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Series: Beginnings
Author: Andrew Dix

Beginning film studies offers a critical introduction to this academic discipline for undergraduate (and other) readers coming to it for the first time. Written accessibly, it ranges across key topics, theories and approaches in film studies. For this new volume, the author has thoroughly updated the first edition, writing fresh case studies, tracking and evaluating recent developments in the study of film, and providing up-to-the-minute suggestions for further reading.

The book begins by considering film’s formal features (mise-en-scène, editing and sound) before moving outwards to discuss narrative, genre, authorship, the star, and film’s ideological engagement (its staging of class, gender, sexuality, race and ethnicity). Later chapters on film industries and on film consumption – where and how we watch movies (not least in the digital age) – reflect and assess the discipline’s recent geographical ‘turn’.

The book takes a global perspective, illustrating its arguments by reference to film cultures ranging from Hollywood to Bollywood, and from the French ‘New Wave’ to contemporary Hong Kong. Each chapter concludes with a case study, exploring such topics as sound in The Great Gatsby, narrative in Inception and ideology in Blue Is the Warmest Colour. The superhero movie is studied as a genre, and Jennifer Lawrence as a star. Beginning film studies is also interactive, with readers enabled throughout to reflect critically upon the field.

Haidee Wasson

Film studies is currently undergoing a needed and healthy expansion of methodologies and critical approaches, including media, cultural and technology studies. This is crucial not just for examining cinemas present but also its past. Using format theory, this article opens up our understanding of what cinema has been, rather than what it should have been. It does this by documenting the minor technological footprint of movie theatres when compared to the expansive one consisting of 8mm and 16mm small-gauge projectors. In the United States by 1980, these portable devices,outnumbered commercial theatres by an estimated factor of 1000:1.

Film Studies
Mattias Frey and Sara Janssen

This introduction to the Film Studies special issue on Sex and the Cinema considers the special place of sex as an object of inquiry in film studies. Providing an overview of three major topic approaches and methodologies – (1) representation, spectatorship and identity politics; (2) the increasing scrutiny of pornography; and (3) new cinema history/media industries studies – this piece argues that the parameters of and changes to the research of sex, broadly defined, in film studies reflect the development of the field and discipline since the 1970s, including the increased focus on putatively ‘low’ cultural forms, on areas of film culture beyond representation and on methods beyond textual/formal analysis.

Film Studies
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Film Studies is a refereed journal that approaches cinema and the moving image from within the fields of critical, conceptual and historical scholarship. The aim is to provide a forum for the interdisciplinary, intercultural and intermedial study of film by publishing innovative research of the highest quality. Contributions from diverse perspectives that are formed by the crossing of institutional and national boundaries are encouraged.

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10.7227/FS.12.0005 Chrono-Urbanism and Single-Night Narratives in Film Straw Will May 2015 12 12 1 1 46 46 56 56 10.7227/FS.12.0006 Formatting Film Studies Wasson Haidee May 2015 12 12 1 1 57 57 61 61 10.7227/FS.12.0007 Revisiting Waterloo Bridge Censorship, Representation, Adaptation and the Persisting Myth of Pre-Code Hollywood Neale

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Andrew Dix

scholars, however, have taken issue with Benjamin and described the late-Victorian emergence of film less as a singular event than as a synthesis and modification of multiple existing technologies and practices. Simply to cite the names initially bestowed upon this art form is, Rick Altman argues, to recognise its conservation and appropriation of what came before, rather than its revolutionary newness: photoplay, electric theatre, living photographs, pictorial vaudeville and so on ( 2004 : 19–20). How long a story should film studies tell about the

in Beginning film studies (second edition)
Mattias Frey

This article addresses the current state of film studies as a discipline, profession and institution, arguing that the hunt for cultural authority has been the defining feature, motivating force and tragic flaw of film studies. The current self-reflexive soul- searching reveals that the field – no longer a radical upstart – still lacks the gravitas of more established subjects. Departments have responded to identity crises and changing enrolment patterns by mummifying, killing off or burying foundational emphases. The nostalgia for film studies origins and the jeremiads about an unmanageable, unruly and recalcitrant discipline yield rose-tinted fantasies about community and mutual intelligibility that must be ultimately resisted.

Film Studies
Marijke de Valck

This article describes the rise of MA programmes in audio-visual archiving, preservation and presentation. It distinguishes between two key developments that are transforming the contemporary graduation education in AV heritage: digital developments that significantly impact the professional field, and new governance structures that comprise a (forced) move away from film studies as disciplinary home. It is the latter, this article argues, that poses the real threat for the future of professional education in preservation and presentation of moving images.

Film Studies
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Andrew Dix

sense of the complexity of our construction as social subjects. There are still further difficulties when it is appreciated that even such a capacious formulation as ‘genderraceclass’ is insufficient to express the full range of ideological realms in which we are implicated. At the very least, the critic should also consider sexuality and thus speak, more inelegantly still, of gendersexualityraceclass. This chapter aims to introduce and evaluate a number of approaches to gendersexualityraceclass in film studies. Before turning to these, however, it is

in Beginning film studies (second edition)
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Film and Digital Media
Vinicius Navarro

This article looks at contemporary film scholarship in order to address one of the disciplines pressing questions: the place of cinema in a context of rapid technological change. Rather than simply focus on technology, however, the article calls for a broad set of criteria to define what counts as cinema today. In particular, it revisits the concept of expanded cinema and treats filmmaking as an event that combines the contexts of production and reception. Finally, the article insists on the relevance of film studies as a field that will continue to lead the debate on moving image media.

Film Studies