, and global perspectives increasingly integrate. New contexts and new aesthetic strategies are also created, and traditional boundaries and hierarchies become transgressed, for example, between high brow and popular culture, or between art and technology. Aesthetics as well as culture thus need to be discussed and interpreted across the disciplines, through different media, over territorial borders. Finally, this is also a strong argument for Open Access publishing: to constitute a global platform and an interface for interdisciplinary discourse—free for anybody to read. [from first JAC Editorial by Astrid Söderbergh Widding, Lars Gustaf Andersson and John Sundholm]

Film Studies For Free had been meaning to post something about the Journal of Aesthetics and Culture for quite a while. It's an online open access journal, hence one very much after this blog's's heart, with a high percentage of very good quality film-studies related articles that FSFF has frequently linked to on Twitter.

Today, JAC published an excellent dossier on Transnational Cultural Memory, an event which provided a wonderful prompt to gather together, in one place, links to everything that JAC has published to date. And below, that is just what you will find.

FSFF has also added JAC to its permanent listing of excellent, Open Access film and moving image studies journals. 

Vol. 1 (2009)

• Editorial by Astrid Söderbergh Widding, Lars Gustaf Andersson, John Sundholm  (PDF HTML XML)
• Sean Cubitt, Thinking filming thinking filming (PDF HTML XML)
• Thomas Elsaesser, Ingmar Bergman in the museum? Thresholds, limits, conditions of possibility (PDF HTML XML)
• Julia Creet, Calling on Witnesses: testimony and the deictic  (PDF HTML XML)
• Bodil Marie Stavning Thomsen, Antichrist – Chaos Reigns: the event of violence and the haptic image in Lars von Trier’s film   (PDF HTML XML)
• Anu Koivunen, Confessions of a Free Woman: telling feminist stories in postfeminist media culture (PDF HTML XML)
• Tiina Rosenberg, On feminist activist aesthetics  (PDF HTML XML)
• Bo Florin, Confronting The Wind: a reading of a Hollywood film by Victor Sjöström (PDF HTML XML) 

Vol. 2 (2010)

• Editorial by Astrid Söderbergh Widding, Lars Gustaf Andersson, John Sundholm (PDF HTML XML) 
• Irina Aristarkhova, Hosting the animal: the art of Kathy High (PDF HTML XML)
• Maaret Koskinen, Ingmar Bergman, the biographical legend and the intermedialities of memory (PDF HTML XML)
• Timotheus Vermeulen, Robin van den Akker, Notes on metamodernism (PDF HTML XML)
• Anita Seppä, Globalisation and the arts: the rise of new democracy, or just another pretty suit for the old emperor? (PDF(high) PDF HTML XML)
• Tytti Soila, Passion at the threshold: Doctor Glas the flaneur in the films of Rune Carlstén and Mai Zetterling (PDF HTML XML)
• Ryszard W. Kluszczynski, Strategies of interactive art (PDF(high) PDF HTML XML)
• Michael Laurence Woods, What it is? A question on the derivation of musical meaning (PDF HTML XML)
• Matthew Mullane, The aesthetic ear: sound art, Jacques Rancière and the politics of listening (PDF HTML XML)
• Sven-Olov Wallenstein, Space, time, and the arts: rewriting the Laocoon (PDF HTML XML)
• Torkild Thanem, Louise Wallenberg, Buggering Freud and Deleuze: towards a queer theory of masochism (PDF HTML XML)

Vol 3 (2011)

• Lisbeth Söderqvist, Structuralism in architecture: a definition (PDF HTML EPUB XML)
• Per-Arne Bodin, The holy fool as a TV hero: about Pavel Lungin’s film The Island and the problem of authenticity (PDF HTML EPUB XML)
• Des O'Rawe, Towards a poetics of the cinematographic frame (PDF HTML EPUB XML)
• Erik van Ooijen, Cinematic shots and cuts: on the ethics and semiotics of real violence in film fiction (PDF HTML EBUB XML)

• Dossier on Transnational Cultural memory
• John Sundholm, Adrian Velicu, Introduction to the dossier on transnational cultural memory (PDF HTML EPUB XML)
• Astrid Erll, Traumatic pasts, literary afterlives, and transcultural memory: new directions of literary and media memory studies (PDF HTML EPUB XML)
• Steffi Hobuß, Aspects of memory acts: transnational cultural memory and ethics (PDF HTML EPUB XML)
• Adrian Velicu, Cultural memory between the national and the transnational (PDF HTML EPUB XML)
• John Sundholm, Visions of transnational memory (PDF HTML EPUB XML)
• Julia Creet, Transnational archives: the Canadian case (PDF HTML EPUB XML)
• Anna-Kaisa Kuusisto-Arponen, Transnational sense of place: cinematic scenes of Finnish war child memories (PDF HTML EPUB XML)

Love builds bridges: on the romantic comedy in transnational cinema

Last updated June 1, 2010

Image of Cary Grant and Katharine Hepburn on the set of Bringing Up Baby (Howard Hawks, 1938). See Kartina Richardson's short video essay on this film at her new audio commentary website Mirror.

Film Studies For Free's author sensibly decided, on balance, that it was probably better to stay at home and draft the below list of links to good quality, openly accessible, and disciplinarily-diverse, scholarly studies of the transnational, transhistorical, romantic comedy film mode, than to haul herself out (in the rain) to the cinema to see Sex and the City 2.

Enough said, probably, but if you think she has made the wrong choice, please do leave a comment below... (More links should be added in the next few days - if you have any to suggest, please get in touch).

• María del Mar Azcona Montoliú, 'Love is a Many-Person’d Thing: Multi-Protagonist Tales of Contemporary Desire', BELLS, 17, 2008

• Kathleen Battles and Wendy Hilton-Morrow, 'Gay Characters in Conventional Spaces: Will and Grace and the Situation Comedy Genre', Critical Studies in Media Communication Vol. 19, No. 1, March 2002, pp. 87–105

• Christopher Beach, Class, Language and American Film Comedy (Cambridge: Cambridge University Press, 2002) long excerpt

• Michael Black, Bonnie Friel, Joan Jasak, Matthew Lombard, Anne Russ, 'An Evaluation of Portrayals of Telepresence and Romantic Relationships in Film and Television', Edited by Anna Spagnolli, Luciano Gamberini, Proceedings of the 11th Annual International Workshop on Presence, Padova, 16-18 October 2008

• Karen Boyle, 'Attractions and distractions: Mums, babies and ‘early’ cinemagoing', Participations, Volume 6, Issue 2, 2009

• Mary M Chan, 'Mr. Collins on Screen: Jane Austen’s Legacy of the Ridiculous', Persuasion On-Line, V.29, NO.1 (Winter 2008) 

• Isabel Sterling Clark, 'The Challenge of Being Yourself: Adaptation, Adolescence, and Disguise in Teenage Romantic Comedy Films of the Late 1990s and Early 2000s', Senior Thesis, Haverford College, 2009

• Brenda Cossman, 'Sexuality,Queer Theory,and "Feminism After": Reading and Rereading the Sexual Subject', McGill Law Journal, Vol. 49, 2004

• Celestino Deleyto, 'The Dupes Strike Back: Comedy, Melodrama and Point of View in The Apartment,' Atlantis: Revista de la Asociacion Espanola de Estudios Anglo-Norteamericanos 14.1-2 (1992): 37-61

• Jonathan Fletcher, ‘"Anything can happen": Narrative Ambiguity and Musical Intertextuality in The Holiday', Kieler Beiträge zur Filmmusikforschung, 2, 2008 / 135

• Marcy J. Goodfleisch, 'Gentlemen gigolos, deceptive damsels, comedy and film: A dangerous mix', MA Thesis, Excelsior College, 2008

• Tamar Jeffers McDonald, 'Review of Celestino Deleyto's The Secret Life of Romantic Comedy. (Manchester: Manchester UP, 2009), ATLANTIS. Journal of the Spanish Association of Anglo-American Studies. 31.2 (December 2009): 163-168

• Kimberly R. Johnson and Bjarne M. Holmes, 'Contradictory Messages: A Content Analysis of Hollywood-produced Romantic Comedy Feature Films', (draft article for Communication Quarterly, Volume 57, Issue 3 January 2009 , pages 352 - 373)

• Betty (Despoina) Kaklamanidou, 'The "Light" Side of Feminine Evil: Film Comedies', Paper at Evil, Women and the Feminine Conference, Budapest, Hungary, May 2009

• James MacDowell, 'Romantic Comedy: Love, Nervousness & Intertextuality', Alternate Takes, February 15, 2009

• Sergio Melo , 'The phenomenology of adaptation of classics: A Midsummer Night’s Dream as viewed by Ingmar Bergman’s and Woody Allen’s perspectives', Paper for FOOT 2006, The Festival of Original Theatre: Performing Adaptations

• Linda Mizejewski, 'Queen Latifah, Unruly Women, and the Bodies of Romantic Comedy ', Genders, Issue 46, 2007

• Linda Mizejewski, 'Chapter 1: Rules and Unruliness: Romantic Comedy' in It Happened One Night (Oxfod: Wiley-Blackwell, 2009)

• Diane Negra, 'Quality Postfeminism?"Sex and the Single Girl on HBO', Genders, Issue 39, 2004 

• Kenny K. K. Ng, 'Romantic comedies of Cathay-MP and GI in the 1950s and 60s: language, locality, and urban character', from Jump Cut, No. 49, spring 2007

• Jakob Isak Nielsen, 'There's something about comedy theory', P.O.V. No.26, 2008

• Beatriz Oria Gomez, 'The Importance of Being Famous: Romance and Self-identity in Woody Allen's Celebrity (1998)', Revista de Estudios Norteamericanos no 12 (2007), pp. 83-98

• Renee Penney, Desperately Seeking Redundancy? Queer Romantic Comedy and the Festival Audience, PhD Thesis, University of British Columbia, 2010

• Polona Petek, ‘"I deserve the best and I accept the best": Exploring Female Narcissism in Me Myself I', Voicing Dissent, New Talents 21C: Next Generation Australian Studies, No. 76, 2003, pp. 159-68

• Helene A. Shugart, 'Reinventing Privilege: The New (Gay) Man in Contemporary Popular Media', Critical Studies in Media Communication Vol. 20, No. 1, March 2003, pp. 67–91

• Douglas A Sonheim, 'Walker Percy's The Moviegoer as Romantic Comedy', Baiko English Journal (1987)

• Lesley Speed, 'A World Ruled by Hilarity: Gender and Low Comedy in the Films of Amy Heckerling', Senses of Cinema, Issue 22, 2002

• Lisa Trahair, 'Comedy and Beyond: Geoff King's Film Comedy', Film-Philosophy, Volume 8, 2004

• Jyotika Virdi, 'Mr. and Mrs. 55: Comedy of gender, law, and nation', from Jump Cut, no. 43, July 2000, pp. 75-85, 130 

• Stephen J. Whitfield, 'Cinéma Verité [on Pursuits of Happiness: The Hollywood Comedy of Remarriage. By Stanley Cavell]', Virginia Quarterly Review, Winter 1983 

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

• Norman Yusoff, 'Genre and Pleasure: The Case of Malay(sian) Romantic Comedy', SKRIN: Volume 1 Issue 1 Jan 2004

Cinema at the Periphery: world cinema studies articles and videos

Sequence from Morvern Callar (Lynne Ramsay, featuring Samantha Morton as Morvern and the psychedelic song 'Some Velvet Morning' written by Lee Hazlewood in 1967 and performed by Hazlewood and Nancy Sinatra (for more on Ramsay's great film, see Scott Tobias, 'The New Cult Canon: Morvern Callar', The A.V. Club, February 27, 2008; as well as John Caughie, 'The Angel's Share: Morvern Callar and the Difficulty of Art Cinema', video also linked to below)

With Spring (and a spring) in its step, Film Studies For Free brings you a whole, golden, host of articles as well as little video tasters to the work of some of the world's leading film scholars on the topic of international (and/or 'interstitial', or 'transnational', or 'peripheral') cinema.

The videos are recordings of presentations from the Cinema at the Periphery conference held at the University of St Andrews between June 15th and June 17th 2006. While those external to that university can only see the first ten minutes of each presentation, they're still very informative, and showcase, in miniature at least, some brilliant film studies research.

They've been newly publicised on the occasion of the publication of the conference book Cinema at the Periphery by Wayne State University Press, part of its series on Contemporary Approaches to Film and Television, under the general editorship of Barry Keith Grant. The book is edited by Dina Iordanova, David Martin-Jones, and Belén Vidal.

As FSFF always endeavours to add value to the free resources it links to, it decided also to assemble an accompanying list of related, high quality, freely accessible, online articles:

• Kim Byeongcheol, 'Production and Consumption of Contemporary Korean Cinema', Korea Journal, Spring 2006
• Hamilton Carroll, 'Resisting the Nation: John Sayles' Men with Guns (Hombres Armados) as Postnational Cinema', Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA 
• Ruby Cheung and D. H. Fleming, 'Introduction: Cinema and Identities', Cinemas, Identities and Beyond, edited by Ruby Cheung with D. H. Fleming (Cambridge: Cambridge Scholars Publishing, 2009) 
• 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  
• Pam Cook, 'Transnational Utopias: Baz Lurhmann and Australian Cinema', Transnational Cinema, Vol. 1, Issue 1, 2010 
• Austin Fisher, 'A Marxist's Gotta Do What a Marxist's Gotta Do: Political Violence on the Italian Frontier', Cultural Borrowings: Appropriation, Reworking, Transformation, edited by Iain Robert Smith,  Scope, Issue 15, 2010
• Stuart Hall, 'Cultural Identity and Diaspora', Framework (no.36), 1989 
• Will Higbee and Song Hwee Lim, 'Concepts of transnational cinema: towards a critical transnationalism in film studies', Transnational Cinema, Vol. 1, Issue 1, 2010 
• Andrew Higson, 'Transnational Developments in European Cinema in the 1920s', Transnational Cinema, Vol. 1, Issue 1, 2010
• Teresa Hoefert de Turégano, 'Transnational Cinematic Flows: World Cinema as World Music?', Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA
• Jan Holmberg, 'Globalized Vision', Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA  
• Paul Kerr, 'Babel's Network Narrative: Packaging a Globalized Art Cinema', Transnational Cinema, Vol. 1, Issue 1, 2010
  
• 'Kinocultura: on Russian, Russo-Soviet, Eastern European, and Central Asian cinemas & television', Film Studies For Free, April 11, 2010 (for dozens of relevant article son Eastern and Central European/Asian cinemas)
• Sheldon Hsiao-peng Lu, 'Historical Introduction', Transnational Chinese Cinemas (University of Hawai‘i Press and copyrighted, 1997)
• Ewa Mazierska, 'Eastern European cinema: old and new approaches', Studies in Eastern European Cinema Volume 1 Number 1, 2010 
• Marcus Power, 'Post-colonial cinema and the reconfiguration of Moçambicanidade', Lusotoipie 2004: 261-278
• Phil Powrie, 'Heritage, History and the New Realism', French Cinema in the 1990s." French Cinema in the 1990s: Continuity and Difference. Ed. Phil Powrie. New York: Oxford, 1998
• Steven Schneider, 'World Horror Cinema and the US: Bringing it all back home', Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA
• Brigitte Schulze, 'Globalization and Divergence Dynamics of Dissensus in Non-Dominant Cinema Cultures of South India', Media in Transition 2: globalization and convergence, May 10-12, 2002, MIT, Cambridge, Massachusetts, USA
• Neelam Sidhar Wright, '"Tom Cruise? Tarantino? E.T.? ...Indian!": Innovation through Imitation in the Cross-cultural Bollywood Remake', Cultural Borrowings: Appropriation, Reworking, Transformation, edited by Iain Robert Smith,  Scope, Issue 15, 2010

The clips can be viewed using Quicktime player 7, VLC player or similar MP4 player. Just click on the pictures to access.
The clips are currently set to stream at a quality of medium (512Kbps) - they are also available to watch as low (56Kbps) or high (2Mbps). 

Dina Iordanova and Keith Brown

University of St Andrews

“Introduction and welcome”

(8min 16sec)

Mette Hjort

Lignan University, Hong Kong

“Homophilic Transnationalism: The 'Advance Party' Initiative”

Rod Stoneman

Huston School of Film & Digital Media, Galway, Ireland

“Dimpsey at the Edge”

Duncan Petrie

University of Auckland, New Zealand

“Small National Cinemas in an Era of Globalisation”

Sheldon Lu

University of California at Davis, USA

“Emerging from Underground and the Periphery: Independent Cinema in Contemporary China”

Lucia Nagib

Leeds University, UK

“Japanese Cinema and Local Modernity”

Laura U. Marks

Simon Fraser University, Canada

“Geopolitics Hides Something in the Image; Arab Cinema Unfolds Something Else”

Faye Ginsburg

New York University, USA

“Black Screens and Cultural Citizenship”

Dudley Andrew

Yale University, USA

“Turbulent Waves, Stagnant Seas: Awash in World Cinema”

Bill Marshall

University of Glasgow, UK

“Deleuze, Quebec and Cinemas of Minor Frenchness”

John Caughie

University of Glasgow, UK

“The Angel's Share: Morvern Callar and the Difficulty of Art Cinema”

Pam Cook

University of Southampton, UK

“Out from Down Under: Baz Luhrmann and Australian Cinema”

Patricia Pisters

University of Amsterdam, Netherlands

“Filming Tanger: Migratory Identities in North Africa”

Hamid Naficy

Rice University, USA

“Interstitial, Transnational, and National-Iranian Silent Cinema”

Kristian Feigelson

Sorbonne Nouvelle, Paris, France

“A Visual Map of the Film World”

Kinocultura: on Russian, Russo-Soviet, Eastern European, & Central Asian cinemas & television

Excerpt from the beginning of Nastroishchik/The Tuner (Kira Muratova, Russia/Ukraine, 2004)

Muratova’s tight and intricate narrative is punctuated by familiar cinematic devices, red herrings, and pranks immediately identifiable—even beyond cinema production—with Muratova’s sui generic style. [F]irst, her inclusion of a “cultural intermezzo” by an amateur artist-enthusiast.  [...]  In The Tuner, this device takes the form of a girl singer-songwriter performing on public transport and a number of other charmingly inept musicians (a clarinetist, two tuba players, random, elderly singers, and Andrei’s spontaneous “Uzbek” improvisation).  This is the utopian dimension of Muratova’s creative act: irredeemably unprofessional, yet utterly complete, self-sufficient in itself, the flawless conjuration of an inner hallucination. Nancy Condee, 'Kira Muratova, The Tuner [Nastroishchik] (2004)', Kinocultura, Issue 7  January 2005

(See also Emma Widdis: Muratova's Clothes, Muratova's Textures, Muratova's Skin Kinocultura, Issue 8, April 2005; Acquarello, 'The Tuner, 2004', Strictly Film School, July 27, 2006)

Film Studies For Free was alerted yesterday by David Hudson at The Auteurs Daily that the April 2010 issue of Kinocultura, the Open Access journal of New Russian Cinema, had just been published online.  

This journal has been appearing since July 2003, and that simple fact makes for a true wealth of freely accessible scholarly resources. With its editorial board of leading scholars in this field, Kinocultura is quite simply one of the best film studies e-journals, with its incredibly wide-ranging scholarly articles alongside wonderful film and book reviews and dossiers/reports/roundtable discussions/videos.  

Below, FSFF has copied and pasted in the index of all full-length articles and interviews published by the journal to date. Here also is a list of Kinocultura's special issues on particular countries:#1 Central Asia (2004); #2 Poland (2005); #3 Slovakia (2005); #4 Czech Rep. (2006); #5 Bulgaria (2006); #6 Romania (2007); #7 Hungary (2008); #8 Serbia (2009); #9 Ukraine (2009); #10 Estonia (2010). Note that there are forthcoming issues on Kazakhstan and Croatia.
 
Those of you interested in Russian and Soviet film studies should also know about the following great, online bibliography, too: University of Pittsburgh Russian and Soviet Cinema.

Kinocultura - Issue 28: April 2010

• Mariya Y. Boston: "Speaking in Tongues: Poetic Language in Nikita Mikhalkov’s Burnt by the Sun"

• Andrey Shcherbenok: "Asymmetric Warfare: The Vision of the Enemy in American and Soviet Cold War Cinemas"

Festival Report

• Birgit Beumers: " Restoring Images: Belye Stolby 2010"

Issue 27: January 2010

• David MacFadyen: Cinematic Abuse as Self-Affirmation: Russian Video Mash-ups, Illegal Social Networking, and the Rise of Bekmambetov’s “Office Plankton”

• Maria Vinogradova: Amateur Cinema in the Soviet Union and the Leningrad of Film Amateurs in the 1970s-1980s

Festival Reports

• Dar'ia Borisova: Kinoshok 2009: The Expiring Principle of Soviet Brotherhood

AAASS 2009 Roundtable on Young Kazakh Cinema

• Birgit Beumers: Waves, old and new, in Kazakh Cinema

• Jane Knox-Voina: Young Kazakh Filmmakers:  New “New Wave” on the Road

• Stephen M. Norris: The Gifts of History: Young Kazakh Cinema and the Past

• Eugénie Zvonkine: “Kazakhstan Rules the World:” Satybaldy Narymbetov’s Mustafa Shokai (2008) and the Rewriting of History

Issue 26: October 2009

• Evgenii Margolit: “Monumental Sculptures in Soviet Cinema of the 1920s”

Festival Reports

• Birgit Beumers: “A Return to Folklore?—Suzdal 2009”

• Birgit Beumers, “Kinotavr 2009: The Victory of New Drama”

• Christina Stojanova: “Characters and Circumstances: Notes on the Competition Program of the 31st Moscow International Film Festival”

Issue 25: July 2009

• Kristina Matvienko: With a Cine-Eye through Russia: The Festival “Kinoteatr.doc” 2009

• Irina Mel’nikova: (Re)presentation of The Metamorphosis: Valerii Fokin, Franz Kafka, René Magritte and the Issue of Cinematic Adaptation

• [Interview] Anton Sidarenka: Interview with Sergei Loznitsa. Conversations on Cinema: "A Master of Time"

Issue 24: April 2009

• Nikolai Izvolov: Designed Sound in the USSR

• Jane Knox-Voina: New ‘New’ Wave Filmmakers Welcome Their Audiences’ Discomfort: Kazakh and Kyrgyz Youth Films

• Gulnara Abikeeva: Central Asian Documentary Films of the Soviet Era as a Factor in the Formation of National Identity

Festival Report:

• Gulbara Tolomushova: The Secret Sense of the Tashkent Messages

Issue 23: January 2009

• Maria Belodubrovskaya: Understanding the Magic: Special Effects in Ladislas Starewitch's L'Horloge magique

• Larisa Maliukova: The State of the Art: Russian Animation Today

• Evgenii Margolit: The Image of Germans in Russian Cultural Space

Festival Reports:

• Birgit Beumers: New Voices and Old Images: Eurasia 2008

• Gulbara Tolomushova: Dushanbe Flights to Googoosh's Songs: Didor 2008

Issue 22: October 2008

• Klaus Eder: Moscow 2008: The Center of the Province

• Nina Tsyrkun: "Forward to the Past, or: What kind of millennium has begun?" (on the Russian Program of the Moscow International Film Festival)

• Diliara Tasbulatova: "Kinotavr 19"

• Aliya Moldalieva: "New Cinema in Kyrgyzstan"

Issue 21: July 2008
Pittsburgh Russian Film Symposium 2008 — The Ideological Occult: Russian Cinema under Putin:

• Seth Graham: "Two Decades of Post-Soviet Cinema: Taking Stock of Our Stocktaking"
• Stephen Norris: "Packaging the Past: Cinema and Nationhood in the Putin Era"
• Marina Drozdova: "Tremors: Various Types of Unrest"
• Aleksandr Kiselev: " 'No Power Can Force Us to Live Badly' "
• Gregory Dolgopolov: “Liquidating the Happy end of the Putin-era”

• Birgit Beumers: "The 13th Open Russian Animation Festival Suzdal" (2008)

• Dina Goder: "Kinoteatr.doc 2008: Some Notes on the Cuffs"

• David MacFadyen: “The Presumed Threat of Digital Culture to Russian Cinema”

Issue 20: April 2008

• Tom Birchenough: The Koktebel Studio

• Dar'ia Borisova: The Forum of National Cinematographies Played at Being a Film School

• Barbara Wurm: The International Film Festival Rotterdam — A Festival of Significance for Russian Cinema; In Focus: Svetlana Proskurina

• Birgit Beumers: Returning to the Roots: Central Asia in Rottterdam

• [Interview] Inna Smailova: Interview with Abai Kulbai: The Keeper of Eternal Values in Cinema

Issue 19: January 2008

• [Interview] Giulia Marcucci: Interview with Aleksandr Mindadze: From Scriptwriter to Director

• Irina Shilova: Renata Litvinova: Actress and Persona

• Michael Rouland: A Tour through Kinostan

• Inna Smailova: Three Generations of Kazakh Cinematographers: Action - Reaction - Change of Reality

• Eugénie Zvonkine: "On a Motorbike or on a Horse?": The IV Eurasia International Film Festival 2007

Issue 18: October 2007

• Tom Birchenough: "Vladivostok 2007": The lnternational Pacific Meridian Festival

• Mihai Chirilov: "Phony Games: The Moscow International Film Festival 2007"

• Jeremy Hicks: “Reflections of Andrei Tarkovskii: The Zerkalo Festival and Conference”

• David MacFadyen: “Strike Up, Pipers! The Russian Program of the Moscow Film Festival, 2007”

• Kirill Razlogov: "Kinotavr: Caught in the Crossfire"

Issue 17: July 2007
Melodrama and Kino-Ideology: Pittsburgh Russian Film Symposium Roundtable:

• Peter Bagrov: "Soviet Melodrama: A Historical Overview"
• Dawn Seckler: "Orphans of the Storm: Economic Destitution, Physical Lack, and Social Alienation in the Contemporary Russian Melodrama"
• Oleg Sulkin: "Melodrama as the Experience of the Moment"
• Dmitrii Savel'ev: "Out of Ideology: The Post-Soviet Melodrama"
• Mikhail Trofimenkov: "Origin of the Species: Post-Soviet Melodrama"
• David MacFadyen: "Ethical Masochism in Recent Russian Melodrama"
• Marcia Landy: "Melodrama: Short Reflections on a Long Subject"

• Kristina Matvienko: The Third Festival of Real Cinema: "Kinoteatr.doc" (2007)

Issue 16: April 2007

• Jose Alaniz: Cinema without Barriers

• Thomas Campbell: A Khakassian Sends a Postcard Home: The Strange Career of Evgenii "Debil" Kondrat'ev

• David MacFadyen: Changing Notions of Realism in Primetime Russian TV Drama

• Stephen Norris: In the Gloom: The Political Lives of Undead Bodies in Timur Bekmambetov's Night Watch

Issue 15: January 2007

• Peter Bagrov: Ermler, Stalin, and Animation: On the Film The Peasants (1934)

• Birgit Beumers and Michael Rouland: Eurasia 2006: An International Festival?

• Konstantine Klioutchkine: The Kamenskaia Television Series and the Conventions of Russian Television

• Alena Solntseva: KINOTEATR.DOC: The First Three Years

Issue 14: October 2006

• Svetlana Khokhriakova: Starless, Prize-less: The Moscow International Film Festival 2006

• Adam Lowenstein: From the Tsars to the Stars: A Journey Through Russian Fantastik Cinema (Lincoln Center Program, August 2006)

• Elena Plakhova: Victims of Euphoria: The 17th Open Russian Film Festival (Kinotavr 2006)

• Birgit Beumers: Cannes 2006: The Russian Presence

Issue 13: July 2006

• Natalia Lukinykh: Inspired by the Oscar, Hardened by the Marketplace. On the Everydays and Holidays of Russian Animation. (Suzdal Animation Festival)

• Eugenie Zvonkine: The Tenth Forum for National Cinematographies of the CIS and the Baltic States (Kinoforum)

• Aleksandr Deriabin: Judgment Day: Recreation and Stylization (On Ethics in Documentary Filmmaking and Other Matters)

Issue 12: April 2006

• Bauyrzhan Nogerbek: "The Eurasia-2005 Film Festival: Ambitions and Realities"

• Vladimir Padunov: Storing and Restoring History: Gosfil'mofond and the 10th Belye Stolby Archival Film Festival

• Thomas Campbell: Five Theses About Timur Bekmambetov's Day Watch

Russian TV-Serials: AAASS Roundtable 2005: "Russian TV: Past Issues of Present Concern"

• Birgit Beumers: "The Serialization of the War"
• David MacFadyen: "The Significance of Brezhnev for Russian TV Drama Today"
• Alexander Prokhorov: "Size Matters: The Ideological Functions of the Length of Soviet Feature Films and Television Mini-Series in the 1950s and 1960s"

Issue 11: January 2006

• José Alaniz: Moscow Conceptualism and the ArtKomiks of Gosha Ostretsov

• Thomas H. Campbell: The Bioaesthetics of Evgenii Iufit

• Seth Graham: Iusup Razykov and Contemporary Uzbek Cinema

Issue 10: October 2005

• Elena Stishova: There's No Point Arguing with the Marketplace: The Ninth KinoForum

• Aleksandr Shpagin: Newly Sprouting Seedlings in the Rustling Field of Domestic Cinema (Kinotavr 2005)

• Diliara Tasbulatova: Study, Study, Study: The Grand Prize of the 27th Moscow International Film Festival Went to Aleksei Uchitel''s Dreaming of Space  

Issue 9: July 2005

• Ian Christie: Iakov Protazanov: A Timely Case for Treatment

• Konstantine Klioutchkine: "Fedor Mikhailovich Lucked Out with Vladimir Vladimirovich": The Idiot

• Television Series in the Context of Putin's Culture

Issue 8: April 2005

• John MacKay:  The "Spinning Top" Takes Another Turn: Vertov Today

• Petre Petrov:  The Freeze of Historicity in Thaw Cinema

• Emma Widdis: Muratova's Clothes, Muratova's Textures, Muratova's Skin

• David MacFadyen: Literature Has Left the Building: Russian Romance and Today 's TV Drama

Issue 7: January 2005

• Special Feature: Dziga Vertov: John MacKay: Disorganized Noise: Enthusiasm and the Ear of the Collective

• KinoShock 2004: Gul'nara Abikeyeva: KinoShock: A Panorama of National Cinemas  

Issue 6: October 2004
"National Cinema": Pittsburgh Film Colloquium roundtable featuring:  

• Nancy Condee: Imperial Ectoplasm
• Marcia Landy: Frames or Frame Ups of National Cinema
• Adam Lowenstein: David Cronenberg and the 'Face' of National Authorship

Moscow International Film Festival 2004 : Susan Larsen: At the Intersection of Art, Commerce, and National Pride  

Issue 5:  July 2004

• Kinoforum 2004: Vladimir Padunov: Imperial Acorn -→ National Oaks: The Eighth KinoForum .

• Kinotavr 2004: Victor Matizen: Masses and Classes: Kinotavr 2004 .

Issue 4:  April 2004

• Josephine Woll: Exorcising the Devil: Russian Cinema and Horror.

Issue 3:  January 2004

• Vladimir Padunov: Stars Above Almaty: Kazakh Cinema Between 1998 and 2003 .

• Bauyrzhan Nogerbek: Demythologizing and Reconstructing National Space in the Kazakh "New Wave" .

Issue 1:  July 2003

• Nancy Condee and Vladimir Padunov: Subtropical Cinema: Kinotavr, Collective Heroes and Small Screens: The Fourteenth Annual Open Russian Film Festival (3-17 June 2003).

• Vladimir Padunov: Moscow's Silver Anniversary: XXV Moscow International Film Festival (20-29 June 2003).