‼️ NEW ISSUE ‼️
Our latest issue is out now! "The Body Without Limits. The Monstrous Feminine in Spanish Cinema", with an exclusive interview with Barbara Creed!
More here: raco.cat/index.php/Co...
The deadline for our latest CFP ends on January 30! If you have a contribution in mind, don't hesitate to write to us at comparativecinema@upf.edu
More info here: raco.cat/index.php/Co...
Hi! is the contest for the US only? Thanks!
If you're a scholar interested in haptic cinema, don't forget to send us your article proposal at comparativecinema@upf.edu
Deadline for full articles is January 30.
MORE HERE: raco.cat/index.php/Co...
Twin Peaks opening credits for the episode "Slaves and Masters" directed by Diane Keaton
the ending of THE GODFATHER, the best american movie ever made, doesn't work without diane keaton's final look --- at the realization of who she's married and what her life is going to become and what corruption lurks behind closed doors. unforgettable, inimitable work. RIP.
Recordatorio de que Diane Keaton, además de todo lo que hizo en su carrera como actriz, también dirigió un episodio de Twin Peaks y el rarísimo clip de Heaven is a place on Earth
What would the ending of The Godfather be without her face?
"We are told that AI is inevitable, that we must adapt or be left behind. But universities are not tech companies. Our role is to foster critical thinking, not to follow industry trends uncritically." www.ru.nl/en/research/...
You like movies? 🎞️ Were born in the US? 🇺🇸 And really really like to talk about Hollywood and all things related? 🍿 Then we're looking for you! Our US case study is about to start, and we want to find out about your movie memories.
Register now!
hollywood-memories.com/en/participa...
📢 NEW CFP 📢
The next issue of Comparative Cinema invites contributors to reflect on hapticity (or "haptic visuality") in film and television from different perspectives (the affective turn, cinematography, queer studies, and more).
Deadline: January 30, 2026
More here: raco.cat/index.php/Co...
every time I see another story about AI taking over a creative job I think about this scene in YOU’VE GOT MAIL and weep
Lizzie Borden's (@lizziela.bsky.social) New York Feminisms trilogy is now on Blu-ray thanks to the @Criterion Collection. Here’s an excerpt from my conversation with Borden about her films in my book “Cinema Her Way"
Read: oldfilmsflicker.substack.com/p/celebratin...
There's still time to sign up for the 5th To Be Continued... online conference, which launches this Thursday 18 September! Join us to talk about David Lynch, copyright, franchises, and legacies with a stellar group of scholars!
The Consensus for Showdown № 220 is in 🗳️
Here are the top twenty remakes (revisited), as voted by the Letterboxd community 🔁
View the list: boxd.it/OJDEg
“The most valuable thing to me in terms of my mental health is to read a poem or see a painting or listen to music which speaks to me, which breaks me open for a moment, and where I feel an experience honestly & delicately portrayed. That’s another reason AI can never create anything artistically.”
Linguistics lesson for the day: Accountability is crucial to interpreting language. We make sense of something based on who we believe said it. Synthetic text extruded by LLMs was not said by anyone -- so a crucial step in the chain is broken.
>>
BBC News headline: Frankenstein is monster success at Venice film festival
Actually, Frankenstein is a doctor success at the Venice film festival
It's really fucked up the news media at large is searching so hard for humanity in machines, while systematically denying humanity to Palestinians, trans people, immigrants, and other persecuted people
🥰🥰🥰
Joined forces w/one of my closest friends, the wonderful Ana Carolina Quiñonez Salpietro. "Frontera" is one of my favorite poems, I hope to have done justice to its beauty. Special thanks to @evelynkreutzer.bsky.social for letting this be part of her "Moving Poems" collection!
vimeo.com/1111622865
It's a pleasure and an honor to be part of such a beautiful collection of video poems 🌟
New Moving Poem by @brunellatedesco.bsky.social!
"Frontier" beautifully hones in on the figure of the horse in mutliple canonical films and relates them to Ana Carolina Quiñonez Salpietro's poetry. Please check out this marvelous piece here!
vimeo.com/showcase/957...
hopefully of use in this time suck against-a-i.com
Psst: Our US case study is about to start, and we are looking for people from the US who love to talk about everything Hollywood. 🤩
Sounds like you or someone you know? Then share this information and register on our website:
hollywood-memories.com/en/participa...
Real talk (reel talk?):
BWDR recently lost a partnership that covered nearly half our operating budget, so things are suddenly very tough. If what we do has ever meant something to you, or you’ve ever thought about subscribing, now’s the time—it *truly* makes a difference.
teachers!
excited to share a new website at this late date of Aug 15 to try to help us collectively prepare for back to school in the interpretative humanities classroom assaulted by the AI grift, so we don't have to go it alone.
take a look, share, + most importantly: CONTRIBUTE
against-a-i.com
Adaptation, seriality, film, media, literature, and cultural studies scholars, come to the fifth annual online To Be Continued conference, Sept. 18-19! Presenter and (free) registration information can be found on this flyer. Hope to see you there! docs.google.com/document/d/1...
The missing piece of the equation explaining why so many critic positions are being eliminated is the little AI summaries at the top of Google results, which reduced click-throughs drastically. Once again, a tech company has stolen human labor and monetized it and doesn't care about the impact.
Some great insight here to remember as the school year is about to start. Really curious to know how university professors are rethinking their evaluation methods (and perhaps their whole teaching approach) to deal with this
