Showing posts with label journal. Show all posts
Showing posts with label journal. Show all posts

MOVIE A Journal of Film Criticism

Wednesday, January 14, 2015

MOVIE: A Journal of Film Criticism is a refereed academic publication whose aim is to create a forum for the range of analysis, debate and discussion that only a journal devoted to a detailed film criticism can adequately provide. We are committed to publishing rigorous but accessible critical writing, at a variety of lengths, that is responsive to the detailed texture and artistry of film and television, old and new. We also welcome articles that illuminate concepts, analytical methods and questions in film aesthetics that are of significance to film criticism. The journal is published on a bi-annual basis.

Film Studies For Free is jumping for joy!  MOVIE, the legendary film magazine (1962-2000) published and designed by the late, and much lamented, Ian Cameron (1937-2010) and source of some of the most brilliant and influential writing on film ever, has inspired the beautiful birth of Movie: A Journal of Film Criticism, an online and openly accessible scholarly periodical, with a website hosted by the University of Warwick. 

Many of the same people central to MOVIEs earlier incarnation are involved this time around (Victor Perkins, Douglas Pye, Jim Hillier, Charles Barr, Deborah Thomas, Ed Gallafent, Michael Walker) together with a whole host of some of the best and brightest younger film writers (Andrew Klevan, James Macdowell, John Gibbs, Kathrina Glitre). 

FSFF hasnt read it yet, but wanted to rush you the news. So, as usual, the table of contents (with direct links to PDF files) is pasted in below. 

Wow, wow, wow...

Issue 1, 2010

This issue edited by Edward Gallafent and John Gibbs, with grateful acknowledgement of the contributions of Lucy Fife Donaldson and James MacDowell.
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New JOURNAL OF THE MOVING IMAGE on Alternative cinemas in India

Monday, January 12, 2015

Cover of JOURNAL OF THE MOVING IMAGE 10, 2012 (Alternative cinemas in India)

A new issue of Journal of the Moving Image Online, a great, online, open access publication, has hit the e-stands!

Film Studies For Free heard the news via film scholar and JMI editor Moinak Biswas, who has contributed a number of very fine pieces to Volume 10. There are also excellent articles on Mani Kaul (see also FSFFs memorial entry on this fine filmmaker), and on the brilliant MediaLab, a fantastic initiative by Department of Film Studies, Jadavpur University (also the publishers of JMI), by Anustup Bastu.

All the contents are linked to below. Great work!
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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)
Vol. 2 (2010)

Vol 3 (2011)

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Documentary and Space New issue of MEDIA FIELDS JOURNAL

Saturday, January 10, 2015


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.
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Wide Screen Journal on film analysis film and history Scorsese Altman Panahi and much more

Tuesday, January 6, 2015

An image of Lily Tomlin as Linnea Reese in Nashville (Robert Altman, 1975).

Film Studies For Free is delighted to announce that the second issue of the online and Open-Access film studies journal Wide Screen has been published, with a characteristically broad spread of good quality essays.  FSFF particularly enjoyed Caroline Bainbridge and Candida Yates very original Winnicottian study of DVD Culture, and Zélie Asavas essay on Todd Hayness film I’m Not There (2007).

Below is a list of direct links to each of the main articles. And FSFF has pasted in their abstracts, too, because theres absolutely nothing that this blog likes to do more than to encourage and inform online film-studies reading, even on sunny Saturdays like the one currently tempting its author away from her computer screen...
  • On Not Being a Fan: Masculine Identity, DVD Culture and the Accidental Collector - Caroline Bainbridge, Candida Yates 
    • Abstract: Recent work on DVD and home cinema technologies, audience and the context of reception has tended to focus on fandom, privileging the fanaticism that underpins the etymology of that term. This article is premised on focus group work that suggests, in counterpoint, that many contemporary collectors of DVDs do not see themselves as ‘fans’. What does this mean for the discourses that are developing around the consumption of new media technologies and their role in everyday life? Drawing on interview material, this article discusses the relationship between Western masculinity and the phenomenon of DVD collection. It considers the pleasures of this activity alongside the spaces of resistance it produces and we argue that commentary that interprets such phenomena in terms of fetishism does not account fully enough for what is at stake. Drawing on object relations psychoanalysis, we suggest that the material object of the DVD works in tandem with its psychical equivalent to produce new spaces of exploration and creativity for men. Against the backdrop of the commonplace assumption that masculinity is in ‘crisis’, we suggest that men make use of technologies to forge new spaces of interaction with one another, arguing that this creates new formations through which to think about the cultural structuration of homosociality and its creative potential.
  • Aura, Auteurism and the Key to Reserva - Kartik Nair 
    • Abstract: This essay revisits some of the most significant and enduring debates over the status of cinema as a popular form. The first debate is over the ‘aura’ and film. In “The Work of Art in the Age of Mechanical Reproduction” (1935), Walter Benjamin celebrated the democratic moment when technical reproducibility— culminating with film—abolished the centuries-old ‘aura’ of art. Conversely, in “The Culture Industry” (1944), Theodor Adorno lamented the anti-enlightenment standardization wrought by the assembly line under monopoly capitalism, and the movies were for him a primary example of this mindlessness. Arguably, auteurism emerged in the crossfire of the legacies of Benjamin and Adorno. Since it sought to cordon films off from the undistinguished mass of studio ‘product’ by elevating certain film-makers into the rarefied air of individual expression, ‘auteur theory’ may be said to have conferred a plenitude on its chosen few, a plenitude akin to aura. The second debate that I revisit is therefore that between Andrew Sarris and Pauline Kael, a debate surrounding the Americanization of the auteur.
          Finally, the essay concludes with a brief focus on the short film The Key to Reserva (2007), directed by Martin Scorsese. It is a playful 9-minute experiment – part mockumentary, part homage – in which Scorsese attempts to ‘preserve’ a script Hitchcock developed but left unfilmed. I shall attempt to stage The Key To Reserva as an exciting flashpoint for discussions not only of the status of Hitchcock and Scorsese in Hollywood viz. auteur theory, but also as a flashpoint for discussions of mass reproduction and cinema; the commodity form and advertising; standardization and style; anonymity, authorship, and aura.
  • Multiculturalism and Morphing in I’m Not There - Zélie Asava 
    • Abstract: ‘Passing’ narratives question fixed social categorisations and prove the possibility of self-determination, which is why they are such a popular literary and cinematic trope. This article explores ‘passing’ as a performance of identity, following Judith Butler’s (1993) idea of all identity as a performance language. The performance of multiple roles in I’m Not There (Haynes, 2007) draws our attention not only to ‘passing’, ‘morphing’ and cultural hybridity, but also to the nature of acting as inhabiting multiple identities.
      I’m Not There is a biopic of the musician Bob Dylan. It is a fictional account of a real man who, through his ability to plausibly ‘pass’ for a range of personae, has achieved legendary status. It uses four actors, an actress and a black child actor to perform this enigma.
          The performance of multiple identities in this film explores the ‘moral heteroglossia’, that is, the variety and ‘many-languagedness’ (as Mikhael Bakhtin put it) of identity, through its use of multiply raced and gendered actors. But the film’s use of representational strategies is problematic. Ella Shohat and Robert Stam (1994) note that mixed-race and black representations are often distorted by a Eurocentric perspective. And, as Aisha D. Bastiaans notes, representation is a process which operates ‘in the absence or displaced presence, of racial and gendered subjects’ (2008: 232). This article argues that I’m Not There, like Michael Jackson’s Black or White (1991) video, exploits racial and gendered difference through ‘passing’ and ‘morphing’ narratives, to reinforce the white-centrism of American visual culture.
  • Urban Imagination and the Cinema of Jafar Panahi - Sarah Niazi 
    • Abstract: The city in Iranian cinema acquires a character of its own. This paper through the exploration of the fabric of Jafar Panahi’s films attempts to evaluate the claims of this statement and deduce in his cinema an ‘aesthetic of veiling’1 as a narrative and enunciative coordinate that defines the post- revolutionary cinema in Iran. Working through a Benjaminian analysis of the urban experience located in the flaneur; the essay will attempt to understand the cinematic flanerie of Panahi’s camera, the perceptual prowess of his children in The White Balloon (1995) and The Mirror (1997) and the adventures of his flaneuse in The Circle (2000) and Offside (2006) as a desire to map the experiential realm of Tehran that is located within the marvellously mundane and the monumental everyday.
  • Visual Story Telling and History As A Great Toy in The Lives of Others - Gerry Coulter 
    • Abstract: The Lives of Others is an important film for two reasons: 1) it is a striking example of how cinema tells a story by visual means as much as the script (which in this case is much weaker); and 2) the film raises extremely important questions for history in our virtual era, a time when the reach and influence of film makers far extends that of the historian.
  • Film Analysis: A Comparison among Criticism, Interpretation, Analysis and Close Analysis - Elisa Pezzotta 
    • Abstract: The first aim of this article is to summarize and discuss the definitions of film analysis reported in some of the more well known texts about this subject which were and/or are published in France, Italy, the United Kingdom and the United States and which are directed to undergraduate and graduate students. Because film analysis is a broad field, firstly, I will distinguish between analysis and criticism and among interpretation, analysis and close analysis. Then, I will underline what are the relationships between analysis and close analysis, what are the main instruments of close analysis, the assumptions of analysis and the goals of both close analysis and analysis.
          This discussion is not exhaustive, but it furnishes a guide to an essential bibliography of film analysis and can aid students to undertake their own analyses with more awareness of their tasks. Finally, I strongly wish to have raised some important questions about the future of film analysis.
  • “Bhagat Singh Topless, Waving In Jeans”: Melancholia Through Mimesis In Rang De Basanti - Kshama Kumar 
    • Abstract: How is history mapped on the topography of twenty first century India? It seems apt to study the idea through modern India’s largest popular culture industry: Bollywood. This paper will examine the interaction between history and modern India in Rang de Basanti/Paint it Yellow (2006). The film employs history to understand the present. This paper, therefore, seeks to understand the different processes by which the film accomplishes this goal.It will involve a detailed study of the melancholia within the film which allows history and the present to co-exist. Temporal and spatial fluidity is afforded in the film through the mimetic process of the meta-drama, which will also then be studied to better understand the melancholic condition. The melancholic and the mimetic in the film, allow for an examination of the socio-political condition that the film seeks to represent. The film, this paper will argue also employs a critique of modern day governance. The paper will thus come full circle and examine modern day politics as a system of political history in action: pre-colonial politics in a postcolonial world.
  • Loss and Mourning: Cinemas Language of Trauma in Waltz with Bashir - Natasha Jane Mansfield 
    • Abstract: This paper seeks to analyse Ari Folman’s 2008 animated film Waltz with Bashir from the perspective of psychoanalysis. The aim with any form of story telling is to meaningfully convey a narrative to an intended audience. This paper seeks to address the ways in which the audio/visual characteristics of film allow it to present narrative in terms that are unavailable to the written word. In this case, the form and style specific to animation, provides further avenues for exploration with regard to the narration of trauma. The focus of this paper is the representation of traumatic memory, from the perspective of middle aged men, recalling their teenage experiences of war: in this case the 1982 Israeli invasion of Beirut. The organising framework of Waltz with Bashir is the exploration of memory. It reconstructs experiences of war from a distance of approximately twenty years, using multiple perspectives in order to regain a sense of history. As a result, there are many strategies the film employs to try to weave together the various different narratives into an impression of events coherent enough to engage the audience and lead to some clarification of memory, and yet disparate enough to retain the idea of history as shifting and personal. The analysis also questions the difference in perception between the distance created by an artistic representation of reality through the talents of animators, and the distance created through the lens of a camera.
  • “We must be doing something right to last two hundred years”: Nashville, or the American bicentennial as viewed by Robert Altman - Chris Louis Durham 
    • Abstract: In this paper, I will discuss Robert Altman’s Nashville (1975) in the context of its relationship to bicentennial-era American socio-political culture, contemporary American filmmaking, and other films by Altman. In particular, I will argue that Nashville is typical in its problematic representation of “America,” echoing similarly problematic representations of contemporary America found in a number of films of the period. American society in 1975 anticipated the upcoming bicentennial and presidential election in 1976, but a sense of positive American renewal was complicated by very recent memories of the withdrawal from Vietnam (a matter of weeks before Nashville’s release), Watergate, and the pervasive ideological polarization of the late 1960s onward. Nashville is characterized by both the dystopic narrative structure and the fragmentary visual style common to Altman’s films and numerous “New Hollywood” films of the 1960s and 1970s, and which was symptomatic of a period which for many American filmmakers underlined the inapposite nature of utopian fantasies and the desirability of rejecting the traditionally more ordered, invisible and “objective” style of filmmaking that defined much of the American cinematic past. Nashville’s conscious representation of contemporary America – an America defined in terms of polarized communities, a bankrupt political culture, and the threat of random violence - ensures the film’s resonance as a cultural document, and as such one that merits considered analysis.
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New Issue of WIDE SCREEN Journal Cinemas of the Arab World Militant Cinema Film Production Studies SciFi

Frame grab from Drôle de Félix (Olivier Ducastel and Jacques Martineau, 2000)

Film Studies For Frees author is busy with marking this weekend, and so can only look longingly for now at the below Table of Contents of a bumper new issue of the journal Wide Screen which appears to be going from strength to strength. There are some very enticing and valuable items here, so FSFF wanted to rush its readers the usual direct links to the openly accessible contents.

Wide Screen Vol.3 No.1
  • From the Editors Desk by Kuhu Tanvir PDF
 Essays:
  • Militants and Cinema: Digital Attempts to Make the Multitude in Hunger, Che, Public Enemies by Joshua Aaron Gooch Abstract PDF
  • Minnellis Yellows: Illusion, Delusion and the Impression on Film by Kate Hext Abstract PDF
  • Trauma, Post-Apocalyptic Science Fiction and the Post-Human by Anirban Kapil Baishya Abstract PDF
  • Drôle de Félix: A Search for Cultural Identity on the Road by Zélie Asava Abstract PDF
  • An Analysis of the Technoscientific Imaginary in the Remake of The Stepford Wives by Jessica Johnston and Cornelia Sears Abstract PDF 
  • Home Sweet Home: The Cautionary Prison/Fairy Tale by Paul Tremblay Abstract PDF 
Film Production Studies (Contd. from W.S. 2.2)
  • Handling Financial and Creative Risk in German Film Production by M. Bjørn von Rimscha Abstract PDF
  • Opening Pandora’s (Black) Box: Towards A Methodology Of Production Studies by Graham Roberts Abstract PDF 
Cinemas of the Arab World:  
  • Introduction: Cinemas of the Arab World by Latika Padgaonkar Abstract PDF
  • Cinema “Of” Yemen And Saudi Arabia: Narrative Strategies, Cultural Challenges, Contemporary Features by Anne Ciecko Abstract PDF 
  • Director Profile: Mai Masri by Latika Padgaonkar Abstract PDF
  • Salah Abu Seif and Arab Neorealism by Ouissal Mejri Abstract PDF 
  • Review: London River by Latika Padgaonkar Abstract PDF 
Book Reviews:
  • Jaane Bhi Do Yaaro: Seriously Funny Since 1983 by Radha Dayal Abstract PDF
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New Issue of CINEMA Journal of Philosophy and the Moving Image

Monday, January 5, 2015

Jeff Walls photograph A Sudden Gust of Wind (after Hokusai), 1993 (courtesy of Wikipedia)

Today, in its continuing series of catch up posts on new offerings from open access film e-journals, Film Studies For Free brings you links to the contents of the latest issue of Cinema: Journal of Philosophy and the Moving Image.

Of particular interest, this time, are Tom McClellands clear-eyed account of the respects in which the medium of film and the discipline of philosophy can intersect, Agustín Zarzosas detailed evaluation of Rancière’s criticism of Deleuze, and Temenuga Trifonovas terrific discussion of the ways in which contemporary photography, like that of Jeff Wall mentioned above, seeks to reclaim the cinematic within the photographic from within the twilight of indexicality.

Cinema: Journal of Philosophy and the Moving Image, No. 2 (2011)

Abstracts and Contributors

Articles
Interview
  • Questions for Jacques Rancière around his book Les écarts du cinéma (English version and French version): Conducted by Susana Nascimento Duarte
Conference Report
In Portuguese: 
Translation
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Audiovisual Thinking Online Video Journal about Audiovisuality Communication Media

Saturday, January 3, 2015



Film Studies For Free predicted at the beginning of this year that 2010 would be the year of the video essay. And thus it has come to pass... Woohoo!

Audiovisual Thinking -- an online video journal about "audiovisuality, communication and media" -- has just launched and it looks to FSFF to be a very worthwhile venture indeed. All relevant information has been pasted in below to tempt you to the excellent AT website. There are lots of introductory videos embedded there which will inform you audiovisually about the Audiovisual Thinking ethos.

Audiovisual Thinking has issued its first call for videos for its first proper issue which will explore the "legacy and merit of the use of audiovisual material in academic thinking, research and teaching, in the past, present and in the future" (deadline: June 15, 2010; do note: according to the submission form (as of April 22) the videos should be no longer than seven minutes and a maximum of [an as yet quite tiny] 10 Mb [Update: The editors reported to FSFF that they are working on achieving a larger, automated, upload volume. If you have larger submissions, these can be uploaded manually, so just get in touch with the editors via the websites contact page].

If you dont yet completely understand why FSFF is so pleased with this development, you should check out the following propaganda piece that it published last July: Video Essays on Films: A Multiprotagonist Manifesto. Also, do have a peruse of all the video essays embedded at FSFF, including this little one we prepared earlier (sadly, its just a little longer than seven minutes and larger than 10Mb or 100Mb...).
About Audiovisual Thinking
Audiovisual Thinking is a pioneering forum where academics and educators can articulate, conceptualize and disseminate their research about audiovisuality and audiovisual culture through the medium of video.
     International in scope and multidisciplinary in approach, the purpose of Audiovisual Thinking is to develop and promote academic thinking in and about all aspects of audiovisuality and audiovisual culture.
    Advised by a board of leading academics and thinkers in the fields of audiovisuality, communication and the media, the journal seeks to set the standard for academic audiovisual essays now and in the future.
    Video submissions are welcome from all fields of study and, as one would expect, the main criteria for submissions are that the discussion and thinking are conveyed through audiovisual means.
Each issue of Audiovisual Thinking will call for and then showcase academic videos around a specific theme within audiovisual culture and the media. The journal also accepts ‘opinion’ or ‘reflective’ audiovisual pieces on any area of audiovisual research or pedagogy. 
    Submissions are welcome from the areas of the Arts, Journalism, Media and Communication studies, as well as Education and the Social Sciences where audiovisual material is routinely used, or is gaining ground, as an academic research tool or teaching method.
     This first issue will explore the legacy of audiovisual content in contemporary academic research and thinking. Submit your video here.
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ALPHAVILLE a new journal of film and screen media

Monday, December 29, 2014

A poster of Jean-Luc Godard’s Alphaville, une étrange aventure de Lemmy Caution (1965)

Alphaville is the first fully peer-reviewed online film journal in Ireland. It is edited by staff and PhD students in Film Studies at University College Cork. It will be published twice a year, in Summer and Winter, with both open and themed issues that will aim to provoke debate in the most topical issues in film and screen studies. [More about Alphaville]
There is no better title [...] for a new journal that proposes to explore the constitutive hybridity of the moving image—analog and digital, commercial and avant-garde, mainstream and independent, popular and elitist—without forgetting how its roots spread in artistic and productive practices that have always been far more composite and multilayered than our critical categories seemed to wish to account for. Calling for the breaking down of disciplinary boundaries, media fields and critical categories, Alphaville: Journal of Film and Screen Media aspires to be a laboratory for new interpretative ideas on the moving image of yesterday, of today and of tomorrow. This inaugural issue, in particular, foregrounds cultural, spatial, productive and aesthetic issues that aim to set in motion our thinking about European cinema within multilayered critical, cultural and geopolitical models, and in light of the complexity of the flow of images that characterises our media landscape. The transnationality, transculturality and transmediality of contemporary European cinemas are undoubtedly going to shape and occupy the research agenda for some time to come.  [Laura Rascaroli, Back to the Future: The European Film Studies Agenda Today]
Theres a new open access film journal on the block, everybody! Great news in Film Studies For Frees humble opinion. Alphaville: Journal of Film and Screen Media has just published its first issue, along with calls for papers for two further issues, to boot.

The first issue is themed, and heres what its editors say about their choice of organising topic:
Alphaville Issue 1, European Cinema: Transnational, Transcultural, Transmedial stems thematically from an international graduate film studies conference that we co-organised in May 2010 at University College Cork. The conference addressed the permeability of European spaces—geopolitical, sociocultural, productive and aesthetic—within a post-1989 cinematic context. This Issue, however, moves the focus beyond such a specific—albeit multilayered—epoch, encompassing research on both past and contemporary filmmaking, in a bid to showcase the “movement” that was and still is at the heart of European cinema with regard to its interrelationships of geography, culture and form. Inspired by the many seminal works on European cinema that have gone before it, we seek to contribute to the debate a collection that is at once original, in its theoretical and thematic scope, and fresh, in its demonstration of inspiring new work by early career scholars (an attribute that affords us the knowledge that this thriving area in our field will continue to be so).
FSFF thinks its a great issue packed with items of interest for film scholars, beginning with Natalia Pinázzas brilliant article on Sandra Kogut’s multinational coproduction documentary Un passeport hongrois/The Hungarian Passport (2001).

Tu es très bienvenu Alphaville!

Alphaville: Journal of Film and Screen Media Issue 1 (Summer 2011)

Editorial:

Articles:
Book Reviews and Festival and Conference Reports:

[Compiled by Jill Moriarty, Deborah Mellamphy and Stefano Odorico, University College Cork]

email: alphavillejournal@gmail.com

Issue 2, Winter 2011, Space and Time in Film.

Issue 3, Summer 2012, Sound, Voice, Music.

cfp: http://www.alphavillejournal.com/CallforPapers.html
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Cinema Journal of Philosophy and the Moving Image

Sunday, December 28, 2014

Image from Possession (Andrzej Żuławski, 1981). Read Patricia MacCormacks article on the film here.
Film Studies For Free is delighted to pass on news of the launch of Cinema: Journal of Philosophy and the Moving Image. You can find the table of contents for its inaugural issue and links to all article PDFs below

Cinema: Journal of Philosophy and the Moving Image is a refereed publication published online by the Philosophy of Language Institute of the Faculty of Social and Human Sciences of the New University of Lisbon. The journal publishes original essays and critical articles, reviews, conference reports and interviews, and releases original art work in the field of philosophical inquiry into cinema. The term “cinema” is here taken in its broadest sense as moving image (and image that moves). Historically, cinema studies have centered on film, but with the digitization and proliferation of new means of production and distribution have also studied video, television and new media. This deep engagement with cinematic culture, so understood, can provide tools for a better understanding of contemporary visual culture. Cinema is particularly interested in philosophical approaches to the aesthetics of the moving image as well as in philosophical investigations on particular works and about the contexts in which these works are seen and produced. It accepts submissions in Portuguese, English, French, and Spanish and it offers free access to its content.

Cinema aims at:

• disseminating philosophical investigations into cinema in the broadest sense, that is, including video, television, and new media;
• promoting the link between Portuguese and international scientific communities that develop work simultaneously within the fields of cinema studies and philosophy;
• providing a platform for a fruitful dialogue between various approaches, particular methodologies, topics and interdisciplinary contributions, within the scope of the journal.
The make up of the international editorial team bespeaks the very high quality of this new journal. And the star-studded line-up for its first issue, together with its extraordinarily interesting table of contents, shows just how thrilling those all too unusual analytic philosophy and continental philosophy juxtapositions can be!

FSFF really looks forward to reading more, and sincerely wishes CJPMI the very best for a long and always openly accessible life!

Issue 1 (December 2010) 

Contents: 

Editorial 

ARTICLES 

INTERVIEWS 

CONFERENCE REPORTS 

CFP for Issue 2 here.


CINEMA: JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE
Patrícia Silveirinha Castello Branco, editor
Sérgio Dias Branco, associate editor
Susana Viegas, associate editor
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Four Issues of INTENSITIES The Journal of Cult Media and a Call for Papers

Thursday, December 25, 2014

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 1st 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 31st 2013



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

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

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

Edited by Matt Hills and Sara Gwenllian Jones

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

Edited by Matt Hills and Sara Gwenllian Jones

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
Read More..
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