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Issue 34 – First Release

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  2. Issue 34 – First Release

Ten Fingers and Nine Toes: Embodied Representations of Pregnancy in Avant-Garde Cinema

  • Post author:Lauren Bliss
  • Post published:July 30, 2012
  • Post category:Issue 34 - First Release

Agnès Varda’s 1958 short L’Opéra Mouffe (Diary of a Pregnant Woman) is a provocative investigation into Varda’s personal response to her first pregnancy with her daughter Rosalie. This sixteen minute…

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Mapping the Cinematic Journey of Alexander Pearce, Cannibal Convict

  • Post author:Jane Stadler
  • Post published:July 30, 2012
  • Post category:Issue 34 - First Release

Introduction The story of Alexander Pearce’s arduous journey through southwest Tasmania and the gruesome fate that befell his comrades on their famishing trek across the island state has been narrated…

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I racconti di Canterbury (Pier Paolo Pasolini)/The Canterbury Tales (Geoffrey Chaucer)

  • Post author:Sam Rohdie
  • Post published:August 3, 2012
  • Post category:Issue 34 - First Release

Introduction The actors in Pier Paolo Pasolini’s The Canterbury Tales (I racconti di Canterbury [1970]) are English and Italian. The film has an English and an Italian version, both dubbed.…

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The Great Uncredited: Sir Walter Scott and Cinema

  • Post author:Tim Dolin
  • Post published:August 3, 2012
  • Post category:Issue 34 - First Release

Scott’s reputation in the film age When Sir Walter Scott died in 1832 he was the most famous novelist the world had ever known. Remarkably, Scott took up fiction only…

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The Jazz Singer: Accounting for Female Agency and Reconsidering Scholarship

  • Post author:Karen Vered
  • Post published:August 3, 2012
  • Post category:Issue 34 - First Release

In the early part of 2009, I was preparing to teach The Jazz Singer (1927) as part of an introductory Media Histories subject for Australian university students. [1] While searching…

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Encountering Elusive Cinema: Tati, Straub-Huillet and Antonioni

  • Post author:Edgar Jorge
  • Post published:August 4, 2012
  • Post category:Issue 34 - First Release

In its multiple forms, the cinema offers opportunities for an encounter. Unlike the act of viewing, encountering rejects passivity and engages; it brings two together: the self and the other,…

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