B for Bad Cinema Colloquy from Monash

Image from Snakes on a Plane (David R. Ellis, 2006); Read Kirsten Stevenss article Snakes on a Plane and the prefabricated cult film (pdf) from the new issue of Colloquy

Its going to continue to be a little quiet around here at Film Studies For Free as its author busies herself with finishing off a couple of video essays that will be posted here very shortly.

The essays will also form the basis of two talks to be given in the next few weeks: on March 8 at Liverpool John Moores University; and on March 17 at the University of Sussex (details to follow).

The title of both talks, as per the following abstract, is:

Quote/Unquote? The "Unattainable [Film] Text" in the Age of Digital Reproduction

Following the lead of scholars Christian Keathley, Eric Faden, Jason Mittell, Andrew Miller and Craig Cieslikowski in the summary of their conference panel on The Scholarship of Sound and Image: Producing Media Criticism in the Digital Age (MIT6, Stone and Papyrus, Storage and Transmission, April 24-26, 2009), in this talk Catherine Grant will revisit Raymond Bellours essay on The Unattainable Text (Screen, Vol 16, No 3, 1975: 19-27), as well as Laura Mulveys more recent considerations of film possession, and pensiveness in the digital age (Death 24x a Second (London: Reaktion, 2006). Then she will examine the issue of film quotation in audiovisual work, as well as, more generally, the possibilities offered to film studies by the rising generation of online digital-video essays about films and film theory.

To sustain FSFFs terribly loyal readers until then, heres news (via David Hudson @theauteursdaily) of a wonderful e-journal special issue entitled B for Bad Cinema. All the film-related contents are linked to below. Enjoy! It has some particularly choice items on horror cinema, as well as on David Lynch and Lars von Trier.

This usually indefatigable blog will be back properly soon. In the meantime you can continue to follow its much more succinct recommendations on Twitter courtesy of @filmstudiesff.

All articles are in pdf format. To download the whole issue as one file, click Issue 18.
Front
Contents
Editorial

B for Bad Cinema from Colloquy (Monash University), Issue 18, December 2009

• Introduction: B for Bad Cinema Julia Vassilieva and Claire Perkins

• Excremental Ecstasy, Divine Defecation and Revolting Reception: Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross

• “They don’t call ’em exploitation movies for nothing!”: Joe Bob Briggs and the Critical Commentary on I Spit on Your Grave Tristan Fidler

• Erasing the B out of Bad Cinema: Remaking Identity in The Texas Chainsaw Massacre Craig Frost

• “Fucking Americans”: Postmodern Nationalisms in the Contemporary Splatter Film Phoebe Fletcher

• Their Time Has Come: Bad Cinema Nerds as Late-Capitalist Paradigm Mark Steven

• Snakes on a Plane and the prefabricated cult film Kirsten Stevens

• “Bad Form”: Contemporary Cinema’s Turn to the Perverse. David Lynch: Lost Highway (1997) Lars von Trier: Breaking the Waves (1996) Hester Joyce and Scott Wilson

• The Other Side of Indonesia: New Order’s Indonesian Exploitation Cinema as Cult Films Ekky Imanjaya

• Doing It for the Kids: Rebels and Prom Queens in the Cold War Classroom Film Anika Ervin-Ward

• Family Demons: The Ghost as Domestic Inheritance Donna McRae

• B for Bad, B for Bogus and B for Bold: Rupert Kathner, The Glenrowan Affair and Ned Kelly Stephen Gaunson

• Horror-Ritual: Horror Movie Villains as Collective Representations, Uncanny Metaphors and Ritual Transgressors Mario Rodriguez

• From Kracauer to Clover: Some Reflections on Genre and Gender in 70s/80s Slasher Films Tyson Namow

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Audiovisual Alfred Hitchcock Studies For the Love of Film The Film Preservation Blogathon 2012

Does Your Dog Bite? 
A video essay by Christian Keathley on a canine moment in Strangers on a Train (Alfred Hitchcock, 1951).

Skipping Rope (Through Hitchcocks Joins) 
A videographic assemblage by Catherine Grant of all the edits in Rope (Hitchcock, 1948), together with adjacent dialogue.
You can read more about Rope and about the context of this video here.

Film Studies For Free proudly presents, above and below, its annual contribution in support of the wonderful "For the Love of Film: The Film Preservation Blogathon", May 13-18, 2012. Two video essays (above) -- one newly published online for this occasion by Christian Keathley, the other newly made for it by FSFFs author -- plus (below) links to/embeds of lots more, fascinating and openly accessible, audiovisual studies of Hitchcocks films.

This year, this Blogathon will raise funds to finance the online streaming of, and recording of a new score for, The White Shadow (1923), directed by Graham Cutts and with everything else done by Hitchcock:

The film was long thought to have be a lost film. In August 2011, the National Film Preservation Foundation announced that the first three reels of the six-reel picture had been found in the garden shed of Jack Murtagh in Hastings, New Zealand in 1989 and donated to the NFPF. The film cans were mislabled Two Sisters and Unidentified American Film and only later identified. The film was restored by Park Road Studios and is now in the New Zealand Film Archive [The White Shadow Wikipedia entry] 

Please consider supporting this cause by making a donation-- however small or large -- at this link. Thank you! 

And a huge thanks, also, to Farran Nehme (read her great post on Farley Grainger who features in both of the new video essays), Marilyn Ferdinand and Rod Heath for devoting their marvellous websites and energies to assembling a team of well over one hundred bloggers from around the world to respond to this cause -- the third, great, year in a row.

If you know of any further Alfred Hitchcock video essays of interest online, which arent listed above or below, please leave a link in the comments.

1. Vertigo Variations, Pt 1 A few ways of seeing Alfred Hitchcocks impossible object by B. Kite and Alexander Points-Zollo
2. Vertigo Variations, Pt 2 by B. Kite and Alexander Points-Zollo
3. Vertigo Variations, Pt 3 by B. Kite and Alexander Points-Zollo

    
Garden of Forking Paths? Hitchcocks BLACKMAILs by Catherine Grant

Rear Window Timelapse by Jeff Desom

Alfred Hitchcocks cameo performances

(except for: Easy Virtue (1927); Blackmail (1929); Foreign Correspondent (1940); Suspicion (1941); Spellbound (1945); The Paradine Case (1947); Under Capricorn (1949))

 
Saul Basss Title Sequences for Alfred Hitchcock

 

Vertigini by Ivano
 

DEATH/HITCHCOCK

Death scenes from 36 of Alfred Hitchcocks movies, synchronised to climax in unison (via Buzzfeed)

Touch of Psycho by Matthew Cheney

Psycho(s) by Frank Hudec

 Psycho (1960) vs. Psycho (1998) by Konstantin Mishchenko

McGuffin by Hitchcock by isaac niemand

Film Techniques of Alfred Hitchcock by Pierre Villeneuve and Theresa Villeneuve 

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Wide Screen Call For Papers on Contemporary European Film and Media Production

Still and Trailer for the latest film from the current master of European film production and multimedia marketing -Pedro Almodóvars Los abrazos rotos/Broken Embraces (Spain, 2009)

Film Studies For Free is always happy to post Open-Access related, Film and Media Studies calls for papers. Below is one such call for an OA journal that FSFF has profiled and linked to before: Wide Screen, a peer-reviewed open access academic journal of screen studies that encompasses a multi-disciplinary approach and is devoted to the critical study of cinema and television from historical, theoretical, political, and aesthetic perspectives.

Call For Paper - Special Issue of Wide Screen

European Producers and Production: Contemporary practices in film, television and multimedia environments

Edited by Professor Graham Roberts (Liverpool Screen School, Liverpool John Moores University) and Dr Dorota Ostrowska (School of History of Art, Film and Visual Media, Birkbeck, University of London)

About the Special Issue

This issue of Wide Screen is interested in the ways in which the contemporary media environment has changed the role and function of a producer. We would like to understand new models of production emerging as a result of new media environments (multimedia, game industry, internet). Does the multimedia environment lead to a greater specialisation on the part of particular producers in relation to the content they deliver, or does it result in producers extending their activity into a wider range of media and content? How do the profession, work, role and function of a producer differ depending on the national context in which they function? What is the impact of EU-wide policies on production practices in Europe?

Possible topics of interest include, but are not limited to:

Wide Screen invites articles on individual producers focusing on one of the following themes: co-productions, festival circuits (film, television and computer games markets), EU funding programmes and policies, education and training, freelancers vs in-house producers, networking, contracts, creativity, risk-taking, types of producers (creative, executive, line-producers), contracts, relationship with talent (directors, writers, actors), DVD releases (in particular special collectors editions)/DVD companies; production companies; awards and prizes; relationship with distribution and exhibition sector; producers of shorts, documentaries, fiction; sourcing content (book fairs, theatre productions); content ownership; piracy; private funding, sponsorship, equity versus public funding;

Deadline

Deadline for submission of full papers: 10 November, 2009

Guidelines and submission information

Articles should be between 4000 and 6000 words can be submitted using the online submission system: http://widescreenjournal.org/index.php/journal/about/submissions

Wide Screen adheres to a strict double blind review, which is defined here: http://widescreenjournal.org/index.php/journal/about/editorialPolicies#peerReviewProcess

Any questions/enquiries should be sent to Dorota Ostrowska (D.Ostrowska@bbk.ac.uk) and Graham Roberts (G.Roberts@ljmu.ac.uk)

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Obstinate Battles for Documentary Memory Patricio Guzm�n Resources Online

Regular readers will know, hopefully, that Film Studies For Free issues forth only on the topics that take its fancy. It receives no commercial or other patronage, and it does not respond to prompts for its hypertextual-utterances: nor does it want any! It loves and supports free online culture, and it prefers to make its own reading, viewing and blogging choices. Sometimes, though, it does get independently inspired by commercially-available film releases or new offline publications of a very worthwhile kind, as was the case today. And the result is a little bit of unsolicited free advertising...

FSFF was so HAPPY to hear that Chilean documentarist Patricio Guzmáns films The Battle of Chile (1975-1978), The Pinochet Case (2001) and a particular personal favourite, Chile, Obstinate Memory (1997 - see the opening sequences above) have been released on a new DVD by a great and longstanding supporter of Latin American film culture -- Icarus Films -- that it decided to mark this very auspicious occasion with a related scholarly links-list in honour, and warm appreciation, of Guzmáns hugely important films.

• Articles on Guzmáns website:

• MOVIES THAT MARKED ME FOREVER
• When I was about eight or nine years old (I really don’t remember exactly)...
• THE DOCUMENTARY EXPLOSION
• THE LOST IMAGES
• PIECES OF LIFE
• STAINS ON THE NEGATIVE
• OBLIVION AS A CENTRAL THEME
• THE CHILEAN DOCUMENTARY, A PANORAMIC LOOK

• Pat Aufderheide, Interview with Patricio Guzmán, Center for Social Media, Oct. 25, 2002

• Pamela Biénzobas, Patricio Guzmáns Salvador Allende: The Personal Painting of a Universal Myth, Senses of Cinema, Issue 34, January 2005

• Katherine Bliss, Review of Chile, Obstinate Memory/Battle of Chile, The Public Historian, Vol. 21, No. 1, Winter 1999

• Judy Branfman, Poking in the wound or reclaiming history? Documentary Films as Gendered Historical Memory in Post-Dictatorship Chile and Spain, CSW Update, October 2007
  

• Michael Chanan, The Changing Geography of Third Cinema, originally published in Screen Special Latin American Issue (edited by Catherine Grant and Jackie Stacey), Volume 38 number 4 Winter 1997

• Michael Chanan, The economic condition of cinema in Latin America , Third World Affairs 1985, London: Third World Foundation, pp.379-389

• Michael Chanan, Latin American Cinema in the 90s. Representational Space in Recent Latin American Cinema, E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)

• Michael Chanan, New Cinemas in Latin America (1960-1995), from The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith, OUP, 1996

• Hugo Chaparro Valderrama, Patricio Guzmán according to Jorge Ruffinelli, El ojo que piensa, 2002
  

• First Run/Icarus Films Presskit for THE BATTLE OF CHILE (1975-1978), CHILE, OBSTINATE MEMORY (1997), THE PINOCHET CASE (2001), Films by Patricio Guzmán
  

• First Run/Icarus Films Presskit for SALVADOR ALLENDE (2004), Film by Patricio Guzmán

• Jim Hillier, The Battle of Chile/La batalla de Chile, Patricio Guzmán, 1975–9, 100 Documentary Films (London: BFI/Palgrave, BFI Film Guides, 2009 (scroll down to Ch. 14))
  

• Sarah Kessler, An Imperfect Cinema, The Brooklyn Rail, September 2009
  

• Nicola Marzano, Third Cinema Today, Offscreen Journal, Vol. 13, Issue 6, 2009
  

• Nicola Marzano, The Art of Hunger: re-defining Third Cinema, 16:9, November 2009 - 7. årgang - nummer 34

• Zuzana M. Pick, Chilean cinema: ten years of exile (1973-83), from Jump Cut, no. 32, April 1987, pp. 66-70
  

• Margaret Power, Chile, Obstinate Memory, H-LatAm, H-Net Reviews. September, 1998
  

• Margaret Power, The Battle of Chile, H-LatAm, H-Net Reviews. August, 1998
  

• Juan Carlos Rodríguez, The Postdictatorial Documentaries of Patricio Guzmán: Chile, Obstinate Memory, The Pinochet Case, and Island of Robinson Crusoe, PhD Thesis, Duke University 2007
  

• Antonio Traverso, Unsettled Screens: The Cinema of Latin America, Film-Philosophy, Vol. 9 No. 12, March 2005
  

• And a very special bonus for French or Spanish speakers: … à Valparaiso (1963 France/Chile 29 mins, directed by Joris Ivens, with a script by Chris Marker and assistance from Patricio Guzmán). See Adrian Danks Senses of Cinema article on this film here.

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Bollywood for Beginners and Beyond Introductions to Popular Hindi Cinema Studies

Kajol and Shahrukh Khan in  Dilwale Dulhaniya Le Jayenge / The Big Hearted Will Take the Bride (Aditya Chopra, 1995)

With a wary eye on the fast-approaching (in many places at least) and not-so-mellow fruitfulness of a new academic year, Film Studies For Free today brings you its handy guide to online introductions to popular Hindi cinema.

Not all of the wonderful, openly accessible resources linked to below the embedded video are designed for those new to this core academic film studies subject, but all are clearly written, and thus very accessible, as well as highly informative to those at many different stages in their scholarly fascination with this most popular of world cinemas.

Talking of fascination, a nice place to start might be Jonathan Torgovniks wonderful online portfolio of photographs: Bollywood Dreams (Phaidon Press, 2003).

 

The Seductive World of Indian Cinema (2007)

Discussion between author Anupama Chopra, leading filmmaker Vidhu Vinod Chopra, and Bollywood expert and Assistant Professor of Anthropology at NYU Tejaswini Ganti. The discussion is moderated by Richard Allen, Chair of Cinema Studies at the Tisch School of the Arts.

• A Guide to South Asian Cinema, ImagineAsia: British Film Institute, 2002
• Anustup Basu, Mantras of the Metropole: Geo-televisuality and Contemporary Indian Cinema, PhD e-thesis, University of Pittsburgh, 2005
• Gregory D. Booth, Traditional Content and Narrative Structure in the Hindi Commercial Cinema, Asian Folklore Studies, Volume 54, 1995: 169-190
• Devon Burk, Whats A Kiss: The Unchaste Chastity of Bollywood, The Virginia Review of Asian Studies, Vol. XI, Fall 2008
• Corey Creekmur, The Devdas Phenomenon, Philips fil-ums, University of Iowa (date unknown)
• Patrick Colm Hogan, Hindi Cinema as a Challenge to Film Theory and Criticism, Projections, Volume 3, Number 2, Winter 2009 , pp. v-ix(1)
• Aniruddha Dutta, Nation, Liberalisation And Film Songs: Technology And Hybridisation In Contemporary Hindi Film Music, Wide Screen Journal, 1.16, April 2009
• Faiza Hirji, When Local Meets Lucre: Commerce, Culture and Imperialism in Bollywood Cinema, Global Media Journal 4.7, Fall 2005
  
• Wendy F. Hsu, Between Narrative and Expressive, Fantasy and Melodrama in Bombay (Bollywood) Film, Virginia Review of Asian Studies, July 2003
• Tabish Khair, The ironies of Bollywood, 16:9,  7.31, April 2009
• Mark Lorenzen and Florian Arun Taeube, Breakout from Bollywood? Internationalization of Indian Film Industry, DRUID Papers, 07-06
• Philip Lutgendorf with Corey Creekmur, Philips Fil-Ums: Notes on Indian popular cinema, University of Iowa (date unknown)
• Vijay Mishra, Bollywood Cinema: A Critical Genealogy, Asian Studies Institute, 2006
• Anna Morcom, The Cinematic Study of Hindi Film Songs, Hindi Film Songs and the Cinema (Ashgate Publishing, 2007) 
• Shammi Nanda,Censorship and Indian Cinema: The Case of War and Peace, Bright Lights Film Journal, Issue 38, November 2002
• Sheila J Nayar, The values of fantasy: Indian popular cinema through Western scripts, Journal of Popular Culture; Summer 1997; 31, 1  
• Ally Ostrowski, Found in Translation: From Hollywood Hits to Bollywood Blockbusters, Journal of Religion and Film, Vol. 11, No. 2 October 2007
• Heidi Pauwels, “The Woman Waylaid at the Well” or Paṇaghaṭa-līlā An Indian Folk Theme Appropriated in Myth and Movies, Asian Ethnology, Volume 69, Number 1, 2010, 1–33
• Aswin Punathambekar and Anandam Kavoori, Introduction, Global Bollywood, edited by Anandam P. Kavoori and Aswin Punathambekar (NYU Press, 2008)
• Anjali Ram, Framing the feminine: diasporic readings of gender in popular Indian cinema, Womens Studies in Communication, March 22 2002
• Shakuntala Rao, The Globalization of Bollywood: An Ethnography of Non-Elite Audiences in India, The Communication Review, 10: 57–76, 2007
• Amrita Sen, Maqbool and Bollywood Conventions, Asian Shakespeares on Screen: Two Films in Perspective, special issue, edited by Alexander C. Y. Huang, Borrowers and Lenders 4.2 (Spring/Summer 2009)
• Brian Shoesmith, [Review of] Sangita Gopal and Sujata Moorti (eds), Global Bollywood: Travels of Hindi Song and Dance. Minneapolis: University of Minnesota Press, 2008, Screening the Past, Issue 25, 2009
• Sangita Shresthova, Strictly Bollywood? Story, Camera and Movement in Hindi Film Dance, MSc e-thesis, Princeton, 2003
• Neelam Sidhar Wright, Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema, DPhil Thesis, University of Sussex, 2010 
• Neelam Sidhar Wright, "Tom Cruise? Tarantino? E.T.? ...Indian!": Innovation through Imitation in the Cross-cultural Bollywood Remake, Cultural Borrowings: Appropriation, Reworking, Transformation, edited buy Iain Robert Smith, Scope, Issue 15, 2010
• Lakshmi Srinivas, The active audience: spectatorship, social relations and the experience of cinema in India, Media, Culture & Society, Vol. 24: 155–173, 2002

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Four Issues of INTENSITIES The Journal of Cult Media and a Call for Papers

Screencap from the credit sequence of Games (Curtis Harrington, 1967). Read Steven Jay Schneiders 2003 article for Intensities in which he discusses this and other cult psychological thrillers and horror films.

Film Studies For Free just bumped into the new online incarnation of Intensities, the wonderful journal of cult media studies. Oh yes!

Always a highly innovative and valuable project, Intensities was first launched at Cardiff University in 2001 under the editorship of Matt Hills and Sara Gwenllian Jones. As its new website tells us, it later moved to Brunel University, where it was edited by David Lavery. The journal has relaunched in 2013 with Leon Hunt as its new editor and will publish two issues a year. The journal addresses all aspects of cult media including cult television, cult film, cult radio, cult comics, literary cults and cult authors, new media cults, cult figures and celebrities, cult icons, musical cults, cult geographies, historical studies of media cults and their fandoms, cult genres (e.g. science fiction, horror, fantasy, pulp fiction, Manga, anime, Hong Kong film etc.), non-generic modes of cultishness, theorisations of cult media, relevant audience and readership studies, and work that addresses the cult media industry.

In addition to publishing refereed essays (of between 6000 and 8000 words), Intensities also features a non-refereed Cult Media Review section which will carry shorter speculative reviews, reviews of cult phenomena (e.g. cult TV series, cult films, cult novels, science fiction, comics), short critical essays, interview transcripts, conference and convention reviews and articles about aspects of industry, fan culture, production and authorship.

Intensities latest calls for papers are reproduced below, as are the tables of (linked) contents from the excellent first four issues of this journal. Lets all wish Intensities a very happy and long online life at its new website. Its entry has been updated at FSFFs permanent listing of open access film and media studies journals.

Call for Papers
Intensities will publish two themed issues in 2013.  Essays should be between 6000 and 8000 words, referenced Harvard style and sent as a word document – a 200 word abstract should be sent as a separate document.
Issue 5 Comic Book Intensities – Comics and Cult Media
The first new issue seeks submissions dealing with comics as cult media.  Topics might include:

• Cult comic book auteurs – Grant Morrison, Alan Moore, Mark Millar, Joss Whedon.
• Cult films from comics – Cinefumetti, Manga and Anime, the Turkish KIlink films, Dredd 3D.
• National and international comic book cultures – French bandes dessinees, Italian fumetti, Japanese Manga.
• Comic book fan cultures – Cosplay and beyond.
• Underground and alternative traditions.
• Beyond the cape and mask – neglected comic book genres.
• From EC to Dark Horse – Horror comics.

Deadline extended to Friday March 1^st 2013

Issue 6 Historical Approaches to Cult TV
This issue seeks submissions examining TV shows that have acquired cult status at a historical distance – both established cult shows (The Avengers, The Prisoner, the ‘classic’ series of Doctor Who) and those that have received less (or possibly even no) critical attention.  In addition, the papers will locate those shows historically, either by drawing on archive materials or suggesting new cultural, historical or institutional contexts in which they might be understood. Deadline for submissions: May 31^st 2013

Intensities: The Journal of Cult Media 4 – Mysterious Bodies (2007)

Special Issue – Mysterious Bodies
Guest Editors: Rayna Denison and Mark Jancovich

• Rayna Denison and Mark Jancovich, ‘Introduction’ Jancovich_Intro
• Mark Jancovich, ‘An Unidentified Species: Horror, the Body and Early Television’ Jancovich, Unidentified Species
• Lincoln Geraghty, ‘Painted Men and Salt Monsters: The Alien Body in 50s and 60s American Science Fiction Television’ Geraghty, Painted Men and Salt Monsters
• Milly Williamson, ‘Television, Vampires and the Body: Somatic Pathos’ Williamson, Television, Vampires and the Body
• Matt Hills, ‘”Gothic” Body Parts in a “Postmodern” Body of Work? The Hinchcliffe/Holmes Era of Doctor Who (1975-77)’ Hills, Gothic Body Parts in Postmodern Body of Work
• Rayna Denison, ‘The Muppet Show: Sex and Violence: Investigating the Complexity of the Television Body’ Denison, The Muppet Show Sex and Violence
• Rebecca Feasey, ‘Investigating Angel: The Hair, the Car and the Wardrobe’ Feasey, Investigating Angel
• Peter Hutchings, ‘Welcome to Royston Vasey: Grotesque Bodies and the Horror of Comedy in The League of Gentlemen‘ Hutchings, Welcome to Royston Vasey
• Elke Weissman, ‘The Victim’s Suffering Translated: CSI: Crime Scene Investigation and the Crime Genre’ Weissmann, Victim’s Suffering Translated
• Julian Savage, ‘The Lost Cult of Wake in Fright‘ Savage, Lost Cult of Wake in Fright

Intensities: The Journal of Cult Media 3 – Horror Issue (Spring 2003)

Edited by Matt Hills and Sara Gwenllian Jones

• Steven Jay Schneider, ‘Murder as Art/The Art of Murder: Aestheticising Violence in Modern Cinematic Horror’ Schneider, Murder as Art
• I.Q. Hunter, ‘Even Baser Instincts: Notes on Hollow Man‘ Hunter, Even Baser Instincts
• Stephen Harper, ‘”They’re Us”: Representations of Women in George Romero’s ‘Living Dead’ Series’ Harper, They’re Us
• Kate Egan, ‘The Amateur Historian and the Electronic Archive: Identity, Power, and the Function of Lists, Facts and Memories on “Video Nasty”-themed Websites’ Egan, The Amateur Historian and the Electronic Archive
• Linda C. Badley, ‘Spiritual Warfare: Postfeminism and the Cultural Politics of the Blair Witch Craze’ Badley, Spiritual Warfare

Intensities: The Journal of Cult Media 2 (Autum/Winter 2001)

Edited by Matt Hills and Sara Gwenllian Jones

• Marie-Laure Ryan, ‘From The Truman Show to Survivor: Narrative versus Reality in Fake and Real Reality TV’ Ryan, From The Truman Show to Survivor
• William D. Routt, ‘Bad for Good’ Routt, Bad for Good
• Mark Jancovich, ‘Placing Sex: Sexuality, Taste and Middlebrow Culture in the Reception of Playboy Magazine’ Jancovich, Placing Sex
• Bertha Chin and Jonathan Gray, ‘”One Ring to Rule Them All”: Pre-Viewers and Pre-Texts of the Lord of the Rings Films’ Chin and Gray, One Ring to Rule Them All
• Will Brooker, ‘The Many Lives of the Jetman: A Case Study in Videogame Analysis’ Brooker, Many Lives of the Jetman
• Intensities interviews Henry Jenkins @Console-ing Passions, University of Bristol, July 7th 2001 Intensities interviews Jenkins
• Ben Talbot, Conference Review: Compete, Command and Conquer – Playing for Space at the International Games Cultures Conference Talbot, Compete, Command and Conquer

Intensities 1 (Spring/Summer 2001)

Edited by Matt Hills and Sara Gwenllian Jones

• Lynette Russell and Nathan Wolski, ‘Beyond the Final Frontier: Star Trek, the Borg and the Post-colonial’ Russell_Wolski
• Mark McLelland, ‘Why Are Japanese Girls’ Comics Full of Boys Bonking?’ McLelland
• Alan McKee, ‘Which is the Best Doctor Who story? A Case Study in Value Judgements Outside the Academy’ McKee
• Patricia MacCormack, ‘Becoming Hu-Man: Deleuze and Guattari, Gender and Third Rock from the Sun‘ MacCormack
• Annette Hill and Ian Calcutt, ‘Vampire Hunters: the Scheduling and Reception of Buffy the Vampire Slayer and Angel in the UK’ Hill_Calcutt
• Will Brooker, ‘Parallel Earths: Diana 2000 – a Review Essay’ Brooker_Earths

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