Welcome to H-Film, a member of H-Net Humanities & Social Sciences OnLine. H-Film encourages scholarly discussion on cinema, film and media studies, visual arts as well as digital humanities. We invite you to use H- film as a collaborative platform to create intra and para academic projects related to the cinema, media, visual culture and film studies.
Click the films below to take you to the good stuff.
We are searching for new editors who would develop new materials for the network. If you are interested in helping build this site, please contact H-Film editor Elif Sendur via her contact page H- Film editor.
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Readers of H-Film might be interested in the latest issue of World History Connected, the theme of which is "Film & World History": https://worldhistoryconnected.press.uillinois.edu/.
The format of the WHC website isn't the most reader-friendly, so I'm happy to email a more readible PDF version of my own essay, "How to Read a Historical Film," to anyone interested.
Pete Burkholder
Fairleigh Dickinson Univ
burk0032@fdu.edu
The Soviet director Sergei Eisenstein initiated what has become a very long and multifaceted conversation about James Joyce in relation to film. He was the first director to contemplate an adaptation of Ulysses, for instance, and the only one to discuss such a project with the author himself.
ReFocus: The Films of Nicolas Winding Refn
Edited by Dr Eddie Falvey (University of Exeter/Plymouth College of Art) and Dr Thomas Joseph Watson (University of Northumbria)
This conference aims to explore the connections and relationships between literature and the screen, from the pre-cinematic age to the era of television and new digital technologies. A cross-media approach, aimed at understanding the reciprocal influences between these various artistic forms, as seen from the point of view of techniques of representation, theoretical exchanges and the circulation of works, will shed new light on ideas in, and theories of, both literature and the cinema.
Archival practices in the 20th and early-21st century have been understood in a variety of ways. For some, “artists started to rely on the topos of the archive to express their unease about canonic systems for the production of knowledge” (Giannachi, 2016: 131).
