In recent years, two monographs have been published about queer film festivals, consolidating the wide range of articles, book chapters, and other work by scholars such as Skadi Loist and Ragan Rhyne. Stuart James Richards’ The Queer Film Festival: Popcorn and Politics (New York: Palgrave Macmillan, 2016) and Antoine Damiens’ LGBTQ Film Festivals: Curating Queerness […]
The year 2019 marked 40 years since the publication of Stars – Richard Dyer’s seminal intervention in film studies which promoted the importance of, and provided a framework for, analysing film stars. The anniversary prompted some reflection on the current state of star studies in a special issue of Celebrity Studies journal[1] and at a […]
Only in recent years has a new awareness about the role of colour in film aesthetics arisen. Several historical accounts of colour in film have appeared, but in 2019 two volumes come as significant contributions to film and media studies: Color Mania and Chromatic Modernity. Color Mania: The Material of Color in Photography and Film (Zurich: […]
Two books with very different contents, languages, and structures published between 2018 and 2019 convey through their respective arguments how displacing might serve as a method for investigating new and heterodox forms of remediation and montage. Both books offer the possibility to cross new terrains of interdisciplinary migration, unexpected ‘adaptations’, and new ways of displacing […]
Comedies and situation comedies have long been a staple of US and British television. How comedies and situation comedies have been consumed, discussed, and decoded during different times and across various viewer communities have become important points of twenty-first century academic and political examinations. Recent scholarship has challenged the frivolous and simplistic character of (situation) […]
In 2012, Helen Warner published the article ‘Tracing Patterns: Critical Approaches to On-screen Fashion’ in which she was still able to claim that ‘the study of on-screen fashion continues to be somewhat marginalised in the academy’.[1] Since then, publications dedicated to fashion and film have significantly grown in number. Beyond the seminal Fashion in Film […]
‘There have never been any good films on that period’, quips Jean-Luc Godard in his salty assessment of 1968, a thunderous era of insurrection, invention, and promise.[1] No artists, no aesthetics, were able to competently capture those outbursts, monumental as they were; elusive and at least a tad unrepresentable, the Parisian barricades (an event that […]
The advent of cinema coincided with the birth of Italian Futurism. The emerging medium seemed perfectly suited to the concerns of a movement promoting new aesthetics and modes of perception, fascinated with the sensation of speed and the dynamism of modern life. However, the film output of Futurism was very limited, with several works lost […]
At a time when women’s access to shaping the public discourse through the exercise of their agency remains a precious commodity, the volumes edited by Boel Ulfsdotter and Anna Backman Rogers – Female Authorship and the Documentary Image and Female Agency and Documentary Strategies – come as important and necessary contributions to the field of […]
As audiovisual practices become increasingly multiplied and complex − from the omnipresence of (multi-)screens to the overstimulation of digital technologies − art is more sociopolitically-oriented than ever and, conversely, society acquires an aestheticised bias. Cinema still plays an important role in the current media landscape, but it is increasingly pervaded by other art forms and […]
Hakan Ergül’s Popularizing Japanese TV: The Cultural, Economic, and Emotional Dimensions of Infotainment Discourse (London-New York: Routledge, 2019) and Annette Hill’s Media Experiences: Engaging with Drama and Reality Television (London-New York: Routledge, 2019) constitute two recent examples of strenuous ethnographic work with empirical focus on popular television. Both publications reveal the extremely rewarding character of […]
In the recent decades, academic research on early cinema has grown remarkably. At the intersection of early cinema studies and feminist history, significant new research has revealed the hitherto overlooked presence of women, and the rich diversity of positions they held, in the first decades of film production. Feminist film historiography has an ever-expanding scope. […]
Both Screening European Heritage: Creating and Consuming History on Film, edited by Paul Cooke & Rob Stone (London: Palgrave European Film and Media Studies, 2016), and Docudrama on European Television: A Selective Survey, edited by Tobias Ebbrecht-Hartmann and Derek Paget (London: Palgrave European Film and Media Studies, 2016) offer well-edited collections of specialised scholarly texts […]
Formalism, as a term in the criticism of visual art, might be defined thus: as the conviction that forms contain their own syntax which acts on the spectator more or less directly. Further, the formalist maintains that experience of form is aesthetic experience; its effect is something called aesthetic emotion. And its opposite is not […]
In 2015, the former Portuguese colonies of Angola, Mozambique, Sao Tomé and Principe commemorated the 40th anniversary of their independence. In reality, the end of the Portuguese empire in the 1970s was as abrupt as its history had been exceptional in relation to the rest of the 20th century colonies: the length of the Portuguese […]
Martine Beugnet
University of Paris 7 Diderot
Greg de Cuir Jr
University of Arts Belgrade
Ilona Hongisto
University of Helsinki
Judith Keilbach
Universiteit Utrecht
Skadi Loist
Film University Babelsberg Konrad Wolf
Toni Pape
University of Amsterdam
Maria A. Velez-Serna
University of Stirling
Andrea Virginás
Babeș-Bolyai University
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