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filmanalytical by Catherine Grant
Sunday, 3 April 2016
Filmanalytical pages
SIDE-BY-SIDE | UP-AND-DOWN: Comparative Videographic Approaches to Transnational Cinema Studies [#SCMS16]
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Interplay: Audiovisual Or Videographic Film Studies Research Publications by Catherine Grant, 2012-2015 UN/CONTAINED: A Video Essay on Andrea Arnold's FISH TANK (2009) THEORY OF RELATIVITY, THE MARRIAGES OF LAUREL DALLAS, WOMEN'S WASHROOM, and RITES OF PASSAGE Uncanny Fusion: Journey to Mixed-up Files INTERSECTION[S]: On Wong Kar wai's IN THE MOOD FOR LOVE
SIDE-BY-SIDE | UP-AND-DOWN by Catherine Grant for #SCMS16 VIDEO TRANSCRIPT: Techniques of parallel comparison have always been central to literary translation studies. But what of the cinematic “translation” - the film remake? [Screenshot from Jonathan Evan's article, "Film Remakes: The Black Sheep of Translation", Translation Studies, 7:3, 2014, 300-314] Given that “Translation is a process that involves looking for similarities between languages and cultures”— (Lawrence Venuti, The Translator’s Invisibility: A History of Translation (London" Routledge, 2008): 264) how might the kinds of parallel comparison techniques emerging as a result of the use of easily available and operable video technology help us in examining questions of audiovisual transnational translatabilty? [LINK to YouTube video cited: "How to Split Screen on Final Cut Pro X" by Red Black Productions (2014)]? Let’s take a look at the work of a master to find out [LINK to ::kogonada, "What is Neorealism?", Sight and Sound, May 2013]
Mechanised Flights: Memories of HEIDI and Shirley Temple (19282014) "Some New Eloquence"? On the written word in audiovisual film studies practice Un[Contained]? On Todd Haynes's [SAFE] Cinemagogic Echoes? Len Lye's FREE RADICALS (1958) and Fernando Solanas and Octavio Getino's HOUR OF THE FURNACES (1968) TOUCHING THE FILM OBJECT? Refashioning the Femme Fatale? GILDA in Motion Framing Incandescence: Elizabeth Taylor in JANE EYRE On Claude Chabrol's Les Bonnes femmes Mashup #1: Peeping Tom and Code Unknown Establishing Split: On Darren Aronofsky's Requiem for a Dream
What is neorealism? by kogonada I’m just a novice video editor in comparison with kogonada, but less than a year after his video was published, I think I was very much insipred by it in deciding to explore videographically the opening of a Uruguayan low budget horror film and its US remake
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Single Take Horror Film Mutations by Catherine Grant Some of kogonada and my findings about transnational cinematic differences were, funnily enough, strikingly similar. But I would argue that this has as much to do with the fact that we were both comparing film openings. [Citations in the video: Peter Bradshaw and Xan Brooks, "Get Them by the Throat", The Guardian, July 17, 2007 ; and Thierry Kuntzel, "The Film Work 2", Camera Obscura 2 (2 5), 1980]. I also used split screens to explore different parts of the films I was studying and through those comparisons I found that the differences did not turn on sequence or shot duration or expositional detail
My principal interest in reflecting on this audiovisual research in this video concerns the utility of the multiple screen comparison. I’m so fascinated by how, as I've reflected before, these techniques frame similar kinds of phenomenological possibility.
[quotations from: Catherine Grant, "Deja Viewing...", MEDIASCAPE Winter 2013: http://www.tft.ucla.edu/mediascape/Winter2013_DejaViewing.html]
Filmanalytical's sister site
Film Studies For Free The Film-Play's the Thing: RIP Jacques Rivette 1928-2016 2 months ago
Brilliant (online video) brethren
[in]TRANSITION: Journal of Videographic Film and Moving Image Studies AUDIOVISUALCY Kevin B. Lee Matt Zoller Seitz Kogonada
Cristina Álvarez López Matthias Stork Christian Keathley Erlend Lavik Ben Sampson Richard Misek Steven Santos Jim Emerson Paul Malcolm Eric Faden Alexandra Juhasz Mary Agnes Krell PressPlay Richard Brody
THERESE and CAROL and ALEC and LAURA (A Brief Encounter) by Catherine Grant They can’t help us with every scholarly question we might have, but such sensuous methodologies seem to me to be eminently suited to the epistemology and hermeneutics of cinematic intertextuality, and are of particular interest in expanding the range of what we can look at in relation to film aesthetics — and in particular - our experience of these transtaional cinema studies too. CREDITS VIDEO PRESENTATION by CATHERINE GRANT, 2016 For the SOCIETY FOR CINEMA & MEDIA STUDIES ANNUAL CONFERENCE 2016 WORKSHOP: F20: VIDEO ESSAYS IN TRANSNATIONAL CINEMA STUDIES Chair: Tracy Cox-Stanton (Savannah College of Art and Design) Workshop Participants: Nicolas Poppe (Middlebury College) Michael Talbott (Castleton University) Austin Fisher (Bournemouth University) Catherine Grant (University of Sussex - in absentia)) Jeffrey Middents (American University) MUSIC: APRIL by KAI ENGEL, 2016. Licensed under an Attribution 4.0 International License and shared at the Free Music Archive: http://freemusicarchive.org/music/Kai_Engel/Chapter_Two__Mild/Kai_Engel__Chapter_Two_-_Mild_-_05_April
A.O.Scott Steven Boone Damon Packard Jason Gutierrez Kartina Richardson Vectors In Media Res Audiovisual Thinking
Inspirational grit (for reading in oyster shells)
FSFF on video essays FSFF on film criticism Christian Keathley et al (pdf) Girish Shambu et al Adrian Martin Andrew Tracy David Bordwell (pdf) James Macdowell Andrew Klevan
Fair Use and Fair Dealing
THE VIDEO NARRATION ALSO CITED FROM: Catherine Grant, ‘Déjà-Viewing? Videographic Experiments in Intertextual Film Studies’, Mediascape: Journal of Cinema and Media, Winter 2013. Online at: http://www.tft.ucla.edu/mediascape/Winter2013_DejaViewing.html Christian Keathley, Cinephilia and History, or The Wind in the Trees (Bloomington, IN: Indiana University Press, 2006) ALSO SEE on LA CASA MUDA: David Martin-Jones and María Soledad Montañez, “What is the “Silent House”? Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House (2010),” Forthcoming. Victoria Ruetalo, “La casa muda (2010): Miedo Real en Tiempo Real” in Rosana Díaz and Patricia Tomé (eds), Horrofìlmico. Aproximaciones al cine de terror en Latinoamérica y el Caribe (2012) FOR STUDY PURPOSES ONLY
Kristin Thompson on Fair Use in Film Studies The Society for Cinema and Media Studies’ Statement of Best Practices for Fair Use in Teaching for Film and Media Educators (pdf) Center for Social Media Code of Best Practices in Fair Use for Online Video
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Email address... Posted by Catherine Grant at 05:36 Labels: #SCMS16, comparative film studies, intertextuality, juxtaposition, multiple screens, split screens, transnational cinema, trantextuality, videographic film studies
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▼ 2016 (3) ▼ April (1) SIDE-BY-SIDE | UP-AND-DOWN: Comparative Videograph... ► January (2)
filmanalytical by Catherine Grant is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License.
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