Issue 27
Foreword
by Laura Rascaroli
Editorial
100 Years of Disney
by Amy M. Davis and Helen Haswell, Issue Editors
Articles
Examining the Legacy of Disney Artist Mary Blair
by Gabrielle Stecher
Donald Duck Goes South: Walt Disney and the Inter-American Relations
by András Lénárt
Disney Screencerts: A Video Essay
by Sureshkumar Sekar
Hidden Histories: Vaulting as Corporate Archival Practice
by Bailey Apollonio
Stick to the Status Quo? Music and the Production of Nostalgia on Disney+
by Toby Huelin
Streaming with the Mouse: Disney’s Entrance into Direct-to-Consumer Streaming and Implications for the Future of Entertainment
by Cody T. Havard and Amy M. Davis
Part of Whose World? How The Little Mermaid (2023) Attempts to Revise the Racist Tropes of the 1989 Animated Film Musical
by Niall Richardson
Diversity in Disney’s Theme Parks: Is It Working?
by Priscilla Hobbs and Antares Leask
Dossier – Danijela Kulezic-Wilson: Legacy for Film Music and Sound Studies
Edited by Liz GreeneIntroduction
by Liz Greene
The Musicality of Traumatic Memories: A Video Essay
by Oswald Iten
More Beautiful Areas: Performativity and Presence in the Integrated Soundtrack
by Adam Melvin
On Drill Team and the Musicality of Videographic Criticism
by Catherine Grant
“He Has Music in Him”: Musical Moments, Dance and Corporeality in Joker (2019)
by Jessica Shine
“Remembrance”: Reticence, the Sensual, the Erotic, and the Music for The Irishman
by Robynn J. Stilwell
Music in “Reticent” Cinema
by James Wierzbicki
Remembering My Friend and Rehearing Two Films
by Elsie Walker
Blurring the Line? Music, Sound and “Sonic Gaze” in Post-Ceasefire Troubles-Themed Film
by John O’Flynn
Composing Perception: Hildegard Westerkamp Meets Gus Van Sant (A Video Essay)
by Randolph Jordan
Book Reviews
Edited by Jill MurphyThe Outer Limits, by Joanne Morreale
Reviewed by Mehdi Achouche
Profit Margins: The American Silent Cinema and the Marginalization of Advertising, by Jeremy Groskopf
Reviewed by Jarvis Curry
Recollecting Lotte Eisner: Cinema, Exile, and the Archive, by Naomi DeCelles
Reviewed by Jonathan Devine
On Black Media Philosophy, by Armond R. Towns
Reviewed by Ruth M. Gregory
Screening Fears: On Protective Media, by Francesco Casetti
Reviewed by Malte Hagener
Cinematic Histospheres: On the Theory and Practice of Historical Films, by Rasmus Greiner
Reviewed by Li-An Ko
What Film Is Good For: On the Value of Spectatorship, edited by Julian Hanich and Martin P. Rossouw
Reviewed by Nich Krause
Su Friedrich: Interviews, edited by Sonia Misra and Rox Samer
Reviewed by Sibley Labandeira
Labour-Intensive Filmmaking: An Interview with Su Friedrich
Interview conducted by Sibley Labandeira
Incomplete: The Feminist Possibilities of the Unfinished Film, by Alix Beeston and Stefan Solomon
Reviewed by Kaitlin Lake
Labors of Fear: The Modern Horror Film Goes to Work, edited by Aviva Briefel and Jason Middleton
Reviewed by Blake Lynch
The Cinema of Paul Thomas Anderson: American Apocrypha, by Ethan Warren
Reviewed by Nivedita Nair
American Mass Incarceration and Post-Network Quality Television, by Lee A. Flamand
Reviewed by Harrison Patten
East Asian Film Remakes, edited by David Scott Diffrient and Kenneth Chan
Reviewed by Boel Ulfsdotter
Architecture, Film, and the In-between: Spatio-Cinematic Betwixt, edited by Vahid Vadat and James F. Kerestes
Reviewed by Shannon C. Weidner
Dark Scenes from Damaged Earth: The Gothic Anthropocene, edited by Justin D. Edwards, Rune Graulund, and Johan Höglund
Reviewed by David Franklin
Issue 26
Editorial
Home as a Site of Resistance
by Anna Viola Sborgi and Elizabeth Patton, Issue Editors
Articles
“My Cinema Is Not Diplomatic, It Is Confrontational”: Decolonial Framing of the Home in Two Documentaries by Rosine Mbakam
by Julie Le Hegarat
Marginality, Resilience and Escape: Home in Ana Rocha de Sousa’s Listen
by Mariana Liz
Porous Privacies: Gender, Migration, and Precarious Homes in Early Twenty-First Century Narrative Films from the French Mediterranean
by Sabine Haenni
Reproducing Home as a Space of Labour: The Great Indian Kitchen and Jaya Jaya Jaya Jaya Hai
by Niyathi R. Krishna and P. Sivakumar
Home as Survival: Seeing Queer Archival Lives
by Jennifer Cazenave
Home Movies as Technologies of Belonging and Resistance
by Elizabeth Patton
“Beyond the Kitchen Door”: Racialised Female Domestic Labourer’s Mobility Experiences in Anna Muylaert’s The Second Mother
by Francianne dos Santos Velho
Precarity and Resistance: Mediating Home across Contemporary Europe through the Short Hybrid Film
by Anna Viola Sborgi
The Key: Abstraction, Embodiment, and Proper Distance within the Virtual Home
by Conn Holohan
The Importance of a House and the Pandemic Formation of the ATLFilmParty Community
by Jenny Gunn
When Contexts Collapse: How Ubiquitous Video Cameras in the Home During COVID-19 Pandemic Lockdowns Transformed Family Representation
by Lauren S. Berliner
Book Reviews
Edited by Jill MurphyFilming History from Below: Microhistorical Documentaries, by Efrén Cuevas
Reviewed by Ana Djordjevic
Suzuki Seijun and Postwar Japanese Cinema, by William Carroll
Reviewed by David Franklin
ReFocus: The Films of William Friedkin, by Steve Choe
Reviewed by Michael Gibson
Perpetrator Cinema: Confronting Genocide in Cambodian Documentary, by Raya Morag
Reviewed by Dina Iordanova
Film Audiences: Personal Journeys with Film, by Bridgette Wessels et al.
Reviewed by M. Sellers Johnson
Opposable Thumbs: How Siskel & Ebert Changed Movies Forever, by Matt Singer
Reviewed by Dimitris Passas
Border Witness: Reimagining the US-Mexico Borderlands through Film, by Michael Dear
Reviewed by Emmanuel Ramos-Barajas
Jonas Mekas, Shiver of Memory, by Peter Delpeut
Reviewed by Muriel Tinel-Temple
Screening the Posthuman, by Missy Molloy Pansy Duncan, and Claire Henry
Reviewed by Karim Townsend
Issue 25
Editorial
Spotlight on Early Career Research in Film Studies
by James Mulvey, Issue Editor
Articles
Illuminationist Cinema: How Islamic Mysticism Inspired Morteza Avini’s Sacred Defence Documentaries of the Iran–Iraq War and His Attempt at Constructing a Film Theory
by Kaveh Abbasian
Reframing Diaspora Cinema: Towards a Theoretical Framework
by Alexander De Man
Freedom Smothered: Gang Rape as Patriarchal Punishment of Emancipated Women in Yugoslav New Film
by Vesi Vuković
Dossier: Screen Advertising
Introduction
by Emily Caston, Dossier Editor
How Long Is a Good Story? Compressed Narratives in British Screen Advertising Since 1955
by Emily Caston
Commercial Break: British Advertising on Screen
by Steven Foxon
Constructions of Race in Advertising Archives: The “Silent” Chinese Minority
by Sally Chan
Interview: Juliette Larthe
by Emily Caston
Interview: Georgia Hudson
by Emily Caston
Interview: Daniel Kleinman
by Emily Caston
Book Reviews
Edited by Jill MurphyGotham City Living: The Social Dynamics in the Batman Comics and Media, by Erica McCrystal
Reviewed by Gordon Alley-Young
Filming History from Below: Microhistorical Documentaries, by Efrén Cuevas
Reviewed by Zachariah Anderson
Life-Destroying Diagrams, by Eugenie Brinkema
Reviewed by Augustin
Russian TV Series in the Era of Transition: Genres, Technologies, Identities, edited by Alexander Prokhorov, Elena Prokhorova and Rimgaila Salys
Reviewed by Sofiia Dabizha
The Ghost in the Image: Technology and Reality in the Horror Genre, by Cecilia Sayad
Reviewed by Mikki KressbachMovie Mavens: US Newspaper Women Take on the Movies, 1914–1923, edited by Richard Abel
Reviewed by Gabrielle StecherWomen, Feminism and Italian Cinema: Archives from a Film Culture, by Dalila Missero
Reviewed by Francesco Sticchi
Issue 24
Editorial
Fostering Diversity On and Off Screen
by Marsha Berry, Kath Dooley and Margaret McHugh
Articles
“Where Are We Now?” Assessing the Gender Equality and Diversity Journey in Irish Screen Industries (2016–21)
by Susan Liddy
Imagining Diversity: An Irish Case Study of Graduates’ Perceptions of Inequality in Media Work
by Sarah Arnold and Anne O’Brien
Where Is Australia’s GLAAD? A Case for Establishing an Australian LGBTIQA+ Media Institute to Improve Diversity in Screen Media Representation
by Natalie Krikowa
Scotland’s for Me? The (Gendered) Salience of Parental Status and Geographical Location to Experiences of Working in Film and Television
by Susan Berridge
White Noise: Researching the Absence of First Nations Presence in Commercial Australian Television Drama
by Karen Nobes and Susan Kerrigan
Recognising and Addressing Unconscious Bias and Structural Inequalities: A Case Study Within Television Idea Development
by Lucy Brown, Rosamund Davies and Funke Oyebanjo
Approaches to Gender Diversity Behind the Camera in Australian Student Screen Productions
by Kath Dooley, Margaret McHugh, Marsha Berry, Craig Batty, and James Verdon
Interview“Better Workplaces Are Good for Everyone”: An Interview with Natalie Grant of SMTJ about Motherhood, Working in Television and the Covid-19 Pandemic
Interview conducted by Jack Newsinger and Helen Kennedy
Dossier: Fostering Diversity in the Classroom
Edited by Marsha Berry, Kath Dooley and Margaret McHugh
How (Not) to Clap, Cheer or “Check the Box” on Diversity in the Film Classroom: Some Notes on Teaching Diverse Documentary Media
by Aparna Sharma
Teaching Diversity, Questioning Representation
by Sarah E. S. Sinwell
Re-imagining Multiculturalism and Diversity Through Screenwriting and Filmmaking
by Vincent Giarrusso
“Left to My Own Devices, I Probably Could”: Reflections on Inclusive Pedagogy and Gender Equity During Melbourne’s Pandemic Lockdown
by Victoria Duckett and Liz Baulch
Book ReviewsEdited by Jill Murphy
Landscape and the Moving Image, by Catherine Elwes
Reviewed by Toby Ashworth
Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century, by Dana Stevens
Reviewed by Andrew Corsini
LGBTQ Visibility Media and Sexuality in Ireland, by Páraic Kerrigan
Reviewed by Don Duncan
Columbo: Paying Attention 24/7, by David Martin-Jones
Reviewed by Ben Lamb
Capitalism and the Enchanted Screen: Myths and Allegories in the Digital Age, by Aleks Wansbrough
Reviewed by Markela Panegyres
Netflix Recommends: Algorithms, Film Choice, and the History of Taste, by Mattias Frey
Reviewed by Anne Laura Penning
Embodying Contagion: The Viropolitics of Horror and Desire in Contemporary Discourse, edited by Sandra Becker, Megen de Bruin-Molé and Sara Polak
Reviewed by Maggie Roberts
Issue 23
Editorial
Screening the Artist: Between Presence/Absence, Immediacy/Mediation
by Saige Walton and Lucio Crispino
Articles
The Image Book: or Penser avec les mains
by Martine Beugnet and Kriss Ravetto-Biagioli
Hands in the Machine: Maya Deren and Marie Menken’s Manual Gestures
by Saige Walton
Bill Viola’s Figures of Submersion as Techniques of Transindividual Affect
by Elena del Río
On Fire: Cézanne, Straub and Huillet
by Nikolaj Lübecker
Decolonial Gesture and the Screening of the Botanical Artist in Miasma, Plants, Export Paintings (Bo Wang and Pan Lu, 2017)
by Sarah Cooper
Book Reviews
Advertising and the Transformation of Screen Cultures, by Bo Florin, Patrick Vonderau and Yvonne Zimmerman
Reviewed by Stephanie Rains
Expanded Visions: A New Anthropology of the Moving Image, by Arnd Schneider
Reviewed by Kathryn Ramey
The Cinema of Disorientation: Inviting Confusions, by Dominic Lash
Reviewed by Lewis Brown
Wonder Woman: The Female Body and Popular Culture, by Joan Ormrod; Fat on Film: Gender, Race and Body Size in Contemporary Hollywood Cinema, by Barbara Plotz
Reviewed by Claire Whitley
Issue 22
Editorial
On the Cultural Circulation of Contemporary European Crime Cinema
by Stefano Baschiera
Articles
DETECting the “Noirification” of European Popular Narratives Across Film, Fiction and Television
by Federico Pagello
Capturing European Crime: European Crime Cinema at European Film Festivals
by Russ Hunter
The Troubles Crime Thriller and the Future of Films about Northern Ireland
by Richard Gallagher
The Distribution and Promotion of Dogman (2016) in the United States
by Damiano Garofalo
Cosmopolitan Crimes: Sebastian Schipper’s Victoria (2015) and the Distribution of European Crime Films
by Markus Schleich
Book Reviews
Documentary Across Platforms: Reverse Engineering Media, Place, and Politics, by Patricia R. Zimmerman
Reviewed by Dara Waldron
The Red Years of Cahiers du Cinéma (1968–1973), by Daniel Fairfax
Reviewed by Marco Grosoli
Twenty-First-Century Hollywood: Rebooting the System, by Neil Archer
Reviewed by Alexander Christensen
Below the Stars: How the Labor of Working Actors and Extras Shapes Media Production, by Kate Fortmueller
Reviewed by Yan Jin
Ride the Frontier: Exploring the Myth of the American West on Screen, by Flavia Brizio-Skov
Reviewed by Andrew Corsini
Not Your Average Zombie: Rehumanizing the Undead from Voodoo to Zombie Walks, by Chera Kee
Reviewed by Lea Espinoza Garrido
Lost in the Dark: A World History of Horror, by Brad Weismann
Reviewed by Andrew Montiveo
Spaces of Women’s Cinema: Space, Place and Genre in Contemporary Women’s Filmmaking, by Sue Thornham
Reviewed by Donatella Valente
Cinema and Intermediality: The Passion for the In-Between (Second, Enlarged Edition), by Ágnes Pethő
Reviewed by Jill Murphy
Issue 21
Editorial
Mining Memories: New Explorations in Cinema, Memory and the Past
by Gwenda Young
Articles
Re-presenting Histories: Documentary Film and Architectural Ruins in Brutality in Stone
by Frances Guerin
“Non-Sites of Memory”: Poland in Claude Lanzmann’s Shoah Outtakes
by Sue Vice and Dominic Williams
Silent (Un)Becoming Song: Poetic Adventures in History, Memory and Identity in Papusza and Song of Granite
by Elzbieta Buslowska
In Search of a Lost Cinema: Cinephilia and Multidirectional Moving Image Memory in Golden Slumbers
by Marie Krämer
Queering Cultural Memory Through Technology: Transitional Spaces in AR and VR
by Maud Ceuterick
Dossier - History of Cinemagoing: Archives and ProjectsIntroduction
by Pierluigi Ercole, Daniela Treveri-Gennari, and Lies Van de Vijver
Cinema Memories in 3D Modelling and Virtual Reality Storytelling: The Odeon Cinema in Udine
by Eleonora Roaro
Hiding in Plain Sight: A Case Study of a Cinema History Project in Leeds, UK
by Laura Ager
A Digital Archive Is Born: Revisiting the Cinema Culture in 1930s Britain Collection
by Julia McDowell and Annie Nissen
Modern Routines: The Perception of Time and Space in Film Spectators’ Memories of Cinemagoing in 1940s Buenos Aires
by Cecilia Nuria Gil Mariño, Alejandro Kelly-Hopfenblatt, Clara Kriger, Marina Moguillansky, and Sonia Sasiain
Filmgoing or Cinemagoing? The Role of the Film Text within Cinema Memory
by Jamie Terrill
Book ReviewsReviews Editor’s Note
by Jill Murphy
Cinema Against Doublethink: Ethical Encounters with the Lost Pasts of World History, by David Martin-Jones
Reviewed by Laurence Kent
Play Time: Jacques Tati and Comedic Modernism, by Malcolm Turvey
Reviewed by Gianni Barchiesi
American Eccentric Cinema, by Kim Wilkins
Reviewed by Ed Cameron
Roland Barthes and Film: Myth, Eroticism and Poetics, by Patrick ffrench
Reviewed by Josh Heaps
Mexican Transnational Cinema and Literature, edited by Maricruz Castro Ricalde, Mauricio Díaz Calderón and James Ramey
Reviewed by Carolina Rocha
Negotiating Dissidence: The Pioneering Women of Arab Documentary, by Stefanie Van De Peer
Reviewed by Kaya Davies Hayon
International Politics and Film: Space, Vision, Power, by Sean Carter and Klaus Dodds
Reviewed by Juneko J. Robinson
Women in the International Film Industry: Policy, Practice and Power, edited by Susan Liddy
Reviewed by Kath Dooley
100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta
Reviewed by Darshana Chakrabarty
A Critical Companion to James Cameron, edited by Adam Barkman and Antonio Sanna
Reviewed by Martin Jones
Issue 20General Editor's Note
by Laura Rascaroli
Editorial
Doing Women’s Film & Television History: Locating Women in Film and Television, Past and Present
by Sarah Arnold and Anne O’Brien
Articles
Archivally Absent? Female Filmmakers in the IFI Irish Film Archive
by Kasandra O’Connell
Seeking Traces of Women in Early Irish Filmmaking: The O’Mara Sisters and the Archive
by Veronica Johnson
Writing the History of Women’s Programming at Telifís Éireann: A Case Study of Home for Tea
by Morgan Wait
Cinematic Islamic Feminism and the Female War Gaze: Reflections on Waad Al-Kataeb’s For Sama
by Dilyana Mincheva
Queer Representation in Arab and Middle Eastern Films: A Case Study of Women in Caramel (2007), Circumstance (2011), and In Between (2016)
by Maria Abdel Karim
Fan-ning the Flame: Representations of Lesbian Romance on Cult Television, from Subtext to Main Text
by Aviva Dove-Viebahn
The Curse and the Chora: The Double-Bind of the Choraic Conduit in Angel and Penny Dreadful
by Kwasu D. Tembo
Reflexive Practice, the “Turn to Care” and Accounting for Feeling: The Things We Talk About with Our Friends
by Rowan Aust
“I Felt More Difficulty Because of My Class Than I Have Because of My Gender”: Intersectional Analysis of Professional Lives of British Women Documentarians
by Ania Ostrowska
Towards a Latin American Feminist Cinema: The Case of Cine Mujer in Colombia
by Lorena Cervera
Researching Around Our Subjects: Working Towards a Women’s Labour History of Trade Unions in the British Film and Television Industries
by Frances Galt
Video Essay
A Film by Cine Mujer: A Video Essay
by Lorena Cervera
Dossier - Collections and Their UsesDigital Opportunities for Feminist Film Historiography: Insights from the Reframing Vivien Leigh Project
by Lisa Stead
Researching Janet Dean: Perspectives on Female Collaboration in Television Production
by Christina Lane
“Researching Starsky and Hutch Is Exquisite Torture”: Female Television Audiences and 1980s Letterzines
by Charlotte Stevens
The Pamela Davies Collection: Continuity Supervision in British Widescreen and Colour Cinema
by Steven Roberts
Researching Black Women and Film History
by Agata Frymus
Book ReviewsStanley Cavell and Film: Scepticism and Self-Reliance at the Cinema, by Catherine Wheatley
Reviewed by Glen W. Norton
Film and Domestic Space: Architectures, Representations, Dispositif, edited by Stefano Baschiera and Miriam De Rosa
Reviewed by Lawrence Webb
Main Street Movies: The History of Local Film in the United States, by Martin L. Johnson
Reviewed by Jack Booth
Fellini’s Films and Commercials: From Postwar to Postmodern, by Frank Burke
Reviewed by Flavia Brizio-Skov
Sensuous Cinema: The Body in Contemporary Maghrebi Film, by Kaya Davies Hayon
Reviewed by Sheila Petty
Positioning Art Cinema: Film and Cultural Value, by Geoff King
Reviewed by Fátima Chinita
Memory, Place and Autobiography: Experiments in Documentary Filmmaking, by Jill Daniels
Reviewed by Tony Dowmunt
Issue 19General Editor's Note
by Laura Rascaroli
Editorial
Performing the Intermedial across Brazilian Cinema
by Tamara Courage and Albert Elduque
Articles
Building an Integrated History of Musical Numbers in Brazilian Chanchadas
by Flávia Cesarino Costa
Chanchadas and Intermediality: On the Musical Numbers of Aviso aos Navegantes (Watson Macedo, 1950)
by Flávia Cesarino Costa and John Gibbs
Background Musicians and Their (In)Visibilities
by Suzana Reck Miranda
Documentary Shooting and Samba: Technology and Mediation in Leon Hirszman’s Partido alto
by Albert Elduque
Realistic Intermediality and the Historiography of the Present
by Marcela Amaral
Cinema and Its Intermedial Passages to Reality: The Case of the Árido Movie
by Samuel Paiva
Vincent Moon in(-between) Brazil: An Aural Approach to Intermediality
by Matheus Araújo de Siqueira
Interviews
Samba Beyond the Parade: An Interview with Paulinho da Viola
by Tamara Courage and Albert Elduque
Transforming Brazilian Speech into Popular Song: An Interview with Luiz Tatit
by Tamara Courage and Albert Elduque
Programming Brazilian Music for a Global Film Audience: An Interview with Cristian Pascual
by Tamara Courage and Albert Elduque
Capturing the Soul of the Suburb: An Interview with Lula Buarque de Hollanda
by Tamara Courage and Albert Elduque
Dossier - Music Videos in the British Screen Industries and Screen Heritage: From Innovation to CurationIntroduction
by Emily Caston
Conservation and Curation: Theoretical and Practical Issues in the Making of a National Collection of British Music Videos 1966-2016
by Emily Caston
Music Video and Commercials Production in the UK Screen Industries: An Overlooked Dynamo of Innovation and Success
by Richard Paterson
Dancing & Dreaming: “Fifty Years of British Music Video” in Havana
by Emily Caston and Justin Smith
Interview: Kris P. Taylor
by Emily Caston
Interview: Carrie Sutton
by Emily Caston
Interview: Sophie Muller
by Emily Caston
Book ReviewsThe Conscience of Cinema: The Works of Joris Ivens 1912–1989, by Thomas Waugh
Reviewed by Jonathan Kahana
Impersonal Enunciation, or the Place of Film, by Christian Metz
Reviewed by George Crosthwait
Netflix Nostalgia: Screening the Past on Demand, edited by Kathryn Pallister, and The Aesthetics of Nostalgia TV: Production Design and the Boomer Era, by Alex Bevan
Reviewed by Martin Fradley
The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood, by Nicholas Godfrey
Reviewed by Ryan Sherwood
George Clooney, by Paul McDonald
Reviewed by Gillian Kelly
A Companion to Italian Cinema, edited by Frank Burke
Reviewed by Jeffrey Longacre
The Documentary Art of Filmmaker Michael Rubbo, by D. B. Jones
Reviewed by Gaurav Pai
Chinese Revolutionary Cinema: Propaganda, Aesthetics and Internationalism, 1949-1966, by Jessica Ka Yee Chan
Reviewed by Max Berwald
Werner Herzog: Filmmaker and Philosopher, by Richard Eldridge
Reviewed by Dominic Lash
Making Sense of Mind-Game Films: Narrative Complexity, Embodiment, and the Senses, by Simin Nina Littschwager
Reviewed by Luis Antunes
History and Film: A Tale of Two Disciplines, by Eleftheria Thanouli
Reviewed by Marina Durnin
Cinematic Narratives: Transatlantic Perspectives, edited by Morris Beja, Ellen Carol Jones, Cecilia Beecher Martins, José Duarte, and Suzana Ramos
Reviewed by David Klein Martins
The Science of Screenwriting: The Neuroscience Behind Storytelling Strategies, by Paul Gulino and Connie Shears
Reviewed by Levi Dean
ReportsBad Mothers and Female Agency: The 76th Venice International Film Festival
Report by Lydia Tuan
The International Documentary Film Festival Amsterdam (IDFA) 2019
Report by Dasa Raimanova
Issue 18
Editorial
Refugee Filmmaking
by Stephanie Hemelryk Donald, Kaya Davies Hayon, and Lucia Sorbera
Foreword
Debordering Academia: Centring the Displaced and Exiled in Research
by Omid Tofighian
ArticlesTelephone Calls in Gianfranco Rosi’s Fire at Sea (Fuocoammare, 2016)
by Emma Wilson
Sonic Sociabilities and Stranger Relations in Arnaud des Pallières’ Adieu (2004)
by Emilija Talijan
Seascapes of Solidarity: Refugee Cinema and the Representation of the Mediterranean
by Stefanie Van De Peer
The Vulnerable Gaze of the Migrant: Eye-Witnessing and Drifting Subjectivity in Documentary Web Series
by Alice Cati
Shaming Australia: Cinematic Responses to the “Pacific Solution”
by Stephanie Hemelryk Donald
Displacement, Exile and Incarceration Commuted into Cinematic Vision
by Omid Tofighian
Refugees on Film: Assessing the Political Strengths and Weaknesses of the Documentary Style
by P. Stuart Robinson
Dossier One: Challenges of Separation for Refugee FilmmakingIntroduction
by Stephanie Hemelryk Donald and Lucia Sorbera
The Last Goldfish
by Su Goldfish, Joanna Newman, and Julie Ewington
Refugee Status: Privileged
by Rana Kazkaz
Collaborating with Refugees: Power, Ethics and Reciprocity in Documentary Filmmaking
by Mandy Hughes
Anonymity and Representation: Everyday Practices of Ethical Documentary Filmmaking
by Isobel Blomfield and Caroline Lenette
Dossier Two: Carceral-Border Cinema: The Film from Manus PrisonIntroduction
by Omid Tofighian
Film as Folklore
by Behrouz Boochani
Looking for Chauka
by Arash Kamali Sarvestani
A Reflection on Chauka, Please Tell Us the Time
by Janet Galbraith
Cinematic Poetics and Reclaiming History: Chauka, Please Tell Us the Time as Legacy
by Jeremy Elphick
Chauka Calls—A Photo Essay
by Omid Tofighian
Book ReviewsGender in Post-9/11 American Apocalyptic TV: Representations of Masculinity and Femininity at the End of the World, by Eve Bennett
Reviewed by Martin Fradley
Are You Watching Closely?: Cultural Paranoia, New Technologies, and the Contemporary Hollywood Misdirection Film, by Seth Friedman
Reviewed by Jordan Lavender-Smith
European Cinema and Continental Philosophy: Film as Thought Experiment, by Thomas Elsaesser
Reviewed by Ekin Erkan
Writing the Comedy Movie, by Marc Blake
Reviewed by Matthew McKeague
Genre, Authorship and Contemporary Women Filmmakers, by Katarzyna Paszkiewicz
Reviewed by Anthony Kinik
Film and Fashion amidst the Ruins of Berlin: From Nazism to the Cold War, by Mila Ganeva
Reviewed by Boel Ulfsdotter
New Nonfiction Film: Art, Poetics, and Documentary Theory, by Dara Waldron
Reviewed by Darrell Varga
A Cinema of Things: Globalization and the Posthuman Object, by Elizabeth Ezra
Reviewed by James Mulvey
Carceral Fantasies: Cinema and Prison in Early Twentieth-Century America, by Alison Griffiths
Reviewed by Gwenda Young
Issue 17Editorial
Researching Creative Practice: Terminology, Policy, Models
by Ciara Chambers (Issue Editor)
Foreword
The Academy and the Industry
by Rod Stoneman
ArticlesBut HOW Is It Not Just Practice? Or Do I Not Know Practice as Research?
by Julian McDougall
Future Experiments from the Past: Third Cinema and Artistic Research from Below
by Miguel Errazu and Alejandro PedregalAutoethnography and Postmemory: A Methodology for the Use of Film Forms as Research
by Romana TurinaThe Essay Film as Methodology for Film Theory and Practice: Disruptions and Expansions for Film Research
by Gonzalo de Lucas and Carolina Sourdis
The Subjective Voice and Hybrid Documentary Filmmaking Strategies: A Case Study
by Jill Daniels
The WHAT IF IT Process: Moving from Story-Telling to Story-Experiencing
by Sandra Gaudenzi
Creative and Emotional Labour: Programming Human Rights Film Festivals as Practice-led Ethnography
by Alexandra Colta
Exploring Speculative Methods: Building Artifacts to Investigate Interspecies Intersubjective Subjectivity
by Alan Hook
Crossing the Boundary: The Theory & Practice Dossier
Introduction
by Davide Abbatescianni and Dan O’Connell (Dossier Editors)
Surface and Light: Thinking through Moving Images
by Melanie Wilmink
The Methodology behind Digital Papers
by Catherine Gough-BradyCinematography and Filmmaking Research: Reflections on a Practice-led Doctoral Process
by Alexander Nevill
Fake It ’Til You Make It and Other Mantras to Completing a Practice-led/-based/with PhD
by Laura O’Connor
Encountering the Invisible
by Susanna Helke
Book ReviewsScreen Production Research: Creative Practice as a Mode of Enquiry, edited by Craig Batty and Susan Kerrigan
Reviewer: Rod Stoneman
It Stays with You: Use of Force by UN Peacekeepers in Haiti, by Cahal McLaughlin and Siobhán Will
Reviewer: Ryan Shand
Dark Star: A Biography of Vivien Leigh, by Alan Strachan
Reviewer: Gwenda Young
The American Marshall Plan Film Campaign and the Europeans: A Captivated Audience?, by Maria Fritsche
Reviewer: Aysehan Jülide Etem
Storyboarding: A Critical History, by Chris Pallant and Steven Price
Reviewer: Hiaw Khim Tan
Paulo Emílio Salles Gomes: On Brazil and Global Cinema, edited by Maite Conde and Stephanie Dennison
Reviewer: Albert Elduque
Live Cinema: Cultures, Economies, Aesthetics, edited by Sarah Atkinson and Helen W. Kennedy
Reviewer: Malgorzata Bugaj
Documentary Media: History, Theory, Practice, by Broderick Fox
Reviewer: Patricia Holland
Documentary Case Studies: Behind the Scenes of the Greatest (True) Stories Ever Told, by Jeff Swimmer
Reviewer: Eileen Culloty
Anime: A Critical Introduction, by Rayna Denison
Reviewer: Cristina Massaccesi
Public Service Media in Europe: A Comparative Approach, edited by Karen Arriaza Ibarra, Eva Nowak, and Raymond Kuhn
Reviewer: Maria O’Brien
Festival ReportsAround the World in 14 Films: The Berlin Festival of Festivals
Reporter: Claudia Kotte
Odessa Film Festival 2016: Purple Moving Images
Reporter: Kamil Lipiński
Issue 16Editorial
Queer Media Temporalities
by Maria Pramaggiore and Páraic Kerrigan (Issue Editors)
Articles
Hiraeth, or Queering Time in Archives Otherwise
by Onyeka Igwe and JD Stokely
Games of Archiving Queerly: Artefact Collection and Defining Queer Romance in Gone Home and Life is Strange
by Renee Drouin
Delphinium’s Portrait of Queer History: Rethinking Derek Jarman’s Legacy
by Laura Stamm
Histoire(s) de l’art: Curating the Cinema of Vincent Dieutre
by Jules O’Dwyer
Reeling Backward: The Haptics of a Medium and the Queerness of Obsolescence
by Travis L. WagnerThe Life Cycle of Transparent: Envisioning Queer Space, Time and Business Practice
by Justin Wyatt
Book ReviewsCinema’s Baroque Flesh: Film, Phenomenology and the Art of Entanglement by Saige Walton
Reviewer: Michelle DevereauxThe Aesthetic Pleasures of Girl Teen Film by Samantha Colling
Reviewer: Desirée de JesusDennis Hopper, Photographs 1961–1967, edited by Dennis Hopper and Tony Shafrazi
Reviewer: Joanna Elena BatsakisJazz as Visual Language: Film, Television and the Dissonant Image by Nicolas Pillai
Reviewer: Anthony BallasThe Act of Documenting: Documentary Film in the 21st Century by Brian Winston, Gail Vanstone and Wang Chi
Reviewer: Raluca IacobGodard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard by Albertine Fox
Reviewer: Caitríona WalshMy Life and the Final Days of Hollywood by Claude Jarman Jr.
Reviewer: Gwenda Young
Festival ReportsReal and Unreal Things: Virtual Reality at the 2018 Adelaide Film Festival
Reporter: Kath DooleySame Vision, New Visibility: Il Cinema Ritrovato 2018
Reporter: Andrea Gelardi
A Film Festival Thinking Itself: The 66th San Sebastian International Film Festival
Reporter: Pablo La Parra-Pérez
Issue 15Editorial
I-Docs as Intervention: The Poetics and Politics of Polyphony
Judith Aston and Stefano Odorico (Issue Editors)
Speculations
Thirty Speculations Towards a Polyphonic Model for New Media Documentary
by Patricia R. ZimmermannArticles
Exercising Radical Democracy: The Crisis of Representation and Interactive Documentary as an Agent of Change
by Amir Husak
Beyond “Toolness”: Korsakow Documentary as a Methodology for Plurivocal Interventions in Complexity
by Anna Wiehl
Rediscovering “Wonder” through I-Docs: Reflections on “Immersive” Viewing in the Context of Contemporary Digital/Visual Practices
by Paolo Favero
The Poetics and Politics of Polyphony: Towards a Research Method for Interactive Documentary
by Judith Aston and Stefano OdoricoInterviews
Polyphony in Practice: An Interview with Sharon Daniel
by Sharon Daniel, Judith Aston, and Stefano OdoricoEnacting Polyphony: An Interview with Florian Thalhofer
by Florian Thalhofer, Judith Aston, and Stefano OdoricoCase Studies
The Shore Line as Polyphony in Practice: A Case Study
by Elizabeth MillerExperimental Polyphony: On the Media Ecological Research of Intermediate Bodies
by Daniel Fetzner and Martin Dornberg
Book ReviewsAbbas Kiarostami and Film-Philosophy by Mathew Abbott
Reviewer: Kelly Houck
Authoring Hal Ashby: The Myth of the New Hollywood Auteur by Aaron Hunter
Reviewer: Nicholas GodfreyFeminist Film Theory and Pretty Woman by Mari Ruti
Reviewer: Alice Guilluy
When Movies Were Theater: Architecture, Exhibition, and the Evolution of American Film by William Paul
Reviewer: Tober Corrigan
Festival ReportsFar East Film Festival 20
Reporters: Boel Ulfsdotter and Mats Björkin“Looking Out”: The 2018 Association for Art History’s Annual Conference
Reporter: Gillian McIver
Issue 14
Editorial
For a Cosmopolitan Cinema
James Mulvey, Laura Rascaroli, and Humberto Saldanha (Issue Editors)
Articles
Encounters with Cultural Difference: Cosmopolitanism and Exoticism in Tanna (Martin Butler and Bentley Dean, 2015) and Embrace of the Serpent (Ciro Guerra, 2015)
by Daniela Berghahn
Cosmopolitan Pleasures and Affects; Or Why Are We Still Talking about Yellowface in Twenty-First-Century Cinema?
by Felicia Chan
“Now I Fight for Belonging”: A Cosmopolitan Refugee Meets Regional Australia in Constance on the Edge
by Sukhmani Khorana
Global Film at Global Airlines
by Dina Iordanova
Cosmopolitan Spaces of International Film Festivals: Cannes Film Festival and the French Riviera
by Dorota OstrowskaFilm Festivals as Cosmopolitan Assemblages: A Case Study in Diasporic Cocreation
by Monia AcciariThe Films of Ciro Guerra and the Making of Cosmopolitan Spaces in Colombian Cinema
by Maria Luna and Philippe MeersImperial and Critical Cosmopolitans: Screening the Multicultural City on Sherlock and Elementary
by Anne Kustritz
Dossier
Teaching European Cinema—The European University Film Award (EUFA) Project
by Skadi Loist
Book ReviewsMaking Time in Stanley Kubrick’s Barry Lyndon: Art History and Empire, by Maria Pramaggiore
Reviewer: Gillian McIverFrom Self-fulfilment to Survival of the Fittest: Work in European Cinema from the 1960s to the Present by Ewa Mazierska
Reviewer: Nick HodginCompact Cinematics: The Moving Image in the Age of Bit-Sized Media, edited by Pepita Hesselberth and Maria Poulaki
Reviewer: Virginia McLaurin
Festival ReportsFilm Policies in Transition: Globalization, Digitization, Protectionism
King’s College London, 2 June 2017
Reporter: Gertjan WillemsDocument Human Rights Film Festival 2017
Reporter: Alexandra-Maria Colta
Issue 13Editorial
Screening Race: Constructions and Reconstructions in Twenty-first Century Media
by Loretta Goff and Caroline V. Schroeter (Issue Editors)
Riot and Revenge: Symmetry and the Cronulla Riot in Abe Forsythe’s Down Under
by Kenta McGrath
“Racism’s part of my culture”: Nation, Race and Humour in Irish Jam (2006) and The Guard (2011)
by Loretta Goff
Representing Ethnicity in Cinema during Turkey’s Kurdish Initiative: A Critical Analysis of My Marlon and Brando (Karabey, 2008), The Storm (Öz, 2008) and Future Lasts Forever (Alper, 2011)
by Zeynep Koçer and Mustafa Orhan Göztepe
The Fight for Self-representation: Ainu Imaginary, Ethnicity and Assimilation
by Marcos P. Centeno Martín
Multicultural Glasgow: Imagining Scotland as a Space of Cultural Intersection in Scots-Asian Films of the 2000s
by Emily TorricelliDepicting the Racist Past in a “Postracial” Age: The White, Male Protagonist in Hell on Wheels and The Knick
by Michael L. WayneHow to Get Away with Colour: Colour-Blindness and the Myth of a Postracial America in American Television Series
by Emiel Martens and Débora PóvoaNate Parker’s The Birth of a Nation: Classical Hollywood Cinema or Independent Rebellion?
by Caroline V. Schroeter
Book Reviews
The Grace of Destruction: A Vital Ethology of Extreme Cinemas, by Elena del Río, and Bodies in Pain: Emotion and the Cinema of Darren Aronofsky, by Tarja Laine
Reviewer: Jenny GunnLars von Trier’s Women, edited by Rex Butler and David Denny
Reviewer: Silvia AngeliScreenwriting Is Rewriting: The Art and Craft of Professional Revision, by Jack Epps, Jr.
Reviewer: Göksu AkkanAnimated Landscapes: History, Form and Function, edited by Chris Pallant
Reviewer: Yuanyuan Chen
Festival ReportsConsuming Heritage
University of Leeds, 30 September 2016
Reporter: Daniel ClarkeSheffield Doc/Fest
9–14 June 2017
Reporter: James Mulvey
Retrospective 2017: Future Imperfect. Science · Fiction · Film
67th Berlin International Film Festival
Reporter: Dominic Topp
Issue 12
Editorial
The New Old: Archaisms and Anachronisms across Media
Editorial
by Stefano Baschiera and Elena Caoduro (Issue Editors)
ArticlesMedia Hysteresis: Persistence Through Change
by Philippe Theophanidis and Ghislain Thibault
Performing History/ies with Obsolete Media: The Example of a South African Photo-Film
by Marietta Kesting
Analogue Video in the Age of Retrospectacle: Aesthetics, Technology, Subculture
by Jonathan Rozenkrantz
The Wonder Years: Nostalgia, Memory and Pastness in Television Credits
by Kathleen Williams
Retro Quality and Historical Consciousness in Contemporary European Television
by Louis Bayman
Book Reviews
Darren Aronofsky’s Films and the Fragility of Hope, by Jadranka Skorin-Kapov
Reviewer: Logan DavisPsychoanalytic Film Theory and The Rules of the Game, by Todd McGowan
Reviewer: James DriscollDreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media, by Adam Lowenstein
Reviewer: Zsolt GyengeCinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era, edited by Murray Leeder
Reviewer: Anton Karl KozlovicCinematic Terror: A Global History of Terrorism on Film, by Tony Shaw
Reviewer: Elena Caoduro
Festival ReportsScreening Rights Film Festival Birmingham, UK, 15–18 September 2016
Reporters: Will Amott and Pablo Alvarez
Live Cinema Conference King’s College London, 27 May 2016
Reporters: Sarah Atkinson and Helen W. KennedyScalarama UK, 1–30 September 2016
Reporter: Maria A. Velez-Serna
Issue 11Editorial
Cinema Heritage in Europe
by Pierluigi Ercole; Daniela Treveri Gennari; Silvia Dibeltulo; and Lies Van de Vijver (Issue Editors)
New Cinema History and the Comparative Mode: Reflections on Comparing Historical Cinema Cultures
by Daniel Biltereyst and Philippe Meers
Cinemagoing as Spatially Contextualised Cultural and Social Practice
by Elisa Ravazzoli
Cinema Parisien 3D: 3D Visualisation as a Tool for the History of Cinemagoing
by Julia Noordegraaf, Loes Opgenhaffen and Norbert Bakker
Ethnography as a Tool of Cinema History: Cinemagoing in Light of the Experience of a Local Film Market
by Jean-Marc Leveratto and Fabrice Montebello
Narrative Modes of Cinemagoing Memories
by Susanne HaakeVisualising Data in Digital Cinema Studies: More than Just Going through the Motions?
by Deb Verhoeven
Book Reviews
The Magic World of Orson Welles, by James Naremore (2015)
Reviewer: Shannon ScottThe History of British Literature on Film, 1895–2015, by Greg M. Colón Semenza and Bob Hasenfratz (2015)
Reviewer: Kevin M. FlanaganSwashbucklers: The Costume Adventure Series, by James Chapman (2015)
Reviewer: Lucinda PopeThe Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón, by Deborah Shaw (2013)
Reviewer: Elliot HardmanLaurent Cantet, by Martin O’Shaughnessy (2015)
Reviewer: Ally Lee
Festival Reports45th International Film Festival Rotterdam
27 January–7 February 2016
Reporter: Emre Çağlayan
12th Irish Screen Studies Seminar
Dublin City University, 11 May 2016
Reporter: Loretta Goff
Issue 10
Editorial
Women and Media in the Twenty-First Century
by Abigail Keating and Jill Murphy (Issue Editors)
The Gendered Politics of Sex Work in Hong Kong Cinema: Herman Yau and Elsa Chan (Yeeshan)’s Whispers and Moans and True Women for Sale
by Gina Marchetti
Girlhood, Postfeminism and Contemporary Female Art-House Authorship: The “Nameless Trilogies” of Sofia Coppola and Mia Hansen-Løve
by Fiona Handyside
Femininity, Ageing and Performativity in the Work of Amy Heckerling
by Frances Smith
Motherhood in Crisis in Lucrecia Martel’s Salta Trilogy
by Fiona Clancy
Female Stardom in Contemporary Romanian New Wave Cinema: Unglamour?
by Andrea Virginás“Nice White Ladies Don’t Go Around Barefoot”: Racing the White Subjects of The Help (Tate Taylor, 2011)
by Marie-Alix ThouaillePocahontas No More: Indigenous Women Standing Up for Each Other in Twenty-First Century Cinema
by Sophie MayerThe Feminist Cinema of Joanna Hogg: Melodrama, Female Space, and the Subversion of Phallogocentric Metanarrative
by Ciara BarrettAfrican Women of the Screen at the Digital Turn
by Beti Ellerson
Book Reviews
The Lumière Galaxy: Seven Key Words for the Cinema to Come, by Francesco Casetti (2015)
Reviewer: Niall FlynnDecades Never Start on Time: A Richard Roud Anthology, edited by Michael Temple and Karen Smolens (2014)
Reviewer: Laura BusettaFilm & Making Other History: Counterhegemonic Narratives for a Cinema of the Subaltern, by Alejandro Pedregal (2015)
Reviewer: David BrancaleoneJourneys in Argentine and Brazilian Cinema: Road Films in a Global Era, by Natália Pinazza (2014)
Reviewer: Jamie SteeleTV Museum: Contemporary Art and the Age of Television, by Maeve Connolly (2014)
Reviewer: Erica Levin
Festival ReportsJohn Di Stefano: Bandiera Nera
Sydney College of the Arts, Sydney, 23 January–21 February 2015
Reporter: Aleksandr Andreas Wansbrough
Issue 9
Editorial
Deviate!
by Jill Murphy and Nicholas O'Riordan (Issue Editors)
The Taming of the Bronies: Animals, Autism and Fandom as Therapeutic Performance
by Maria Pramaggiore
Continuing the Deviating Tradition of Hungarian Experimental Film Art: András Jeles’s Joseph and His Brothers—Scenes from a Peasant Bible
by Gábor Gelencsér
Inf(l)ection of the Medium: Sándor Kardos’s Films in Between Eye and Hand
by Mónika Dánél
Europe of “Others”: Deviations, Mobility, and the Construction of Identities in Carmine Amoroso’s Cover Boy
by Abigail Keating
Disembodied Perspective: Third-Person Images in GoPro Videos
by Philippe Bédard“Gas Her”: Deviant Paradigms of Identification in Interactive Spectatorship
by Marina Hassapopoulou
Book Reviews
Men’s Cinema: Masculinity and Mise en Scène in Hollywood, by Stella Bruzzi (2013)
Reviewer: Ian MurphyChina’s iGeneration: Cinema and Moving Image Culture for the Twenty-First Century, edited by Matthew Johnson et al. (2014)
Reviewer: Leung Wing-FaiSlow Movies: Countering the Cinema of Action, by Ira Jaffe (2014)
Reviewer: Thorsten Botz-BornsteinBeyond the Screen: Emerging Cinema and Engaging Audiences, by Sarah Atkinson (2014)
Reviewer: Jonathan Wroot
Festival ReportsPolitical Cinema in the 21st Century: The Radical Film Network Inaugural Conference
Birmingham City University, 7–8 February 2015
Reporter: Kelly Zarins
BAFTA 2015: Film Craft Sessions
BAFTA London, 7 February 2015
Reporters: Jake Martin Graves and Conan Coatsworth
51st International Antalya Golden Orange Film Festival
Antalya, Turkey, 10–18 October 2014
Reporter: Murat Akser
Issue 8Editorial
Animation at the Cutting Edge
by Yuanyuan Chen and Laura Rascaroli (Issue Editors)
Chairy Tales: Object and Materiality in Animation
by Paul Wells
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
by Helen Haswell
When Imaginary Cartoon Worlds Get the "Documentary Look": Understanding Mockumentary Through Its Animated Variant
by Cristina Formenti
Tango for a Dream: Narrative Liminality and Musical Sensuality in Richard Linklater's Waking Life
by Danijela Kulezic-Wilson
Rolling Amnesia and the Omnivorous Now: Jeff Scher's You Won't Remember This Trilogy (2007–2011)
by Lilly Husbands
Book Reviews
Film, Art, New Media: Museum Without Walls?, edited by Angela Dalle Vacche (2012)
Reviewer: Jill MurphyAnimated Documentary, by Annabelle Honess Roe (2013)
Reviewer: Susan Danta
Festival ReportsChris Marker: A Grin Without a Cat
Whitechapel Gallery, London, 16 April–22June 2014
Reporter: Laura Busetta
The 49th Karlovy Vary International Film Festival
Karlovy Vary, 4–12 July 2014
Reporter: Natascha Drubek
Rendering (the) Visible II: Figure
Georgia State University, 6–8 February 2014
Reporters: Laurel Ahnert and Justin Horton
Issue 7Editorial
Corporeal Cinema
by Ian Murphy and Gwenda Young (Issue Editors)
Corporeality and Embodiment in the Female Boxing Film
by Katharina Lindner
Art as a Guaranty of Sanity: The Skin I Live In
by Tarja Laine
Dark Fragments: Contrasting Corporealities in Pasolini's La ricotta
by Jill Murphy
Reconsidering the Body Genre: Rape-Revenge and Postfeminist Softcore as Biocultural Phenomena
by David Andrews
The Work of an Invisible Body: The Contribution of Foley Artists to On-Screen Effort
by Lucy Fife Donaldson
Beyond the Human Body: Claire Denis's Ecologies
by Laura McMahonDark Borders: Film Noir and American Citizenship, by Jonathan Auerbach (2011)
Book Reviews
Reviewer: Christina Parker-FlynnAuthorship and the Films of David Lynch: Aesthetic Receptions in Contemporary Hollywood, by Antony Todd (2012)
Reviewer: Deborah MellamphyPerforming Authorship: Self-Inscription and Corporeality in the Cinema, by Cecilia Sayad (2013)
Reviewer: Laura Busetta
Festival Reports33rd International Istanbul Film Festival
Istanbul, Turkey, 5–20 April 2014
Reporter: Özge Özdüzen Ateşman
The 2014 Atlanta Film Festival (ATLFF)
Atlanta, GA, U.S.A, 26 March–4 April 2014
Reporter: Erin Lee Mock
Imagining the Past: Ken Russell, Biography and the Art of Making History
Cinema RITS, Brussels, BE, 19–20 March 2014
Reporter: Kevin M. Flanagan
Issue 6
Editorial
Reframing Cinema Histories
by Pierluigi Ercole and Gwenda Young (Issue Editors)
"A Taste in Pictures": The Second Birth of Cinema in Cork
by Denis Condon
Understanding Dutch Film Culture: A Comparative Approach
by Judith Thissen
"The Greatest Film of the Fascist Era": The Distribution of Camicia nera in Britain
by Pierluigi Ercole
Exploring Racial Politics, Personal History and Critical Reception: Clarence Brown's Intruder in the Dust (1949)
by Gwenda Young
An Advertiser's Dream: The Construction of the "Consumptionist" Cinematic Persona of Mercedes Gleitze
by Ciara Chambers
The Politics of Independence: The China Syndrome (1979), Hollywood Liberals and Antinuclear Campaigning
by Peter Krämer
What is the Value of a Technological History of Cinema?
by Lee Grieveson
Book Reviews
A Book on the Making of Lonesome Dove, by John Spong (2012)
Reviewer: Matthew CarterEx-Cinema: From a Theory of Experimental Film and Video, by Akira Mizuta Lippit (2012)
Reviewer: Niall FlynnMen and Masculinities in Irish Cinema, by Debbie Ging (2013)
Reviewer: Barry Monahan
Festival ReportsWorld Cinema On-Demand: Film Distribution and Education in the Streaming Media Era
Queen's University Belfast, 15–16 June 2012; 26 June 2013; 19 September 2013
Reporter: Alexandra KapkaRevisiting Star Studies
Culture Lab, Newcastle University, 12–14 June 2013
Reporter: Jennifer O'MearaA Star is Born: Cinematic Reflections on Stardom and the "Stardom Film"
King's College London, 13 September 2013
Reporter: Shelagh M. Rowan-Legg
Issue 5Editorial
Cinema in the Interstices
by Abigail Keating, Deborah Mellamphy and Jill Murphy (Issue Editors)
Interstices and Impurities in the Cinema: Art and Science
by Angela Dalle Vacche
Between Frames: Japanese Cinema at the Digital Turn
by Laura Lee
Montage in the Portrait Film: Where Does the Hidden Time Lie?
by Patrick Tarrant
Picturing a Golden Age: September and Australian Rules
by Pauline Marsh
Memories of a Buried Past, Indications of a Disregarded Present: Interstices Between Past and Present in Henri-François Imbert’s No pasarán, album souvenir
by Veronika Schweigl
Ma, Mu and the Interstice: Meditative Form in the Cinema of Jim Jarmusch
by Roy Daly
The Tales of New Orleans after Katrina: The Interstices of Fact and Fiction in Treme
by Delphine Letort
"Cinema Alone", Multiple "Cinemas"
by Raymond Bellour
Book Reviews
Stop the Clocks! Time and Narrative in Cinema, by Helen Powell (2012)
Reviewer: Deborah MellamphyRadical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema, by Austin Fisher (2011)
Reviewer: Mike PhillipsMad Men: Dream Come True TV, edited by Gary R. Edgerton (2011)
Reviewer: Aidan Power
Festival ReportsJonas Mekas
Serpentine Gallery, London, 5 December 2012–27 January 2013
Reporter: Laura BusettaDis-placing the East/West Binary: Aesthetic and Cultural Crossover in Film and Visual Culture
Cardiff University, 2 November 2012
Reporter: Hiu M. ChanECREA 2012, 4th European Communication Conference, Film Studies Section
Istanbul, 25–27 October 2012
Reporter: Gertjan Willems
Issue 4Editorial
Who’s Got the “Reel” Power? The Problem of Female Antagonisms in Blaxploitation Cinema
Egyptian Film Censorship: Safeguarding Society, Upholding Taboos
Towards an Embodied Poetics of Cinema: The Metaphoric Construction of Abstract Meaning in Film
Film-Thinking and Narrative Indeterminacy
Image Versus Imagination: Memory’s Theatre of Cruelty in Chris Marker’s La Jetée
Anima Animus: Jennifer Jason Leigh’s Bisexual Method in Last Exit to Brooklyn
Book Reviews
Film Theory: Rational Reconstructions, by Warren Buckland (2012)
Recording Reality, Desiring the Real, by Elizabeth Cowie (2011)
The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture, by Patricia Pisters (2012)
Festival ReportsThe Society of Cinema and Media Studies Annual Conference 2012
Boston, USA, 21–25 March 2012
Issue 3
Editorial
The Same Old Songs in Reagan-Era Teen Film
Performing Gender in the Studio and Postmodern Musical
When is the Now in the Here and There? Trans-diegetic Music in Hal Ashby’s Coming Home
Beneath Sci-fi Sound: Primer, Science Fiction Sound Design, and American Independent Cinema
Cultural Innovation and Narrative Synergy in R. Kelly’s Trapped in the Closet
Emotion Capture: Vocal Performances by Children in the Computer-animated Film
Book Reviews
Media and Memory, by Joanne Garde-Hansen (2011)
Film Festivals: Culture, People, and Power on the Global Screen, by Cindy Hing-Yuk Wong (2011)
Music Video and the Politics of Representation, by Diane Railton and Paul Watson (2011)
Siren City: Sound and Source Music in Classic American Noir, by Robert Miklitsch (2011)
Festival Reports
Issue 2
Editorial
Scrutinising the Rainbow: Fantastic Space in The Wizard of Oz
by Alexander SergeantBullet-Time in Simulation City: Revisiting Baudrillard and The Matrix by way of the "Real 1999"
by Randy Laist
Personal Time in Alternative and Time Travel Narrative: The Cases of Groundhog Day, Twelve Monkeys and 2001: A Space Odyssey
by Elisa PezzottaRevisiting the Past as a Means of Validation: Bridging the Myth of the Resistance and the Satire of the Economic Miracle in Two Comedies "Italian Style"
by Giacomo BoitaniFrom History to Haecceity: Spatial Reframings of the Past in Post-heritage Cinema
by Elise WortelMaking Nothing Happen: The Transition from Reactive Nihilism to Affirmation in Jim Jarmusch’s Broken Flowers (2005)
by Anna Backman Rogers
Book Reviews
Funny Frames: The Filmic Concepts of Michael Haneke, by Oliver C. Speck (2010)
by Reviewer: Jeremiah AmbroseCelluloid Saviours: Angels and Reform Politics in Hollywood Film, by Emily Caston (2010)
by Reviewer: Mithuraaj DhusiyaHollywood Catwalk: Exploring Costume and Transformation in American Film, by Tamar Jeffers McDonald (2010)
by Reviewer: Rebecca KambutaWhat Cinema Is! Bazin’s Quest and its Charge, by Dudley Andrew (2010)
Tim Burton: The Monster and the Crowd: A Post-Jungian Perspective, by Helena Bassil-Morozow (2010)
by Reviewer: Kevin McDonald
by Reviewer: Deborah MellamphyAnimating Space: From Mickey To WALL-E, by J.P. Telotte (2010)
by Reviewer: Mihaela Mihailova
Festival Reports16th Kolkata Film Festival
Kolkata, India, 10-17 November 2010
by Reporter: Saayan ChattopadhyayThe ISEA 2011 Istanbul International Symposium on Electronic Art
Sabaci Center, Istanbul, 14-21 September 2011
by Reporter: Jodi Nelson
Issue 1
Editorial
Back to the Future: The European Film Studies Agenda Today
European Cinema: Transnational, Transcultural, Transmedial
Issue Editors' Note
Articles
Transnationality and Transitionality: Sandra Kogut's The Hungarian Passport (2001)
Paris, Borders and the Concept of Europe in Paris, je t'aime and Code Unknown
Lindsay Anderson: Britishness and National Cinemas
The Fictive Archive: Kurdish Filmmaking in Turkey
Cinema/History: Philippe Garrel, Bernardo Bertolucci and May 1968
Face to Face with the Muslim "Other": European Cinematic Responses to Al-Qaeda
Book Reviews
Conference ReportsThe “Biographical Narrative in Film and Television” Postgraduate Seminar Series
University of Southampton, May and June 2010
The Society of Cinema and Media Studies Annual Conference 2011: Media Citizenship
New Orleans, USA, March 10-13, 2011
Festival ReportsThe Corona Fastnet Short Film Festival
Schull, County Cork, 26-29 May 2011
Film 4 Frightfest, 2010
London, 26-30 August 2010