Our 372 pages-long richly illustrated book CINEMAS OF PARIS is now
Edited by myself and French critic Jean-Michel Frodon, with assistance
from international contributors like Will Brown, Danny Fairfax, Ana
Grgic, Frances Guerin, Michael Gott, Sue Harris, Flora Lichaa, Renaud
Olivero, and Yoana Pavlova.
The book features numerous photo collages from Paul-Raymond Cohen (known
for his work for Cahiers du cinema).
We also feature numerous vignettes by world directors who talk of their
love to specific cinemas in Paris: from Kiarostami to Apichatpong, and
from Jia Zhangke to Ken Loach.
Paris is an endless film festival, so it was real pleasure working on
this project. We are proud with the result, which we hope to be the most
solid discussion on global cinema exhibition in this amazing city.
Orders placed before 5 January will benefit from a 20% discount
An Online Journal of Film and Television Studies. The content from all the journal’s past issues, from 1999 to 2014, is now online at http://www.nottingham.ac.uk/scope/index.aspx.
Scope’s content also remains open access, so we hope interested scholars will take the opportunity to browse the issue archive. Please note too that URLs for all content (articles, book reviews, film and television reviews, and conference reports) have now changed to reflect the new site address. It may take some time before search engines reliably redirect those searching for content via URLs from the time of publication.
by Emily Keightley and Michael Pickering
flyer Photography, Music and Memory
The two most salient technologies of remembering in everyday life are photography and recorded music. Photography, Music and Memory is a refreshing ethnographic study in which Michael Pickering and Emily Keightley explore how they act as vehicles or catalysts of memory. The book applies the concept of the mnemonic imagination, developed in their previous book, to the uses of these complementary technologies, showing how they contribute to distinct yet interrelated stages in the distillation of experience. In-depth comparative studies of visual and sonic media are rare. Pickering and Keightley make amends for this in a rich, detailed study of how these particular media inform and support our individual and collective understandings of the past. They draw on the extensive fieldwork they have conducted, and discuss the various ways in which the mnemonic resources associated with photography and recorded music are integral to vernacular memory, enhancing the multiple narratives we construct in our everyday social worlds.