FM 11.1 (2020) Digital Media Dossier: Video Essays

A companion video essay section to accompany the Digital Media dossier in FM 11.1 (2020) produced by Jennifer O’Meara and students, Trinity College Dublin.


Another Cinema, Cinema of the Other
By Giorgiomaria Cornelio and Lauren “Ren” O’Hare

Artists’ Statement:

Conceived as an exploration and an homage to the Third Cinema, this video essay investigates an idea of art as a permanent revolution, where the building of a new image coincides with the raising of a new man. The struggle and the multiplicity behind this movement are still highly necessary, because a truly de-colonized cinema is a cinema always to come.


Voiceover: In Dialogue with Videographic Film Criticism
By Jessica Timlin

Artist’s Statement:

This video essay analyzes the use of voiceover in videographic film criticism. Already an established technique in film, voiceover in videographic film studies is still uncertain. However, by looking at various uses of this tool in a range of video essays, the benefits and pitfalls of voiceover will be identified.

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FM 11.1 (2020) Released!

FM 11.1 (our first issue of 2020, this most unusual year) is now officially out electronically via Ingenta and EBSCO. (Due to the COVID-19 situation, print copies will follow once the Intellect offices are back open in early 2021.)

In this issue, you will find the following peer-reviewed feature articles:

The “Digital Media” dossier, edited by Jennifer O’Meara and students at Trinity College Dublin:

These book reviews:

These film reviews:

And these DVD/Blu-ray reviews:

Clearly, lots to see and engage with here. So for more details about this issue, please visit: https://www.ingentaconnect.com/content/intellect/fm/2020/00000011/00000001

Are you an undergraduate author who wants to be published in Film Matters? Then we want to work with you! Please check out all the different ways you can publish with us.

Stay healthy!

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Parul Tiwari, Author of FM 10.3 (2019) Article “Exploring the Relationship of the Geography and People Through Composition in the Films of Abbas Kiarostami”

The contours of landscape created through colors, textures and variety in levels in The Wind Will Carry Us (MK2 Productions, 1999)

Film Matters: Please tell us about your article that is being published in Film Matters.

Parul Tiwari: This article aims to analyze landscape in the films of Abbas Kiarostami using the compositional frames of the films to speculate upon the cultural, political, and existential relations that come up between people and nature.  

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What We’re Watching: Halloween Edition. By Sydney Boone, JaZmyn Shambley, and Sophia Stolkey

Killer Klowns from Outer Space (Trans World Entertainment, 1988)

As the first edition of our soon-regular column, “What We’re Watching,” we’re blending our cinephilia with Halloween spirit to reflect on perhaps less obvious choices for holiday viewing. Take up our recommendations at your own risk, as these films are sure to give you a spook!

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Taste of Cherry (Criterion Blu-ray). Reviewed by Sydney Boone, JaZmyn Shambley, and Sophia Stolkey

Taste of Cherry (Kiarostami, 1997)

Over 20 years after its initial release, Iranian director Abbas Kiarostami’s film Taste of Cherry (1997), an essential piece of cinematic civil service, still stands as a vital contemplation on the wearying yet worthwhile act of living. It calls attention to the beautiful intricacies of everyday life while also elevating the struggles that come with day-to-day mundanity in a manner similar to Italian Neorealist films of the 1940s. However, the latent uncertainty of Cherry’s protagonist furthers the film’s vision of delicate hopefulness through his curious one-off interactions with a diverse handful of Tehrani men whom he attempts to recruit in his suicide mission. Each offers his own particular insights into why they will or won’t help Mr. Badii, ultimately giving viewers a contemplative crash course on how to revel in the simplistic beauties of human nature. From a benign and innocent young Tehrani soldier to a dedicated priest-in-training from Afghanistan, Mr. Badii’s inquisitive encounters with others take time to soften his morbid determination.

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Open Call for Papers 12.3

Film Matters is pleased to announce our open call for papers from undergraduates and recently graduated undergraduates for consideration in issue 12.3 (2021).

The deadline is February 1, 2021.

Film Matters has officially adopted MLA 8th edition style (and is moving away from 7th edition guidelines) — so please prepare your submissions accordingly.  Purdue OWL’s MLA Formatting and Style Guide is an excellent resource to consult for help with this.

For more information about this call for papers, please download the official document (PDF):

Submissions should include a cover sheet, which provides the author’s name, title of essay, institutional affiliation, and contact information; all other identifying information should be removed from the body of the text and the headers/footers in order to aid the blind peer-review process.

Submissions and questions should be directed to:

  • futurefilmscholars AT gmail.com

Please note that Film Matters does not accept submissions that are currently under review by other journals or magazines.

Undergraduates and recently graduated undergraduates, please submit your film- and media-related research papers today!  We look forward to receiving your work!

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Our 2020 Masoud Yazdani Award Judges

Film Matters is pleased to announce that judging for the 2020 Masoud Yazdani Award for Excellence in Undergraduate Film Scholarship is underway. Articles under consideration are from the following fine institutions:

  • Arizona State University
  • Chapman University
  • City University of New York/Queens College
  • Ithaca College
  • Jawaharlal Nehru University
  • Queen Mary University
  • Rhode Island College
  • SUNY Geneseo
  • Swarthmore College
  • University of Alberta (3)
  • University of North Carolina Wilmington (6)
  • University of Warwick
  • University of Waterloo
  • Washington University in St. Louis

The award is nothing without the hard work of our volunteer judges:

Alexis Dickerson is currently pursuing her MA of Film Studies at the University of North Carolina Wilmington (UNCW). She graduated with a BA in Film Studies from UNCW in 2018. Her area of focus is how film theory and techniques have been and are influenced by social media content.

Anya Ekaterina is a Film Studies MA student at the University of North Carolina Wilmington. A painter, photographer, and film essayist, she is deeply passionate about women-authored media. Fascinated by child-centric cinema, she is particularly interested in researching portrayals of feminine adolescence in French cinema. 

Matthew Johnson is a postgraduate student at Victoria University of Wellington working toward a Master of Arts degree. His current thesis concerns French Impressionist aesthetics and theoretical applications in the contemporary films of Terrence Malick. Beyond his present work, he hopes to pursue an academic career in research and education.

Genie Mason is a graduate student born and raised in Raleigh, NC. She earned her undergraduate degree in Film Studies and Sociology at the University of North Carolina Wilmington. Genie is interested in studying films from a sociological perspective, utilizing sociological theory to understand the impact films have on society.  Apart from studying films, she enjoys creating her own experimental and documentary films. Her other interests include rugby, photography, poetry, and traveling.

Matthias Smith is a graduate student at the University of North Carolina Wilmington, where he is majoring in Film Studies. He graduated with a BA from Columbus State University with a double major in History and Art History. He has previously interned and worked as a film archivist at the Columbus State University Archives. His area of focus is classical Hollywood cinema, but he also has research interests in gender and sexuality in film. He has presented his research on Nancy Drew in film and television at the 2018 Stars and Screen conference and is preparing his research for possible publication. Matthias is an AVID certified user, and enjoys reading in his spare time.

But, as always, we will be enlisting the aid of additional judges, as needed, to ensure a fair process in the event of recusals!

Many thanks to our 2020 judges for the service they are providing! And we look forward to announcing the results late 2020/early 2021.

Stay healthy!

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Alyson E. Picard, Author of FM 10.3 (2019) Article “‘Utter the flood of feeling’: Melodrama and Musical Score in Douglas Sirk’s Written on the Wind (1956)”

Marylee (Dorothy Malone) dances unknowingly while Jasper falls to his death (left), which visually represents the tonal contrast of the scene. Written on the Wind (Universal International Pictures, 1956)

Film Matters: Please tell us about your article that is being published in Film Matters.

Alyson E. Picard: My article analyzes the connection of Frank Skinner’s musical score to the melodramatic tropes within Douglas Sirk’s film, Written on the Wind (1956). The score provides another layer of connotative analysis to the narrative and image track, and works in tandem with the melodrama’s structure to emphasize the film’s emotionality and drama.

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Madi Margolis, Author of FM 10.3 (2019) Article “Cyborg Feminism: Ambiguity and Hybridity of the Female Cyborg in Metropolis”

Metropolis (UFA, 1927). The Prague Reporter

Film Matters: Please tell us about your article that is being published in Film Matters.

Madi Margolis: A posthuman figure like the female cyborg challenges traditional humanist feminism in ways that make room for theorizing new subjectivities and feminist epistemologies. In my article, I analyze how Fritz Lang’s Metropolis (1927) offers such a vision of the female cyborg. In the film, the cyborg subject, Maria, is a composite of machine and human—both physical, dependent on the corporal mixing of flesh and machine, and mental, combining human emotional with robotic programming. By viewing this film alongside critical theory, we can understand cyborg-Maria as a subversive, hybrid character. Accordingly, I conclude in my article, the cyborg as a figure subverts and fragments the coherency of narratives that present gender, technology, and identity in monolithic terms, helping us envision new possibilities.

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Star Wars: The Rise of Skywalker. Reviewed by Jason Husak

Star Wars: Episode IX – The Rise of Skywalker (Walt Disney Pictures, 2019)

Warning: Review contains mild spoilers for Star Wars: The Rise of Skywalker based only on trailers and promotional materials.

Ever since the original Star Wars (George Lucas, 1977) first released in the early summer of 1977, movies have never been the same. From the intense high-production space battles to the exquisite sound of a lightsaber being ignited, there is nothing truly like a Star Wars film. Whether it’s John Williams’s iconic score or the famous opening title crawl, the memories from Star Wars are timeless. Regardless of the varying quality of Star Wars films released, as fans, our love has never wavered. From the classic original trilogy to the abysmal prequel series, Star Wars fans have endured and always returned for more. Even after Disney’s takeover of Lucasfilm in 2012, Star Wars continued to be a roller coaster of quality. The Force Awakens (J. J. Abrams, 2015) showed audiences how to win back the public, Rogue One (Gareth Edwards, 2016) exhibited a new step forward, The Last Jedi (Rian Johnson, 2017) was a much-needed risk that didn’t pay off, and Solo (Ron Howard, 2018) was a pointless entry that no one asked for. Now, nearly forty-two years after the release of A New Hope (George Lucas, 1977), Star Wars: The Rise of Skywalker (J. J. Abrams, 2019) released on December 20, 2019, officially ending the Skywalker saga. To say the least, Star Wars: The Rise of Skywalker continues the roller coaster of quality, ending the saga with a dud of misplaced nostalgia, poor writing, and an overall unfinished story that leaves more questions than answers. As good as other recent Star Wars entries (like the Disney Plus series The Mandalorian or Respawn’s video game Jedi Fallen Order) may have been, Star Wars: The Rise of Skywalker continues the long-running Star Wars film tradition of taking one step forward and two steps back.

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