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Bell-Metereau, Rebecca L | 4 Dec 2008 23:25
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Announcement: Screening The Past Issue 23

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From: Anna Dzenis [A.Dzenis <at> latrobe.edu.au]

Screening The Past Issue 23 online

http://www.latrobe.edu.au/screeningthepast/firstrelease/firstrelease.html

First Release

 Jean-Luc Godard’s Histoire(s) du cinéma
*   Laleen Jayamanne, Jean-Luc Godard’s Histoire(s) du cinéma OR “Memory of the world” (a lecture).
*   Sam Rohdie, Intersections.

Manny Farber, 1917-2008
*  Manny Farber and Patricia Patterson Interviewed by Richard Thompson, 1977.

Australian Film Theory and Criticism Project Interviews #1: Paul Willemen
*   Introduction to Australian Film Theory and Criticism Project Interviews.
*   Paul Willemen interviewed by Deane Williams.

*   Tim Groves and Costas Thrasyvoulou, Against the Flow of Time: Michael Mann and Edward Hopper.

*   Luis M. Garcia-Mainar, Say it with generic maps: Genre, identity and flowers in Michael Mann’s Collateral.

*   Bruce Hodsdon, The Carlton Ripple and the Australian Film Revival.

Reviews

Feature Review: Bill Routt reviews Ford At Fox.
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Bell-Metereau, Rebecca L | 9 Dec 2008 17:50
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Re: Flow Journal, Vol. 9, Issue 3 now online

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From: flow <at> uts.cc.utexas.edu [flow <at> uts.cc.utexas.edu]
Subject: Flow Journal, Vol. 9, Issue 3 now online

Greetings,

We want to let you know that the new issue of Flow: A Critical Forum on
Television and Media Culture is available at http://flowtv.org.

This issue features columns from Richard Maxwell, Toby Miller, Patrick Burkhart,
Ethan Thompson, Nafissa Thompson-Spires, Ingrid M. Hoofd, Jonathan
Nichols-Pethick, and Ted Friedman.

This issue's columns in brief:

"E-Waste: Elephant in the Living Room" by Richard Maxwell and Toby Miller
(http://flowtv.org/?p=2194):
Media Studies as a field must recognize the dire environmental effects of
discarded electronics.

"Free TV: White Spaces & Broadcast Flag" by Patrick Burkhart
(http://flowtv.org/?p=2198):
A look at the public interest in newly unlicensed “white space” for wireless
networking and also a consideration of the impending copy protections
threatening digital television signals.

"What a Whirlwind: Showbiz Talk and Political Snark on Chelsea Lately " by Ethan
Thompson (http://flowtv.org/?p=2203):
A look at the politics of E!’s Chelsea Lately.
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Bell-Metereau, Rebecca L | 11 Dec 2008 23:53
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Re: CFP Bio-Scope: South Asian Screen Studies

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From: Neepa Majumdar [neepamajumdar <at> yahoo.com]

CALL FOR PAPERS: Bio-Scope: South Asian Screen Studies

We are happy to announce a new, blind peer-reviewed journal, Bio-Scope: South Asian Screen Studies, to be
published by Sage biannually, starting Summer 2009. The backdrop to this initiative lies in the
significant emergence of research, teaching and publication on Indian/South Asian film and media over
the past decade and a half. The launch editors see the journal flowing directly from this emerging community
of scholarship, primarily centred in the areas of film studies and media anthropology, but developing in
dynamic connection with a wider area of visual and sound cultures.

It is to signal both historical perspective and a certain vision for the future of the field that we have
chosen the title Bio-Scope. An early and popular form of film projector, 'bioscope' continued to be used
to refer to the cinema throughout 20th century South Asia.  By pointing to the word’s component parts we
highlight the expanding spectrum of forms involved in thinking about the relationship of life to visual
and sound technologies. From the orbit of film and media forms, including film, television and video, we
invite research into a wide historical and contemporary canvas, from pre-cinematic forms of assembly
through to contemporary computer practices, game cultures, multimedia telephony, ambient
television, surveillance cameras, the wide range of materials assembled on the Internet, and the
emerging field of screen-based art installation.

The journal will encourage theoretical and empirical research and debate on screen practices as these
impinge on the subcontinent and the transnational networks of production and circulation of which they
form part.   Special attention will be given to archival material, including thematic focuses around
institutional history (government and industry reports), regulation, legal contexts and the
collation and translation of critical and popular writings on screen cultures. Our interest extends to
the rich intersection of South Asian screen practices with related media forms, for example, musical
recording and performance, popular print culture and stage set design, architectural space, fashion,
and the history of publicity, advertising and consumer cultures.
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Bell-Metereau, Rebecca L | 13 Dec 2008 22:13
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Re: Pedantic question

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From: Henry M. Taylor [henry.taylor <at> gmx.net]

Apologies for cross-posting

This is a pedantic, technical query regarding John Frankeinheimer's
film SECONDS (1966). On the DVD soundtrack commentary, Frankenheimer
refers to the extreme fish-eye lens used as being 9.7mm. But in the
Gerald Pratley book (The Cinema of John Frankenheimer, 1969), he
refers to the lens used for some of the most extreme distortions as
being 9.5mm. Now most people probably couldn't be bothered by this
discrepancy of 2mm, but being a stickler, I'd like to know whether the
lens in question was 9.5 or 9.7mm.

Can anyone help?

Thanks & best,
Henry
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Bell-Metereau, Rebecca L | 12 Dec 2008 21:35
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Re: Announcement for Film Conference Summer 2009

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From: Powell, Larson [powelllar <at> umkc.edu]

The Fifth Biennial East German Film Summer Film Institute

DEFA Film Library, University of Massachusetts Amherst

July 12-19, 2009
2009 marks the twentieth anniversary of the end of the Cold War.  As its ideological divisions and artistic
legacies come into clearer view, previously neglected aspects of East German cinema become available to
critical reassessment as well - and with it, the concepts and methodologies that have guided much of the
scholarship on postwar German film.  In this week-long seminar, we propose to focus on media historical
and institutional perspectives that until know have been neglected or ignored given the continued
preference for thematic and textual readings.  In so doing, we also want to use the continued provocation
of East German cinema to confront a number of historiographical and methodological issues in the study of
postwar German cinema, including questions of periodization, institutional continuities,
conceptions of cinema as a public sphere, and film's contribution to the audio-visual legacy of the
twentieth century.

Organizing the seminar around a series of case studies, we hope to address the following questions and issues:

* the historical continuities between Ufa and DEFA (e.g., Überläuferfilme)
* notions of film authorship and ideology (e.g., Wolfgang Staudte)
* DEFA as a production model and cultural institution (e.g., KASGs)
* the function of multimediality and intermediality (e.g., television, radio)
* actors, stars, and issues of performativity (e.g., Manfred Krug)
* the relationship between film aesthetics and technology (e.g., ORWO film)

This week-long seminar brings together a group of 20-25 scholars from various disciplines (German
studies, film studies, history, art history, social sciences, theater studies).  Our meetings will
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Bell-Metereau, Rebecca L | 14 Dec 2008 04:55
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Re: Seminar: Contemporary Mexico through Art, Literature, and Cinema

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From: IFDS [IFDS <at> ciee.org]

Council on International Educational Exchange is pleased to announce the following International
Faculty Development Seminar:

Theme: Contemporary Mexico through Art, Literature, and Cinema

Location: Guanajuato, Mexico

Dates: June 21-28, 2009

Rationale: In the last several decades, Mexican creative work has shifted away from the stereotypical
elements that much of its fame has rested upon. This seminar intends to take participants into the
contemporary creative scene of the late 20th and early 21st century focusing on newer artists, writers
and creators. We will go beyond the Boom, beyond Diego and Frieda, and beyond the nostalgic films of
Mexico's Golden Age. Participants will leave with a strong sense of who's who, what new tendencies and
themes are emerging, and how Mexican creative work dialogues with the nation's larger intellectual,
political, and social issues.

To learn more about this and the 23 other seminars offered by CIEE for summer 2009, please visit our website
at www.ciee.org/ifds <http://www.ciee.org/ifds>  or feel free to contact me directly: Kate Shalvoy
kshalvoy <at> ciee.org <mailto:kshalvoy <at> ciee.org>  or 207-553-4044
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Bell-Metereau, Rebecca L | 14 Dec 2008 18:04
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Two responses: Pedantic question

 Re: Pedantic question
From:  Johannes Fehrle [johannes.fehrle <at> gmx.net]

You are not talking about a difference of 2 mm (which would make a
difference 9 vs. 11 mm) but of .2 mm, which optically doesn't make a
difference at all - trust me I'm a photographer.

Hope this helps - despite not clarifying the discrepancy ;),
Johannes
________________________________________
From: Leo Enticknap [ldge <at> enticknap.net]

Are you referring to the focal distance or the aperture?  Salt notes
that an 'ultra-wide' lens with a focal distance of 50mm and an
aperture of f0.95 was marketed in the late '60s (see Salt, 'Film
Style and Technology', 2nd ed., 1992, pp. 259-60) - might this be
where the figure is coming from?

Leo

Dr. Leo Enticknap
Lecturer in Cinema
Institute of Communications Studies
3rd Floor, Houldsworth Building
University of Leeds
Leeds
LS2 9JT
United Kingdom
Tel. +44 113 343 5853
Fax +44 113 343 5808
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Bell-Metereau, Rebecca L | 14 Dec 2008 18:03
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Query: Poets in Films

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From: Adam Brown [abrown <at> deakin.edu.au]

Hi Everyone,

I am eagerly searching for any and all examples of representations of poets
on film (preferably fiction films, though any titles would be greatly
appreciated)...

Many thanks in advance for your help,

Adam Brown
Deakin University
abrown <at> deakin.edu.au
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Bell-Metereau, Rebecca L | 15 Dec 2008 21:28
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Two responses re: Query: Poets in Films

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From: Johnson, Brian [johnsonb <at> susqu.edu]

Tyler Perry's Madea's Family Reunion (2006) has a character named Vanessa (Lisa Arrindel Anderson) who
performs a spoken word piece while at an open mic night.

________________________________

AND FROM:
filmgene <at> aol.com [filmgene <at> aol.com]
 	
 Ben Hecht had particular fun with poets. In "The Specter of the Rose" he cast gruff Lionel Stander as a
left-wing poet and in "Angels Over Broadway" he has several characters spouting poetry in the lest likely
of circumstances. In "The Lost Moment" based on Henry James "The Aspern Papers", the plot centers on the
lost love letters of a long dead classical poet a la Robert Browning. As I remember, several of the
characters in Fellini's "Satyricon" are poets.

Gene Stavis, Director
Visual Arts Theater
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Bell-Metereau, Rebecca L | 15 Dec 2008 21:27
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Re: Query: Poets in Films

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From: Blanke, David [David.Blanke <at> tamucc.edu]
Adam-

Depends on your definition of poet, but Muhammad Ali might be an
interesting test case (one bundled with all kinds of social and cultural
meaning and probably worlds away from the types of writers you mean, but
interesting nonetheless). There is the great scene after he wins his
first professional title from Sonny Liston. A (white) reporter attempts
to get "the Champ" (not "Ali") to lay down some more improv (which Ali
does, then promptly ignores the fool... "I'm king of the world!").
George Plimpton closes out a stirring documentary on the Foreman-Ali
fight (When We Were Kings) (which includes extensive commentary by
Norman Mailer) with a recollection of Ali's two-word poem at a Harvard
commencement ceremony. It has a somewhat patronizing tone (playfully
cast as "the under-educated boxer teaches the best and the brightest
their last and most enduring lesson") but it returns to Ali's use of
language and verse as a means to fully appreciate his appeal. Regards,

David Blanke
Texas A&M- Corpus Christi

===================
Dr. David Blanke
Joe B. Frantz Associate Professor of History
Texas A&M University - Corpus Christi
6300 Ocean Drive, Unit 5814
Corpus Christi, TX 78412-5814
361-825-2373
FAX 361-825-5844
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Gmane