Annual Bibliography of Film Studies-2010
Telotte, J. P., Post Script
One of the special features of Post Script that we think speaks to its special place in the world of film criticism is this Annual Bibliography of Film Studies. Now in its 29th year, the Annual Bibliography catalogues the most important film commentary, charts the main currents in English-language criticism, and calls attention to new venues for criticism. This year I want to give special note to two of those new venues. One is the Journal of Screenwriting, another in the line of new journals published by Intellect Press, this one uniquely dedicated to exploring the possible methodologies and approaches to studying the scriptwriting form. The other is the resurrected Movie, a venerable effort that began under the late Ian Cameron in 1962 and continued in publication until 2000. It was one of the first English-language journals to advance the auteur principle, and its entries were always marked by rigorous close-readings of films. Both promise to add significantly to the critical discourse.
Another of the Bibliography's offerings is its annual tracking of critical trends. One of the most obvious measures of such trends is the subject matter of journal special issues each year. Among the more noteworthy such issues for 2010, I would point to: the Animation number devoted to the work of Stan VanDerBeek, Film Criticism's double issue on new Romanian Cinema, Film History's number on "Cinema During the Great War," Framework's dossier on transnational women's film history, Science Fiction Film and Television's number on Science Fiction and Music, the Studies in Australasian Cinema's special Baz Luhrmann number, Studies in Documentary Film's reflexive study of documentaries about filmmakers, Velvet Light Trap's celebrity issue, and Post Script's own issues on Vittorio Storaro and on Native American and Indigenous Film. The point that might be underscored here is the very variety of these numbers, for they suggest the enormous richness of current critical activity. Additionally, it is worth noting the usual shifts in critical fashion reflected by the sheer numbers of articles as they cluster in our traditional bibliographic categories.
While the total number of articles is down somewhat over the record number included in last year's Annual Bibliography, there are a few pronounced gains and losses that merit comment. The number of entries in the "Criticism" category more than doubled, and "Video" showed nearly a fifty percent increase. While the "International" category still logged the highest number of entries, it did show a small decline, but the largest negative shifts appear in the areas of "Directors," "Documentary," "Technical," and "Theory." In the case of both "Directors" and "Documentary," that shift continues their decline from 2008 and suggests a marked turn away from critical interest in these areas.
The format employed for the Annual Bibliography remains essentially unchanged from previous years. It is organized around a series of headings that have, almost since this work's inception, proven serviceable for categorizing the majority of film and television scholarship. Each English-language film article receives a single full citation, based on the current MLA style, and many of the entries are also cross-referenced to one or more additional categories. Where necessary, entries have received a brief annotation, and except for the cases of the "Actors/ Actresses" and "Directors" categories, the entries are alphabetized according to the authors' last names. The table of "Periodicals Indexed" that follows--and that continues to expand--contains abbreviations for all of the journals cited in the article listings. And as usual, we invite any suggestions our readers might have for streamlining the format, adding additional journals, or employing other categories, while we also solicit titles of entries for next year's edition.
As in past years, I have been fortunate to be able to call on several colleagues for help in producing this research tool. …