"If you dive in with an idea of sketchiness, 'I can see something here but I'm not quite sure,' and then go for it, you constitute things. I think it's what we always hope to do with our scholarship."
While Peter sometimes has questioned what digital cameras have wrought, there is no question that the digital revolution has changed the ways we can relate to our cinematic experiences (Exhibit A: this podcast). UK film scholar Catherine Grant has always seemed to be on the precipice of these changes. Her blog, Film Studies for Free, brought the idea of Open Access within the field to a whole array of scholars, and her pioneering work in video essays transformed the way that film scholarship can come closer to their objects of study than ever before. In this interview conducted in the heart of the annual SCMS conference, Catherine discusses her discovery of art cinema, her research on world cinema and auteurism in the digital age, and the role that these new visual tools have changed the way she approaches cinema. They top off their conversation by turning to The Headless Woman and how Argentine director Lucrecia Martel creates a hyper-attentive spectator in the most breathtaking drama of recent memory.
4:25-9:14 Establishing Shots — Preview of "This American Life — Jonathan Demme"
9:59-1:00:05 Deep Focus — Catherine Grant1:00:55-1:03:11 Sponsorship Section
1:04:09-1:1:39 Double Exposure — The Headless Woman (Lucrecia Martel)
1:19:43-1:22:02 Close / Outtake
