Save 30% with UC Press during the Modernist Studies Association Conference

The 2017 Modernist Studies Association Conference convenes August 10 – 13 in Amsterdam.

Check out our landing page featuring UC Press across various disciplines, including Art, Music, Visual Culture, and Cinema & Media Studies. Save 30% online with discount code 17W6815, or request an exam copy for consideration to use in your upcoming classes. The discount code expires September 30, 2017.


See Dunkirk to Hear It: A Spoiler-Free Guide to Music and Sound in Christopher Nolan’s New War Movie

by Todd Decker, author of Hymns for the Fallen: Combat Movie Music and Sound after Vietnam


Director Christopher Nolan’s Dunkirk, opening in theaters this weekend in the US, sounds better than any war movie ever made.

I saw Dunkirk in 70mm and digital surround sound at the earliest possible showing at my favorite suburban St. Louis multiplex. Having just published a book on war movies from Apocalypse Now to American Sniper, I was eager to see and hear this latest entry in the intermittent but persistent World War II film cycle kicked off almost two decades ago by Steven Spielberg’s Saving Private Ryan and Terrence Malick’s The Thin Red Line.

At just 1 hour and 47 minutes, Dunkirk is a lean and gorgeous piece of filmmaking and film scoring that deserves to be experienced without undue preparation—so no spoilers here!

Instead, I want to offer some hopefully helpful hints about how Nolan’s film fits into the sonic and musical traditions of the post-Apocalypse Now war film. I detail these traditions at length in my book in separate sections devoted to each of the three elements of the soundtrack—dialogue, sound effects, music. Below is a quick consideration of Dunkirk along the same lines.

There’s very little talking in Dunkirk. Nolan has made a “silent” war film where sound effects and music carry the soundtrack: the film’s dialogue could easily be replaced with title cards as in the pre-sync sound era.

Nolan’s historical subject lends itself to minimal dialogue: Hundreds of thousands of British soldiers await evacuation from France on the beaches of Dunkirk. The British navy and a flotilla of civilian craft—pleasure boats, mostly—set out across the English Channel to bring them safely home. German bombers and fighter planes attack the evacuation and British Spitfires fight back. It’s a land-sea-air battle with clear geometric lines that Nolan effectively tells with sound effects following long traditions of the war film (see Chapter 6 in my book).

And, indeed, the sound effects in Dunkirk are astonishing—some of the loudest, clearest, and most physical I have ever experienced. I saw the film in a just renovated cinema outfitted with “dream loungers” (padded, automatically reclining seats straight out of high-end home theatre set ups). The low sounds of bombs reverberated through my whole seat with tremendous tone and clarity. My head felt vibrations as if on a rollercoaster. As with so many war films—especially the early digital surround sound hit Saving Private RyanDunkirk in the theatre uses sound to put the viewer’s body into motion, striving to elicit felt sonic identification with the soldiers in the story.

Dunkirk’s score is by composer Hans Zimmer, who also composed original music for The Thin Red Line and Ridley Scott’s Black Hawk Down. All three of these films feature what I call almost continuous scores. Indeed, I can’t recall a single moment of Dunkirk when the soundtrack mix didn’t contain something categorizable as music. Zimmer’s score provides crucial support to Nolan’s “silent” film approach to storytelling.

And the music does something else, too. Without giving anything away, suffice it to say that, as in his earlier films Memento, Inception, and Interstellar, Nolan is again exploring issues of time and narrative shape. Zimmer’s score for Dunkirk plays a crucial role pacing the action and instantly shifting the film’s momentum with a huge array of beat-driven textures (such as the below teaser track released on Youtube).

 

Zimmer offers only one melody in Dunkirk and it’s borrowed. To prepare yourself for the film’s most self-consciously emotional moments—best experienced in a theatre full of British nationals (who’ll likely be crying to more than just the music itself)—listen to Edward Elgar’s “Nimrod” from the Enigma Variations below.

 

Among many YouTube’s of “Nimrod,” I chose a version featuring the Staatskapelle Berlin at the BBC Proms, a site of nationalistic celebration in the UK. A German orchestra playing this British orchestral staple feels to me like a needed, tiny correction to Nolan’s film, which begins (like countless war films) with an informative title that euphemistically and problematically reads, “The enemy have driven the British and French forces to the beach.”

I hope you enjoy Dunkirk as much as I did.


Todd Decker is Professor of Music at Washington University in St. Louis. The author of four books on American commercial music and media, he has lectured at the Library of Congress, London’s Victoria and Albert Museum, and LabEx Arts-H2H in Paris.

 


Tools of the Trade: Resources for Cinema and Media Scholars and Educators

As part of our “Tools of the Trade” blog series, we’re showcasing resources and reference materials for educators and scholars to help you in your research, writing, and prep work this summer. Here are a few titles that continue to shape key intellectual questions and ideas within various film- and media-related fields.

A Look at Globalization and Industry Studies

Hollywood Made in China

Aynne Kokas

“Combining her personal experience working on film productions in both China and Hollywood with her strong academic credentials, Aynne Kokas has given us a pioneering study on a subject that will undoubtedly increase in importance as the Sino-Hollywood connection deepens. Future researchers on this topic would do well to begin here.

—Stanley Rosen, Professor of Political Science, University of Southern California

 

Voices of Labor: Creativity, Craft, and Conflict in Global Hollywood

Edited by Michael Curtin and Kevin Sanson

Available worldwide through a free download at luminosoa.org

“This remarkable collection of interviews with screen industry professionals—from costume designers to location managers—is essential reading for anyone interested in how Hollywood actually works. Voices of Labor is a unique account of the contemporary conditions, experiences, and organization of media workers and is an important contribution to media industry research.

—Ramon Lobato, author of Shadow Economies of Cinema

 

Topics in Documentary

Speaking Truths with Film: Evidence, Ethics, Politics in Documentary

By Bill Nichols

Bill Nichols is uniquely equipped to trace the genealogy of documentary studies—after all, he pioneered the field. Speaking Truths With Film is proof that he has yet to quit; filled as it is with his half-century chronicle of developments in both filmmaking and scholarship, it demands to not only be read, but also put to use.

—B. Ruby Rich, Editor of Film Quarterly

 

 

American Ethnographic Film and Personal Documentary: The Cambridge Turn

By Scott MacDonald

“A superbly original and informative work that takes as its project the creation of a cognitive map of a significant and geographically specific area within the larger field of independent documentary filmmaking. This book establishes a new path for documentary studies within a cultural landscape that widens to spatial media studies and beyond.

—Janet Walker, author of Trauma Cinema: Documenting Incest and the Holocaust

 

Putting Original Source Materials to Work

The Promise of Cinema: German Film Theory, 1907–1933

Edited by Anton Kaes, Nicholas Baer, and Michael Cowan

Opening entirely new pathways to the research and teaching of German film culture, this carefully edited sourcebook reveals the fantastic wealth of early ideas and thoughts on cinema.”

—Gertrud Koch, author of Siegfried Kracauer: An Introduction

 

 

Film Manifestos and Global Cinema Cultures: A Critical Anthology

Edited by Scott MacKenzie

“This book offers an exciting and productive way of thinking about cinema, allowing the reader to become acquainted with a large range of important declarations on film and on its mission from across its history. This is a volume that every film scholar will want to have.

—Dana Polan, Professor of Cinema Studies, New York University

 

 


To save 30% on all Cinema and Media titles—enter discount code 17W7196 at checkout.


2017 Kraszna-Krausz Book Award Winners

We’re delighted to announce that multiple UC Press titles have been recognized at this year’s Kraszna-Krausz Foundation Book Awards! Celebrating excellence in photography and moving image publishing, the KKF Awards are the UK’s leading prizes for books published in the fields of photography and the moving image (including film, television and new media).

This year, we’re pleased to share that Anatomy of Sound: Norman Corwin and Media Authorship, edited by Jacob Smith and Neil Verma, has been selected for the Kraszna-Krausz Best Moving Image Book award for 2017.

“At long last, the most important radio auteur of the twentieth century (and a gifted screenwriter to boot) has received the attention he deserves. This book is not only an indispensable guide to Norman Corwin’s work but also a foundational study of the aesthetics and politics of radio and screen.” —James Naremore, author of An Invention without a Future: Essays on Cinema

       
 

Other UC Press finalists include:

These titles, along with the other Moving Image award finalists, will be among the books exhibited at the Somerset House during the Photo London Exhibition this month.

Many congratulations to our authors, and to all other authors recognized at this year’s awards!

See the selection of UC Press titles that were recognized last year.


30 Fantastic Books for the Mother in Your Life — from the Art Lover to the News Junkie

We’ve compiled a list of recommended reads for the mother figure in your life — whether her interests lie in cultural artifacts or the 24-hour news cycle, Hollywood backlot backstories or intriguing historical tales. This list could be for any reader in your life — and that’s fine, too! — but when we typically think of a mother, these words come to mind: creator (and creative), teacher, protector. We think this reading list embodies those traits. Enjoy!

For the Art Lover

Summer of Love: Art, Fashion, and Rock and Roll edited by Jill D’Alessandro and Colleen Terry, with essays by Victoria Binder, Dennis McNally, and Joel Selvin

Slow Art: The Experience of Looking, Sacred Images to James Turrell by Arden Reed

Of Dogs and Other People: The Art of Roy De Forest by Susan Landauer

Ed Ruscha and the Great American West edited by Karin Breuer, with contributions from D.J. Waldie and Ed Ruscha

For the Cinephile

Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles by Jon Lewis

Lois Weber in Early Hollywood by Shelley Stamp

Hitchcock on Hitchcock: Selected Writings and Interviews, Volume 1 and Volume 2 by Alfred Hitchcock, edited by Sidney Gottlieb

Hellboy’s World: Comics and Monsters on the Margins by Scott Bukatman

For the Music Aficionado

Listening for the Secret: The Grateful Dead and the Politics of Improvisation
by Ulf Olsson, edited by Nicholas Meriwether

Loft Jazz: Improvising New York in the 1970s by Michael C. Heller

Better Git It in Your Soul: An Interpretive Biography of Charles Mingus by Krin Gabbard

Ronnie Gilbert: A Radical Life in Song by Ronnie Gilbert

For the Literary Bookworm

Thoreau and the Language of Trees by Richard Higgins, with a foreword by Robert D. Richardson 

Nonstop Metropolis: A New York City Atlas by Rebecca Solnit and Joshua Jelly-Schapiro 

Autobiography of Mark Twain: The Complete and Authoritative Edition Volume 1, Volume 2, and Volume 3 by Mark Twain

A Poet’s Revolution: The Life of Denise Levertov by Donna Hollenberg

For the Wine Connoisseur

French Wine: A History by Rod Phillips

I Taste Red: The Science of Tasting Wine by Jamie Goode

Chianti Classico: The Search for Tuscany’s Noblest Wine by Bill Nesto and Frances Di Savino

Riesling Rediscovered: Bold, Bright, and Dry by John Winthrop Haeger

For the History Buff

A Half Century of Occupation: Israel, Palestine, and the World’s Most Intractable Conflict by Gershon Shafir

Hiding in Plain Sight: The Pursuit of War Criminals from Nuremberg to the War on Terror by Eric Stover, Victor Peskin, and Alexa Koenig

The Scholar Denied: W. E. B. Du Bois and the Birth of Modern Sociology by Aldon Morris

Black Elephants in the Room: The Unexpected Politics of African American Republicans  by Corey D. Fields

How Would You Rule: Legal Puzzles, Brainteasers, and Dilemmas from the Law’s Strangest Cases by Daniel W. Park

For the News Junkie

Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary by Ronald Rael

The FBI and Religion: Faith and National Security before and after 9/11 by Sylvester A. Johnson and Steven Weitzman

Exceptional America: What Divides Americans from the World and from Each Other by Mugambi Jouet

Reproductive Justice: An Introduction by Loretta Ross and Rickie Solinger

In the Fields of the North / En los campos del norte by David Bacon


Wake Up and Smell the Money

by Vicki Mayer, author of Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy

Probably no one in media studies loves tax policy. Or economic multiplier equations. Or state budget battles. I know that was not my own hook into becoming a doctor of all things fun and entertaining. And yet these things matter more than ever.

For media fans, tax breaks and other incentives are the tinder for what ignites Hollywood media production, and what sets many corporations, developers, economic policy wonks, and speculators on fire. Dedicated public money for a multi-million-dollar film shoot means less risk for studios and Wall Street investors who raise the financing. Public coffers for media infrastructure flip property values and attract schemers to house and entertain the industry’s mobile workforces. In the most ‘successful’ sites outside of Southern California, Hollywood production stokes the hopes for permanent jobs and stable redevelopment; all the while fueling a shadow economy of tradable tax credits and venture capital bubbles.

For myself, though, the language of multipliers became material, more visceral, when I couldn’t park within a block of my own doorstep because there was film crew who had rented my street for a week. I had an infant and groceries. It was summer hot. Everyone and everything was melting while I passed the trailers and catering. Nothing pisses a new mom off like parking. At least, that moment made me think: Who can own the street? How and how much does it cost?

It didn’t take long digging around production spaces that I realized that ‘no parking’ is the burden of only those privileged enough to own space, or even a car for that matter, in a place media producers find desirable and city governments find bankable. This opaque economy of public money for private incentivizing meant borrowing the budgets dedicated to education, health, and social services. Film students, for example, unknowingly traded in increased fees and debts in exchange for the promise they might work their way up a narrow and precarious ladder to full-time work. Unemployed creative workers have found themselves caught between precious few well-paid gigs, explosive rental prices, and the tatters of a safety net for check-ups. After 15 years of seeding Hollywood South, Louisiana is still one of the poorest and most unequal states in the U.S.

So next time we praise the series made in Atlanta, or Austin, or Albuquerque, it might be time for media studies to pay attention to who really got paid for that production, and if they get their money’s worth.


Vicki Mayer is Professor of Communication at Tulane University. She is coeditor of the journal Television & New Media and author or editor of several books and journal articles about media production, creative industries, and cultural work.

A free ebook version of Vicki’s new book, Almost Hollywood, Nearly New Orleans, is available through Luminos, University of California Press’s Open Access publishing program. Download a copy now.

You can also follow her on Academia.edu.

 


UC Press Music Journals Celebrate American Music

As musicologists gather in Montreal for the Society for American Music conference, UC Press’s music journals are pleased to make select content available to non-subscribers for a limited time. Please enjoy our #AmMusic17 offerings from the Journal of the American Musicological Society, the Journal of Musicology, Music Perceptionand 19th-Century Music.

Film Scholars gathering in Chicago for the annual meeting of the Society for Cinema and Media Studies will also find some articles of interest in the offerings below and should see our separate post with offerings from Film Quarterly and Feminist Media Histories.


The Journal of the American Musicological Society is proud to have been the recipient of six Irving Lowens Article Awards from the Society for American Music since 1997. Read these articles for free through the end of March:

Sam Cooke as Pop Album Artist—A Reinvention in Three Songs
Mark Burford
Vol. 65 No. 1, Spring 2012

The Testimonial Aesthetics of Different Trains
Amy Lynn Wlodarski
Vol. 63 No. 1, Spring 2010

Louis Armstrong, Eccentric Dance, and the Evolution of Jazz on the Eve of Swing
Brian Harker
Vol. 61 No. 1, Spring 2008

Henry Cowell and John Cage: Intersections and Influences, 1933–1941
Leta E. Miller
Vol. 59 No. 1, Spring 2006

The Early Life and Career of the “Black Patti”: The Odyssey of an African American Singer in the Late Nineteenth Century
John Graziano
Vol. 53 No. 3, Autumn, 2000

For Those We Love: Hindemith, Whitman, and “An American Requiem”
Kim H. Kowalke
Vol. 50 No.1, Spring 1997


The Journal of Musicology is pleased to make the following articles, which look at various aspects of American music (including an article on Irving Berlin’s Holiday Inn) free through the end of March:

Consensus and Crisis in American Classical Music Historiography from 1890 to 1950
David C. Paul
Vol. 33 No. 2, Spring 2016

On the Scenic Route to Irving Berlin’s Holiday Inn (1942)
Todd Decker
Vol. 28 No. 4, Fall 2011

University Geographies and Folk Music Landscapes: Students and Local Folksingers at the University of Illinois at Urbana-Champaign, 1961–1964
David K. Blake
Vol. 33 No. 1, Winter 2016

Grasp the Weapon of Culture! Radical Avant-Gardes and the Los Angeles Free Press
Andre Mount
Vol. 32 No. 1, Winter 2015


Music Perception offers the following articles free through month’s end:

Viewers’ Interpretations of Film Characters’ Emotions: Effects of Presenting Film Music Before or After a Character is Shown
Siu-Lan Tan, Matthew P. Spackman, Matthew A. Bezdek
Vol. 25 No. 2, December 2007

Swing Rhythm in Classic Drum Breaks From Hip-Hop’s Breakbeat Canon 
by Andrew V. Frane
Vol 34 No. 3, February 2017

Rhythm in the Speech and Music of Jazz and Riddim Musicians
Angela C. Carpenter, Andrea G. Levitt
Vol. 34 No. 1, September 2016

The Asymmetrical Influence of Timing Asynchrony of Bass Guitar and Drum Sounds on Groove
Soyogu Matsushita, Shingo Nomura
Vol. 34 No. 2, December 2016


19th-Century Music celebrates #AmMusic17 and #SCMS17 by offering a selection of articles on American film music. As with the articles above, you can read the following for free through the end of the month:

Black Voices, White Women’s Tears, and the Civil War in Classical Hollywood Movies
Robynn J. Stilwell
Vol. 40 No. 1, Summer 2016

Screwball Fantasia: Classical Music in Unfaithfully Yours
Martin Marks
Vol. 34 No. 3, Spring 2011

Listening to the Self: The Shawshank Redemption and the Technology of Music
Daniel K. L. Chua
Vol. 34 No. 3, Spring 2011


Cinema & Soundtracks: FMH and FQ Celebrate #SCMS17

With the annual meeting of the Society for Cinema & Media Studies beginning this week in Chicago, UC Press journals Feminist Media Histories and Film Quarterly are pleased to offer a collection of limited-time free articles on cinema, soundtracks, and film music. Enjoy free access to these articles today through the end of the meeting on March 26, and be sure to meet the editors if you are attending #SCMS17!


Feminist Media Histories

Editor: Shelley Stamp, University of California, Santa Cruz

SCMS Attendees: Connect with FMH at SCMS 2017!

  • Meet the Editor, Shelley Stamp, to discuss publishing your work in FMH, at the UC Press booth on Friday, 3/24 from 11:00am-12:00pm.
  • Don’t miss the announcement of the winner of the 2016 SCMS Women’s Caucus Graduate Student Writing Prize (co-sponsored by FMH) at the SCMS Women’s Caucus Meeting!

 

In Defense of Voicelessness: The Matter of the Voice and the Films of Leslie Thornto
Pooja Rangan
Summer 2015, Vol. 1 No. 3

Tinkering with Cultural Memory: Gender and the Politics of Synthesizer Historiography
Tara Rodgers
Fall 2015, Vol. 1 No. 4

Backpacking Sounds: Sneha Khanwalkar and the “New” Soundtrack of Bombay Cinema
Shikha Jhingan
Fall 2015, Vol. 1 No. 4

Nené Cascallar’s Thirsty Heart: Gender, Voice, and Desire in a 1950s Argentine Radio Serial
Christine Ehrick
Fall 2015, Vol. 1 No. 4


Film Quarterly

Editor: B. Ruby Rich
Associate Editor: Regina Longo

SCMS attendees: connect with FQ at SCMS 2017!
Associate Editor Regina Longo will be available for meetings at the UC Press booth on Thursday and Friday afternoons.

Just in time for #SCMS17, Film Quarterly is delighted to unveil a newly redesigned website at filmquarterly.org. The refreshed site is fully device responsive and features a stronger visual component with full integration of social media, audio, and video. Full journal content continues to be housed at fq.ucpress.edu, but subscribers and non-subscribers alike are invited to read a curated selection of articles and web-only features on the new filmquarterly.org site.

Given that the annual conferences for both SCMS and the Society for American Music are being held this week, Film Quarterly’s editors would like to call your attention to a selection of articles (all available for free on filmquarterly.org) that should interest attendees of both #SCMS17 and #AmMusic17.

One Step Ahead: A Conversation with Barry Jenkins,
Michael Boyce Gillespie’s interview with the director of the Academy Award-winning Moonlight appears in the newly published Spring issue of Film Quarterly (read online or stop by the UC Press booth at SCMS to peruse a print copy).

Jewish, Queer-ish, Trans, and Completely Revolutionary: Jill Soloway’s Transparent and the New Television
Amy Villarejo
Summer 2016, Vol. 69 No. 4

The Master’s Voice
Claudia Gorbman
Winter 2014, Vol. 68 No. 2

Giving Credit to Paratexts in Top of the Lake and Orange Is the New Black
Kathleen McHugh
Spring 2015, Vol. 68 No. 3

Walking, Talking, Singing, Dancing, Exploding . . . and Silence: Chantal Akerman’s Sountracks
Barbara McBane
Fall 2016, Vol. 70 No. 1


A Film Noir Reading (and Viewing) List

In lead up to to the Society for Cinema and Media Studies annual conference and film noir festivals in various cities this month, we’ve put together a reading list of Hollywood film history titles, along with some suggested movies to view with them.

Come visit our booth in Chicago to save 40% on these and other Cinema and Media Studies titles.


Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles by Jon Lewis

“Lewis trenchantly probes Hollywood’s underworlds: grifters, gossip-mongers, and gangsters, loners and losers—bodies ‘left by the side of the road.’ A fascinating rewriting of Hollywood history, especially around production culture, including cultures of failure and despair.” —Dana Polan, New York University

Hard-Boiled Hollywood focuses on the lives lost at the crossroads between a dreamed-of Los Angeles and the real thing after the Second World War, where reality was anything but glamorous.

Suggested film screenings: Sunset Boulevard, In a Lonely Place, and The Big Knife


Edgar G. Ulmer: A Filmmaker at the Margins by Noah Isenberg

“A page turner of a biography.”—New York Times

“Isenberg’s writing…allows the monumental eccentricities of Ulmer’s underground journey to shine through.”—Bookforum

“Ulmer finally gets the attention and scholarship he deserves.”—The Credits

Suggested film screenings: Detour, The Black Cat, and People on Sunday


More Than Night: Film Noir in Its Contexts by James Naremore

“Supplies the first study of film noir that achieves the sort of intellectual seriousness, depth of research, degree of critical insight, and level of writing that this group of films deserves.”—Tom Gunning, Modernism and Modernity

Naremore treats noir as a term in criticism, as an expression of artistic modernism, as a symptom of Hollywood censorship and politics, as a market strategy, as an evolving style, and as an idea that circulates through all the media. This new and expanded edition of More Than Night contains an additional chapter on film noir in the twenty-first century.

Suggested film screenings: The Lost Weekend, Killer’s Kiss, and This Gun for Hire


Painting with Light by John Alton

“Provides fascinating insights into the mechanisms of the studio system.”—Reel Ink

Few cinematographers have had as decisive an impact on the cinematic medium as John Alton. First published in 1949, Painting With Light remains one of the few truly canonical statements on the art of motion picture photography, an unrivaled historical document on the workings of postwar American cinema.

Suggested film screenings: T-Men, He Walked By Night, and The Big Combo


Slow Fade to Black: The Decline of RKO Radio Pictures by Richard B. Jewell

“Jewell’s scholarship is impeccable and his text is plain-spoken and highly readable. Every studio deserves a similar examination; thank goodness the right man tackled this particular task.”—Leonard Maltin

Drawing on hard-to-access archival materials, Jewell chronicles the period from 1942 to the company’s demise in 1957. Towering figures associated with the studio included Howard Hughes, Orson Welles, Charles Koerner, Val Lewton, Jane Russell, and Robert Mitchum. In addition to featuring an extraordinary cast of characters, the RKO story describes key aspects of entertainment history: Hollywood’s collaboration with Washington, film noir, censorship, HUAC, the rise of independent film production, and the impact of television on film.

Suggested film screenings: The Big Steal, Notorious, and Split Second


Feminist Media Histories Celebrates Women’s History Month

To celebrate Women’s History Month Feminist Media Histories will be highlighting articles from past issues. Each Tuesday and Thursday throughout the month of March one FMH article will be free to download for 48 hours. We begin with Chika Kinoshita’s article, “Something More Than A Seduction Story: Shiga Akiko’s Abortion Scandal and Late 1930s Japanese Film Culture,” published in the inaugural issue two years ago and available now. A stunning example of how feminist media history can illuminate histories of stardom and moviegoing, while demonstrating the centrality of movie culture to larger discussions of gender and politics in many global contexts. Other articles featured this month will highlight writing on the cinema by filmmaker Esfir Shub and Ms. Magazine critics, the unsung work of female costume designers and radio pioneers, the challenge of digital preservation, lesbian film distribution in the 1970s, contemporary cyberfeminism in Iran and much more.

Featured articles will also showcase the range of special issues published by FMH, including Women and Soundwork, Histories of Celebrity, Materialisms, Found Footage, and Archives and Archivists.

Follow Feminist Media Histories on Facebook and Twitter to catch every free download this month. And watch for future issues on Gender + Comedy, Data, and Comics.

— Shelley Stamp
Editor, Feminist Media Histories