_____________________............._____
F I L M - P H I L O S O P H Y
Journal | Salon | Portal
PO Box 26161, London SW8 4WD
http://www.film-philosophy.com
News (2 Aug 01)
_____________________............._____
Call for Papers
Deconstruction and Cinema
2002 Northeast Modern Language Association Convention
Toronto. April 12 & 13, 2002
Because its chief rival, psychoanalysis, has dominated theoretical
discourse on film for the last thirty years, deconstruction has had
relatively little to say about cinema. In part, we can justify this
silence by recognizing that deconstruction is explicitly concerned with
literature. On the other hand, though, deconstruction has tended to expand
the purview of what counts as a literary text. Even the most vigorous and
convincing of deconstructionist advocates of literary specificity, Paul de
Man, has written that "[w]e now have to recognize the necessity of a
non-perceptual, linguistic moment in painting and music, and learn to read
pictures rather than to imagine meaning." This panel, then, will bring
cinema and deconstruction into dialog, considering not only how
deconstruction can address cinema, but also how cinema reflects back on
deconstruction. We might imagine, for example, that an art form rooted so
strongly in the phenomonal status of the photographic object might present
rather a challenge to a discourse that rejects any epistemology rooted in
a pre-linguistic model of perception. Coming at the same question the
other way, however, deconstruction might teach us to pay better attention
to cinema's "rhetoric," the ways in which its technology gives shape to
what we only mistake for a pregiven reality. Deconstruction might also
help us to perceive cinema's deployment of the same techniques to
construct itself as an aesthetic object, despite cinema's very deep
implication in a historical conjunction that has arguably brought
aesthetics to its final crisis. I am not at all interested in presenting
deconstruction as an "alternative" to psychoanalysis in film studies, and
will not welcome papers that valorize deconstruction in the interest of
bashing psychoanalysis. I will welcome papers that either lay out the
theoretical groundwork for a dialog between cinema and deconstruction or
begin that dialog in readings of particular films and/or deconstructive
texts.
Please submit 1-2 page abstracts by September 15 to:
Sean Desilets
Department of English
Tufts University
Medford, MA 02155
[log in to unmask]
_____________________________________________
_____________________________________________
From: david silver <[log in to unmask]>
Subject: new reviews in cyberculture (august 2001)
*** apologies for crosspostings ***
*** feel free to distribute ***
New Book Reviews in Cyberculture Studies (August 2001)
Each month, the Resource Center for Cyberculture
Studies (RCCS) <otal.umd.edu/~rccs/> publishes three
full-length book reviews. The reviews reflect a modest
attempt to locate critically various contours of the
emerging and interdisciplinary field of cyberculture
studies. To date, RCCS has reviewed over 100 books,
covering a range of topics, from online culture,
communities, and identities to hypertext, digital
literacy, and online pedagogy to Internet policy, the
digital divide, and online privacy.
NEW REVIEWS (http://otal.umd.edu/~rccs/books) include:
Lev Manovich, The Language of New Media (MIT Press,
2001).
Reviewed by Katie Mondloch.
Scott McCloud, Zot!: Hearts and Minds. Published
Online.
Reviewed by Matt Wolf-Meyer.
Review Essay: William J. Mitchell, City of Bits:
Space, Place and the Infobahn (MIT Press, 1996) and
William J. Mitchell, e-topia: "Urban Life, Jim -- But
Not As We Know It" (MIT Press, 1999).
Reviewed by Michael Gurstein.
If you or your colleagues are interested in reviewing
books for RCCS, contact us directly at
<[log in to unmask]>. As always, please feel free to
forward this message.
david silver
http://www.glue.umd.edu/~dsilver
_____________________________________________
_____________________________________________
From: geobodies <[log in to unmask]>
Subject: new video on gender and geography
appologies for cross posting - please circulate
for immediate release
REMOTE SENSING
A videographic topography of the global sex trade
in the age of geographic information systems
Ursula Biemann © 2001, 53 min. digital video, English
Remote Sensing traces the routes and reasons of women who travel across the
globe for work in the sex industry. Voluntarily or not, women are displaced
in great numbers from Manila to Nigeria, from Burma to Thailand, from
Bulgaria to Europe: female bodies in the flow of global capitalism.
Spiralling down from an orbital view captured by image satellites, the
video-essay takes an earthly perspective on cross-border circuits,
trafficking routes and illicit economies. The highly digital documents
generated for this video connect new geographic technologies to the
sexualization and displacement of women on a global scale. Using the latest
images from NASA satellites, the video investigates the consequences of the
U.S. military presence in South East Asia as well as the European migration
politics.
Remote Sensing visualises the multi-layered meaning of geography where the
sexualization of women in global capitalism is linked to the implementation
of new technologies in often contradicting ways. While the Internet
facilitates the migration flow, particularly for women via bride market,
the border reinforcement technologies, on the other hand, hinder and push
it into the illegal sector. The European visa politics are quite explicit
in their practice to channel migrant women directly into the sex industry.
The assemblage of documents reveal how technologies of marginalization
affect women, and particularly economically disadvantaged women, in their
sexuality and how powerful players like States, scientific complexes and
military institutions, install a sexuality that eroticizes hierarchies.
Female bodies are the new cargo in the highly lucrative transactions across
boundaries. Of course there are numerous structural and political reasons
that lead women to move, or to being moved, into the gigantic Fordism of
service of the global sex industry. But there is no simple moral
distinction to be made between trafficked women and those who choose this
venue of survival. The video explores the large grey zone of negotiation
women engage in and the different concepts of prostitution they adhere to.
Remote Sensing aspires to displacing and re-signifying the feminine within
sexual difference and cultural representation, where sexuality is often
presented within the narrow confines of a masculine symbolic.
Satellite visions of globality are producing a sexual economy in which it
has become thinkable to reorganise women geographically on a global sca.e
The use of imagery generated by geographic information systems (GIS) opens
a fundamental critique of Western thinking. Satellite images propose an
abstract and highly accurate view of the world from the top down. The
evaluation and interpretation of the millions of geospacial data collected
by the satellites currently in the orbit are based on binary computer
languages. Through this lens, the world may seem graspable, controllable
and easy to categorise. Yet capitalism creates social as well as material
landscapes which are only comprehensible in their complex interrelation.
Remote Sensing fills in missing geographic data which offer a gendered and
relational view on the global flows of humans.
Ursula Biemann is an artist and videomaker focusing on gender
and globalisation issues in economy, media and the urban space.
Zurich, Switzerland
[log in to unmask]
www.geobodies.org (soon on the web)
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IMAGES FILM JOURNAL
We've added several new reviews to our Web site. Follow the links below to
navigate to these reviews.
======================
NEW MOVIE REVIEWS
Tim Burton's PLANET OF THE APES revisits Pierre Bouelle's classic novel.
http://www.imagesjournal.com/issue10/reviews/planetapes/
Explicit, violent, controversial, and French. BAISE-MOI arrives in America.
http://www.imagesjournal.com/issue10/reviews/baisemoi/
There are no partners in crime. Robert DeNiro and Edward Norton star in THE
SCORE.
http://www.imagesjournal.com/issue10/reviews/score/
======================
NEW DVD REVIEWS
The Criterion Collection offers two films by Luis Bunuel: THE DISCREET
CHARM OF THE BOURGEOISIE and DIARY OF A CHAMBERMAID. Now on DVD.
http://www.imagesjournal.com/issue10/reviews/bunuel/
Mario Monicelli satirizes heist films such as RIFIFI and THE ASPHALT JUNGLE
with BIG DEAL ON MADONNA STREET. Now on DVD from The Criterion Collection.
http://www.imagesjournal.com/issue10/reviews/bigdeal/
John Ford and cinematographer Gregg Toland together worked on the WWII
documentary DECEMBER 7TH. However, the original version remained hidden in
government archives for nearly half a century. Now VCI Entertainment
releases DECEMBER 7TH on DVD.
http://www.imagesjournal.com/issue10/reviews/december7th/
Facets offers the films of Dusan Makavejev on VHS, including W.R.:
MYSTERIES OF THE ORGANISM and several others.
http://www.imagesjournal.com/issue10/reviews/makavejev/
======================
Thanks for your interest in IMAGES.
As always, we'd love to hear what you think of our Web site. To give us
your feedback, send an e-mail message to [log in to unmask]
If for any reason you'd like to stop receiving this newsletter, simply send
an e-mail message to [log in to unmask] with the word "unsubscribe" in
the subject field.
Best,
Gary Johnson
publisher, IMAGES
http://www.imagesjournal.com
_____________________________________________
_____________________________________________
From: "Jennifer M. Bean" <[log in to unmask]>
Subject: CFP: Emerging Forms Film Conference in Seattle
The Film Colloquium At The University of Washington is proud to announce its
Second Annual Interdisciplinary Film Conference and Short Film Festival
EMERGING FORMS: Media, Narrative and Technique in the Twenty-First Century
November 7-9, 2001; Seattle, WA
The world of media is one of continuous change. Currently, new production
formats, such as Digital Video, and reception formats, such as DVD, are
altering the way films are made and viewed. New cinematic spaces are not
only mapped by new technologies, but also by developments within multiple
areas of the globe. This conference explores the ways in which new forms,
evolutions of traditional forms, and expansions within an international
arena alter the cinematic landscape. Conference events include presentations
of academic papers, a short film festival, a presentation by a filmmaker,
and a lecture by a keynote speaker. Subject to funding and interest, we
will attempt to publish select conference proceedings. For regularly updated
information about the conference please visit our web site:
http://courses.washington.edu/filmcol.
CALL FOR PAPERS
The Film Colloquium invites submissions on all related topics. Possible
panels might include:
*Discussions of Form within Films
*International Cinema< Postcolonial Cinema
*Emerging Film Genres< New Cinematic Spaces
*Digital Video, DVD, and Other Production and Reception Formats
*The Impact of New Formats on Production and Reception
*Emerging Voices (Ethnicity, Sexuality, and Gender)
*Experimental Uses of Traditional Formats
*Evolutions of Traditional Genres
Please submit a 350 word abstract and one-page CV. Mail submissions to the
Film Colloquium, Department of English, Box 354330, University of
Washington, Seattle, WA 98195-4330, USA or send abstracts and cover letters
via e-mail to [log in to unmask]
CALL FOR SHORT FILMS
The Film Colloquium is proud to announce an open call for films under 30
minutes in 16mm or VHS formats. Films selected by the programming
committee will be shown during an evening screening. A $100 prize will be
awarded to the film selected Best of Conference by a panel of judges.
All submissions must be on VHS tape clearly labeled with contact information
and accompanied by a $15 registration check (payable to the Film
Colloquium). Mail submissions to the Film Colloquium, Department of English,
Box 54330, University of Washington, Seattle, WA 98195-4330, USA. All films
not accompanied by sufficient return postage and self-addressed envelope
become the property of the Film Colloquium.
*********************************
NEW DEADLINE: SEPTEMBER 15, 2001
*********************************
GUEST PRESENTATIONS:
NISHA GANATRA will present _Chutney Popcorn_, her feature debut. This film
has captured a number of awards including the Audience Award Second Place
Prize at the Berlin Film Festival 2000, Best of Festival Award and Best
Narrative Feature at the 2000 Ojai Film Festival, the Audience Award at the
1999 Newport Film Festival, Best Feature Film at the 1999 San Francisco Film
Festival, and Best Feature Film at the 1999 Los Angeles Outfest Film
Festival.
GRANT GEE directed the critically acclaimed Radiohead documentary _Meeting
People is
Easy_. This film quickly established the director as an innovative visual
stylist with
a fresh sense of the relation between music and image. The film follows the
band on their 1997 "OK Computer" tour, deftly avoiding the usual pitfalls of
traditional "rockumentaries" while conveying a sense of the touring
experience. With a background in music videos and experimental film, Gee
and his work embrace the uses of technology without becoming dominated by
their demands.
VIVIAN SOBCHACK is professor of critical studies in the Department of Film
and Television and associate dean of the School of Theater, Film, and
Television at the University of California, Los Angeles. She is the author
of _Screening Space: The American Science Fiction Film_ and _The Address of
the Eye: A Phenomenology of Film Experience_, along with numerous articles
on contemporary cinema, film history, and popular culture. She is the
editor, most recently, of _MetaMorphing: Visual Transformation and the
Culture of Quick-Change_.
RENEE TAJIMA-PENA is an Oscar-nominated documentary filmmaker and a powerful
voice
for the Asian-American community. Her film, _Who Killed Vincent Chin?_,
explores the case of a murdered automotive engineer, mistaken as Japanese
and blamed for threatening American auto-worker jobs. The murderer's
subsequent evasion of justice in the US judicial system reveals far-reaching
inequities and biases. _My America... or, Honk If You Love Buddha_, winner
of the 1997 Cinematography Award at Sundance, follows Tajima-Pena and actor
Victor Wong as they travels the highways of America, revealing the intricacy
and variety of the Asian-American experience.
**
This event is made possible by the generous support of the following
sponsors: the Walter Chapin Simpson Center for the Humanities, the Graduate
and Professional Student Senate, the College of Arts and Sciences, GO-MAP,
the Program for Cinema Studies, the Hilen Endowment, the Department of
Music, the Department of English, the Department of Comparative Literature,
Scandinavian Studies, Spanish and Portuguese Languages, and Slavic
Languages.
From: Oksana Dykyj <[log in to unmask]>
The Editors of MC Journal: The Journal of Academic Media Librarianship (a
peer-reviewed electronic
journal) http://wings.buffalo.edu/publications/mcjrnl/v8n1/index.html
are looking for librarians and other subject specialists to review
educational media programs for their AV Review Database. Contact Lori
Widzinski, Editor, via e-mail at [log in to unmask]
Oksana
Oksana Dykyj voice: 514-848-3443
Head, Visual Media Resources fax: 514-848-7622
Instructional & Information Technology Services
Concordia University
LB-805-1, 1455 de Maisonneuve Blvd. W,
Montreal, Quebec
Canada H3G 1M8
_____________________________________________
_____________________________________________
From: Stacy Zellmann <[log in to unmask]>
WOMEN OF VISION: Histories in Feminist Film and Video
Alexandra Juhasz, Editor
University of Minnesota Press | 280 pages | 2001
0-8166-3371-1 | Hardcover | $49.95
0-8166-3372-X | Paperback | $19.95
Visible Evidence Series, volume 9
Legends and rising stars of feminist film and video tell their stories.
"Women of Vision should serve as a challenge to activists and artists to
ensure that feminist film and video does not fade into obscurity. It might
also push the rising generation of video activists to explore more
innovative and experimental forms, to take up feminist theory, and to think
through matters of representation and subjectivity. Perhaps the next
generations of feminist theory and media art will be found among them." In
These Times
Interviewees: Pearl Bowser, Margaret Caples, Michelle Citron, Megan
Cunningham, Cheryl Dunye, Vanalyne Green, Barbara Hammer, Kate Horsfield,
Carol Leigh, Susan Mogul, Juanita Mohammed, Frances Negrón-Muntaner, Eve
Oishi, Constance Penley, Wendy Quinn, Julia Reichert, Carolee Schneemann,
Valerie Soe, Victoria Vesna, and Yvonne Welbon.
Visit the book's webpage for more information:
http://www.upress.umn.edu/Books/J/juhasz_women.html
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CALL FOR PAPERS
8th Laterna Magica Film Academy
Pecs, Hungary
Nov.-05/07, 2001
SYMPOSIUM ON PICTORIAL REPRESENTATION
Generally, film theory - and film criticism as well - can be
characterised by an ongoing debate (ever since the invention of film
and the conception of film theory) in two major issues: the narrative
potentials and the ontology of the moving image. In the recent past,
with the uprise of cognitivism, a third question has been added to
them: spectatorship. The major aim of our symposium is to search for
theoretical links among the three fields.
Thus, it tries to cross methodologies and establish a dialogue
between experts with different theoretical commitments, but with
similar interests in exploring the connections between the aspects of
representation, a more traditional topic, and a most recent one: the
emotional impact and mental imagery in film. Or more bluntly put,
between story-telling and thinking through and in images.
To achieve that, we invite people to revisit, on the one hand, the
relationship between film and related artforms like photo, painting,
or even verbal images, and on the other hand the question of visual
thinking and visual memory. Both questions imply, however, a sensual
contact with the moving image, a personal involvement, a kind of
visual inscription on the viewers' mental representations. This, in
turn, calls for a rethinking of theories of seeing (and maybe of
other senses) as well as the ethical implications both in producing
and in processing moving images.
Main issues:
a) fictonal representation in film;
b) fiction vs. documentary
c) aspects and theory of seeing;
d) visual imagery;
e) visual and related forms of metaphor;
f) spectatorship and the sublime
g) thinking through and in images
h) ethics and the moving image;
Invited speakers (who have already confirmed participation) include:
Richard Allen (New York)
Cynthia Freeland (Houston)
Samuel Guttenplan (London)
Balint Andras Kovacs (Budapest)
Johannes Riis (Copenhagen)
Three sessions are planned:
a) aspects of visual fiction;
b) metaphor and mental imagery;
c) the affective and ethical aspects of the moving image;
The participation at the conference is free. Application for giving a
session paper (20 minutes + 10 minutes discussion) can be done by
sending an abstract (200 words) to the following address. Please,
indicate which session you would prefer.
Laszlo Tarnay
Dept. Of Philosophy
Faculty of Humanities
University of Pecs
Ifjusag u. 6.
H.7624
Email: [log in to unmask]
We have a limited number of grants available, which would cover all
costs in Hungary including accomodation, food and train fares to and
from Budapest-Pecs.
Important Dates:
Deadline for abstract: Sept.-20th, 2001,
Notification of acceptance: Oct.-01th, 2001,
Conference: Nov.-05/07, 2001
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ANGELAKI
journal of the theoretical humanities
CALL FOR PAPERS -- GENERAL ISSUE 2002
"Fearless and inventive, this journal has reset the agenda for the
theoretical humanities."
-- Peggy Kamuf, University of Southern California, USA
_Angelaki: journal of the theoretical humanities_ publishes two special
issues and one general/open issue per volume. The journal invites
submissions for its volume 7, number 3 general/open issue, for
publication December 2002. Please see below for the current contents
list of the 2001 general issue (6.3, for publication December).
Deadline for submission of 7.3 material for review: February 28, 2002.
Submissions are subject to peer review.
For full details on _Angelaki_, submission information and contents
listings of volumes 2 to 5, please visit the journal's website at:
http://www.tandf.co.uk/journals/routledge/0969725X.html
* ELECTRONIC SAMPLE COPY. The journal has been available online as
well as in print since volume 5 (2000). The 2000 general issue (5.3),
with work from Deleuze, Derrida and Zizek, is available as a free
electronic sample at the website -- click on the sample copy link in the
listing at the top of the home page.
* SUBALTERN AFFECT, the 6.1 special issue of _Angelaki_, guest edited
by Jon Beasley-Murray and Alberto Moreiras, is now out. Please see below
for contents list. 6.2, _Gift, Theft, Apology_, guest edited by
Constantin V. Boundas, will be published in September.
Thank you -- Gerard Greenway, managing editor, Angelaki
http://www.tandf.co.uk/journals/routledge/0969725X.html
Gerard Greenway
managing editor
A N G E L A K I
journal of the theoretical humanities
[log in to unmask]
http://www.tandf.co.uk/journals/routledge/0969725X.html
36A Norham Road
Oxford OX2 6SQ
United Kingdom
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Call for Papers: Multicultural Studies in American Television
Scholarly literature on television increasingly centers on the
intersections of race, class, gender, and sexual orientation. Nevertheless,
no currently available anthology intended for use in university and college
classrooms concentrates exclusively on
such studies.
We are gathering articles for a proposed collection of intercultural
analyses of American television. We wish to compile articles that explore
a range of televisual images and genres and examine historical and
contemporary issues. Essays will include
theoretical inquiries, formal analyses, audience studies, and critical
pieces. We are especially interested in new, unpublished
manuscripts, but will also consider previously published material.
The anthology will be of interest to researchers, college and university
instructors, and undergraduate and graduate students.
Possible subject areas include, but are not limited to:
Tabloid Television and the Vocabulary of Exclusion, Television and Youth
Culture, Polyglot Television, The Economics of Television in the Classroom,
American Television in the Global Market, Identifying New TV Audiences,
Race and racism in
Prime-time, Queering the TV Color Line, Television for Mature Audiences,
Class Conflict in Prime-time
Submissions should consist of an abstract, a 15- to 30-page manuscript, and
a brief c.v., and should preferably follow Chicago Style format and
citation guidelines.
Mail hard copy submissions to:
Dr. Charles Krinsky Liberal Studies Program
California State University, Fullerton
Mission Viejo Campus
28000 Marguerite Parkway
Mission Viejo, CA 92692-3635
USA
Send electronic submissions as attachments to:
Charles Krinsky <[log in to unmask]>
Deadline: 1 January 2002
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_____________________________________________
INITIAL CALL FOR PAPERS FOR 2002 CONFERENCE
The Society for Cinema Studies announces its Call for Proposals for the 2002
Conference, May 23-26, in Denver, Colorado.
PLENARY: Cinema Studies in a New Media Age
The Society of Cinema Studies was created in recognition of the social,
aesthetic, and economic importance of the cinema to the history and culture
of the twentieth century. As a new century begins, the medium of "film" has
become embedded in the new technologies that surround it. The discipline of
"cinema studies" was defined around the history and theories of the
cinematic and the perimeters implicit in its name have delimited its objects
of study. In the last two decades, "Cinema Studies" has recognized these
constraints as it expands to include other moving image media -- video,
television and (now) computer technologies. The rapid and global reach of
new media -- the internet, television, video, the digital arts -- challenge
us as scholars and teachers to find new ways to understand how all media
mediate our understanding of culture and society. As our visual field has
been reconfigured by many new technologies, we view "cinema" on an expanded
field of screens and in an expanded variety of production and delivery
formats. We must add computer screens (and digital technologies),
television screens (and interactive video formats) to our conceptualization
of the cinema, its spectators and its screens.
We look forward to workshop and panel proposals that address issues raised
by the plenary -- as well as those that engage a wide range of research in
film and media studies.
PROCEDURES FOR SUBMITTING PROPOSALS
To present a paper, you must be a member of SCS. Further information about
membership and the conference is available at:
http://www.cinemastudies.org
There is one deadline for submission of proposals: OCTOBER 1, 2001. All
proposals be received by this date and use the standard abstract form--as
is found at:
http://www.cinemastudies.org/conf.htm
Send to:
Jane Dye, SCS Administrative Coordinator
Society for Cinema Studies
302 Old Science Hall
640 Parrington Oval
University of Oklahoma
Norman, Oklahoma 73019-3060
E-mail FOR INQUIRIES ONLY (proposals may not be submitted via e-mail), may
contact Jane Dye at: [log in to unmask] Please put SCS PROGRAM in
the subject head.
_____________________________________________
_____________________________________________
From: tasha Oren <[log in to unmask]>
Subject: CFP (Asian America)
Submissions are sought for a collection of essays on Asian American and
Asian transnational culture. From Madonna's henna tattoos to the Oscar hype
of Crouching Tiger, Hidden Dragon to Japanese place settings in the Pottery
Barn catalog and Iron Chef, Asian cultures suddenly seem to be everywhere.
Paradoxically, the current visibility of "Asian-ness" renders invisible the
cultural presence of Asian Americans. Despite the boom in both Asian
American populations and cultural productions, Asian Americans remain
permanent foreigners in the popular imagination. What is our cultural
understanding of Asian American-ness in the wake of popular constructions of
both Asian and American?
Traditionally, Asian American studies have followed two major areas of
inquiry: focusing on the tensions between assimilation and cultural
preservation or documenting the presence of Asian American cultural
production. What alternative understandings of culture exist beyond
East/West binaries? The collection editors are particularly interested in
interdisciplinary work that offers new approaches to cultural texts and
practices, articulating Asian American culture as popular culture in the
U.S.
Equally welcome are topics that include (but are not limited to):
? Approaches that take up trans-national and diasporic Asian cultures
(Bollywood and its international viewership, cross-national ethnic
communities, Anime/Manga, Trans-national industries).
? Asian iconography and influence on American culture (Chinoiserie and
Asian-chic, Eastern religions, martial arts).
? Neglected/Emergent sub-cultures (Nisei ballroom dancing, import car
culture, websites and zines, beauty pageants).
? Asian Americans in the public eye (Wen Ho Lee and other political
controversies, Asian adoptees, celebrity and "stealth Asians," Lucy Liu).
Contact or send abstracts (250-300 words) or essay either by mail to Shilpa
Dave', Asian American Studies Program, Cornell University, 420 Rockefeller
Hall, Ithaca, NY, 14853-2801 or by e-mail attachment to
[log in to unmask] (Shilpa Dave), [log in to unmask] (Tasha Oren), and
[log in to unmask] (Leilani Nishime)
Proposal Deadline: November 1. Early submissions are encouraged.
Please feel free to pass this call on to other relevant lists.
_____________________________________________
_____________________________________________
From: Mark Jancovich <[log in to unmask]>
Subject: Scope's New Book and Film Review
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 8bit
Scope's New Book and Film Reviews are now online and can be reached via the
link below.
Book Reviews
The American Film Musical, By Rick Altman, and Genre and Hollywood, By Steve
Neale, A Review by Timothy Connelly
Television: A Reader, Edited by Edward Buscombe, A Review by Dianne Carr
Cinematic Political Thought: Narrating Race, Nation and Gender, By Michael
J. Shapiro, A Review by George S. Larke
Feminisms, Edited by Sandra Kemp and Judith Squires, A Review by Sharon Lin
Tay
Feminist Discourse and Spanish Cinema: Sight Unseen, By Susan
Martin-Márquez, A Review by Kathleen M. Vernon
Film Art: An Introduction, By David Bordwell and Kristin Thompson, A Review
by Raymond J. Haberski, Jr.
Flaming Classics: Queering the Film Canon, By Alexander Doty, A Review by
Harry Benshoff
Imagenation: Popular Images of Genetics, By José Van Dijck, A Review by
Aylish Wood
Material Culture in the Social World: Values, Activities, Lifestyles, By Tim
Dant, and Consuming Environments: Television and
Commercial Culture, By Mike Budd, Steve Craig and Clay Steinman, A Review by
Rory Drummond
Musicals: Hollywood and Beyond, Edited by Bill Marshall and Robynn Stilwell,
A Review by Annette Davison
Nursery Realms: Children in the Worlds of Science Fiction, Fantasy, and
Horror, Edited by Gary Westfahl and George
Slusser, A Review by Bridget M. Marshall
A Passion for Films: Henri Langlois and the Cinémathèque Française, By
Richard Roud, A Review by Sachiko Shikoda
Taxi Driver, By Amy Taubin, A Review by Jo Eadie
Film Reviews
Mars Attacks! and ID4 - Independence Day, A Review Essay by Harry M.
Benshoff
Before Night Falls, A Review by A. Mary Murphy
The Blair Witch Project, A Review by Deneka MacDonald
The Contender, A Review by Elizabeth Abele
Crouching Tiger, Hidden Dragon, A Review by Brian Baker
The Last September, A Review by Shirley Peterson
Mansfield Park, A Review by Irene Morra
The Ninth Gate, A Review by Kara L. Andersen
The Other, A Review by Lina Khatib
Shower, A Review by Daniel Friedman
Mark
--
Dr Mark Jancovich
Senior Lecturer and Director of the Institute of Film Studies
School of American and Canadian Studies
University of Nottingham
Nottingham
United Kingdom
Phone: 0115 951 4250
Fax: 0115 951 4270
Email: [log in to unmask]
Institute URL: http://www.nottingham.ac.uk/film
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