Billy Liar Studies in Memory of Keith Waterhouse

Film Studies For Free was saddened to hear that novelist, journalist, and screenwriter Keith Waterhouse has died, albeit after a long and rich life. He was author of the novel Billy Liar and wrote the critically acclaimed screenplay for John Schlesingers brilliant 1963 film of the same name, one of FSFFs favourites from the British New Wave. He also worked on other great screenplays, including Whistle Down the Wind (1961), A Kind of Loving (1962) and Alfred Hitchcocks Torn Curtain (1966, uncredited).

Below, in memory of Keith Waterhouses great British cinematic imagination, are some links to online and openly accessible Billy Liar and British New Wave cinema resources:

• Tony Aldgate, British New Wave Cinema, Open2.net, November 2002
  
• Billy Liar, Monthly Film Bulletin Review, Volume 30, No.356, September 1963
• Michael Brooke, The British Hero: Heroic Failures, BFI Screenonline
• Directors Guild of Great Britain, Lifetime Achievement Award to John Schlesinger, Booklet 2002
• Mark Duguid, British Film in the 1960s, BFI Screenonline
  
• Bruce Goldstein, Billy Liar, The Criterion Collection, Essays, July 9, 2001
• Roderick Heath, Look Back: Influences and Major Figures of the British Free Cinema, Ferdy on Films, etc, February 20, 2002
• Justin Hindmarsh, British Cinema Style and Context: An Examination of British "New Wave" Films, Leicester Discussion Papers in Mass Communications, 1997
• Gavin Lambert, New Wave, Old Problem, The Guardian Online, October 3, 2002
  
• A.O. Scott, Billy Liar, The Criterion Collection, Essays, July 9, 2001
• B. F. Taylor, Major Themes and Minor Movements: Composition and Repetition in John Schlesingers Billy Liar, in British New Wave: A Certain Tendency (Manchester University Press, 2006) (full disclosure note: work based on a thesis supervised by Catherine Grant)
  
• Phil Wickham, Billy Liar (1963), BFI Screenonline
  

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Queer Film Festival Studies

Click here to visit the full interactive version of the above map.

As identity-based festivals, queer film festivals have a specific relationship to the audience to which they cater. More specifically, most of these festivals have had a strong connection to the political and social movement behind the lesbian and gay/queer agenda and try to maintain this relationship between cultural event and political framework [...]. Because of this history, queer film festivals have a strong tradition of a nuanced critical inquiry into the interconnections of cultural event management, community politics, nation state politics, funding and marketing strategies, and organizational structures [...]. [From Skadi Loist and Marijke de Valck, LGBT / Queer Film Festivals, Film Festival Research Network, last updated November 2012]

Festivals are the primary markets for international queer film, but they do not simply acquire and screen the films they show; they actually create the economic conditions that enable their production. This is not to imply that queer internationalism is merely inauthentic or commercial and thus without any kind of political viability. Rather, what it indicates is that scholars, activists, and festival directors must begin to look at the economy of queer cultural production as an essential element of queer collectivities and the institutions they form. Conceiving of an international queer community through cultural circulation and consumption begs significant questions about how U.S. audiences understand the role of the festival in defining a gay and lesbian class identity within this global economy. [From Ragan Rhyne, The Global Economy of Gay and Lesbian Film Festivals, GLQ: A Journal of Lesbian and Gay Studies, Volume 12, Number 4, 2006]

As the above two scholarly excerpts indicate, the subject of film festivals is one which raises numerous issues of central importance to cultural studies more generally. For this reason, as well as to celebrate the work of scholars who have shared their findings in particular corner of this field online, Film Studies For Free is delighted to announce that the latest set of links to open access queer film studies that it has created for its sibling Global Queer Cinema website is devoted to the topic of Queer Film Festival Studies. You can visit numerous earlier FSFF entries on film festival studies by clicking here.

This most recent collection in the GQC Resources section includes a link to the full, interactive, version of the map at the top of this entry, created by pioneering film festival scholar Skadi Loist (co-founder, with Marijke de Valck,  of the Film Festival Studies Network), which shows 256 LGBT/queer film festivals existing globally since 1977.

For live-link access to all the below resources, please visit this webpage.

• Chris Berry, My Queer Korea: Identity, Space, and the 1998 Seoul Queer Film & Video festival, Intersections: Gender, History and Culture in the Asian Context, Issue 2, May 1999
• Noa Ben-Asher, Screening Historical Sexualities: A Roundtable on Sodomy, South Africa, and Proteus,Pace Law Faculty Publications, 2005. Paper 589
• Kaucyila Brooke, Dividers and Doorways [on the locational politics of Los Angeless Gay and Lesbian film festival], Jump Cut, no. 42, December 1998, pp. 50-57
• Phillip B. Cook, Gay Sundance 2013: The Year Ahead in Independent Queer Cinema, The Blog, Huff Post Gay Voices, January 17, 2013
• Michael Guillén, The Evening Class blog, 2006-present
• Mel Hogan, 21 years of image & nation: legitimizing the gaze, Nouvelles «vues» sur le cinéma québécois, no. 10, Hiver 2008-2009
• Jamie June, Is it Queer Enough?: An Analysis of the Criteria and Selection Process for Programming Films within Lesbian, Gay, Bisexual, Transgender, and Queer Film Festivals in the United States, MA Thesis, University of Oregon, August 2003
• Alice Kuzniar, Schwul-lesbisches Kino aus Deutschland, in: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg, ed. by Dorothée von Diepenbroick and Skadi Loist (Hamburg: Maennerschwarm Verlag, 2009)
• Hui-Ling Lin, Bodies in Motion: The Films of Transmigrant Queer Chinese Women Filmmakers in Canada, PhD Thesis, University of British Columbia, 2011
• Skadi Loist, Precarious cultural work: about the organization of (queer) film festivals, Screen, 52.2, 2011
• Skadi Loist and Marijke de Valck (2010). “Film Festivals / Film Festival Research: Thematic, Annotated Bibliography: Second Edition.” Medienwissenschaft / Hamburg: Berichte und Papiere 91 (2010). (19. May. 2010 (sections: 1. Film Festivals: The Long View; 2. Festival Time: Awards, Juries and Critics; 3. Festival Space: Cities, Tourism and Publics; 4. On the Red Carpet: Spectacle, Stars and Glamour ; 5. Business Matters: Industries, Distribution and Markets; 6. Trans/National Cinemas; 7. Programming; 8. Reception: Audiences, Communities and Cinephiles; 9. Specialized Film Festivals; 10. Publications Dedicated to Individual Film Festivals; 11. Online Resources; Contact / Bio), 2008
• Skadi Loist, Queer Film and the Film Festival Circuit, In Media Res, September 14, 2010
• Skadi Loist, Das Queer Cinema und die Bedeutung lesbisch-schwuler Filmfestivals: Monika Treut im Interview mit Skadi Loistn: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg. Eds. Dorothée von Diepenbroick, and Skadi Loist. Hamburg: Männerschwarm, 2009. pp. 12–20
• Skadi Loist and Marijke de Valck, Film Festival Studies: An Overview of a Burgeoning Field, in: Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova and Ragan Rhyne. St. Andrews: St. Andrews Film Studies, 2009. pp. 179–215
• Scott McKinnon, Taking the Word ‘Out’ West: Movie Reception and Gay Spaces, Participations, Volume 7, Issue 2 (November 2010) 
• Kelly McWilliam, Were Here All Week: Public Formation and the Brisbane Queer Film Festival. Queensland Review 14(2), 2007:pp. 79-91
• Jenni Olson, Film Festivals, GLBTQ: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture. 2002. 24 February 2007
• Ricardo Peach, Queer Cinema as a Fifth Cinema in South Africa and Australia, PhD Thesis, University of Technology, Sydney 2005
• Renee Penney, Desperately Seeking Redundancy? Queer Romantic Comedy and the Festival Audience, PhD Thesis, University of British Columbia, 2010
• Mel Pritchard, the big queer film festival list, QueerFilmFestivals.org
• Marc Siegel, Spilling Out onto Castro Street, Jump Cut No. 41 (May), 1997
• Amy Watson, Being Inappropriate: Queer Activism in Context, MA Thesis, Central European University 2009
• Gerald J. Z. Zielinski, Furtive, Steady Glances: On the Emergence and Cultural Politics of Lesbian and Gay Film Festivals, PhD Thesis, McGill University, August 2008
• Ger Zielinski, On the production of heterotopia, and other spaces, in and around lesbian and gay film festivals, Jump Cut, No 54, Fall 2012
• Ger Zielinski, "Queer Film Festivals." LGBTQ America Today: An Encyclopedia. Eds. John C. Hawley, and Emmanuel S. Nelson. Westport, CT: Greenwood Press, 2009. pp. 980–984
• Ger Zielinski in Conversation with Stephen Kent Jusick, Executive Director of MIX Festival of Queer Experimental Film and Video, FUSE Art Culture Politics (summer issue, 2010), pp. 16-23 

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Ingmar Bergman Studies

Updated September 19, 2011

Film Studies For Free brings you, below, a very long list indeed of links to online and openly accessible studies of the work of Ingmar Bergman. The list was especially inspired by hearing of the first of the three video studies above, via Adrian Martin, Corey Creekmur and Christa Fuller. This news led to the subsequent discovery of the rest of this amazing videographic trilogy on Bergmans films by Jonas Moberg. Update: FSFF has learned that these videos were devised by Thomas Elsaesser, during his year as Ingmar Bergman Professor at Stockholm University in 2007 in conjunction with the project "Ingmar Bergman in the Museum" (a summary of which is linked to below). Initially, seven of these videos were planned, to go with each of the chapters in the book Film Theory - An Introduction through the Senses. The research for all seven Bergman Senses Videos was carried out by Elsaesser, together with Anne Bachmann, a PhD student at Stockholm University, and Jonas Moberg then edited three of them. Sadly, time ran out on the project and the remaining four planned videos werent completed.

Bergman scholars and fans should also know about Ingmar Bergman: Face to Face, the beautiful website of the Ingmar Bergman Foundation, which showcases and links to numerous further resources. Sight and Sound has also just featured a fascinating essay by Lena Bergman on her fathers viewing habits in his unique private cinema, a converted barn on Fårö, the Baltic island where he lived until his death in 2007. This year’s Bergman Week festival takes place in the cinema on Fårö from 28 June to 3 July. Television viewers in the UK might, in addition, like to hear that Film4 will show 16 Ingmar Bergman films in a series beginning next week. Yay!

If FSFF says so itself, the below list is probably one of its best ever (do scroll right down for all the videos). It was certainly one of the most rewarding to compile... It hopes you will find it in equal parts enjoyable and useful.

• Ingmar Bergman: A Bibliography of Materials in the UC Berkeley Library
• Michael Bird, Music as Spiritual Metaphor in the Cinema of Ingmar Bergman, Kinema, Spring, 1996
• Pedro Blas Gonzalez, Smiles of a Summer Night, Senses of Cinema, 50, 2009
• Thorsten Botz-Bornstein, Review: Irving Singer (2007) Ingmar Bergman, Cinematic Philosopher: Reflections on his Creativity. Cambridge, MASS: MIT Press, Film-Philosophy, 14.1, 2010
• Michael Brashinsky, The Spring, Defiled: Ingmar Bergmans Virgin Spring and Wes Cravens Last House on the Left, Play it Again, Sam, ed. by Andrew Horton and Stuart Y. McDougal (Berkeley: University of California Press, 1998)
• Amir Cohen-Shalev, Beyond Reconciliation: Filial Relationship as a Lifelong Developmental Theme in Bergman’s Films, Style: Volume 43, No. 1, Spring 2009
• Thomas Elsaesser, Ingmar Bergman – Person and Persona: The Mountain of Modern Cinema on the Road to Morocco, European Cinema: Face to Face with Hollywood (Amsterdam University Press, 2005 - Scroll to p. 133 in PDF)
• Thomas Elsaesser, Ingmar Bergman in the museum? Thresholds, limits, conditions of possibility, Journal of AESTHETICS and CULTURE Vol. 1, 2009
• Hamish Ford, Ingmar Bergman, Senses of Cinema, 23, 2002
• Hamish Ford, The Silence, Senses of Cinema, 50, 2009
• Ed Gallafent, Two Views Over Water: Action and Absorption in Ingmar Bergmans Wild Strawberries(1957), in James Walters and Tom Brown (eds), Film Moments: Criticism, History, Theory (2010)[scroll down in large PDF]
• Daniel Garrett, Dark Nights of the Soul: Themes in Irving Singer’s book Ingmar Bergman, Cinematic Philosopher: Acts of Love Can Redeem Loneliness, Offscreen, December 31, 2010
• Daniel Garrett, Wild Strawberries: A Brief Note about Ingmar Bergman and Pauline Kael, Offscreen, 9.9, September 30, 2005
• Sarah W. Gilmartin , The Masks of Performance: Art’s Aesthetic and Social Representation in Ingmar Bergman’s Fanny and Alexander (1983), Inter-Disciplinary.net, 1st Global Conference (2007)
• Eirik Frisvold Hanssen, The Fairy-Tale Theatre: Reception and Authorship at the Margins of the Ingmar Bergman Archive, Archives and Aueturs Conference, Stirling University, September 2009
• Ananya Ghoshal, “Not a day has gone by in my life when I haven’t thought about death” - Ingmar Bergman, in Mortality, Dying and Death: Global Interdisciplinary Perspectives, edited by T. Chandler Haliburton and Caroline Edwards (Inter-Disciplinary Press, 2008 - scroll to p. 338 in PDF)
• Erik Hedling, Shame: Ingmar Bergman’s Vietnam War, Nordicom Review 29 (2008) 2, pp. 245-259
• Erik Hedling,[English Language review of] Birgitta Steene, Måndagar med Bergman: En svensk publik möter Ingmar Bergmans filmer. Stockholm: Brutus Östlings bokförlag Symposion, 1996, TijdSchriftvoorSkandinavistiek, 1, 1999, pp. 174-179
• Alexandra Heller-Nicholas, Silence and Fury: Rape and The Virgin Spring, Screening the Past, 28, 2010
• Vreni Hockenjos, Strindberg through Bergman: A Case of Mutation, TijdSchrift voor Skandinavistiek vol. 20 (1999), nr. 1
• Poul Houe, Faces as Facts of Fiction, Scandinavian Canadian Studies/Etudes Scandinaves au Canada, 18, 2009
• Jesse Kalin, Preface, The Films of Ingmar Bergman (Cambridge: Cambridge University Press, 2003)
• Jesse Kalin, Introduction: The Geography of the Soul, The Films of Ingmar Bergman (Cambridge: Cambridge University Press, 2003)
• Maaret Koskinen, Ingmar Bergman, the biographical legend and the intermedialities of memory, Journal of AESTHETICS and CULTURE Vol. 2, 2010
• Maaret Koskinen, Everything Represents, Nothing Is": Some Relations Between Ingmar Bergmans Films and Theatre Productions, Canadian Journal of Film Studies, 5.1
• Maaret Koskinen, From Short Story to Film to Autobiography: Bergman’s Intermedial Variations, Film International, January 14, 2011
• Maaret Koskinen, Ingmar Bergman, Swedish Institute, 2007
• Tarja Laine, Failed Tragedy and Traumatic Love in Ingmar Bergman’s Shame, in Kooijman, Jaap, Patricia Pisters, Wanda Strauven (eds), Mind the Screen: Media Concepts According to Thomas Elsaesser (Amsterdam University Press, 2008 - scroll to p. 60 in PDF)
• Marco Lanzagorta, Cries and Whispers, Senses of Cinema, 25, 2003 
• Kevin B. Lee, The Soul of the Megapixel: Ingmar Bergman’s Saraband and Scenes from a Marriage, Reverse Shot, June 9, 2008
• Rikard Loman, Bergman’s Vintersagan at the Royal Dramatic Theatre, TijdSchrift voor Skandinavistiek vol. 20 (1999), nr. 1
• Brian McIlroy, [Review of] Steene, Birgitta. 2005. Ingmar Bergman: A Reference Guide, Scandinavian Canadian Studies/Etudes Scandinaves au Canada, 16, 2006
• Lloyd Michaels, Introduction, Ingmar Bergmans Persona (Cambridge: Cambridge University Press, 2000) 
• Karin Nykvist, Remembering and Creating Childhood in the Works of Ingmar Bergman and August Strindberg, in Negotiating Childhoods, Edited by Lucy Hopkins, Mark Macleod & Wendy Turgeon (Inter-Disciplinary Press, 2011)
• Darragh O’Donoghue, The Seventh Seal, Senses of Cinema, 50, 2009
• John Orr, Camus and Carné Transformed: Bergmans The Silence vs. Antonionis The Passenger, Film International, 3.5, 27, 2007
• S. Ruken Öztürk, Besieged and Liberated Woman in Art Films: The Problem of Private Sphere, Ankara Üniversitesi SBF Dergisi, (hakemli dergi) 58 (2), 2003:153-176
• Arthur Rankin, The Child Archetype in Ingmar Bergman’s Fanny and Alexander, Senses of Cinema, 50, 2009
• Thomas Redwood, [Review of] Thorsten Botz-Bornstein, Film and Dreams: Tarkovsky, Bergman, Sokurov, Kubrick and Wong Kar-wai. New York: Lexington, 2007, Screening the Past, 23, 2008
• Daniel Ross, [Review of works by Irving Singer], Screening the Past, 25, 2009
• Steven Shaviro, Ingmar Bergman, The Pinocchio Theory, July 31, 2007
• Daniel Shaw, Woman as vampire: Ingmar Bergmans Persona (1966), Kinoeye, Vol 2, Issue 15, Oct. 2002
• Irving Singer, Ingmar Bergman, Cinematic Philosopher (video podcast), MIT World, November 2007 (embedded below)
• Murray Smith, [Review of] Paisley Livingston, Cinema, Philosophy, Bergman: On Film as Philosophy, Notre Dame Philosophical Review, May 19, 2010
• Birgitt Steene, Ingmar Bergman: A Reference Guide (Amsterdam University Press, 2005)
• Birgitta Steene, The Transpositions of a Filmmaker: Ingmar Bergman at Home and Abroad, TijdSchrift voor Skandinavistiek, 20, no 1, 1999
• Birgitta Steene, The Sjöberg-Bergman Connection: Hets – Collaboration and Public Impact TijdSchrift voor Skandinavistiek, vol. 20 (1999), nr. 1 
• Michael Stern. The Face as a Fingerprint: Mediation, Silence, and the Question of Identity in Ingmar Bergman’s Persona, Konturen, Vol. 3, 2010
• Sharon Lin Tay, On the Edges of the Authorial Voice: Liv Ullmann’s Faithless, Gendered Authorship, and Ingmar Bergman, Women on the Edge: Twelve Political Film Practices (London: Palgrave, 2009) (excerpt)
• Egi Törnqvist, Between Stage and Screen: Ingmar Bergman Directs (Amsterdam University Press, 1996)
• Elsie Walker, An Incorrigible Music: Ingmar Bergmans Autumn Sonata, Kinema, 2008
• Denise Ming-yueh Wang, Ingmar Bergman’s Appropriations of the Images of Death in The Seventh Seal, 제17권 1호 (2009): 41-62
• Thomas E. Wartenberg, Review of Ingmar Bergman, Cinematic Philosopher: Reflections on His Creativity, Notre Dame Philosophical reviews, May 23, 2008
• Lynn R. Wilkinson, Playful Performances: Ingmar Bergman’s Bildmakarna and Film Authorship, TijdSchrift voor Skandinavistiek vol. 30 (2009), nr. 1
• Margareta Wirmark, Strindberg versus Bergman: The End of Spöksonaten, TijdSchrift voor Skandinavistiek, vol. 20 (1999), nr. 1 
• Robin Wood, Call Me Ishmael [on Fanny and Alexander], originally published in Canadian Forum, 41, 1983, republished in MOVIE, Issue 2, 2011 
• Rochelle Wright, [Review of] Philip and Kersti French. Wild Strawberries (Smultronstället). London: BFI Film Classics, 1995. Pp. 77. And Margareta Wirmark. Smultronstället och dödens ekipage. Stockholm: Carlssons, 1998, TijdSchriftvoorSkandinavistiek, 20, 1999, nr. 1
• Rochelle Wright, [Review of] Marilyn Johns Blackwell, Gender and Representation in the Films of Ingmar Bergman [Studies in Scandinavian Literature and Culture, eds. George C. Schoolfield and Robert E. Bjork], Columbia, SC: Camden House, 1997, TijdSchrift voor Skandinavistiek, vol. 20 (1999), nr. 1  

Irving Singer, Ingmar Bergman, Cinematic Philosopher (video podcast), MIT World, November 2007

Liv Ullmann at the Bergman Week 2010, speaking about the filming of Face To Face with Ingmar Bergman. She talks about the relationship between a director and his actors, and specifically the scene when her character commits suicide in the film.

Wim Wenders talks about Ingmar Bergman

Agnes Varda talks about Bergman.

David Stratton talks about Ingmar Bergman.

Bergman Center interviews American director John Landis about Ingmar Bergman at Venice International Film Festival.

Bergman Center interviews French actor Jean-Marc Barr about Ingmar Bergman at Venice International Film Festival.

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Undead Links to George A Romero Studies

Zombies intruding on the free flow of commerce? Frame grab from Dawn of the Dead (George Romero, 1978)

In [George Romeros films], antagonism and horror are not pushed out of society (to the monster) but are rather located within society (qua the monster). The issue isn’t the zombies; the real problem lies with the “heroes”—the police, the army, good old boys with their guns and male bonding fantasies. If they win, racism has a future, capitalism has a future, sexism has a future, militarism has a future. Romero also implements this critique structurally. As Steven Shaviro observes, the cultural discomfort is not only located in the films’ graphic cannibalism and zombie genocide: the low-budget aesthetics makes us see “the violent fragmentation of the cinematic process itself." The zombie in such a representation may be uncanny and repulsive, but the imperfect uncleanness of the zombie’s face—the bad make-up, the failure to hide the actor behind the monster’s mask—is what breaks the screen of the spectacle. [Lars Bang Larsen, Zombies of Immaterial Labor: the Modern Monster and the Death of Death, E-Flux, No. 15, April 2010] 

About a month ago, Film Studies For Frees author was delighted to take part in the first of a series of screenings and roundtables on the fascinating and complex subject of Intrusion and its specific relation to the visual on the different but interrelated registers of the psychic, sexual, social and political. 

This inventive and highly productive series was organised by Amber Jacobs, Lecturer in Psychosocial Studies at Birkbeck, University of London, and creator and presenter of the wonderful Daily Subversions weekly radio show on ResonanceFM (available everywhere online). FSFF will post a video essay contribution on the first film in the Intrusion series just as soon as the more mundane intrusions of research deadlines and the hectic grading season have subsided.

An excellent podcast of the final roundtable of the series, discussing George A. Romeros 1978 film Dawn of the Dead, has just gone online. The discussion features Dr Jacobs, along with Mark Fisher (Cultural Studies and Music Culture, Goldsmiths), Gordon Hon (Artist and Lecturer in Visual Culture, Winchester School of Art), Paul Myerscough (Senior Editor at the London Review of Books), and some great contributions from the audience. The podcast lasts just under an hour. 

To accompany this new online resource, FSFF has assembled and updated a scarily good list of links to further, openly accessible studies or scholarly discussions of Romeros work. Also see previous related entries "Any Zombies Out There?" Undead Film Studies and Zombie Week at In Media Res. And also be aware that you can watch Romeros 1968 film Night of the Living Dead in its entirety at the Internet Archive.

• Birkbeck College Roundtable Discussion on ‘Dawn of the Dead’, May 26, 2011 (with Amber Jacobs, Paul Myerscough, Gordon Hon and Mark Fisher) 
• Michael Bloom, Reanimating the Living Dead: Uncovering the Zombie Archetype in the Works of George A. Romero, Offscreen, April 30, 2009
• Matt Cardin, Spirituality in Romero’s Living Dead Films, TheoFantastique, December 3, 2009
• John Cussans, Tracking the Zombie Diaspora: From Subhuman Haiti to Posthuman Tucson, First published in Monsters and the Monstrous: Myths and Metaphors of Enduring Evil edited by Paul Yoder and Peter Mario Kreuter, May 2004
• Erin Burns Davis, To Say Death’s Name: The Ever-changing Definition of the Zombie in Popular Culture, Academia.edu, 2006 
• Jennifer Whitney Dotson, Considering Blackness in George A. Romeros Night of the Living Dead: An Historical Exploration, MA Thesis, Louisiana State University and Agricultural and Mechanical College, 2006
• Stephen Harper, "They’re Us": Representations of Women in George Romero’s ‘Living Dead’ Series, Intensities, 2003
• Stephen Harper, Zombies, Malls, and the Consumerism Debate: George Romeros Dawn of the Dead, Americana, 1.2, Fall 2002
• Stephen Harper,  “Night of the Living Dead: Reappraising an Undead Classic”, Bright Lights Film Journal, Issue 50, November 2005 
• Philip Horne, I shopped with a zombie, Critical Quarterly, Vol. 34, No. 4, Winter 1992, 97-110
• Lars Bang Larsen, Zombies of Immaterial Labor: the Modern Monster and the Death of Death, E-Flux, No. 15, April 2010
• John Marmysz, From "Night" to "Day": Nihilism and the Living Dead, First published in Film and Philosophy, vol. 3, 1996
• Marco Maurizi, “Just in Case Society Crumbles”: George A. Romero and Marxism, Historical Materialism Conference, 2006
• Kim Paffenroth, Religious Themes of George Romero’s Zombie Movies, Golem: Journal of Religion and Monsters, Spring 2006 
• Kim Paffenroth (Iona College), Dawn of the Dead (1978): Zombies and Human Nature, In Media Res, Wednesday, September 30, 2009
• Pinewood Dialogue with George A. Romero
• Steven Shaviro, Survival of the Dead, The Pinocchio Theory, September 25, 2010
• Steven Shaviro, Diary of the Dead, The Pinocchio Theory, April 26, 2008
• Jasie Stokes, Ghouls, Hell and Transcendence: the Zombie in Popular Culture from Night of the Living Dead to Shaun of the Dead, MA Thesis, Brigham Young University, April 2010
• Jesse Stommel, "Pity Poor Flesh": Terrible Bodies in the Films of Carpenter, Cronenberg, and Romero, Bright Lights Film Journal, No. 56, May 2007
• Margaret Twohy, From Voodoo to Viruses: The Evolution of the Zombie in Twentieth Century Popular Culture, MPhil Thesis, Trinity College Dublin, October 2008

George A. Romero, Daddy of the Dead (a Wired.com video)

Romeros Zombies

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Sensing cinema phenomenological film and media studies

Image from Tam e guilass/Taste of Cherry (Abbas Kiarostami, Iran, 1997)

Film Studies For Free is using all of its searching senses today to bring you lots of links to perceptive film and media studies of the phenomenological kind, or to studies which at least touch meaningfully on issues of phenomenology, perception, and haptics.

Those especially interested in these topics might also like to experience the fascinating Cinesensory website once theyve dipped into some of the wonderful, openly-accessible, scholarly resources below:

• Henry Bacon, Synthesizing Approaches in Film Theory, The Journal of Moving Image Studies, Volume 4, 2005
  

• Jennifer M Barker, Chapter 1: Skin, The Tactile Eye: Touch and the Cinematic Experience (Berkeley: University of California Press, 2009)

• Melinda Barlow, Review of TOUCH: SENSUOUS THEORY AND MULTISENSORY MEDIA Laura U. Marks Minneapolis: University of Minnesota Press, 2002, Canadian Journal of Film Studies, Fall 2003
  

• Tammy L. Bennington and Geri Gay, Mediated Perceptions: Contributions of Phenomenological Film Theory to Understanding the Interactive Video Experience, Journal of Computer-Mediated Communication 5 (4) June 2000
  

• Martha Blassnigg, Review of Documentary Time: Film and Phenomenology by Malin Wahlberg [University of Minnesota Press, Minneapolis, 2008], Leonardo on-line, July 2008
  

• Jay David Bolter, Digital Media and Cinematic Point of View,Telepolis (14.02.1997)

• Havi Carel, A phenomenology of tragedy: illness and body betrayal in The Fly, SCAN, vol. 4, number 2 august 2007
  

• Josh Cohen, Phenomenology, History and the Image: A Reply to Kathleen Fitzpatrick, Film-Philosophy, vol. 3 no. 11, March 1999
  

• Sarah Cooper, Mortal Ethics: Reading Levinas with the Dardenne Brothers, Film-Philosophy, Vol. 11, No. 2, 2007

• Glorianna Davenport and Brian Bradley, Everyones Cinema: Towards the Future of Cinematics, Oberhausen Film Festival - April 28, 199
  

• Trevor G. Elkington, Between Order and Chaos: On Peter Greenaways Postmodern/Poststructuralist Cinema, Film-Philosophy, vol. 8 no. 2, January 2004
  

• Kathleen Fitzpatrick, Images of/and the Postmodern, Film-Philosophy, vol. 3 no. 8, February 1999
  

• Daniel Frampton, The Way that Movements Speak [on Damnation and Werckmeister Harmonies by Bela Tarr, and Last Resort by Pawel Pawlikowski], Film-Philosophy, Vol. 5, No. 10, 2001

• Alex Gerbaz, Direct Address, Ethical Imagination, and Errol Morris’s Interrotron, Film-Philosophy, Vol. 12, No. 2, December 2008

• Sam B. Girgus, Beyond Ontology: Levinas and the Ethical Frame in Film, Film-Philosophy, Vol. 11, No. 2, August 2007
  

• Julien Guillemet, Painting/Cinema: A Study on Saturated Phenomena, Film-Philosophy, Vol. 12, No. 2, September 2008
  

• Jan Holmberg, Ideals of Immersion in Early Cinema, Cinémas : revue détudes cinématographiques / Cinémas: Journal of Film Studies, vol. 14, n° 1, 2003, p. 129- 147
  

• Robert Hopkins, Pictures and Film; Philosophy and the Empirical Disciplines: A Reply to Dean, Film-Philosophy, vol. 3 no. 27, June 1999
  

• Mike Jones, Composing Space: Cinema and Computer Gaming - The Macro-Mise en Scene and Spatial Composition, Imaginary Worlds: Image and Space International Symposium, Sydney, 14 October 2005
  

• Marcia Landy, Traveling in Film Theory: Giuliana Brunos Atlas of Emotion, Film-Philosophy, vol. 7 no. 44, November 2003

• Abigail Loxham, Veo, veo; Leo, Leo?: A re(-)viewing of haptic and visual discourse in Bigas Luna’s Bilbao (1978), Studies in European Cinema, Vol. 4, No. 3, 2007

• Laura U. Marks, Haptic Visuality: Touching with the Eyes, Framework" the Finnish Art Review, No. 2, 2004

• Laura U. Marks, Information, secrets, and enigmas: an enfolding-unfolding aesthetics for cinema, 2009

• Laura U. Marks, Multisensory Culture, 2008

• Laura U. Marks, Mohamed Soueids Cinema of Immanence, Jump Cut, 49, 2007

• Laura U. Marks, Asphalt Nomadism, 2006

• Laura U. Marks, Enfolding and Unfolding: An Aesthetics for the Information Age,
  
  An interactive essay produced in collaboration with designer Raegan Kelly in Vectors: Journal of Culture and Technology in a Dynamic Vernacular, 2006.
  
  
  

• Douglas Morrey, Bodies that Matter - Review: Vivian Sobchack (2004) Carnal Thoughts: Embodiment and Moving Image Culture, Film-Philosophy, Vol. 10, No. 2, 2006

• Douglas Morrey, Open Wounds: Body and Image in Jean-Luc Nancy and Claire Denis, Film-Philosophy, Vol. 12, No. 1, 2008

• Edward R. ONeill, Apprehending Deleuze Apprehending Cinema [on Der Film bei Deleuze/Le cinema selon Deleuze, edited by Fahle & Engell], Film-Philosophy, Vol. 2, No. 2, January 1998
  

• Per Persson, Chapter 1: Understanding and Dispositions, Understanding Cinema: A Psychological Theory of Moving Imagery (Cambridge University Press, 2003
  

• Dominic Michael Rainsford, Tarkovsky and Levinas: Cuts, Mirrors, Triangulations, Film-Philosophy, Vol. 11, No. 2, 2007

• Elena del Río, “Antonioni’s Blowup: Freeing the Imaginary from Metaphysical Ground”, Film-Philosophy, vol. 9, no. 32, June, 2005
  

• Jason Kelly Roberts, Review of The Virtual Life of Film by D.N. Rodowick [London: Harvard University Press, 2007], Scope, Issue 13, February 2009

• Anne Rutherford, Cinema and Embodied Affect, Senses of Cinema, 2002

• Anne Rutherford, Precarious Boundaries: Affect, Mice en Scene, and the Senses in Angelopoulos Balkan Epic, Senses of Cinema 2004
  

• Philipp Schmerheim, ‘Film, not Sliced up into Pieces, or: How Film Made me Feel Thinking: Review of Filmosophy’, Film-Philosophy, vol. 12, no. 2, 2008

• Vivian Sobchack, Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime, Millennium Film Journal No. 34 (Fall 1999): The Digital

• A. Soltani, Cinesensory: A Filmic Design for Mapping Haptic Space, International Design and Cinema Conference, Istanbul, November 2009

• David Sterritt, Taste of Kiarostami, Senses of the Cinema, Issue no. 9, Sept-Oct. 2000

• David Sullivan, Noemata or No Matter?: Forcing Phenomenology into Film Theory, Film-Philosophy, vol. 1 no. 3, July 1997

• Melanie Swalwell, The Senses and Memory in Intercultural Cinema [on Laura U. Markss The Skin of the Film], Film-Philosophy, Vol. 6, No. 32, 2002

• Donato Totaro, Deleuzian film Analysis: The Skin of the Film, Offscreen Journal, June 30, 2002
  

• Saige Walton, “Cinema as I see-I hear-I feel”: Review of The Material Image: Art and the Real in Film by Brigitte Peucker, Senses of Cinema, Issue 45, 2007

• Robert E. Wood, Toward an Ontology of Film: A Phenomenological Approach, Film-Philosophy, Vol. 5, No. 24, 2001

• Benjamin Wurgaft, How Heavy Light Can Be, Film-Philosophy, vol. 6 no. 9, May 2002
  

• Kevin Wynter, Of depth and surfaces; notes on Watchmen and other reflections on phenomenological film experience, CineAction, Summer, 2009
  

• Daniel Yacavone, ‘Towards a Theory of Film Worlds’, Film-Philosophy, vol. 12, no. 2, 2008

• Christopher S. Yates, A Phenomenological Aesthetic of Cinematic "Worlds", Contemporary Aesthetics, Oct 22, 2006
  

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Film Studies with added awesomeness

He knows his stuff...

Hey readers.... A really quick link today, one specially for the end of a long and tiring teaching term. Film Studies For Free loves this Tumblr by girldetective and hopes that you will find it stimulating, too.

It’s all part of the Hey Girl/Ryan Gosling Tumblr meme (the origins of which can be found here). In a nutshell, following the success of Danielle Henderson’s blog, Feminist Ryan Gosling (which, in turn, was a derivative of the blog F[***] Yeah Ryan Gosling), many other bloggers rehashed the format using references to different fields of study, including Typography, International Development and Rhetoric. Being the nerdy cinephile that I am, I kept hoping that somebody would create a Film Studies version of the meme, but when that didn’t happen, I decided to just make one myself. [girldetectives mission statement]

Also, must read: Anne Helen Petersen of Celebrity Gossip, Academic Style on the Gosling meme.

Hat tip to Nelson D. (aka @nelly061) for passing the link onto FSFF.

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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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Spectators of our Lives Alexander Kluge Studies on his 80th Birthday

Alexander Kluge discusses the role of montage (excerpt from Schnitte in Raum und Zeit)

If I feel myself as the producer of my life, then I am unhappy. So I would rather be a spectator of my life. I would rather change my life this way since I cannot change it in society. So at night I see films that are different from my experiences during the day. Thus there is a strict separation between experience and the cinema. That is the obstacle for our films. For we are people of the 60s, and we do not believe in the opposition between experience and fiction. –- Alexander Kluge, 1988  [cited by Jonathan Rosenbaum]

Its Alexander Kluges 80th birthday and Film Studies For Free is delighted to celebrate his astonishing and hugely important career with its own little e-festschrift of scholarly links - see below.

If you love and value Kluges films as much as FSFF does, youll want to read the fine post that David Hudson has composed in the German filmmakers honour at the MUBI Notebook full of fascinating online reading, including news of Kluges latest book out, Das fünfte Buch - Neue Lebensläufe. 402 Geschichten.

FSFFs own assembly, from the great video above to the list of written studies below, contains links to the contents of a fabulous new openly accessible book on Kluges work -- one of the best edited (by Tara Forrest) collections FSFF has ever had the pleasure of reading -- which has just been published by the fantastic scholars at Amsterdam University Press.

• Nicole Brenez, T. W. Adorno: cinema in spite of itself—but cinema all the same, Cultural Studies Review, 13.1 March 2007
• Caryl Flynn, The New German Cinema: Music, History, and the Matter of Style (Berkeley: University of California Press, 2004)
• Tara Forrest, Alexander Kluge : Raw Materials for the Imagination (Amsterdam: Amsterdam University Press, 2012)
• Introduction
• Editor’s Introduction
• The Stubborn Persistence of Alexander Kluge by Thomas Elsaesser
• On Film and the Public Sphere by Alexander Kluge
• Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge’s Contribution to GERMANY IN AUTUMN by Miriam Hansen 
• ‘"What is Different is Good": Women and Femininity in the Films of Alexander Kluge by Heide Schlüpmann
• In Search of Germany: Alexander Kluge’s THE PATRIOT by Anton Kaes
• Alexander Kluge and German History: "The Air Raid on Halberstadt on 8.4.1945"’ by David Roberts
• The Air Raid on Halberstadt, 8 April 1945 (extract) by Alexander Kluge
• Construction Site Film: Kluge’s Idea of Realism and His Short Films by Eike Friedrich Wenzel
• The Sharpest Ideology: That Reality Appeals to its Realistic Character by Alexander Kluge
• Debate on the Documentary Film: Conversation with Klaus Eder, 1980 by Alexander Kluge and Klaus Eder
• Undoing Act 5: History, Bodies and Operatic Remains in THE POWER OF EMOTION by Caryl Flinn
• ‘Feelings Can Move Mountains ...’: An Interview with Alexander Kluge on the Film THE POWER OF EMOTION by Florian Hopf
• Alexander Kluge’s Phantom of the Opera by Gertrud Koch
• An Analytic Storyteller in the Course of Time by Andreas Huyssen
• The Political as Intensity of Everyday Feelings by Alexander Kluge
• At the 2003 International Security Conference by Alexander Kluge
• Raw Materials for the Imagination: Kluge’s Work for Television by Tara Forrest
• Television and Obstinacy by Christian Schulte
• Reframing Islam in Television: Alexander Kluge’s Interviews on Islam and Terrorism since 9/11 by Tim Grünewald
• In the Real Time of Feelings: Interview with Alexander Kluge by Astrid Deuber-Mankowsky and Giaco Schiesser
• Character Armour and Mobile Warfare by Alexander Kluge and Heiner Müller
• Jeff Mills: Godfather of Techno by Alexander Kluge and Jeff Mills
• Tsunami of Emotion: On Puccini’s Tosca by Alexander Kluge and Joseph Vogl
• Reinventing the Nickelodeon: Notes on Kluge and Early Cinema by Miriam Hansen
• ‘All Things Are Enchanted Human Beings’: Remarks on Alexander Kluge’s NEWS FROM IDEOLOGICAL ANTIQUITY by Christian Schulte
• Terri Ginsberg, Bordering on Disaster: Toward an Epistemology of Divided Cinematic Space, Spectator 29.1 (Spring 2009): 30-36 
• Angelos Koutsourakis, Brecht Today: Interview with Alexander Kluge, Film-Philosophy, Vol. 15, No. 1, 2011
• Kevin B Lee, Abschied von gestern – (Anita G.) / Yesterday Girl (1966, dir. Alexander Kluge), Shooting Down Pictures, January 18, 2010
• Lisa McDonald, Baroque Inclinations, Cultural Studies Review, 14, September 2008
• Christopher Pavsek, The Stubborn Utopian: The Films of Alexander Kluge, Cinema Scope, 32, 2011 
• Julia Vassilieva, Capital and Co.: Kluge/Eisenstein/Marx, Screening the Past, 8, 2011

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To Cinephilia and Beyond! Christian Keathleys Film Studies Online

A free-to-attend University of London Screen Studies Group series event. Full details are given here: http://events.sas.ac.uk/ies/events/view/13234.

A free-to-attend University of Sussex Centre for Visual Fields event. Further details are given here: http://www.sussex.ac.uk/cvf/newsandevents/events?id=16509.

Film Studies For Free is almost unspeakably thrilled that its author is helping to host a visit to her shores by the wonderful film scholar Christian Keathley. So thrilled, in fact, that a collected edition of links to his generously-shared, online, film scholarship is given below. 

Keathley, Associate Professor of Film and Media Culture at Middlebury College, USA, is the author of Cinephilia and History, or The Wind in the Trees (Indiana University Press, 2006), and is currently completing a second book, The Mystery of Otto Preminger (under contract to Indiana University Press). Professor Keathley’s research interest also focuses on the presentation of academic scholarship in a multi-media format, including video essays.

In addition to the two UK events detailed above, Keathley will also give a keynote lecture on his work as part of the lineup for a two-day symposium in Antwerp, Belgium, entitled "FROM PHOTOGÉNIE TO CINEPHILIA 2.0, a seminar on cinephilia then and now". The event takes place between December 7-8. Unlike the two events above, it isnt free-to-attend, but it is incredibly good value. 

This superb looking symposium is hosted by the Flemish Service for Film Culture, Centre for Cinema and Media Studies (UGent) and Research Group Visual Studies and Media Culture (University of Antwerp) organised in collaboration with Research Center for Visual Poetics (University of Antwerp) and CINEMATEK, with two other internationally recognised keynotes Malte Hagener and Sarah Keller. You can find further details of the symposium here.

There should be some open access resources emerging from the above events, and if that happens, FSFF will be among the first to let you know about them.

Online Written Texts by Christian Keathley:

• Christian Keathley, Teaching the Scholarly Video Essay, Frames, Issue 1, July 2012

• Christian Keathley,  Bonjour Tristesse and the Expressive Potential of Découpage, MOVIE, 3, 2011

• Christian Keathley, Otto Preminger and the Surface of Cinema, World Picture Journal, 2, 2008

• Christian Keathley, A Whirlpool of Things [on critical commentary and Otto Preminger’s Whirlpool], In Media Res, May 14 , 200

• Christian Keathley et al, The Scholarship of Sound and Image: Producing Media Criticism in the Digital Age, MIT6 Stone Papyrus Storage and Transmission Conference, April 24-26, 2009

• Christian Keathley, The Cinephiliac Moment, Framework, 42, Summer 2000

Online Video Essays by Christian Keathley:

Pass the Salt from Christian Keathley on Vimeo.
Pass the Salt from Christian Keathley

Video essay on a scene from Otto Premingers Anatomy of a Murder.

50 Years On from Christian Keathley
Revision of a video made for the Society of Cinema and Media Studies 50th anniversary conference.


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

About Christian Keathleys work:

• Jason Sperb, Review of Cinephilia and History, or The Wind in the Trees by Christian Keathley (Bloomington, IN: Indiana University Press, 2006), Scope: an online journal of film & TV studies, Issue 12, October 2008

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