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Evolving Research Landscape in Film Studies: Communication, Funding, and Collaboration

The research environment in film studies is rapidly changing, influenced by advancements in communication, open access publishing, and public engagement. Funding has increasingly become reliant on the demonstrated economic and social impact of research, highlighting the need for collaborative interdisciplinary approaches. This evolution underscores the critical role of digital scholarship and the return of repressed film cultures that rejuvenate film studies. The advent of online resources, databases, and forums has enhanced academic discourse and access, shaping a more inclusive and dynamic scholarly community.

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Evolving Research Landscape in Film Studies: Communication, Funding, and Collaboration

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  1. Catherine Grant School of Media, Film and Music University of Sussex

  2. Changing Research Environment • Changes in research communication/Open Access publishing/Public engagement • Funding issues • Impact upon my research

  3. Funding Issues • Research funding allocated on basis of economic/social impact • Demonstration of value critical to ensuring funding • Increase in collaborative, multi/ inter-disciplinary research

  4. Changes in Research Communication, Open Access publishing and Public engagement “[T]he repressed film culture that gave rise to film studies has returned with a vengeance." • Mark Betz, ‘Little Books’, in Lee Grieveson and Haydee Wasson (eds), Inventing Film Studies (Durham and London: Duke University Press, 2008), 319-341

  5. Digital Film Studies Timeline • Advent of computer-based, non-linear editing systems, early 1990s • Online Film Indices and Databases: in 1990 Col Needham founds the Internet Movie Database as a USENET newsgroup; mid 1990s the online Film Index International formed from BFI's offline Summary of Film and Television database. • CD-Roms e.g. 1992-1999: Virtual Screening Room, a CD-Rom digital textbook. Produced by Henry Jenkins, Janet Murray, Ben Singer and Ellen Draper • Rapid Growth of the World Wide Web, 1991 onwards, offering space for influential online film studies/criticism curators and salon hosts including, from the 1990s, Fred Camper, Glen W. Norton, and from the 2000s, for example, Steve Erickson & Girish Shambu • Online film theory education: Daniel Chandler, ‘Notes on the Gaze’, 1995; ‘An Introduction to Genre Theory’, 1997. Also see the work of Sarah Zupko, e.g. PopCultures.com, 1996 • Online Academic Listservs, then Salons, then Journals: Film-Philosophy, 1996; Screening the Past, 1997; Scope: An Online Journal of Film and Media Studies, 1999; JumpCut online, 2001 • DVDs (and their Extras!),1997 Film related blogging 1999+. (Film Studies Blogging: Bordwell/Thompson, 2006;The Bioscope, • 2007; Film Studies For Free, 2008) • Online moving image archives and video sharing: Internet Archive Moving Image Collection, 1999; Vimeo, 2004;YouTube, 2005

  6. Back to the future ? • New university presses • The need for a joined up approach • Digital assemblages and where they will take us…. • Alex Reid, ‘Exposing Assemblages: Unlikely Communities of Digital Scholarship, Video, and Social Networks’, Enculturation 8 (2010)

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