Film Studies

Historic Preservation and Cluster Based Economic Development

by John Laurie

Published in 'The Economic Development Journal' Winter 2008

Historic preservation has most often been thought of in terms of architecture and aesthetic appeal as opposed to a... more Historic preservation has most often been thought of in terms of architecture and aesthetic appeal as opposed to a vehicle for economic development. Recently, it has been shown that a range of industries can be economically fortified by historic preservation. However, historic preservation has the capacity to do far more than just bring about positive economic outcomes in various industries. Using the cluster based economic development theory, this article will describe how a cohesive economic development effort, centered on historic preservation, can be an important part of a city’s economic development strategy. The article provides an overview of the tourism,
environmental management, housing, and film making sectors in conjunction with a cluster based approach. This focus demonstrates how this approach can help cities increase inward investment and move away from imitation and toward innovation.

À procura do interior em O Fim e o Princípio: a subjetividade em Eduardo Coutinho

by Mauro Luciano de Araujo

André Bazin e o plano-sequência do neo-realismo italiano: flutuações entre a experiência da realidade e ficção do personagem Umberto D

by Mauro Luciano de Araujo

Ridley Scott’s Gladiator and the spectacle of empire: global/local rumblings inside the Pax Americana (European Journal of American Culture)

by Rob Wilson

REPRESSIVE SILENCES AND SHADOWS OF 1984: ERASURES, OMISSIONS AND NARRATIVE CRISIS

by Parvinder Mehta

Predicaments of history and mimetic agency: Postcolonial return, repetition and remediation in Rang De Basanti

by Parvinder Mehta

Bromances, Buddy Films, and Chick Flicks

by John Alberti

Dark Knights, Pilgrims, Ass Kickers, and hit Girls

by John Alberti

Love That Just Can't Define Its Name Original

by John Alberti

Datamoshing and the emergence of digital complexity from digital chaos

by William Brown

Co-authored with Meetali Kutty, published in Convergence (online first - journal volume, issue and page references to follow)

In this essay, we explore the aesthetic possibilities that are opened up by datamoshing, a practice whereby... more In this essay, we explore the aesthetic possibilities that are opened up by datamoshing, a practice whereby audiovisual artists actively downgrade the quality of digital images in order to render a more ‘raw’ aesthetic on screen. We follow this up by exploring the ways in which datamoshing as a practice (together with ‘glitch art’ more generally) highlights the decay that digital images undergo over time. Because it takes place through the deliberate compression of images, we here argue that the aforementioned loss of quality is an ‘artistic’ form of entropy, which leads us to the possibility for a theory of ‘digital chaos’. However, since the loss of data is reworked by artists in order to create new forms, we argue that this is a form of digital ‘emergence’ of ‘order out of chaos’, or ‘digital complexity’.

Channel hopping: Charlotte Rampling in French cinema of the early 2000s

by William Brown

Celebrity Studies, 3:1, 2012, pp. 52-63.

In this article, I shall explore Charlotte Rampling's star persona in a series of French/French-backed films made... more In this article, I shall explore Charlotte Rampling's star persona in a series of French/French-backed films made between 2000 and 2005, in particular considering her as an ageing transnational female star, in terms of both representation and performance. By representation, I mean to analyse how Rampling's nationality, gender and age function in our understanding of her and her films, not least because she often plays sexually active and/or aggressive women. In the films discussed here, which include Sous le sable/Under the Sand (François Ozon, France, 2000), Embrassez qui vous voudrez/Summer Things (Michel Blanc, France/UK/Italy, 2002), Swimming Pool (François Ozon, France/UK, 2003), Vers le sud/Heading South (Laurent Cantet, France/Canada, 2005) and Lemming (Dominik Moll, France, 2005), Rampling in particular plays sexually active and/or aggressive older women. However, I shall also consider Rampling through the framework of performance. Following Elena del Río (2008), I shall argue that Rampling repeatedly produces affective performances that not only play upon but also elude the representational aspects of her work – and that this notion of what del Río terms ‘affection’ might be a useful framework through which to reconsider the concept of charisma, a quality that Richard Dyer, drawing upon Max Weber, identifies in Stars (1998 [1979], p. 34–37).

Death Wish and Dirty Harry, a Comparative Analysis

by Na'aman Hirschfeld

This was a Home Exam in a class i took last year, i enjoyed writing this paper, and hope it will be enjoyable for any Dirty Harry and Death Wish fans :)

cinema journal article

by catherine fowler

Spending time with (a) celebrity: Sam Taylor Wood's Video Portrait of David Beckham

by catherine fowler

new review final

by catherine fowler

Room for experiment: gallery films and vertical time from Maya Deren to Eija Liisa Ahtila

by catherine fowler

‘A Kind of Bacall Quality’: Jamie Lee Curtis, Stardom, and Gentrifying Non-Hollywood Horror

by Richard Nowell

Forthcoming

This article offers a radically revised vision of the nascent star personae of quintessential American scream queen... more This article offers a radically revised vision of the nascent star personae of quintessential American scream queen Jamie Lee Curtis (refocusing attention towards her widely circulated credentials as young career woman, Hollywood insider, and self-confident humanist), in order to reveal key ways in which the star personae of on-screen talent are utilized industrially to expand the potential audience of low-cost horror films through the premption of deeply entrenched discourses which historically have framed non-Hollywood horror as sexist, amateurish, male-geared product.

Assignment 3

by kurt diminieux

My 3rd Assignment, this is from my Film studies at Birkbeck college so please feel to have a look and leave any NICE remarks.

Exploring New Angles of Perception in Jens Andermann’s New Argentine Cinema

by Isis Sadek

" Give Me Peace, Give Me Peace, Give Me Peace": Using Film as a Tool for the Study of Comparative Religious Experience

by Jonathan Weidenbaum