30 articles from the Journal of Aesthetics and Culture

Frame grab from The Wind (Victor Sjöström, 1928). Read Bo Florins 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. Its an online open access journal, hence one very much after this blogss 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 ORawe, 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)

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On the myth of the frontier in cinema and culture

A whole new world that is nothing but frontier...: Richard Langley in the narration to his excellent short film, embedded above, American Un-Frontiers: Universality and Apocalypse Blockbusters

This film concerns recent apocalyptic Hollywood blockbusters, which have utilised notions of the ‘frontier’ to develop ideas of American hegemony in the uni-polar era, even as they postulate a universal erasure of national boundaries. Largely, the non-human agents of apocalypse in such films are responsible for erasing boundaries, but in so doing they simultaneously establish the conditions of American renewal. Indeed, the frontier must be continually renewed; it is drawn in order to be effaced, redrawn and effaced again.

      However, at the moment of effacement, when the boundaries between nations are broken down and a sense of universality seems triumphant, the dawning of a new world re-inscribes the frontier - the new world that is constructed is still American led; the mooted universality is both particular and parochial. Such films, which appear to posit un-American (or at least post-national) frontiers, actually achieve the inverse; the universal equality offered by apocalypse offers an American un-frontier, a site seemingly without boundaries, but which is simultaneously nothing but frontier, a re-dramatisation of America’s founding mythology.

The inspiration for todays Film Studies For Free entry -- on the (transnational) myth of the frontier in cinema and related culture -- was Richard Langleys excellent, highly persuasive, short documentary embedded above. That video also has a vivid, post hoc connection to this blogs popular list of "Links of Doom and Disaster! Apocalyptic Film and Moving Image Studies" posted but a few short weeks ago.

Like cinematic apocalypses, filmic frontier mythology turned out to be an incredibly rich vein of web scholarship. So, many thanks to Richard and all the below named scholars for making sure their very valuable work was openly accessible online.

Open Access is, after all, the real final [e-]frontier.

And hopefully it wont turn out to be a myth...

• Catherine Lynn Adams, Africanizing the Territory: The History, Memory and Contemporary Imagination of Black Frontier Settlements in the Oklahoma Territory, PhD Thesis, University of Massachusetts Amherst, September 2010
• Tyler Lorey Adams, The Geography of Frontier, Reconstruction, 7.3, 2007
  
• Jon Baldwin, Other Bother: The Alien in Science Fiction Cinema; Sardar and Cubitts Aliens R Us , Film-Philosophy, Vol. 7 No. 20, August 2003
• Ann Barrow, The Cutting Garden: Qualitative and Quantitative Analysis and ReceptionTheories of Audiences or Fans, Cultural Studies Conference Proceedings, 2004
• Deborah Bird Rose and Richard Davis (eds), Dislocating the Frontier: essaying the mystique of the outback (ANU E-Press, 2006)
• Maria Beatrice Bittarello, Another Time, Another Space: Virtual Worlds, Myths and Imagination, Journal of Virtual Worlds Research, Vol. 1. No. 1, July 2008
• Henrik Bødker, The Mercy Seat as Inescapable Heat - The Proposition and Ideas of Justice in the Australian Outback, P.O.V. No.24 - The Western, December 2007
• Barbara Buchenau, Comparativist Interpretations of the Frontier in Early American Fiction and Literary Historiography, CLCWeb Volume 3, Issue 2, June 2001 
• Angus Cameron, The Metaverse Frontier, PSA 2008
• Cynthia-Lou Coleman, Framing Cinematic Indians within the Social Construction of Place, American Studies, 46:3/4 (Fall-Winter 2005): 275-293 Indigenous Studies Today, 1 (Fall 2005/Spring 2006)
• Felicity Collins, History, Myth and Allegory in Australian Cinema, Trames, 2008, 12(62/57), 3, 276–286
• Chris Cowan, Reflections on The Blair Witch Project, 49th Parallel, Issue 11, Autumn 2003
• Melissa Daniels, "History Is a Funny Thing": African Americans in the West, American Studies, and the Screen, Americana: The Journal of American Popular Culture (1900-present), Fall 2010, Volume 9, Issue 2, Fall 2010
• Greg Dickinson, Brian L. Ott, and Eric Aoki, Memory and Myth at the Buffalo Bill Museum, Western Journal of Communication Vol. 69, No. 2, April 2005, pp. 85–108
• Klaus Dodds, Hollywood and the Popular Geopolitics of the War on Terror, Third World Quarterly 2008
• Dan Edwards, Australian Western: Fear on the frontier [on The Proposition], RealTime Arts Magazine, 70, December-January 2005
• Rainer Eisfeld, Myths and Realities of Frontier Violence: A Look at the Gunfighter Saga, Journal of Criminal Justice and Popular Culture, 3(5) (1995) 106-122
• Thomas Elsaesser, Noel King, Alexander Horwath (eds), The Last Great American Picture Show: New Hollywood Cinema in the 1970s (Amsterdam University Press, 2004)
• Thomas S. Engeman, Why The American "Frontier" Will Always Be Populated By Democratic, Christian Knights, The Claremont Institute, September 2002
• Theo Finigan, "To the Stables, Robin!": Regenerating the Frontier in Frank Millers Batman: The Dark Knight Returns, Image Text, Vol. 5, No. 1, 2010 
• Austin Fisher, A Marxists Gotta Do What a Marxists Gotta Do: Political Violence on the Italian Frontier, Scope, Cultural Borrowings: Appropriation, Reworking, Transformation e-book, 2009
• Austin Fisher, Out West, down south: Gazing at America in reverse shot through Damiano Damiani’s "Quien sabe?", The Italianist, 30:2, 2010
• Peter Flynn, The Silent Western as Mythmaker, Images Journal, Issue 6, February 2004 
• Jennifer Forrest and Leonard R. Koos, Reviewing Remakes: An Introduction, in Dead Ringers: The Remake in Theory and Practice (SUNY, 2001)
• Martin Fradley, “Why Doesn’t Your Compass Work?”: Pirates of the Caribbean, Fantasy Blockbusters and Contemporary Queer Theory, originally published in Karen Ross (ed.), "The Handbook of Gender, Sex and Media" (Blackwell, 2011), pp.294-312
• Martin Fradley, [Review of] Gary Needham, "Brokeback Mountain" (Edinburgh University Press, 2010), Canadian Journal of Film Studies, 19:2 (Fall 2010), pp.143-146 
• Christiane Gerblinger, ‘"Fiery the Angels Fell": America, Regeneration and Ridley Scotts Blade Runner, Australasian Journal of American Studies, 21.1, July 2002
• Barry Keith Grant, Genre Films and Cultural Myth, Film International, April 20, 2011 
• Barry Keith Grant, Introduction: Spokes in the Wheels, John Fords Stagecoach (Cambridge: Cambridge University Press, 2003)
• Michael Grimshaw, Preacher, or the Death of God in Pictures, JCRT 3.2
• David Gunkel and Ann Hetzel Gunkel, Terra Nova 2.0—The New Worlds of MMORPGs, Critical Studies in Media Communication 26(2), June 2009, pp. 104-127 
• Alia Haddad, An American Take on Mythic Mexico and its Revolution in The Wild Bunch, Volume VII, Number 2, Fall 2011
• Rowena Harper, Frontier Mythology in the American Teen Film, PhD Thesis, University of Adelaide December 2008
• Christina Judith Hein, Battleground Masculinity: Gendertroublers and Gatekeepers in Oliver Stones Platoon (1986), COPAS, Issue 8, 2007
• Kurt Hemmer, Political Outlaws: Beat Cowboys, American Studies Journal, No. 50, 2007
• David Ingram, ‘"Go to the forest and move": 1960s American Rock Music as Electronic Pastoral, 49th Parallel, Vol. 20, Winter 2006-2007
• Nicholas Jelley, The Potential for Rewriting Myth: Finding Kindness on the Frontier, MA Thesis, University of Florida, 2005
• Kathleen Kennedy, Bodily Pain and Nation Making: Catholics and Indians in the Protestant Historical Imagination, Queen: A Journal of Rhetoric and Power, September 2003
• Geoff King, Spectacular Narratives: Twister, Independence Day, and frontier mythology in contemporary Hollywood, originally published in SPECTACULAR NARRATIVESHollywood in the Age of the Blockbuster (London: IB Tauris, 2000)
• Katherine Kinney, Cold Wars: Black Soldiers in Liberal Hollywood, WLA Spring/Summer 2000
• Stephen Koetzing, The Trespassing Cyborg: Technology, Nature, and the Nation in Wild Wild West, AS Peers 4, 2011
• Marie Claire Kolbenschlag, Film and the American experience, from Jump Cut, no. 6, 1975, pp. 16-21 
• Sam Kula, National Image, National Dream,  Cinema Canada, February 1976
• Emma Lambert, [De]Constructing John F. Kennedy?: Herschensohns Years of Lightning, Days of Drums, 49th Parallel, Issue 4, Winter 2000
• Richard Langley, American Un-Frontiers: Universality and Apocalypse Blockbusters,Vimeo, November 17, 2011 (originally screened at the American Frontiers conference, University of Birmingham, 12 November 2011)
• Helen Laville, What kind of Man are you? - Masculinity in Oliver Stone JFK, 49th Parallel, Issue 5, Spring 2000
• Christopher Le Coney and Zoe Trodd, John Wayne and the Queer Frontier: Deconstructions of the Classic Cowboy Narrative during the Vietnam War, Americana: The Journal of American Popular Culture (1900-present), Volume 5, Issue 1, Spring 2005 
• Julia Leyda, Black-Audience Westerns and the Politics of Cultural Identification In the 1930s, Cinema Journal, 42, No. 1, Fall 2002
• Julia Leyda, Home on the Range: Space, Nation, and Mobility In John Fords The Searchers, The Japanese Journal of American Studies, No. 13, 2002 [click on PDF]
• Stephen McVeigh, [Review of] The Wild West: The Mythical Cowboy and Social Theory, By Will Wright (London: Sage Publications, 2001), Scope, November 2003
• Mark Mordue, Dead Men Walking, Frieze Magazine, Issue 114, April 2008
• Gabrielle Murray, Fact and Fiction: The Iraq War Film in Absence, Screening the Past, 29, 2010
  
• Robin Murray and Joe Heumann, Oil drilling and the search for the “golden shrimp”: the myth of interdependence in oil drilling film, Jump Cut, No. 53, summer 2011
• Dianne Newell and Victoria Lamont, Daughter of Earth: Judith Merril and the Intersections of Gender, Science Fiction, and Frontier Mythology, Science Fiction Studies, 107, Volume 36, Part 1, March 2009
• Gregory H. Nobles, Beyond Myth and Master Narrative: Toward a New History of the American Frontier, Quaderno, 6, 2004
• Allison Perlman, The Brief Ride of the Biker Movie, International Journal of Motorcycle Studies, March 2007
• Lauren Rabinovitz, More Than Meets the Eye: Movies in American Studies, MAASA Presidential Symposium 2005
• Rod Romesburg, Regeneration through Vampirism: Buffy the Vampire Slayer’s New Frontier, Slayage 5.3 [19], February 2006
• Christina Rowley, ‘The Disappearance and Re-emergence of the Western in Vietnam War Films’, PSA 2010 
• Christian Seidl, "Regeneration through Creativity" – The Frontier in Paul Austers Moon Palace, PhiN 31, 2005
• Ron Smith, Mistaken Images in Serge: Cecil B. DeMille’s Northwest Mounted Police (1940), 49th Parallel, Vol. 24, 2010
• Saralyn Smith, "Come see a fat old man sometime!" Masculinity and Aging in True Grit (1969) and Unforgiven, MA Thesis, Claremont Graduate University, December 2010 
• Barry Stephenson, Swaggering Savagery and the New Frontier, Journal of Religion and Popula Culture, Vol. 16, Summer 2007
• John Streamas, "Patriotic Drunk": To be Yellow, Brave, and Disappeared in Bad Day at Black Rock,  New Voices Conference, American Studies, 44:1-2 (Spring/Summer 2003): 99-119
• András Tarnóc, Narratives of Confinement: Revisiting the Founding Myths of American Culture, Americana, Volume VII, Number 1, Spring 2011
• Nann Verhoeff, The West in Early Cinema: After the Beginning (Amsterdam University Press, 2006 [on the emergence of the  Western]) 
• Edvin Vestergaard Kau, The Western Experience: Reflections on the Phenomenology of the Western, P.O.V. No. 24, December 2007
• Geoffrey Walker, Deconstructing an American Myth: Hollywood and The Last of the Mohicans, 10th Cooper Seminar, James Fenimore Cooper: His Country and His Art at the State University of New York College at Oneonta, July, 1995
• Jerry White, POSSUM, film noir, and the past/future of New Zealand, P:O.V. No.7, March 1999
• Gioia Woods, Cowboys, Indians, and Iraq: Jessica Lynch, Lori Piestewa, and the Great American Makeover, Studies in Popular Culture, 29.1 October 2006
• Ray Bourgeois Zimmerman, Gruntspeak: Masculinity, Monstrosity and Discourse in Hasfords The Short-Timers, American Studies, 40:1 (Spring 1999): 65-93 

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Longtime Companion HIV AIDS in thirty years of cinema media and culture

Images from two AIDS film dramas: above, Longtime Companion (Norman René, 1989), a film which, as Emmanuel Levy puts it, carried "the burden of being the first [widely distributed] theatrical movie to deal directly with AIDS"; below, a frame grab from Yesterday (Darrell Roodt, 2004), about a Zulu woman living with AIDS. Read Jean Stuarts and Olaia Cores Calvos articles on this film.

It was [30] years ago, in the summer of 1981, when society as a whole[, including] the scientific community[,] was faced with an unknown disease that came later to be known as Acquired Immunodeficiency Syndrome (AIDS). Several films [...] reflected the initial fears and uncertainty, the responses of the different social groups, the fight against ignorance, the [demand for] access to treatment and the suffering of the infected individuals and their families [...] due to this disease. Taking into account that these movies were filmed when these epidemics took place they can actually be considered as [...] historical documents that deserve [to be] analysed by the generations to come. Films such as And The Band Played On; Longtime Companion; Common Threads: Stories from the Quilt; Les Nuits Fauves; Angels in America; Yesterday and My Brother... Nikhil have marked [30] years of AIDS history that should not be forgotten by the world. [Adapted from António Pais de Lacerda, Cinema as an Historical Document: AIDS in 25 years of Cinema, Journal of Medicine and Movies, 2 (2006): 102-113; hyperlinks added by FSFF]

Film Studies For Free today commemorates the twenty-third World AIDS Day in the thirtieth year since the identification of Acquired Immunodeficiency Syndrome, or AIDS. The Human immunodeficiency virus [HIV], the lentivirus which causes the syndrome, was identified two years later, in 1983.

FSFF marks this anniversary year with the below entry of links to scholarly resources on the figuration of AIDS/HIV in cinema and culture.

Todays posting was also inspired by a series of film screenings and discussions on AIDS and its Melodramas that have been taking place at the University of Sussex, UK, organised by Michael Lawrence and John David Rhodes. These academic events will continue next term with screenings of Fatal Love (1991), And the Band Played On (1993), Philadelphia (1993) and, one of FSFFs favourites,  Boys on the Side (1995). Please email FSFF if youd like more details.

• ACT UP NY Webcasts
• Elana D. Anderson, Yesterday, Today, And Tomorrow: Socio-Cultural Evolution In African Literature and Film, Mosaic African Studies, 2010 
• Carole Blair and Neil Michel, The AIDS Memorial Quilt and the Contemporary Culture of Public Commemoration, Rhetoric and Public Affairs Vol. 10, No. 4, 2007, pp. 595–626
• Martin P. Botha, Post-Apartheid Cinema: A Thematic and Aesthetic Explorations of Selected Short and Feature Films, Ilha do Desterro, Florianópolis, nº 61 p. 225- 267 jul/dez 2011
• Cüneyt Çakirlar, Cinephilic Bodies: Todd Hayness Cinema of Queer Pastiche, KÜLT: A Journal of Cultural Studies 1:1, April 2011
• Jean Carlomusto and Jane Rosett, AIDS: A LIVING ARCHIVE™, SandF Online, 2.1, Summer 2003
• Olaia Cores Calvo, Yesterday (2004), Journal of Medicine and Movies, 5.4 (2009):125-130
• David Campbell, The Visual Economy of HIV/AIDS: A report for the AIDS, Security and Conflict Initiative, May 2008 
• Brendan Curran, Singin’ in the Scourge: Two AIDS Musicals, Two Political and Cultural Contexts, MA Thesis, Concordia University, April 2011
• Juan Luis Cuesta Jiménez, The Constant Gardener or the development of new Therapies, Journal of Medicine and Movies, 2.3 (2006): 96-101 
• Ann Cvetkovich, AIDS Activism and the Oral History Archive, SandF Online, Summer 2.1, Summer 2003
• Anthony Enns, "A Name in Search of a Disease": Illness and Identity in Todd Haynes Safe, Reconstruction,7.3, 2007
• Kyle Frackman, Out of Time: "Allotemporality" in Pierre Sanoussi-Bliss’ Zurück auf los, queere (t)ex(t)perimente. Eds. Franziska Bergmann, Jennifer Moos, and Claudia Münzing. Freiburg: fwpf-Verlag, 2008
• J.E. García Sánchez, E. García Sánchez and M.L. Merino Marcos, Antiviral, antifungal and antiprotozoal agents in the cinema, Revista Española de Quimioterapia, Marzo 2007; Vol. 20 (No 1): 106-111
• Silvia Grassi, Like a Carsic River: Gay Independent Cinema from Underground Films to New Queer Cinema and Beyond, Altre modernità/ Otras modernidades/ Autres modernités/ Other Modernities, N. 2 – 10/2009
• Oliver Gruner, Public Politics/Personal Authenticity: A Tale of Two Sixties in Hollywood Cinema, 1986-1994, PhD Thesis, University of East Anglia, August, 2010
• Roger Hallas, The Witness in the Archive, SandF Online, 2.1, Summer 2003
• Lucas Hilderbrand, Retroactivism, glq, 12.2, 2006
• Jim Hubbard, A Report on the Archiving of Film and Video Work by Makers with AIDS, DIVA TV, [date unknown]
• Alexandra Juhasz, AIDS Video: To Dream and Dance with the Censor, Jump Cut, No. 52, summer 2010
• Alexandra Juhasz in exchange with Antoinette Burton, Feminist history making and Video Remains, Jump Cut, No. 48, winter 2006
• Alexandra Juhasz, Alternative AIDS Videos, Cineaste, vol.XXI, nos. 1-2, 1994/5
• Alexandra Juhasz, Interview with Jim Hubbard and Sarah Schulman: ACT UP Oral History Project, CORPUS, Spring 2006
• Alexandra Juhasz, From the Scenes of Queens: Genre, AIDS and Queer Love, originally published in The Cinema of Todd Haynes, ed. James Morrison (London:Wallflower Press, 2007)
• Dion Kagan, [Review of] Roger Hallas, Reframing Bodies: AIDS, Bearing Witness, and the Queer Moving Image. Duke University Press, 2009, Screening the Past, 28, 2010
• Tim Lawrence, ‘AIDS, the Problem of Representation, and Plurality in Derek Jarmans Blue’ Social Text, 52/53 (Autumn - Winter 1997): 241-264
• Timothy F. Murphy, Part One: The Meaning of AIDS, Ethics in an Epidemic: AIDS, Morality, and Culture (Berkeley: University of California Press, 1994)
• Christo Oberholzer, An Investigation Into Nationalism and National Allegory within South African Post-Apartheid Film, MA Thesis, University of the Witwatersrand, Johannesburg, 2006
• António Pais de Lacerda, Cinema as an Historical Document: AIDS in 25 years of Cinema, Journal of Medicine and Movies, 2 (2006): 102-113
• Georgios Pappas, Savvas Seitaridis, Nikolaos Akritidis, and Epaminondas Tsianos, Infectious Diseases in Cinema: Virus Hunters and Killer Microbes, Clinical Infectious Diseases,
• Volume 37, Issue 7, 2003: 939-942
• Monica B. Pearl, The City of Brotherly Love: Sex, Race and AIDS in Philadelphia, EnterText 2.3, Summer 2003
• Monica B. Pearl, American Grief: The AIDS Quilt and Texts of Witness, Gramma, 08
• Lucia Pérez Ochoa López, Philadelphia (1993): View of AIDS when it began to be a treatable disease, Journal of Medicine and Movies, 2 (2006): 21-28
• Jean Stuart, Yesterday, today … and tomorrow: The future of girlhood in the age of AIDS, AGENDA 79 2009
• Marita Sturken, The Politics of Video Memory: Electronic Erasures and Inscriptions, in Contemporary Video Practices, ed. Michael Renov, 1996
• Nicoletta Vallorani, Path(o)s of Mourning. Memory, Death and the Invisible Body in Derek Jarman’s Blue, Altre modernità/ Otras modernidades/ Autres modernités/ Other Modernities, N. 4 – 10/2010

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Film Television and Media Studies articles in STUDIES IN POPULAR CULTURE

Framegrab of Rooney Mara as final girl Nancy Holbrook in the 2010 remake of A Nightmare On Elm Street (Samuel Bayer, 2010). Read Kyle Christensens article on this films source text (The Final Girl versus Wes Cravens A Nightmare on Elm Street: Proposing a Stronger Model of Feminism in Slasher Horror Cinema), and also check out Film Studies For Frees entry of links to Final Girl Studies

Below, Film Studies For Free links to the entire online contents, to date, of the excellent Open Access journal Studies in Popular Culture: a list of more than 60 great articles on film, television and media studies. 

The journal of the US Popular Culture Association / American Culture Association in the South, SPC dates back, in its offline, print version, to 1977, making it one of the oldest, continuously published academic journals to treat audiovisual media.  

SPC has been online since 2006 and is a wonderful example of how an online presence indicates no necessary lowering of the quality bar for a properly peer-reviewed journal. 


29.1 October 2006 [Go here for an online table of contents)

• "Reinventing the Hero: Gardners Grendel and the Shifting Face of Beowulf in Popular Culture" -- Michael Livingston and John William Sutton 
• "Cowboys, Indians, and Iraq: Jessica Lynch, Loria Pestewa, and the Great American Makeover." -- Gioia Woods
• "Artistic Schizophrenia: How Fight Clubs Message is Subverted by its Own Nature" -- Kyle Bishop
• "Michael, Are You Okay? Youve Been Hit By a Smooth Criminal: Racism, Contraversy, and Parody in the Video Clips "Smooth Criminal" and "You Rock My World." -- Elenda Oliete
• "Sigmund Freud, Analyze This: How Madonna Situates "Die Another Day" Beyond the Pleasure Principle" -- David Sigler 

30.2 Spring 2008 [Go here to find a PDF of the entire issue]

• Little America: R.E.M., Howard Finster, and the Southern "Outsider Art" Aesthetic -- Matthew Sutton
• Brokeback Mountain: Masculinity and Manhood -- James R. Keller and Anne Goodwyn Jones
• Race, Crime, and Motherhood in George Pelecanoss Soul Circus -- Alexander Pitofsky
• The Politics of Talk: The Oprah Interview as Narrative -- Sarah Henstra
• Survival of the Stereotypical: A Study of Personal Characteristics and Order of Elimination on Reality Television -- Bryan E. Denham and Richelle N. Jones
• A Car of Her Own: Volvos "Your Concept Car" as a Vehicle for Feminism? -- Roy Schwartzman and Merci Decker
• Trainspotting, High Fidelity, and the Diction of Addiction -- Scott Stalcup 

31.1 Fall 2008 [Go here to find a pdf of the entire issue]

• From the Editor: Popular Culture of the Past 
• From Apicius to Gastroporn: Form, Function, and Ideology in the History of Cookery Books -- Abigail Dennis
• Queer Investigations: Foxy Ladies and Dandy Detectives in American Dime Novels -- Pamela Bedore
• Literary Art in an Age of Formula Fiction and Mass Consumption: Double Coding in Arthur Conan Doyle’s “The Blue Carbuncle” -- Nils Clausson 
• Lost Girl: Diminishing Dorothy of Oz -- SydneyDuncan
• The Protean Character of Jello, Icon of Food and Identity -- Susan Grove Hall
• Gazing on Fu-Manchu: Obscurity and Imperial Crisis in the Work of Sax Rohmer -- Rebecca Wingfield
• “To Renew the Old World”: Record Collecting as Cultural Production -- Kevin Moist 

31.2 Spring 2009 [Go here to find a pdf of the entire issue]

• From the Editor: Popular Cultures "Material and Conceptual Conditions 
• Fast Food Frontiers: Ive Got a Feeling Were Not in Kansas Anymore -- Minjoo Oh
• Sexed Appeals: Network Marketing and Adult Home Novelty Parties -- Dawn Heinecken 
• Popularizing HIgh Culture: Zemeckiss Beowulf -- Kathleen Forni
• Fear and Loathing in Knoxvegas: Representations of the "Other" in the Official Press Before and During the 1982 Knoxville Worlds Fair -- Stephen Bales and Charlie Gee
• Paul Reveres of Early Radio: The Boy Scouts and the Origin of Broadcasting -- Noah Arceneaux 
• The Legend of Sacco and Vanzetti: Keeping the Story Alive on the Political Left in Literature, Song, and Film -- Ron BrileyTamenicia or Tammy; James or Jim Bob; Bessie or Heather: Patterns and Significance of Choosing Names for American Babies -- Claude J. Smith, Jr. 

32.1 Fall 2009 [Go here to find a PDF of the Entire Issue]

• From the Editor: Moral Choices in the Art of Popular Culture
• "Spiritual Warfare" and Intolerance in Popular Culture: The Left Behind Franchise, the Commodification of Belief, and the Consequences for Imagination -- Marnie Jones
• The Narcissism of Bipartisanship: Accessing Ann Coulter on the Internet -- Lindsey Ives
• "Not Like Other Men"?: The Vampire Body in Joss Whedons Angel -- Lorna Jowett
• "...long before the stars were torn down ...": Sam Shepard and Bob Dylans "Brownsville Girl" -- Katherine Weiss 
• Death and Magic in Clive Barkers Lord of Illusions: A Terror Management Perspective -- Jonathan Bassett
• Disneyfying Dickens: Oliver and Company and The Muppet Christmas Carol as Dickensian Musicals -- Marc Napolitano 
• Even a Tramp Can Dream: An Examination of the Clash Between "High Art" and "Low Art" in the Films of Charlie Chaplin -- Richard Ward 

32.2 Spring 2010 [Go here to find a pdf of the entire issue]

• From the editor: No Monoliths Here
• Striking Back Without Missing a Beat: Radical Responses to Domestic Violence in Country Music’s The Dixie Chicks and Salsa’s Celia Cruz -- Delia Poey
• “But This Is the South”: Ambivalent Regionalism in Jan Karon’s Mitford Novels -- Eleanor Hersey Nickel
• Adapting Shakespeare for Star Trek and Star Trek for Shakespeare: The Klingon Hamlet and the Spaces of Translation -- Karolina Kazimierczak
• The Jesus Fish: Evolution of a Cultural Icon -- Todd Edmondson
• The Politics of the "Open" Self: America in the Cinemas of King Vidor and Robert Altman -- Margaret Hrezo and William E. Hrezo
• Like a “Whopper Virgin”: Anthropological Reflections on Burger King’s Controversial Ad Campaign -- Ty Matejowsky 
• The Portrayal of Racial Minorities on Prime Time Television: A Replication of the Mastro and Greenberg Study a Decade Later -- Elizabeth Monk-Turner, Mary Heiserman, Crystle Johnson, Vanity Cotton, and Manny Jackson 

33.1 Fall 2010 [Go here to find a pdf of the entire issue]

• From the editor: Theory and Practice
• Whats Entertainment? Notes Toward a Definition -- Stephen Bates and Anthony J. Ferri 
• Popular Fiction Studies: The Advantages of a New Field -- Matthew Schneider-Mayerson
• Interpretive Methodology from Literary Criticism: Carnivalesque Analysis of Popular Culture: Jackass, South Park, and ‘Everyday’ Life -- Gulnara Karimova
• The Cinematic and Historic Weight of Stone of Destiny -- Lynnette Porter
• Ken Follett and the Scribblers Trade: A Midnight Train to Somewhere -- Carlos Ramet
• The “Aquatic Zionist” in The Yiddish Policemens Union -- Bennett Kravitz
• “Tons of Useful Stuff”: Defining Wellness in Popular Magazines -- Carol-Ann Farkas 

33.2 Spring 2011 [Go here to find a PDF of the entire issue]

• From the editor: Cultural Fragments, Cultural Flowers
• My Vampire Boyfriend: Postfeminism, “Perfect” Masculinity, and the Contemporary Appeal of Paranormal Romance -- Ananya Mukherjea
• “Thou Shalt Not Crave Thy Neighbor” : True Blood, Abjection, and Otherness -- Sabrina Boyer
• Mad Mens Color Schemes: A Changing Palette of Working Women -- Katherine Gantz
• The Revolution Will Be Soooo Cute: YouTube “Hauls” and the Voice of Young Female Consumers -- Laura Jeffries
• Outsider Nostalgia in Dazed and Confused and Detroit Rock City -- Carey L. Martin
• The Beatles and the Art of the Tambourine -- Steven Hamelman
• Outsourced: Crime Stories, New World Horrors, and Genre -- Jonathan L. Crane 

34.1 Fall 2011 [Go here to find a PDF of the entire issue]

• From the editor: Art for Someone Elses Sake
• Protecting a City’s Image: The Death of Las Vegas Beat, 1961 -- Larry Dale Gragg
• The Final Girl versus Wes Cravens A Nightmare on Elm Street: Proposing a Stronger Model of Feminism in Slasher Horror Cinema -- Kyle Christensen
• “And I Started Wondering . . .”: Voiceover and Conversation in Sex and the City -- Ashli Dykes
• Refrigerator Design and Masculinity in Postwar Media, 1946-1960 -- Paul Gansky
• Pop Culture, Politics, and Americas Favorite Animated Family: Partisan Bias in The Simpsons? -- Kenneth Michael White and Mirya Holman
• Evaluating the Presence of Social Strain in Rockstar Games’ Grand Theft Auto IV -- Patrick Osborne

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