Senses of Cinema The Post Dreaming Issue

Image from Nothing Personal (Urszula Antoniak, 2009) premiered at the Edinburgh International Film Festival 2010 - Read the late John Orrs festival report.

Were dreams the “virtual worlds” of a previous era? Or at least as Freud understood them to be, as wish fulfilments? In this day and age of  “virtual reality” sites such as Second Life, are not all wish fulfilments at our disposal, made manifest instantly? We continue to dream, of course, but dreaming may be just the archaic [remnant] of a by-gone activity. Old habits die hard. If the post-modern age is post-Freudian, then it also post-dreaming. [Welcome to Issue 56 of our journal (Senses of Cinema) by the editors]

Hot off the digital press: a new issue of online journal Senses of Cinema, with a distinct focus on dreams and virtuality. Film Studies For Free brings you the tantalising table of contents below.

FSFF also notes that this issue carries the final Senses of Cinema contributions (and here) by the late film scholar John Orr. You can read FSFFs tribute to him here.

Issue 56 Contents 

Editorial

Feature Articles

An Interview with Arnaud Desplechin by Marko Bauer

An Interview with Marie-Christine Questerbert by Sally Shafto

Feed Me Grapes by Murray Pomerance

Inception by Ian Alan Paul

World on a Wire by the Celluloid Liberation Front

The Illusionist by David Bellos

The Skladanowsky Brothers by Stephen Barber

Iván Zulueta’s Cinephilia of Ecstasy and Experiment by Matt Losada

Rico Ilarde as filmmaker by Noel Vera

Watching the World Cup Final by Ehsan Khoshbakht

Cocksucker Blues by Stephen Gaunson

Jake Wilson interviews Leo Berkeley

Mary M. Wiles interviews Gaylene Preston

Arthur and Corinne Cantrill Dossier

Dossier Introduction by Adrian Danks
Jake Wilson on Films by Arthur and Corinne Cantrill
OtherFilm on Cantrills Expanded Cinema
Michael Koller on Waterfall
Freda Freiberg on In This Life’s Body

Steven Ball on Cantrills Filmnotes

Great Directors

John R. Hamilton on Paul Schrader

Festival Reports

Paul Breschuk on Media City
Damien Spiccia on Revelation
David Sanjek on Il Cinema Ritrovato
Ivana Novak on Dokufest
Bill Mousoulis on Karlovy Vary International Film Festival
Darragh O’Donoghue on Killruddery
John Orr on Edinburgh International Film Festival
Jake Wilson on MIFF

Book Reviews

John Orr on Ingmar Bergman’s The Silence and Jerzy Skolimowski
David Melville on Latin American Melodrama and All About Almodóvar
David Sanjek on Richard Lester
Geoff Mayer on Screen The British "B" Film
Gozde Kilic on Conversations with Directors

Cteq Annotations

Tony Williams on Centre Stage
John Fidler on Irma Vep
Carla Marcantonio on In the Mood for Love
Audrey Yue on Song of the Exile
Michael Da Silva on The 10th District Court: Moments of Trials
Adrian Danks on The Student Prince in Old Heidelberg
Wheeler Winston Dixon on One Hour With You
Shari Kizirian on Madame Dubarry
Michael Koller on Kohlhiesels Töchter and Schuhpalast Pinkus
Pasquale Iannone on Broken Lullaby
Louise Sheedy on Beginnings
Louise Sheedy on Arts Vietnam
Darragh O’Donoghue on The Phantom Carriage

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AUDIENCES a wonderful new book from Amsterdam University Press and a bumper new issue of PARTICIPATIONS!

Frame grab from Le Voyage dans la lune/A Trip to the Moon (Georges Méliès, 1902). Read Dan Norths great blog entry about the audience-oriented attractionist aesthetic of this film, and Frank Kesslers chapter on this film in the collection Audiences: Defining and Researching Screen Entertainment Reception

This timely volume engages with one of the most important shifts in recent film studies: the turn away from text-based analysis towards the viewer. Historically, this marks a return to early interest in the effect of film on the audience by psychoanalysts and psychologists, which was overtaken by concern with the effects of film, linked to calls for censorship and moral panics rather than to understanding the mental and behavioral world of the spectator. Early cinema history has revealed the diversity of film-viewing habits, while traditional box office studies, which treated the audience initially as a homogeneous market, have been replaced by the study of individual consumers and their motivations. Latterly, there has been a marked turn towards more sophisticated economic and sociological analysis of attendance data. And as the film experience fragments across multiple formats, the perceptual and cognitive experience of the individual viewer (who is also an auditor) has become increasingly accessible. With contributions from Gregory Waller, John Sedgwick and Martin Barker, this work spans the spectrum of contemporary audience studies, revealing work being done on local, non-theatrical and live digital transmission audiences, and on the relative attraction of large-scale, domestic and mobile platforms. [Publishers blurb for Audiences: Defining and Researching Screen Entertainment Reception, ed. by Ian Christie (Amsterdam: Amsterdam University Press, 2012)]

Film Studies For Free is delighted to pass on news of the publication of an open access version of a wonderful new book from Amsterdam University Press. Audiences: Defining and Researching Screen Entertainment Reception is an extremely high quality collection edited by Ian Christie, Professor of Film and Media History, at Birkbeck, University of London. This great tome has, of course, been added to FSFFs permanent listing of Open Access eBooks. Please support its generous publisher and author by ordering a copy for your university library!


Since were on the subject of audiences, it seems a brilliant moment to reproduce, below, links to the incredibly rich contents of the latest, just published, issue of PARTICIPATIONS, the excellent online journal of audience research. Not all items are directly film studies related, but they should be of interest to all researching issues of reception in film and media culture.

Audiences: Defining and Researching Screen Entertainment Reception, ed. by Ian Christie (Amsterdam: Amsterdam University Press, 2012)

CONTENTS

• Editorial; Acknowledgments
• Introduction: In Search of Audiences Ian Christie

PART I: Reassessing Historic Audiences

• “At the Picture Palace”: The British Cinema Audience, 1895-1920 25 by Nicholas Hiley
• The Gentleman in the Stalls: Georges Méliès and Spectatorship in Early Cinema by Frank Kessler
• Beyond the Nickelodeon: Cinemagoing, Everyday Life and Identity Politics by Judith Thissen
• Cinema in the Colonial City: Early Film Audiences in Calcutta by Ranita Chatterjee
• Locating Early Non-Theatrical Audiences by Gregory A. Waller
• Understanding Audience Behavior Through Statistical Evidence: London and Amsterdam in the Mid-1930s byJohn Sedgwick and Clara Pafort-Overduin

PART II: New Frontiers in Audience Research

• The Aesthetics and Viewing Regimes of Cinema and Television, and Their Dialectics by Annie van den Oever
• Tapping into Our Tribal Heritage: The Lord of the Rings and Brain Evolution by Torben Grodal
• Cinephilia in the Digital Age by Laurent Jullier and Jean-Marc Leveratto
• Spectator, Film and the Mobile Phone by Roger Odin
• Exploring Inner Worlds: Where Cognitive Psychology May Take Us by A dialogue between Tim J. Smith and Ian Christie

PART III: Once and Future Audiences

• Crossing Out the Audience by Martin Barker
• The Cinema Spectator: A Special Memory by Raymond Bellour
• Operatic Cinematics: A New View from the Stalls by Kay Armatage
• What Do We Really Know About Film Audiences? by Ian Christie

• Notes; General Bibliography; Notes on Contributors; Index of Names; Index of Film Titles; Index of Subjects

PARTICIPATIONS, 9.2, 2012

Contents

• Editorial - Turnbull, Sue (Joint Editor): Editorial introduction

Articles

• Bore, Inger-Lise Kalviknes:Focus Group Research and TV Comedy Audiences’
• George, Kelly C.:Self-Help as Womens Popular Culture in Suburban New Jersey: an Ethnographic Perspective
• Redfern, Nick:‘Correspondence Analysis of Genre Preferences in UK Film Audiences’

Special Section: Comic-Book Audiences

• Sabin, Roger:Special Section Introduction’
• Barker, Martin:The Reception of Joe Saccos Palestine’
• Berenstein, Ofer:Comic-Book Fans Recommendations Ceremony: A Look at the Inter-personal Communication Patterns of a Unique Readers/Speakers Community
• Burke, Liam:‘"Superman in Green": An Audience Study of Comic-Book Film Adaptations Thor and Green Lantern’
• Gordon, Ian:‘Writing to Superman: Towards an Understanding of the Social Networks of Comic Book Fans’
• Patrick, Kevin:‘"Phans", not "Fans": The Phantom and Australian Comic-Book Fandom’
• Sabeti, Shari:‘"Arts of Time and Space": the Perspectives of a Teenage Audience on Reading Novels and Graphic Novels’
• Woo, Benjamin:‘Understanding Understandings of Comics: Reading and Collecting as Media-Oriented Practices’

Special Section: Music Audiences

• Bennett, Lucy:Special Section Introduction’
• Anderson, Lauren:"Thats how its supposed to make you feel": Talking with Audiences about Both Sides Now and Love Actually’
• Anderson, Tonya:Still Kissing Their Posters Goodnight: Female Fandom and the Politics of Popular Music
• Avdeeff, Melissa:‘Technological Engagement and Musical Eclecticism: An Examination of Contemporary Listening Practices’
• Baym, Nancy K.:‘Fans or Friends? Seeing Social Media As Musicians Do’
• Duffett, Mark:‘Boosting Elvis: a Content Analysis of Editorial Stories from One Fan Club Magazine’
• Kaun, Anne & Fredrik Stiernstedt:‘Media Memories: The Case of Youth Radio DT64’
• Potts, Liza:‘Amanda Palmer and the #LOFNOTC: How Online Fan Participation is Rewriting Music Labels’
• Zaborowski, Rafal:‘Simple Unchanging Stories about Things We Already Know’: Japanese youth and popular songs’

Special Section: Audience Involvement and New Production Paradigms [COST Action]

• Noguera, José-Manuel, Francesca Pasquali & Mélanie Bourdaa:Special Section Introduction’
• Hills, Matt:‘Torchwoods Trans-transmedia: Media Tie-ins and Brand “Fanagement”’
• García-Avilés, José Alberto:‘Roles of Audience Participation in Multiplatform Television: from Fans and Consumers, to Collaborators and Activists’
• Boccia Artieri, Giovanni:Productive Publics and Transmedia Participation’
• Vobic, Igor & Ana Milojevic:‘Societal Roles of Online Journalists in Slovenia and Serbia: Self-Perceptions in Relation to the Audience and Print Journalists’
• Cordeiro, Paula:‘Radio becoming R@dio: Convergence, Interactivity and Broadcasting Trends in Perspective’’
• Bennett, Lucy:Transformations through Twitter: The England Riots, Television Viewership and Negotiations of Power through Media Convergence
• Horváth, Dóra, Tamás Csordás & Nóra Nyiro:‘Re-written by Machine and New Technology: Did the Internet Kill the Video Star?’
• Grandío, María del Mar & Joseba Bonaut:Transmedia Audiences and Television Fiction: a Comparative Approach between Skins (UK) and El Barco (Spain)’
• Berriman, Liam:‘Negotiating Proximity: The Co-Existence of Habbo and its Fansites’
• Lin, Yu-Wei:‘The Emergence of the Techno Elite Audience and Free/Open Source Content: A Case Study on BBC Backstage’
• Villi, Mikko:‘Social Curation in Audience Communities: UDC (User-distributed Content) in the Networked Media Ecosystem’

Special Section: Multi-Method Audience Research [COST Action]

• Schrøder, Kim Christian, Uwe Hasebrink, Sascha Hölig and Martin Barker:Special Section Introduction’
• Aveyard, Karina:Observer, Mediator and Empiricist: an Account of Methodological Fusion in the Study of Rural Cinema Audiences in Australia’
• Barker, Martin & Ernest Mathijs:Researching World Audiences: the Experience of a Complex Methodology
• Biltereyst, Daniël, Kathleen Lotze & Philippe Meers:‘Triangulation in Historical Audience Research: Reflections and Experiences from a Multi-Methodological Research Project on Cinema Audiences in Flanders’
• Courtois, Cédric:‘When Two Worlds Meet: an Inter-Paradigmatic Mixed Method Approach to Convergent Audiovisual Media Consumption’
• Dhoest, Alexander:‘Mixed Methods, Bifocal Vision: Combining Quantitative and Qualitative Data to Assess Public Service Performance’
• Hasebrink, Uwe &Hanna Domeyer:Media Repertoires as patterns of behaviour and as Meaningful Practices: a Multimethod Approach to Media Use in Converging Media Environments’
• Nyiro, Nóra:‘Nested Analysis-based Mixed Method Research of Television and Video-recording Audiences’
• Schrøder, Kim Christian:‘Methodological Pluralism as a Vehicle of Qualitative Generalization’

Reviews

• Gelly, Christophe & David Roche (eds.):Approaches to Film and Reception Theories / Cinéma et Théories de la Réception’ (Reviewed by Martin Barker)
• Miller, Daniel:The Comfort of Things, and Stuff (Reviewed by Phil Ramsey)
• Thumim, Nancy:‘Self-Representation and Digital Culture (Reviewed by Justin Battin)

Read More..

New Fall 2013 Issue of MEDIASCAPE on Urban Centers Media Centers

Frame grab from The Impossible (Juan Antonio Bayona, 2012). Read José Gallegos article about this film in the new issue of Mediascape

This issue of Mediascape then is designed to raise pointed questions about the role of the city as a center of both media and cultural production, especially in relation to our experience of mediated reality. The ultimate goal is to ground this larger discourse in a more specific discussion of cinematic space and its transformation in the ever-expanding era of digital media. How do films represent the city in a time of technological change and aesthetic evolution? How has the wholesale implementation of digital technologies impacted the use of space in cinema? And how does the digital era affect the relationship between the off-screen and on-screen spatial environment? Looking at the distinctive aesthetics of urban space, it is our belief, allows for an examination of how we perceive and engage with the iconography of our world. Our intent is to problematize what we understand as the urban, and how strongly it relates to our relationship with contemporary media.

[Matthias Stork and Andrew Young, Mediascape Co-Editors-in-Chief, Introduction to the Fall 2013 issue]

Film Studies For Free would like its readers to head straight on over to the new issue of Mediascape which considers matters of space and mediation. 

FSFF would particularly recommend Matthias Storks marvellous (and marvellously illustrated) study of the Aesthetics of Post-Cinematic City Space in Action Films and Video Games, James Gilmores fascinating essay on The Dark Knight Rises, urban space and the cultural experience of terrorism as mediation, as well as José Gallegos essay on the Tsunami disaster film The Impossible. The issue also boasts unmissable items in the area of game studies.

Readers may also be interested to know that the excellent Mediascape blog is seeking new contributors on a wide variety of topics. If you are interested in becoming a contributor, or if you would like more information about the blog, please write to Editor-in-Chief Matthias Stork at mstork[at]ucla[dot]edu.

• Moving Through Videogame Cities Bobby Schweizer
• The Impossible – Or How I Learned Thailand Was Filled with European Tourists Jose Gallegos
• Absolute Anxiety Test: Urban Wreckage in The Dark Knight Rises James Gilmore
• Dimensions of the Digital City Oscar Moralde
• Space-Wars: Mapping the Aesthetics of Post-Cinematic City Space in Action Films and Video Games Matthias Stork
• Negotiating Transitional Spaces in Classic Games Harrison Gish
• Invisible Walls: Narrativizing Spatial Limitation in Ico and Assassin’s Creed II Bryan Wuest
• Perpetual Game Space in Crime City: Game Design in the Age of Social Network Gaming Andrew Young

Read More..

The Godard Is Issue of the new VERTIGO

Image from Histoire(s) du cinéma (Jean-Luc Godard, 1988-99)

Film Studies For Free had a nagging doubt that it was omitting something BIG from its recent entry of links to Godard studies. And, boy, it was!

It really should have waited....

Some time back, the very kind people at the great Close Up film centre were in touch to announce their relaunch of excellent film magazine Vertigo as an online publication.

The (just published) reboot issue -- Godard Is. -- is astonishingly, mouth-wateringly good! The luscious links are below.

A très contrite FSFF has added the link to Vertigo to its permanent listing of online Film Studies journals.

Close Up Films is on Facebook and Twitter. Follow them. Like them. Thank you.


VERTIGO, Issue 30 | Spring 2012: Godard Is.

• EDITORIAL: A Double Bind By Damien Sanville

Contents

• Jean-Luc Godard: Vivre sa Vie By Frieda Grafe
• The Interventions of Jean-Luc Godard and Chris Marker into Contemporary Visual Art By David Brancaleone
• “Elpenor, Unburied”: Ezra Pound, Jean-Luc Godard And the Descent of Dwelling By Corin Depper
• King Lear By James Norton
• "I am playing leapfrog with myself" By Jürgen E. Müller
• Scénario du Film Passion: Writing Video at the End of Cinema By Duncan White
• Entering the Desert: The Book of Film Socialisme by By James S. Williams
• Godard in the Gallery: Story of a Ruination By Adrian Martin
• "Tensional Differences": The Anxiety of Re-Mediation in Jean-Luc Godard’s New Wave Films By Ágnes Pethő
• For a Reconsideration of Soft and Hard By Jerry White
• Its Not Blood, Its Red: Colour(s) of Jean-Luc Godard By Robert Barry
• A Photograph and a Camera: Two Objects in Film Socialisme By Roland-François Lack

From the Archive

• An Old Place By Cyril Neyrat

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Oyez! Oyez! Screening the Past Issue 26 Out Now

 

Image from The New World (Terrence Malick, 2005), the subject of Robert Sinnerbrinks great article in the latest issue of Screening the Past

Donning its fetching town-crier e-garb, Film Studies For Free shouts out "Hear ye, hear ye: new Screening the Past, people! Lots of links to great stuff below." The issue features wondrous items by old and valued friends of FSFF (Adrian Martin and Frances Guerin, in particular) as well as by up and coming Film Studies greats (Robert Sinnerbrink, among others).

Issue 26: Special Issue: Early Europe 

Guest Editor: Louise D’Arcens

Louise D’Arcens: Screening Early Europe: Premodern Projections.
Adrian Martin: The Long Path Back: Medievalism and Film.
Stephanie Trigg: Transparent Walls: Stained Glass and Cinematic Medievalism.
Anke Bernau: Suspended Animation: Myth, Memory and History in Beowulf.
Sylvia Kershaw and Laurie Ormond: “We are the Monsters Now”: The Genre Medievalism of Robert Zemeckis’ Beowulf.
Robert Sinnerbrink: From Mythic History to Cinematic Poetry: Terrence Malick’s The New World Viewed.
Helen Dell: Music for Myth and Fantasy in Two Arthurian Films.
Narelle Campbell: Medieval Reimaginings: Female Knights in Children’s Television.
Louise D’Arcens: Iraq, the Prequel(s): Historicising Military Occupation and Withdrawal in Kingdom of Heaven and 300.
Christina Loong: Reel Medici Mobsters? The Medici: Godfathers of the Renaissance Reassessed.
Laura Ginters: “A Continuous Return”: Tristan and Isolde, Wagner, Hollywood and Bill Viola.
Appendix: Raúl Ruiz: Three Thrusts at Excalibur.
Contributors. 

First Release
Adrian Danks, Fishing from the Same Stream: The New Iranian Cinema, Close-Up and the “Film-on-film” Genre.
Peter Limbrick, Playing Empire: Settler Masculinities, Adventure, and Merian C. Cooper’s The Four Feathers (US 1929).
Lesley Speed, Strike Me Lucky: Social Difference and Consumer Culture in Roy Rene’s Only Film.

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Australian Film Culture

Ina Bertrand, Some Early History of the Australian Film Institute: A Memoir of the 1970s.
Deane Williams, ‘The Circulation of Ideas’: An Interview with Tom O’Regan.
Deane Williams, Shifts and Interventions: Cultural Materialism and Australian Film History.

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Reviews

Ina Bertrand reviews Raymond Longford’s The Sentimental Bloke: The Restored Version, Madman/NFSA/ATOM, 2009.
Ina Bertrand reviews Kathryn H. Fuller-Seeley (ed.), Hollywood in the Neighbourhood: Historical Case Studies of Local Moviegoing.
Nathalie Brillon reviews Jane Mills, Loving and Hating Hollywood: Reframing Global and Local Cinemas.
Adam Broinowski reviews Sabine Nessel, Winfried Pauleit, Christine Rüffert (eds), Wort und Fleisch: Kino zwischen Text und Körper.
Rachael Cameron reviews André Gaudreault, From Plato to Lumière: Narration and Monstration in Literature and Cinema.
Ryan Cook reviews Matthew H. Bernstein, Screening a Lynching: The Leo Frank Case on Film and Television.
Maura Edmond reviews Jacob Smith, Vocal Tracks: Performance and Sound Media.
Victor Fan reviews Pak Tong Cheuk, Hong Kong New Wave Cinema (1978-2000).
Mike Fleming reviews The Encyclopedia of British Film (Third Edition).
Freda Freiberg reviews Alexander Jacoby, A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day, and Aaron Gerow, A Page of Madness: Cinema and Modernity in 1920s Japan.
Gin Chee Tong reviews Brooke Erin Duffy and Joseph Turow (eds), Key Readings in Media Today: Mass Communication in Contexts.
Frances Guerin reviews Kristen Whissel, Picturing American Modernity: Traffic, Technology, and the Silent Cinema.
Alexandra Heller-Nicholas reviews Barry Curtis, Dark Places: The Haunted House in Film.
Roger Hillman reviews Mark Betz, Beyond the Subtitle: Remapping European Art Cinema.
Jan-Christopher Horak reviews Rob King, The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture.
Irene Javors reviews Joe McElhaney, Albert Maysles.
D.B. Jones reviews Philip Gillett, Movie Greats: A Critical Study of Classic Cinema.
Harry Kirchner reviews Steven Maras, Screenwriting: History, Theory and Practice.
Roger Macy reviews Bert Cardullo, Out of Asia: The Films of Akira Kurosawa, Satyajit Ray, Abbas Kiraostami, and Zhang Yimou; Essays and Interviews.
Harriet Margolis reviews Gönül Dönmez-Colin, Turkish Cinema: Identity, Distance and Belonging.
Harriet Margolis reviews Deb Verhoeven, Jane Campion.
Craig Martin reviews Tony Shaw, Hollywood’s Cold War.
Josh Nelson reviews Roger Ebert, Scorsese by Ebert.
Violeta Politoff reviews Joanna Page, Crisis and Capitalism in Contemporary Argentine Cinema.
Thomas Redwood reviews Michel Ciment, Film World: Interviews with Cinema’s Leading Directors.
Christopher Rowe reviews Jane Stadler with Kelly McWilliam, Screen Media: Analysing Film and Television.
Kirsten Stevens reviews Dina Iordanova with Ragan Rhyne (eds), Film Festival Yearbook 1: The Festival Circuit.
Jay Daniel Thompson reviews Amit Sarwal and Reema Sarwal (eds), Creative Nation: Australian Cinema and Cultural Studies Reader.
Mike Walsh reviews Michael Ingham, Johnnie To Kei-fung’s PTU.
Mike Walsh reviews Joe McElhaney (ed.), Vincente Minnelli: The Art of Entertainment.
Mike Walsh reviews Catherine Russell, The Cinema of Naruse Mikio: Women and Japanese Modernity.
Tony Williams reviews Stella Hockenhull, Neo-Romantic Landscapes: An Aesthetic Approach to the Films of Powell and Pressburger.
Janice Yu reviews Jane Blocker, Seeing Witness: Visuality and the Ethics of Testimony.

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10th Anniversary Issue of PARTICIPATIONS on Fan Studies and Audience Interaction and Participation

Screenshot extract from Ten years old - and ready to try new things, an editorial by Martin Barker and Sue Turnbull in the the tenth anniversary issue of Participations: Journal of Audience and Reception  Studies

Film Studies For Free today wishes a very happy 10th year in online existence to the remarkable open access venture that is Participations. What a great achievement! The journal is stronger and more impressive than ever, as the below, very high quality (and enormous), latest issue -- on fan studies, and audience interaction and participation -- testifies

FSFF somewhat cheekily embeds the above screenshot from the opening part of this issues editorial, for its readers, as in it joint editors Martin Barker and Sue Turnbull raise some important matters concerning the long term viability and success of a journal like this. The editors are choosing to respond to these by recasting the journal in a number of interesting ways - you can read about these at greater length here.

If you are working in this area, now would be a really good time to consider what you would want from Participations in the years ahead. Feel free to post comments here, or contact the editors here.

Heres to the next ten years, Participations! And thank you.


Participations, Volume 10, Issue 1, (May 2013)

• Editorial by Martin Barker and Sue Turnbull (Joint Editors): Ten years old - and ready to try new things

Articles

• Bradby, Barbara: Our affair with Mila Kunis: A group ethnography of cinema-going and the male gaze’ Haslop, Craig: "I certainly wouldnt want to be portrayed as a boring straight person": Torchwood, meaning-making and the performance of gender and sexual identities

Special Section: The Fan Studies Network - new connections, new research

• Bennett, Lucy & Tom Phillips: An introduction: The Fan Studies Network - new connections, new research
• Booth, Paul & Peter Kelly: The changing faces of Doctor Who fandom: New fans, new technologies, old practices?
• Busse, Kristina: Geek hierarchies, boundary policing, and the gendering of the good fan
• Chin, Bertha & Lori Hitchcock Morimoto: Towards a theory of transcultural fandom
• Ellison, Hannah: Submissives, Nekos and Futanaris: a quantitative and qualitative analysis of the Glee Kink Meme
• Hills, Matt: Fiskes textual productivity and digital fandom: Web 2.0 democratization versus fan distinction?
• Lamerichs, Nicolle: The cultural dynamic of doujinshi and cosplay: Local anime fandom in Japan, USA and Europe
• Pett, Emma: "Hey! Hey! Ive seen this one, Ive seen this one. Its a classic!": Nostalgia, repeat viewing and cult performance in Back to the Future
• Proctor, William: "Holy crap, more Star Wars! More Star Wars? What if theyre crap?": Disney, Lucasfilm and Star Wars online fandom in the 21st century
• Sandvoss, Cornel: Toward an understanding of political enthusiasm as media fandom: Blogging, fan productivity and affect in American politics
• Whiteman, Natasha, Joanne Metivier: From post-object to "Zombie" fandoms: The "deaths" of online fan communities and what they say about us

FSN Forum Discussion

• Bury, Rhiannon, Ruth Deller, Adam Greenwood & Bethan Jones: From Usenet to Tumblr: The changing role of social media
• McCulloch, Richard, Virginia Crisp, Jon Hickman & Stephanie Janes: Of proprietors and poachers: Fandom as negotiated brand ownership
• Freund, Katharina & Dianna Fielding: Research ethics in fan studies
• Jones, Bethan & Lucy Bennett: Blurring boundaries, crossing divides: An interview with Will Brooker
• Lozano Delmar, Javier, Victor Hernández-Santaolalla & Marina Ramos: Fandom generated content: An approach to the concept of fanadvertising
• Sturm, Damion & Andrew McKinney: Affective hyper-consumption and immaterial labors of love: Theorizing sport fandom in the age of new media

Special Section: COST - audience interaction & participation

• Damásio, Manuel José, Mélanie Bourdaa, Bozena I. Mierzejewska, Ana Milojević, José Manuel Noguera, Birgit Stark, Lucia Vesnić-Alujević & Igor Vobič: Editors introduction: Stakeholder essays on audience interaction and participation
• Stark, Birgit & Andy Kaltenbrunner: There is no such thing as a convergence continuum aiming towards the perfect solution
• Stark, Birgit & Ina von Holly: Social media is not a threat but a reward for companies!
• Haas, Josefa: New tools and scenes for the media play
• Nyirő, Nóra & Agnes Urban: Effects of audience participation in CSO communication
• Marmino, Michele, Mario Petitto & Andrea Pinchera: CSOs communication strategies and audience participation
• Joye, Stijn & Philippe Henon: Activating the audience in times of compassion fatigue
• Vozab, Dina, Eugen Jakovčić & Saša Šegrt: Croatian civil society and media from the perspective of two civil society organisations
• Harrison, Teresa: The "audience" as participative, idea generating, decision making citizens: will they transform government?
• Dahlgren, Peter: From public to civic intellectuals via online cultures
• Harrington, Stephen, Tim Highfield & Axel Bruns: More than a backchannel: Twitter and television
• García de Torres, Elvira: Audience territory
• Scolari, Carlos: Lost in the borderlines between user-generated content and the cultural industry
• Zamora, Rocío & Wayne Wanta: The influence of a mediating source – my friend – is now spreading the influence to others who may not have seen the news reports
• Vobič, Igor: Rethinking social life of radio news: Slovenian public radio journalists perceptions of audience interactivity
• Krstić, Aleksandra: When the audience changes a journalist
• Torres da Silva, Marisa: Professional views on letters-to-the-editor as a means of audience participation
• Vesnić-Alujević, Lucia: Online strategies of members of the European parliament
• Hänska-Ahy, Maximillian, Claire Wardle & Malachy Browne: Social media & journalism: Reporting the world through user generated content
• Milojević, Ana, Jelena Kleut & James Ball: Conversational style of journalism
• Milojević, Ana & Steve Herrmannl: Journalism taking up a curatorial role
• Maretić, Meri & Ante Babić: New political communication
• Buchanan, Margot & Fiona Hyslop: Transforming audiences, transforming audience expectations?
• Gallego, Manuel Javier Callejo & Convadonga Fernández: Producing information, producing and monitoring communication

Reviews

• Benwell, Bethan, James Procter and Gemma Robinson (eds.): Postcolonial Audiences: Readers, Viewers and Reception’ (Reviewed by Pinar Sadar)
• Jacobs, Katrien: Peoples Pornography: Sex and Surveillance on the Chinese Internet’ (Reviewed by Giovanna Maina)
• Lang, Anouk (ed.): From Codex to Hypertext: Reading at the turn of the twenty-first century’ (Reviewed by Julian McDougall)
• Rudolph, Jennifer Domino: Embodying Latino Masculinities: Producing Masculatinidad’ (Reviewed by Victoria Kearley)

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Documentary and Space New issue of MEDIA FIELDS JOURNAL

Framegrab from El Valley Centro (James Benning, 2000). Read Elizabeth Cowies article on Documentary Space, Place, and Landscape which discusses Bennings film, among others. Cowie is author of the new book Recording Reality, Desiring the Real (Minneapolis: University of Minnesota Press, 2011)

Film Studies For Free brings you openly accessible brilliance from the latest issue of Media Fields Journal. Its a really excellent issue on documentary and space - a must-read. And however hyperbolically positive (the always hyperbolically positive) FSFF is, it doesnt always say that. So, do yourselves a big favour and click on the below links without further ado.

• Ryan Bowles and Rahul Mukherjee, Documentary and Space: Introduction, Media Fields Journal, Issue 3, 2011

• Alexandra Juhasz, A Place in the Online Feminist Documentary Cyber-closet, Media Fields Journal, Issue 3, 2011

• Jason Alley, Spaces of Reticence, Media Fields Journal, Issue 3, 2011

• Laura Rascaroli, Sonic Interstices: Essayistic Voiceover and Spectatorial Space in Robert Cambrinus’s Commentary (2009), Media Fields Journal, Issue 3, 2011

• Elizabeth Cowie, Documentary Space, Place, and Landscape, Media Fields Journal, Issue 3, 2011

• André Jansson and Erik Gandini, Gitmo Space: A Dialogue about Mediatized Warfare, Documentary Filmmaking and Heterotopic Truth, Media Fields Journal, Issue 3, 2011

• Nonny de la Peña, Physical World News In Virtual Spaces: Representation and Embodiment in Immersive Nonfiction, Media Fields Journal, Issue 3, 2011

• Brett Lashua, Popular Music Memoryscapes of Liverpool 8, Media Fields Journal, Issue 3, 2011

• Erica Stein, The Road to Heaven Twists: The City, Urban Planning, and Experiential Space, Media Fields Journal, Issue 3, 2011

• Christina Corfield, Flexible by Nature: Video and the Cultural Production of Concrete Fact, Media Fields Journal, Issue 3, 2011

• Dan Fleming, The Staging of Affect and the “Elsewhens” of Documentary Space, Media Fields Journal, Issue 3, 2011

• Sukanya Sen, Encountering Space: Documenting the Topography of the Migrant Home, Media Fields Journal, Issue 3, 2011

• Maggie Hennefeld, The Geopolitics of Narrative Parody in Ulrike Ottinger’s Johanna d’Arc of Mongolia, Media Fields Journal, Issue 3, 2011

• Mapping Documentary: Roundtable with Filmmaker Ido Haar and Film and Media Studies Scholar Janet Walker in Conversation with David Gray and Jade Petermon, Media Fields Journal, Issue 3, 2011

• Renée Rhodes, Moving Makes a Map, Media Fields Journal, Issue 3, 2011

• Bernadette Flynn, Spatial Praxis in the Staging of Material Evidence, Media Fields Journal, Issue 3, 2011

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