Film Matters is pleased to announce the release of FM 4.4 (2013) — a special issue on 1960s cinema guest edited by Christopher Sieving and his students from the University of Georgia. This issue includes the following feature articles:
- Walking the Tightrope with Dylan: Cultural Performance in Dont Look Back by Sam Hagerman
- Metzger’s Women: Gender Representations and Visual Abstraction in ‘60s Sexploitation by Matthew Jones
- Midnights at the Charles: Exhibiting Underground Cinema in the Age of the Art-House by Daniel LoPilato
- Reading Myth in Sweetback: Middling Strategies Between the Ideal and the Exploitative by Chris Lott
- Defining Warhol: An Interview with J. J. Murphy, Avant-Garde Filmmaker and Author by Sara Porch
- “She Doesn’t Speak English, Does She?”: Displaced Female Protagonists in Rosemary’s Baby and Repulsion by Grafton Tanner
Reviews of sixties cinema by: Adam Carlson, Dafna Kaufman, Meredith McKay, and Molly Beth Roland.
- Alfred Hitchcock and Beyond: An Interview with Film Scholar Dr. Richard Allen by Steven T. Gamble
- The Iconic Wurlitzer: Transforming Early Film Exhibition by Morgan A. Grogg
As well as film, DVD, and book reviews by: William Repass, Jaime Carlos Menjivar, Ivy Burridge, Laura Casteel, Stephen Glawson, Stephen Murphy, Levi Vasquez, and Jen Withrow.
It’s a great issue with a great cover! For more information about it, please visit: http://www.intellectbooks.co.uk/journals/view-issue,id=2762/
And become a Film Matters author yourself — think about submitting to one of of current CFPs:
Film Matters is excited to announce a new call for papers for issue 7.2 (2016) — on the theme of filmic adapatation — guest edited by Greg Chan and students (Kwantlen Polytechnic University).
The deadline for submission is February 15, 2015 — so please consider submitting papers related to this theme today! The guest editors are also actively seeking book reviews on this same topic; interested reviewers should contact them to propose a book to review or to obtain a list of suggested titles.
For more information about this call, please download the official document (in Word):
Submissions and questions should be emailed to Greg Chan, with the subject line “7.2 CFP” at:
We look forward to receiving your papers!
A quick reminder that Film Matters is still accepting submissions for CFP 6.2 (2015) — this call closes on October 15, 2014. The guest editors will accept papers on any topic, but are particularly interested in those on national cinema, auteurism, and/or genre. Submissions for this call should be sent to Margaret C. Flinn (flinn.62 AT osu.edu). For more information about the process and eligibility guidelines, please see the original announcement:
We look forward to hearing from you!
When We Leave
Streaming services nowadays provide audiences with such a vast amount of content that it makes it nearly impossible to decide what to watch. We spend more time browsing catalogues than we do watching films or television series. And so many contemporary subscription services only offer Hollywood clichés and box office regulars, making it even harder to see anything worth watching.
Well, not anymore. Vyer Films is the latest: a Brooklyn-based subscription service with a difference. Instead of infinite amounts of films and television series, Vyer Films prides itself on being a curatorial service, and does the hard work for you. They’re dedicated to providing an exclusive collection of films for people who are looking to steer away from the mainstream and watch critically curated films that tell unique, powerful, and engaging stories. Vyer Films helps “people to spend their time seeing things not looking for things to see.” So to find out more about this cutting-edge service, I sat down with founder K.C. McLeod from Vyer Films.
Film Matters is excited to announce the release of FM 4.3 (2013) — on the heels of FM 4.2 — which features an engaging guest-edited dossier on the New Directors/New Films festival by Kristi McKim and her students at Hendrix College. The dossier includes film reviews by:
- Vincent Gammill
- Catelyn Gibbs
- Rane Peerson
- William Repass
- Adelia Shiffraw
- Emily Smith
- Lance St. Laurent
FM 4.3 also includes the following peer-reviewed feature articles:
- Flipping Your Fins Can Get You Far: How the Walt Disney Company Has Ensured the Longevity of The Little Mermaid Through Franchise Management by Kayleigh Bonner
- The Surrealist Aesthetic: From Breton to Almodóvar by Diana M. Fraser
- The Ideological Effects of Intensified Continuity by Zachary Klaver
- The “Unfilmable” Lightness of Being?: Essayistic Devices in Kaufman’s Adaptation of The Unbearable Lightness of Being by Brandon Konecny
- I’ve Got Nothing: The Poorly Executed Ideas of a Rich Industry by Guy Madjar
- The Impossibility of Memory: Anamnesis and Reflexive Documentary by Erin Nunoda
- Intertitle Humor and the Representation of Heterosexual Marriage in Why Change Your Wife? by Erica Tortolani
The latest “Mapping Contemporary Cinema” column:
The female leads. From left to right: Clementine (Kate Winslet) of Eternal Sunshine of the Spotless Mind (Focus Features, 2004) and Summer (Zooey Deschanel) of (500) Days of Summer (Fox Searchlight, 2009)
Kailyn Warpole: How did you first hear about Film Matters and what inspired you to submit your article?
Brenna Williams: I heard about Film Matters through my department’s listserv. They sent out the call for papers. I had always thought about getting published and I thought my paper was a good mix of classic film theory focusing on something fun and contemporary. I thought other young media scholars might find it interesting since I know I so often tend to focus on whatever I think seems most traditionally academic.
Film Matters is pleased to announce the release of FM 4.2 (2013), showcasing a wonderful guest-edited dossier on acting and performance from Donna Peberdy and her students at Southampton Solent University. That dossier includes the following feature articles:
- “Cut to the Rhythm of Performance”: Technology and Expressive Coherence in Inglourious Basterds by Adam Flood
- Stupid Is as Stupid Says: Vocal Performance and Southernness in Forrest Gump by Bernadette Neal
- Three Actors, One Lecter: Constructing Hannibal Through Performance by Alex Pitigoi
As well as reviews by: Caine Bird, Rebecca Cohen, Samuel Hall, Lloyd Hann, Jodie Kirkland, Jade Playle, Laurence Russell, Natasha Saxby, Yasmin Wall, Matty Watson, and Claire Williams
FM 4.2 also includes the following peer-reviewed feature articles:
- Hunger, Child Soldiers, and Rebels, Oh My: Hollywood’s Portrayal of Modern Africa by Jessie L. Hagen
- (Gender)Bending in the Animated Series Avatar: The Last Airbender
by Megan E. Jackson
- License to Joke: Parody and Camp in and Around the James Bond Series by Craig Manning
- Harnessing the Power of the Stars: The Economics Behind the Classical Hollywood Star System by Zoë VanDerPloeg
- Kicking and Screaming: Fist of Fury and the Bruce Lee Legacy by Rona Mae Vaselaar
A “Take Two” film review by: Jenny Lyne and Alexandra Urosevic
And book reviews by: Duygu Eyrenci, Brooke Gibson, James Hardman-Cobb, Jaime Carlos Menjivar, Lawson Sitterding, and Taylor S. Woodell
For more information about this new issue, please visit: http://www.intellectbooks.co.uk/journals/view-issue,id=2719/
And think about becoming a Film Matters author yourself — submit a paper to CFP 6.2 today!: http://www.filmmattersmagazine.com/2014/04/28/cfp-6-2-2015-national-cinema-auteurism-and-genre/
(500) Days of Summer (Fox Searchlight, 2009)
Christopher Schammel: How did you first hear about Film Matters and what inspired you to submit your article to Film Matters?
Harry Ryan: Film Matters was first brought to my attention in my final year as a Comparative Literature and Film student at Queen Mary University. A great lecturer of mine, Dr. Guy Westwell, had recently partnered his online editorial “Mapping Contemporary Cinema” with Film Matters Magazine, whereby selected works written by film students would have the chance to be published in future issues. When the opportunity arose for my work to be showcased, alongside the fact I was a budding writer at heart, I was keen for my article to be exposed to a larger audience and one I knew Film Matters had.