Daily | Issues | Cinema Scope, Senses, LOLA

Cinema Scope

Issue 61

Happy holidays. Critics, scholars and video essayists are gifting us this season with year-end issues and the sheer volume of it all calls the bullet-point approach. First up, now online from Cinema Scope 61:

“Manny Farber: Systems of Movement” is the theme of the fourth issue of Cinema Comparat/ive Cinema. “Let’s start by talking about Manny in a contemporary context,” proposes Kent Jones, opening a conversation with Jean-Pierre Gorin.
“I’m thinking of the Cahiers interview in the early 80s with Daney and Olivier and Bill Krohn, where he said, ‘I’m not interested in what The Man Who Shot Liberty Valance (John Ford, 1962) meant to Andrew Sarris in 1962, I’m interested in what it means in contemporary terms.’ So let’s pose the same question in relation to Manny’s writing. I don’t want to know how it felt to read it in 1970 when Negative Space was published—what does it mean now? And what is it in relation to the paintings?”

Also in this issue:

Since the first round of three essays opened up the fifth issue of LOLA, five more pieces have appeared:

Senses of Cinema editor Rolando Caputo bids farewell to Adrian Danks, who’s been associated with the journal longer than anyone on the current editorial team. Issue 73:

Toni D’Angela introduces Issue 22 of La Furia Umana with a restatement of purpose: “We want to promote a different cinema, not because this kind of cinema is ‘marginal.'” Also in English this time around:

As a tribute to film scholar Jim Hillier, who passed away in August, Movie presents two articles by its former member of the editorial board. The first piece, on Eric Rohmer’s My Night with Maud (1969), ran in Movie in 1970 and the second, on Hollis Frampton’s (nostalgia) (1971) ran in 1990. Also in Issue 5:

Manny Farber

You can never go wrong putting a Manny Farber painting on the cover

Catherine Grant‘s put together a tremendous “End of December Round Up” pointing us to, among many, many other articles, a few new issues that haven’t yet been mentioned here. “For Issue 7, The Cine-Files turns its focus to the video essay, that lively and advancing form that is increasingly the object of film studies discussion and debate,” writes editor Tracy Cox-Stanton. “Its emergence and development has been thoughtfully chronicled in Catherine Grant’s invaluable blog Film Studies for Free, and its legitimacy as a method of research has been validated not only by a growing number of scholars who practice the form, but also by the founding of [in]Transition, the first peer-reviewed academic journal devoted entirely to the publication and discussion of video essays. [in]Transition has assembled an extensive bibliography of resources that illuminate the past, present, and future of videographic criticism.”

Also via Catherine:

  • Drew Morton introduces the latest issue of [in]Transition.
  • “MondoPop: Rethinking Genre Beyond Hollywood” is the theme of Frames Cinema Journal, Issue 6.
  • And in the new issue of Mediascape, contributors “consider the various ways that adaptation appears as both a formal, narrative, or aesthetic consideration, but also the impact it has on how we approach media as an audience, consumers, and participators.”

In the new Brooklyn Rail, Mark Webber introduces “Towards a Complete Order,” an essay that appears in the new collection Film as Film: The Collected Writings of Gregory J. Markopoulos, and Joshua Sperling talks with Abderrahmane Sissako about Timbuktu and more.

Recently in Bright Lights Film Journal:

And finally for now, those who read German will want to get their hands on the new issue of Cargo with its special section on some of the best current television series.

For news and tips throughout the day every day, follow @KeyframeDaily. Get Keyframe Daily in your inbox by signing in at

Did you like this article?
Give it a vote for a Golden Bowtie


Keyframe is always looking for contributors.

"Writer? Video Essayist? Movie Fan Extraordinaire?

Fandor is streaming on Amazon Prime

Love to discover new films? Browse our exceptional library of hand-picked cinema on the Fandor Amazon Prime Channel.