(2022). Bibliography for French and francophone cinema and television 2021. French Screen Studies. Ahead of Print.

In recent years, media production studies have grown into a thriving field of research, which has given rise to a discussion of the theoretical and methodological approaches it employs (Paterson et al, 2016; Frandsen, 2007; Bruun, 2010, 2016b). This article is a contribution to this development. The focal point is a discussion of how time and timing are important in media production research. The article

(2022). Documentary film festivals Vol. 1: methods, history, politics/Vol. 2: changes, challenges, professional perspectives. Studies in Documentary Film. Ahead of Print.

ABSTRACT Against the background of a widespread language skepticism among film theorists and practitioners, this article aims to highlight the evocative potential of spoken words in cinema. Focusing on an aesthetic device dubbed ‘suggestive verbalization’, it demonstrates how character speech can powerfully appeal to the spectator’s sensory imagination: language allows film viewers to imagine – in

ABSTRACT This article analyses the frameworks of co-creation between artists and AI in the context of documentary studies. As a result of emerging AI-focused experiments in documentary and transdisciplinary arts practice, we examine the nature and scope of AI as a collaborator with a focus of documentary projects exhibited and showcased at international documentary festivals. An introduction to emergent

This paper analyses the way in which traditional broadcasters are reorienting their strategy to reach young audiences. From this starting point, we analyse the three specific offers launched very recently by Spain's leading audio-visual groups for youth audiences. The online platforms constitute an attempt to compete with the new internet-distributed video offerings that are gaining increasing ground

ABSTRACT In this article, I explore the way experimental documentary film practitioners may utilize the methodology of the bricoleuse in order to create films. I refer to my experiments in documentary film practice – mediations of memory, place and subjectivities – where I deploy hybrid filmic strategies of critical realism and fictional enactment. The bricoleuse may use footage obtained through pocket

ABSTRACT Sound is often recognised as critical to the success of 360° film, but in a new medium fraught with technological challenges and time constraints, there is little research to guide sound designers in their creative practice. As practitioners engage with this new 360° format, the wisdom and techniques developed from decades of documentary sound practice promise more compelling viewing experiences;

ABSTRACT This article draws on my experience creating the film What's With Your Nails? (2018), a film about queerness, normality, slowness, and painting fingernails, and which embraces the affordances of smartphone filmmaking for queer documentary production in Australia. Documentary practices in this field are notable for a ‘privileging of authenticity’ through a subjective perspective, and there

(2022). Radical documentary and global crises: militant evidence in the digital age. Studies in Documentary Film. Ahead of Print.

ABSTRACT One of the unknowns associated with Alain Guiraudie’s thriller L’Inconnu du lac/Stranger by the Lake (2013) is what the film is really about. Set at a lake where men have sex with men, the film follows the protagonist Franck, who pursues a relationship with a man despite witnessing that man drown his lover. Whereas some reviews have read the film as a fable about the dangers of casual sex

The mismatch between political devolution in the United Kingdom and the apparent retention at the centre of responsibility for broadcasting policy, particularly in relation to the BBC, is examined, and the anomalies therein explored. The article argues that, despite the constitutional position, in practice devolution of broadcasting policy has proceeded, albeit unevenly, and more systematic devolution

Fifty years ago, the controller of BBC 2, (now Sir) David Attenborough supported an initiative to expand the range of voices and opinions on the BBC through a specialist Community Programmes Unit (CPU). The Unit formed in 1972, a time when the function of broadcasting was subjected to intense public scrutiny in the run-up to the delayed Annan Committee, which finally reported in 1977. Using archival

(2022). Towards a catalogue of cine-genres. New Review of Film and Television Studies: Vol. 20, Renewing the Cine-genre: Pasts and Futures, pp. 1-3.

ABSTRACT The concept of cine-genres, first introduced by Adrian Piotrovsky in a 1927 anthology of essays by Russian Formalist critics on cinema, has been used by a number of recent critics to describe genres that rely as much on their cinematic form as their narrative structure or iconic images. This essay argues for cine-genre as a way to acknowledge the unique cinematic aspect of groups of film.

ABSTRACT Although ‘Towards a Theory of Cine-Genres’ announces his interest in connecting film genre to the formal properties of the medium, Adrian Piotrovsky’s thinking as a whole is marked by a fundamental ambivalence to genre. Placing this better-known essay within the overall development of his thinking on cinema reveals how Piotrovsky grappled with taxonomizing cinema and refined a vision for a

ABSTRACT The city symphony, which explores the new arrangements of space and time in modernity through montage and photogeny, displays the core characteristics of a cine-genre. However, this famously non-narrative form also contains stubbornly narrative elements, expressed as rhythm, that open onto possibilities for reflexive as well as urban critique. By exploring these elements in Tan Pin Pin’s In

ABSTRACT This essay offers an account of the persistence of the chase sequence. Tracing the histories and theories of the chase as a cine-genre and analyzing its recurrence within Siegfried Kracauer’s Theory of Film, I argue that the chase sequence’s continued appeal is rooted in its unique connection to the built environment, and can be seen as a generic form for cinema’s staging of the interplay

ABSTRACT In Alfred Hitchcock’s Dial M for Murder (1954), 3D facilitates the film’s organization of the scopic and epistemological pleasures of the detective thriller around the perceptual experience of the uncanny. By filtering its décor through stereo-aesthetics, Dial M articulates a postwar dread of dispossession, challenges the spectator’s efforts to feel ‘at home’ in the depicted space and in the

ABSTRACT This essay explores how a recent controversy about the use of artifice in natural history films is animated by a double fascination – with nature and the moving image – on which the genre has been premised since its formation in the early cinema period. Building on recent scholarly interest in the genre, I use the case of the BBC’s 2014 series Hidden Kingdoms to explore how this fascination

ABSTRACT One must always know the place and accept it as believable. But in most films the design conceit is that when characters are in a place, there is nowhere else they can be found at the moment. This article posits an exception: the ‘elevator’ plot device, in which every place may be multiplied in layers. Many films of the late 1990s and early 21st century recount a story of dimension-shifting

ABSTRACT Looking primarily at Boots Riley’s Sorry to Bother You (2018), this essay explores the way race informs the relationship between the ‘body genres’ of comedy and horror. Riley’s film works through genre hybridity and ‘genre switching’, and this essay examines the links between the film’s genre reflexivity and the other kind of reflex – the ‘involuntary bodily response’. By locating its critique

ABSTRACT Radical comedy liberates spectators from their compulsive attachments to volatile objects. In that spirit, modernist film theorists placed their hopes in the raucous, world-shattering laughter elicited by violent slapstick comedies to explode the crises of the present and their foothold in habituated perception. But what remains of laughter’s revolutionary modernist project in the twenty-first

ABSTRACT This essay revisits the theoretical framework of Tom Gunning’s account of cine-genres to delineate an approach to genre suited to domains of inquiry related to, yet distinct from, film studies. It considers how Gunning’s emphasis on non-continuity allows for genre analysis based on form of expression and energetic transformations, instead of limiting it to content, structure, and economic

(2022). Heightened genre and women’s filmmaking in Hollywood: the rise of the cine-fille. New Review of Film and Television Studies: Vol. 20, Renewing the Cine-genre: Pasts and Futures, pp. 132-135.

(2022). The process genre: cinema and the aesthetic of labor. New Review of Film and Television Studies: Vol. 20, Renewing the Cine-genre: Pasts and Futures, pp. 135-139.

(2022). Australian genre film. New Review of Film and Television Studies: Vol. 20, Renewing the Cine-genre: Pasts and Futures, pp. 140-143.

Rebecca Sheehan's American Avant-Garde Cinema's Philosophy of the In-Between sets out to trace an intellectual and artistic genealogy that has often been overlooked in the field of film-philosophy. Engaging with experimental filmmakers in the USA from post-WWII to the present, Sheehan addresses how experimental films do philosophy through their formal aesthetic. This marks an important methodological

“With Shimmering Images: Trans Cinema, Embodiment, and the Aesthetic of Change […] I offer a cinematic philosophy of transgender embodiment through deep consideration of the ways that film constitutes a medium for transitioning,” (p. 2) writes Eliza Steinbock at the outset of their important monograph. In particular, Steinbock draws upon the shimmer both as a concept and as a formal property of film

In Hollywood's Dirtiest Secret: The Hidden Environmental Costs of the Movies, Hunter Vaughan argues for the necessity of new forms of production and spectatorship that are attentive to the environmental degradation caused by Hollywood filmmaking. Each chapter focuses on one of the earth's elements?–?Fire, Water, Wind and Earth?–?with a final chapter dedicated to analysis of the ‘Fifth Element’?–?humanity?–?which

As an environmentalist, Rupert Read has long contributed to awakening the ecological consciousness of human beings living on their one and only Mother Earth by stressing that our world needs positive and radical change. A Film-Philosophy of Ecology and Enlightenment aligns with this “message”, applying an urgent ecological approach to film-philosophical analysis. By zooming in on twelve transformative

“The reality of transference is thus the presence of the past.”– Jacques LacanLuca Guadagnino's Suspiria (2018) aggressively foregrounds a term from the discourse of psychoanalysis, now a relic of twentieth-century philosophical and psychological thought, with which to negotiate a sequence of historical problems specific to its articulation as a remake (adaptation or reimagining) of a gaudy 1977 giallo

Roughly fifty minutes into Leviathan (Lucien Castaing-Taylor and Véréna Paravel, 2012), the camera temporarily pauses in a moment of intimacy: locking eyes with a decapitated fish. Until this point, the film's shaking frame coupled with its poor image quality foregrounded how bodies (human, non-human; alive, dead or dying) become blurred into an amorphous, anonymous assemblage (Fig. 1). In Leviathan

Over the years I have been watching the steady impoverishment of the people's ideal, the lying, the daily inveterate lying, the thirty-year-old deep corrosive habit of lying.—David Hare, Licking Hitler (1978) How about a prohibition against lying? According to the Old Testament it's an abomination to God. But social life teems with harmless or even helpful untruths. How do we separate them out? Who's

In their efforts to define the true nature of film and thus give it the status of a new art, some of the earliest film theoreticians, especially French impressionist authors, have identified image, movement and time as the basic properties of film. Canudo (1911, p. 170) describes film as “a painting and a sculpture developing in time”, Dulac (1925/2018) and Aragon (1918/1993) find its essence in movement

(2022). What makes a major? Recent books on French studios. French Screen Studies. Ahead of Print.

ABSTRACT The opening episodes of BBC1?s Bodyguard (2018) broke records for a drama debut, the highest launch figure for any new drama across all channels in the United Kingdom since 2006. This article examines the hit series with a particular focus on notions of public service and post-military identity. The paper explores how the drama conveys ‘public service’ in the UK context at this specific historic

ABSTRACT This article examines the complex and contradictory gendered desires and anxieties that reveal themselves in the representation of powerful women in contemporary global television. Focusing on the internationally most popular TV series of the Turkish TV industry, Magnificent Century, screened in over 75 countries and seen by more than 500 million people, the central objective of this article

(2022). Interactive documentary: theory and debate. Studies in Documentary Film. Ahead of Print.

ABSTRACT It is increasingly common for scholars and journalists to make claims of horror cinema’s potential to engage with socio-political realities and, in so doing, identify grave social injustices. This article argues that, if one is to make a true assessment of the extent to which horror films might effect social change, one needs to look towards activist communities within which filmmakers are

(2022). Ethics of care in documentary filmmaking since 1968. French Screen Studies: Vol. 22, No. 1, pp. 1-5.

ABSTRACT During the years that preceded the legalisation of abortion in France by la loi Veil in 1975, feminists and activist doctors provided women alternative modes of reproductive care and advocacy. Militant and documentary filmmakers captured these developments in films such as Y’a qu’à pas baiser ! (Carole Roussopoulos and Vidéo Out, 1971–1973), Histoires d’A (Charles Belmont and Marielle Issartel

ABSTRACT This essay attends to the 1975 documentary film Ce gamin, là, a collaboration between educator Fernand Deligny, filmmaker Renaud Victor and the inhabitants of the para-institutional space of care for non-verbal autistic children that Deligny established in the Cévennes in the late 1960s. Less a documentary illustrative of ways of caring for autistic children than an experiment in observational

ABSTRACT This article proposes a chiastic reading of Elle s’appelle Sabine, examining how director Sandrine Bonnaire folds time. She represents her sister, the subject of the film, in the present and past, but also offers points of comparison between herself and her sibling. The film has a doubled set of ethical challenges: documentary ethics and ethics of care implicate Bonnaire both as filmmaker

ABSTRACT Since 2005, a growing number of French documentary filmmakers have taken their cameras inside institutions of care: hospitals, psychiatric wards, private doctors’ offices, nursing homes and even prisons. This article focuses on two films – Prendre soin/Caring (Bertrand Hagenmüller, 2018) and être là/Being There (Régis Sauder, 2012) – that bring the viewer inside nursing homes and a psychiatric

ABSTRACT This article explores how the techniques of surviving Atlantic slavery leave legacies of care, notably in the practice of the jardin créole (creole garden) as a counter-plantation practice of mutual distribution. By taking up édouard Glissant’s theorisation of the jardin créole in Manthia Diawara’s documentary, édouard Glissant: One World in Relation, the author shows how Diawara’s staging

ABSTRACT Nicolas Klotz and élisabeth Perceval’s La Blessure (2004) bears witness to invisible state violence at the nation’s borders, in airport zones of exception, where asylum seekers are detained, injured, cared for and forced to return. This early visual representation of repressive care in the current border regime also cultivates forms of attention and regard for the asylum seeker’s face, voice

ABSTRACT This article considers attitudes towards the British Empire as depicted in the BBC television mini-series Tinker Tailor Soldier Spy (BBC 1979). Broadcast at the end of the 1970s, the decade in which the post-empire era drew to a close, the series shares with its mass audience complex emotions which relate to a pervading sense of national decline. The substance of this exchange – the message

ABSTRACT Autofiction as realized in cinematic practice adds a figure of identification to the literary author-narrator-character: that of actor/actress. The filmmaker, playing him/herself, employs innovative strategies in audiovisual narration to generate this autofictional identity. This article analyses these strategies as seen in French cinema, on which literary autofiction has a determining influence

ABSTRACT This article will consider the recent ‘remastered’ editions of the first twelve seasons of the Comedy Central animated series South Park (1997-), and the impact that this may have upon the meanings associated with the original episodes. The show is now produced in a high-definition format, and most circulating versions of new instalments present any swearing ‘unbleeped’. These choices were

ABSTRACT Damien Manivel’s Les Enfants d’Isadora (2019) is inspired by Isadora Duncan’s solo dance ‘Mother’, which she choreographed after the tragic loss of her two young children. Manivel’s film shows a series of women who engage with the dance in contemporary times, juxtaposing their interpretations of the solo with scenes from everyday life. These women’s performances point to a shared vulnerability

Abstract This essay gives much-needed critical attention to the 1980s sitcom, The Facts of Life. While the show was a spinoff to the series Diff’rent Strokes, I make a case that its true creative and cultural debt is to a far different source: Louisa May Alcott’s 1868 novel, Little Women.

Abstract As the screen superhero genre enters the revisionist phase of its evolution, its status as a genre overwhelmingly dependent on the adaptation of preexisting material provides a challenge to established models of generic revision. The faithful adaptation of a revisionist comic does not in itself constitute a revisionist film or series. HBO’s miniseries adaptation of Watchmen serves as an example

Abstract The essay analyzes the film, Joe May’s Asphalt (1929), with specific attention to the representation of the city in the film, emphasizing the role of urban experience in the 1920s and the psychology of the city. This essay explores the novel and superficial experience of the metropolis in Asphalt and the ways in which it captures modern urban surface culture within its historical and cultural

(2021). COLD WAR FILM GENRES Edited by Homer B. Pettey. Edinburgh UP, 2018. 280 pp. $110 hardcover. Journal of Popular Film and Television: Vol. 49, No. 4, pp. 232-232.

(2021). THE STREAMING OF HILL HOUSE: ESSAYS ON THE HAUNTING NETFLIX ADAPTATION Ed. Kevin J. Wetmore, Jr. Jefferson: Mcfarland & Company, 2020. 282 pp. $39.95 paper. Journal of Popular Film and Television: Vol. 49, No. 4, pp. 233-234.

(2021). WOMEN IN THE WESTERN Ed. Sue Matheson. Edinburgh: Edinburgh UP, 2020. 360 pp. $110.00 hardcover. Journal of Popular Film and Television: Vol. 49, No. 4, pp. 234-235.

(2021). WOMEN MAKE HORROR: FILMMAKING, FEMINISM, GENRE. Edited by Alison Peirse. Rutgers UP, 2020. 270 pp. $29.95 paper. Journal of Popular Film and Television: Vol. 49, No. 4, pp. 235-236.

(2021). SEE! HEAR! CUT! KILL! EXPERIENCING FRIDAY THE 13TH By Wickham Clayton. Jackson: U Mississippi P, 2020. 238 pp. $30.00 paper. Journal of Popular Film and Television: Vol. 49, No. 4, pp. 236-237.

(2021). HOLLYWOOD HATES HITLER! JEW-BAITING, ANTI-NAZISM AND THE SENATE INVESTIGATION INTO WARMONGERING IN MOTION PICTURES By Chris Yogerst. Jackson: U P of Mississippi, 2020. 208 pp. $25.00 paper. Journal of Popular Film and Television: Vol. 49, No. 4, pp. 238-239.