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New Issue of WIDE SCREEN Journal Cinemas of the Arab World Militant Cinema Film Production Studies SciFi

Tuesday, January 6, 2015


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

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

Thursday, January 1, 2015

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)

On the Issue of Collaboration in Film Production Education

Wednesday, December 24, 2014

Image from La Nuit américaine/Day for Night (François Truffaut, 1974)

Film Studies For Free was thrilled to find not only that the internationally renowned scholarly Journal of Film and Video had published a recent, excellent special collection of articles on the often thorny issue of teaching collaboration in film production collaboratively, but also that this collection was freely available online.

The full table of contents is given below.

Now, please get into groups and read the articles...

Journal of Film and Video
Volume 61, Number 1, Spring 2009

Guest Editor: Rob Sabal

Introduction by Rob Sabal

Excerpt: The impulse for this special issue on teaching about and through collaboration comes from a shared search for answers to the question, "how might production students work more productively and more harmoniously with others—peers, professionals, and members of the community?" The search is spurred by the recognition that, as a field, we are not doing much to address this facet of production education. Drawn together by a mutual concern for providing a rich and lasting education for our students, the authors included in this issue, along with fellow members of the University Film and Video Association, formed an informal collaboration interest group and have, for several years, been sharing stories, ideas, information, and resources about teaching collaboration and conflict resolution.
The implicit question running through this special issue is, "what is the purpose of a film production education?" This seems to be a particularly important question to ask of undergraduate production programs because the traditional value of a liberal arts education is its breadth and its focus on inquiry and methods, which gives it its enduring value over a persons lifetime. What do we teach in a traditional production class that is of abiding value? Certainly nothing related to physical production, where technology, process, storytelling structures, exhibition, and distribution outlets continue to change rapidly. The enduring value of production classes has to be that as each student develops his or her artistic identity, he or she also comes to a clear and truthful understanding of him- or herself, develops an ability to see and appreciate the talents of others, learns to constructively negotiate conflict, and extends this ability to work positively with others into their institution and their community.