Deane Williams – författare

Although best known as an Academy Award winning actor, Sean Penn's directorial works The Indian Runner (1991), The Crossing Guard (1995), The Pledge (2001), and Into the Wild (2007), consist of some of the most interesting and singular films made in the United States over the past twenty years. Each of Penn's directorial films and much of the cinema he has acted in are set in an immediate past in which a "stalled" time and a restricted locale apply narrative constraints. At the same time, these films all feature a sophisticated web of intertextual relations, involving actors, songs, books, films, and directors, and the political lineage to which Penn belongs, which reveal the deep cultural structures that concern each particular film.

Although best known as an Academy Award winning actor, Sean Penn's directorial works The Indian Runner (1991), The Crossing Guard (1995), The Pledge (2001), and Into the Wild (2007), consist of some of the most interesting and singular films made in the United States over the past twenty years. Each of Penn's directorial films and much of the cinema he has acted in are set in an immediate past in which a "stalled" time and a restricted locale apply narrative constraints. At the same time, these films all feature a sophisticated web of intertextual relations, involving actors, songs, books, films, and directors, and the political lineage to which Penn belongs, which reveal the deep cultural structures that concern each particular film.

This volume adopts a transversal South-South approach to the study of visual culture in transnational, transcultural, and geopolitical contexts.Every day hundreds of people travel back and forth between southern countries, including Australia, Argentina, Brazil, Chile, New Zealand, Indonesia, Timor-Leste, and South Africa. With these people travel cultures, experiences, memories, and images. This creates the conditions for the generation, sharing, and circulation of new knowledge that is both southern and about the South as a specific kind of material and imaginary territory (or territories). It does so through the study of the southern hemisphere’s screen cultures, addressing the broad spectrum of cultural expression in both traditional and new screen media, including film, television, video, digital, interactive, and online and portable technologies.This book was originally published as a special issue of Critical Arts.

This volume adopts a transversal South-South approach to the study of visual culture in transnational, transcultural, and geopolitical contexts.Every day hundreds of people travel back and forth between southern countries, including Australia, Argentina, Brazil, Chile, New Zealand, Indonesia, Timor-Leste, and South Africa. With these people travel cultures, experiences, memories, and images. This creates the conditions for the generation, sharing, and circulation of new knowledge that is both southern and about the South as a specific kind of material and imaginary territory (or territories). It does so through the study of the southern hemisphere’s screen cultures, addressing the broad spectrum of cultural expression in both traditional and new screen media, including film, television, video, digital, interactive, and online and portable technologies.This book was originally published as a special issue of Critical Arts.

This volume will be a ‘time capsule’ of the first 10 years of Studies in Documentary Film (2007–2016), tracing not only the development of the journal but also of documentary studies in the same period. Issues such as the rise of digital documentary forms and authorship, documentary activism, and the Chinese Independent documentary, as well as diverse political issues, will be raised in the introduction and evidenced in the articles. The chapters have been chosen for the various themes they raise in documentary studies but also the broader field of documentary scholarship (including publishing), and the rise of the internet as a powerful force in documentary studies.

In the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the 'long durée' of the 20th century and into the 21st. By raising the issue of 'beyond the essay film', this collection seeks not only to acknowledge the influential predecessors of this — in the view of many critics, the most interesting type of contemporary filmmaking — but also to speculate about its possible transformation as we move forward into the uncharted waters of the 21st — digital — century. Beyond the Essay Film focusses on three specific axes that underpin and shape the articulation of the essay film as a specific cultural form — subjectivity, textuality, and technology — to explore how changes along and across these dimensions affect historical shifts within the essay-film practice and its relation to other types of cinema and neighbouring art forms.

This volume will be a ‘time capsule’ of the first 10 years of Studies in Documentary Film (2007–2016), tracing not only the development of the journal but also of documentary studies in the same period. Issues such as the rise of digital documentary forms and authorship, documentary activism, and the Chinese Independent documentary, as well as diverse political issues, will be raised in the introduction and evidenced in the articles. The chapters have been chosen for the various themes they raise in documentary studies but also the broader field of documentary scholarship (including publishing), and the rise of the internet as a powerful force in documentary studies.

A three-volume project tracing key critical positions, people and institutions in Australian film, Australian Film Theory and Criticism interrogates not only the origins of Australian film theory but also its relationships to adjacent disciplines and institutions. The second volume in the series, this book gathers interviews with national and international film theorists and critics to chart the development of different discourses in Australian film studies through the decades. Seeking to examine the position of film theorists and their relationship to film industry practitioners and policy makers, this volume succeeds mightily in reasserting Australian film’s place on the international scholarly agenda.

The third part of a three-volume work devoted to mapping the transnational history of Australian film studies, Volume 3: Documents concludes the project by gathering together the documents that were produced during the rise of film studies in Australian academia from 1975–85. Through these sources we see the development of the particularities of Australian film theory and criticism, its relationship to its international counterparts and the establishment of key positions and the directions in which they develop. Editors Deane Williams and Constantine Verevis here collect key articles, including the works of Paul Willemen, Sam Rohdie, Ross Gibson and Meaghan Morris, among many others, in order to conclude this pioneering historiographic account of Australian film studies.

The Handbook of Documentary is an important go-to resource for practitioners, scholars and students in this burgeoning field. It tackles key topics and debates – from the role of documentary in post-truth culture to the rise of streaming giants (and the implications for national documentary cultures) and the shifting (increasingly hybrid) practices of documentary activism and the professionalization of impact. Featuring work by key figures in international documentary scholarship and talented emerging scholars, the Handbook is a landmark publication for documentary studies in the twenty-first century.The Handbook is broad in its scope, incorporating historical, theoretical, empirical, and practical scholarship. It is organized around ten key themes/debates: What and where is documentary (studies)?; Documentary in an Age of epistemic uncertainty; Documentary histories; Documentary and the Archive; Audio/Visualities; Documentary Relationalities; Beyond the Anthropocene?; Digital/documentary practices; Documentary and (new) politics?; A golden age? Documentary distribution and funding. Importantly, the Handbook challenges the dominance of Western voices in documentary scholarship, incorporating the voices and practices of practitioners from the Global South.

The first part of a three-volume work devoted to mapping the transnational history of Australian film studies, Australian Film Theory and Criticism, Volume 1 provides an overview of the period between 1975 and 1990, during which the discipline first became established in the academy. Tracing critical positions, personnel, and institutions across this formative period, Noel King, Constantine Verevis and Deane Williams examine a multitude of books and journal articles published in Australia and distributed internationally though such processes as publication in overseas journals, translation and reprinting. At the same time, they offer important insights about the origins of Australian film theory and its relationship to such related disciplines as English and cultural studies. Ultimately, Australian Film Theory and Criticism, Volume 1 delineates the historical implications – and reveals the future possibilities – of establishing new directions of inquiry for film studies in Australia and internationally. Australian Film Theory and Criticism, Volume 2 and 3  are also now available from Intellect.

This landmark collection of essays considers the global legacy of John Grierson, the father of British documentary. Featuring the work of leading scholars from around the world, The Grierson Effect explores the impact of Grierson's ideas about documentary and educational film in a wide range of cultural and national contexts – from Russia and Scandinavia, to Latin America, South Africa and New Zealand.In reconsidering Grierson's international infl uence, this major new study emphasises the material conditions of the production and circulation of documentary cinema, foregrounds core issues in documentary studies, and opens up expanded perspectives on transnational cinema cultures and histories.

This landmark collection of essays considers the global legacy of John Grierson, the father of British documentary. Featuring the work of leading scholars from around the world, The Grierson Effect explores the impact of Grierson's ideas about documentary and educational film in a wide range of cultural and national contexts – from Russia and Scandinavia, to Latin America, South Africa and New Zealand.In reconsidering Grierson's international infl uence, this major new study emphasises the material conditions of the production and circulation of documentary cinema, foregrounds core issues in documentary studies, and opens up expanded perspectives on transnational cinema cultures and histories.

In the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the 'long durée' of the 20th century and into the 21st.

This is the first book-length study of the most prolific and most critically acclaimed director working in British cinema today. Michael Winterbottom has also established himself, and his company, Revolution Films, as a dynamic force in world cinema. No other British director can claim such an impressive body of work in such a variety of genres, from road movie to literary adaptation, from musical to sex film, to stories of contemporary political significance. The authors of this book use a range of critical approaches to analyse the filmmaker’s eclectic interests in cinema and the world at large. With this in mind, the realist elements of such films as Welcome to Sarajevo are examined in the light of a long history of cinema’s dealings with realism, as far back as post-war Italian neo-realist filmmaking; whereas Jude and The claim are approached as both literary adaptations (a continuing strand in British cinema history) and examples of other reworked genres (the road movie, the western).This lively study of his work, written in a wholly accessible style, will engage all those who have followed his career as well as those with a wide-ranging interest in British cinema.