_______ F i l m - P h i l o s o p h y
_______ ISSN 1466-4615
_______ Journal | Salon | Portal
_______ PO Box 26161, London SW8 4WD
_______ http://www.film-philosophy.com
_______ News, 26 February 2002
From: Andrew James Horton <[log in to unmask]>
Dear cinephiles,
I thought you might like to know that Kinoeye, the fortnightly internet
journal of film in the new Europe (http://www.kinoeye.org), now offers a
free e-mail update service, delivering the contents and brief abstracts of
articles to your intray as new issues go online. All articles are available
online for free.
To subscribe, simply send a blank e-mail to
[log in to unmask]
You'll also need to reply to a confirmation mail.
In case you don't know the journal, recent articles in Kinoeye include:
Articles on:
Aleksandr Sokurov, Bela Tarr, Roman Polanski, Jan Lenica and Jan Sverak
Interviews with:
Jan Svankmajer (plus extracts from Svankmajer's diary), Danis Tanovic, Artur
Aristakisian, Ibolya Fekete, Zelimir Zilnik, Miroslav Ondricek, Juraj Herz
and Jerzy Kawalerowicz
Festival reports from:
Karlovy Vary, Bitola, Split, Thessaloniki, Bratislava and the 1st European
Psychoanalytic Film Festival
And book and video reviews and a regular horror column
As well as welcoming people signing up for e-mail update list, Kinoeye would
also like to hear from potential contributors. Reviews, articles,
interviews, overviews, reprints, translations and other thought-pieces are
welcome.
If you have any queries, please contact me at [log in to unmask]
I hope you enjoy our coverage.
Best regards
Andrew James Horton
Editor-in-Chief, Kinoeye, http://www.kinoeye.org
_____________________________________________
_____________________________________________
Reply to: [log in to unmask]
Reading Benjamin's Arcades
King Alfred's College, Winchester
Saturday July 13, 2002.
Confirmed keynote speakers: Andrew Benjamin & Esther Leslie.
Deadline for proposals extended to February 28 2002.
Please submit 300 word proposals for thirty-minute papers on any aspect of
_The Arcades Project_ (no attachments please) to one of the following
conference organisers:
Merrick Burrow, [log in to unmask]
Gary Farnell, [log in to unmask]
Mick Jardine, [log in to unmask]
Mail to:
Reading Benjamin's Arcades
School of Cultural Studies
King Alfred's College
Winchester, UK
SO22 4NR
_____________________________________________
_____________________________________________
From: <[log in to unmask]>
Manchester Metropolitan University University of Salford
Department of English Department of Englsih
THEORY NOW
A Conference in memory of Antony Easthope
Friday 28 - Sunday 30 June 2002
Keynote Speakers: Catherine Belsey
Fred Botting
Ken Hirschkop
Joanna Hodge
Scott Wilson
Robert Young
CALL FOR PAPERS
What is the role of Critical Theory in the 21.Century? Is Theory part
of the establishment now, and if yes, what is the 'new margin'? Where
is Theory in the institution? Is Critical Theory still relevant or
have we moved to 'post-theory' by now? THEORY NOW is planned as an
occasion where these and other questions should be raised and debated.
Antony Easthope was one of the major figures involved in the
development and teaching of Critical and Cultural Theory in Great
Britain. His work and publications include a wide range of topics such
as: Poetry and Theory, Masculinity, Film Theory, National Identity,
Psychoanalytic Criticism, especially the work of Jacques Lacan,
Literary and Cultural Theory, Romanticism and the development of
British poststructuralism. Together with Kate McGowan he founded the
MA in Critical Theory at the Department of English of the Manchester
Metropolitan University on which he taught for many years. He had a
passionate interest in Critical Theory and was well known at
conferences for his thought provoking papers and questions.
This conference is in honour and memory of Antony's contribution to
the field of Critical and Cultural Theory and invites papers on all
aspects of the field, in particular on areas covered by his work and
research interests. Papers on film theory, gender studies,
postmodernism/structuralism, psychoanalytic criticism, literary
theory and postcolonialism will be welcomed, as will more general
papers investigating and debating the development and future of
Critical Theory as an academic discipline in general. We also welcome
suggestions for specific panel sessions.
Abstract of papers (max. 300 words) are to be sent by 28 February 2002
to Angelica Michelis ([log in to unmask]) or Department of English,
Manchester Metropolitan University, Geoffrey Manton Building, Rosamond
Street West, Manchester M15 6LL
_____________________________________________
_____________________________________________
From: Emma Amanda Woodward <[log in to unmask]>
Subject: Forthcoming Conference
Apologies for cross posting
Conference Announcement and Call for Papers
Abstract Submission & Booking Form Request
Re: Visions
Broadcasting: Archaeologies, Histories, Impacts, Futures
Department of Historical and Critical Studies
University of Central Lancashire
Preston, UK
20 - 22 June 2002
Keynote Speakers to include:
Prof. Jeffrey Richards (University of Lancaster)=09
Prof. Andrew Crisell (University of Sunderland)
Prof. Michael Tracey (University of Colorado)=09
Prof. Peter Humphreys (University of Manchester)
Prof. Manuel Alvarado (University of Luton)=09
Prof. John Corner (University of Liverpool)=20
This major international residential conference will look at developments =
on television and radio in Britain, Europe, North America and across the =
world, and explore connections between broadcasting past, present and =
future. Whilst the very concept of 'broadcasting' faces important =
challenges worldwide as the pace of technological change increases, it =
remains a key agent in the construction of the contemporary social =
formation, as well as a prime site for pleasure and entertainment. At the =
same time broadcasting, as an established and powerful institution, is =
increasingly aware that it has a past. Yet, television and radio =
'histories' are increasingly seen as problematic, not least because of the =
issues surrounding the evidence we have available on which to construct =
such 'histories'.
This conference aims to encourage a wide range of papers which contribute =
to the emerging debate about broadcasting histories, which attempt to =
excavate what may be only partially retrievable, which examine audience =
pleasures, which assess the impact of broadcasting in a variety of =
contexts, and which contribute to speculation about the futures for =
television and radio in a digital landscape. =20
CALL FOR PAPERS
Papers are invited which cover all aspects of past, present and future =
developments in television and radio, from the local to the global. =20
ABSTRACT GUIDELINES
Abstracts should be about 300 words in length, on disc or as an email =
attachment, listing name, organisation, contact address, telephone and =
email address, and should include the title of the proposed paper.=20
The closing date for abstracts is the 11th February 2002=20
Please note that paper presenters need to register for the conference and =
pay the registration fee. The conference language is English.
Please address all abstracts and enquiries to: -
Emma Woodward
Conference Assistant
Business Services Office
University of Central Lancashire
Preston PR1 2HE, UK.
Tel: +44 (0) 1772 892250
Fax: +44 (0) 1772 892938
Email : [log in to unmask]
Website: http://www.uclan.ac.uk/business_services/conf/index.htm
---------------------------------------------------------------------------=
---------------------------------------------
Broadcasting: Archaeologies, Histories, Impacts, Futures
0 I am interested in attending the conference, please send me further =
details
0 I intend to submit an abstract
(Please tick as appropriate)=09
Name=20
Position
Organisation
Address.
Postcode.
Tel:=20
Fax:=20
E-mail=20
_____________________________________________
_____________________________________________
Art & Animation: International Symposium
London, March 16 & 17th, 2002
Tate Modern Cinema (Starr Auditorium) & The National Film Theatre (NFT)
The symposium is an opportunity to explore a diverse range of practices and
connections between animation and the visual arts, with a number of
outstanding artist/filmmakers.
All presentations and panel discussions include film screenings, extracts
and/or slide illustrations, and Q & A with the audience.
This two-day symposium addresses issues around a particular critical
discourse in the under-researched field of animation film. The event is
conceived for a critical and informed public, and it also will be
illuminating for grad and post-grad students as well as lecturers,
researchers and critics in the field. It may be particular interest to grad
students pursuing practice-based higher degrees in Art & Design.
Programme:
Sat March 16th/11am-6.30pm (+ Reception) Tate Modern / Starr Auditorium)
Issues around Art, Animation & Technology
Artist Liam Gillick will explore notions of image production and the changes
wrought on them by the wide use of computers and animation by people who
don't consider themselves 'computer artists' or 'animators.' Cross-over
mentalities and notions that while they might challenge the art world, are
everyday events in the world of commercial animation.
Round Table: "Never Mind Is It Art, Is It Animation? Does It Matter?" How
does the trend towards the 'manipulated image', i.e. artist filmmakers using
digital technologies to manipulate live-action as well as created imagery,
challenge conventional definitions of animation - and 'animation' audiences.
To what extent does the viewing context determine definitions -and who makes
them? Are there differences between making work intended for viewing by a
collective cinema or festival audience and that for the individual gallery
visitor?
Al Rees (Senior Research Fellow in Film, Royal College of Art) chairs a
discussion with Liam Gillick, artist/filmmakers Ann Course (UK) and Nicole
Hewitt (Croatia/UK), Suzanne Buchan (Animation Research Centre) and
critic/programmer Gareth Evans.
Landscape
South African artist and filmmaker William Kentridge, and Polish filmmaker
Jerzy Kucia will each discuss their work in relation to issues of landscape,
history and politics, and how these are filtered through the construction of
personal/ private mythologies in their films (with screening).
Sun March 17th, 10:30 a.m.-6 pm (National Film Theatre)
Edwin Carels: "Animation = a Multiplication of Art Forms ?" If cinema brings
a synthesis of other art forms to the screen, what does animation add to it?
And/or: what gets lost in the process? What criteria are useful to determine
the art of animation. An illustrated exploration, with historical and
contemporary examples, of direct and indirect links between animation and
more traditional art forms through Eisenstein's published notes on Disney.
David Campany, artist, writer and lecturer revisits Frank Mouris'
Oscar-winning 1973 short Frank Film. A collage of 11,000 mass media images
shift and mutate across the screen as Mouris narrates an autobiography.
Campany looks at Frank Film as a product of its time and asks what collage
means to us now as an artistic and technical strategy (with screening).
Frame by Frame: Canadian filmmakers Wendy Tilby and Amanda Forbis chart, via
slides and screening, their 4-year development of, and collaboration on,
their multi-award winning film When the Day Breaks, which oscillates between
narrative, figuration and abstraction in its delineation of urban landscape
and rural nostalgia.
Drawing: The Missing Link
"It's easy to recognize something is wrong with a figure but really
difficult to understand what and why". American figurative artist Jeanine
Breaker also teaches figure drawing for animation at studios and colleges,
and will discuss the anatomical subtleties of effective and convincing
representation of movement, weight, and expression of the figure often
lacking in animated drawing, and her experience with the contrast between
traditional and animation training and processing of the figure.
Screening and Panel Discussion with Q & A.
Filmmaker Ruth Lingford chairs a discussion about what drawing means to
them, how it relates to their own practice and ideas about animation with
Jonathan Hodgson, Stuart Hilton, Richard Kenworthy, Michael Dudok de Wit,
Joanna Quinn and Caroline Leaf.
Tickets & advance bookings
Tickets for the Symposium and related screenings can be booked at National
Film Theatre Box Office: Tel. +44 (0)207 928 3232. Weekend ticket (including
reception) £30, concessions £20. Individual tickets for Saturday or Sunday:
£17 (Concessions £12.50). Early purchase is advised.
Contact email: [log in to unmask]
Suzanne Buchan, Senior Fellow
Director, Animation Research Centre
Faculty of Arts & Media
Surrey Institute of Art & Design, University College
Falkner Road, Farnham, Surrey
GB-GU9 7DS
[log in to unmask]
www.surrart.ac.uk/arc
Tel: +44 (0)1252 892 806
Fax: +44 (0)1252 892 787
Cell:+41 (0)79 459 2091
_____________________________________________
_____________________________________________
To: [log in to unmask]
From: "keyframe.org" <[log in to unmask]>
Subject: [ keyframe.org | newsletter ]
keyframe.org has been updated:
# Vaudeville [mov]
by Speckenbach/Weiberg
A film performed and telecasted live into a cinema with
an unprepared audience. (Video (11:33) and Script)
http://www.keyframe.org/mov/vaudeville
# On the Remake. A cinematic phenomenon. [txt]
Part Two. Rewriting, Remembering, Mechanising,
Historising, Forgetting.
by Jan Speckenbach
The significane of the remake lies in its medium.
No other art has produced an exact analogy to it.
Though, the remake seems to call cinema into
question: Being a kind of paradigm of filmproduction,
it leaves the logic of reproducing and performing arts
behind.
http://www.keyframe.org/txt/remake2
_____________________________________________
_____________________________________________
From:
"S.A.Wilkinson" <[log in to unmask]>
Subject:
CFP: Exploiting Fear: The Art and Appeal of Horror on Film
CALL FOR PAPERS
EXPLOITING FEAR: THE ART AND APPEAL OF HORROR ON FILM
A National Conference to be held at:
The University of Hull, England
12th - 13th October 2002
http://www.geocities.com/film_conference/Horror.html
'Exploiting Fear: The Art and Appeal of Horror on Film' is a conference
that will
bring together researchers with an interest in the academic study of the
horror film.
Whether they are low-budget independent films that have found
international notoriety
or big-budget studio-backed successes, the horror film's cyclic and
enduring survival
despite censorship and controversy is a testament to its appeal.
Permeating popular
culture and contemporary film theory, the horror film and its close
relations (who
perhaps dare not adopt such a solely derogatory label) are arguably
derided by some
and dismissed by many, yet continue to populate cinema screens and video
stores. In the
wake of countless obituaries declaring its demise, the genre has
reinvented (as well
as regurgitated) itself to remain at the forefront of modern cinema
despite its reputation.
I would like to invite papers from all disciplines across and would
welcome papers from
postgraduate students who wish to present their research in a national
forum.
Sessions could include, but will not be restricted to, the following
areas:
- Spectatorship
- Gender
- Cultural history
- Screen violence and
Censorship
- British or Italian
Horror
- Retrospectives on
Individual directors or
films
- Adaptation or remakes
- Psychoanalytic
approaches
- Genre and sub-genre
- Reception theory
- Changing methods of production and distribution
I would like to invite proposals for papers of 15 - 20 minutes, with 10
minutes for
questions and the time for film clips. Please send a 300-word abstract,
with the
paper title, your name, address and email address. Also, could you
please indicate
whether you will show film clips and the format (VHS or DVD). I would
also like to
welcome film suggestions for the evening screenings.
Abstracts of no more than 300 words should be sent by 30th April
2002 to:
Simon Wilkinson
Department of American Studies
Faculty of Arts
University of Hull
Hull
HU6 7RX
Or by email to:
Email: [log in to unmask] or [log in to unmask]
Individuals will be notified of their paper's acceptance by early June
2002
_____________________________________________
_____________________________________________
From: Salwa Ghaly <[log in to unmask]>
Subject: _Perspectives on Evil and Human Wickedness_ ejournal
Dear All,
The first edition of the E-journal _Perspectives on Evil and Human
Wickedness_ is now available on the website - http://www.wickedness.net
http://www.wickedness.net/contents.htm (vol #1)
http://www.wickedness.net/ej.htm (main ejournal page)
I am enclosing the Table of Contents below for you to see what is on offer.
The article on Deleuze should elicit some interest. We welcome feedback to,
and discussion of, issues arising out of the articles. Feedback will be
included in upcoming volumes.
Our next volume (July 02) will be a themed one devoted to Terrorism and War.
Submissions that defamiliarize this volatile topic are eagerly sought.
Please feel free to get involved and offer your responses. I can be
contacted at [log in to unmask]
Thank you for your attention.
Salwa Ghaly
Chief Editor
Perspectives on Evil and Human Wickedness
Table of Contents
Volume 1: No. 1
Forewords Rob Fisher and Salwa Ghaly
Section One: Perspectives From.....the Disciplines
Three Generations: Middle-Earth, A Galaxy Far
Far Away, and Hogwarts
Laurie Cubbison 5
The Origin of Evil: Classical or Judeo-Christian?
Neil Forsyth 17
The Cruelty Beyond Cruelty: Deleuze and the Concept of Masochism
Jones Irwin 51
Postmodern Evil: Over Consumption on Brett Easton Ellis'
American Psycho (1991)
Chris McMahon 61
The Destructive Power of Myth: A Revisionist View of the
Extermination of the Pequots & Cathars
William A Cook 81
Section Two: Perspectives From.....the Creative Arts
Belzec, 1942 Roger Craik 105
Honduran Days Roger Craik 107
Section Three: Perspectives From.....the Professions
Evil, Sin and Crime
Roger Stokes 109
Forgiving Justice: An Exploration of Spirituality
within Criminal Justice 117
Tim Newell
Section Four: Perspectives From.....Media Reviews
Gattaca Peter Day 137
Event Horizon Fiona Gibson 141
Lord of the Rings Stephen Morris 145
Gormenghast Stephen Morris 147
Bless the Child Paul Davies 159
Web Genocide Documentation Centre
Rob Fisher 153
Blake's Illustrations of the Book of Job
Rob Fisher 154
Section Five: Perspectives From.....Book Reviews
Evil and Christian Ethics, by Gordon Graham
Susan Robbins 159
The Many Faces of Evil: Historical Perspectives,
by Amelie Oksenberg Rorty
Susan Robbins 161
Country of My Skull, by Antjie Krog
Diana Medlicott 163
"Faith and Knowledge: The Two Sources of Religion
at the Limits of Reason Alone" in Religion, edited by
Vattimo & Derrida Jones Irwin 165
Atomised, by Michel Houllebecq
Jones Irwin 169
_____________________________________________
_____________________________________________
From: "David Jenemann" <[log in to unmask]>
Call for submissions:
Object Magazine invites submissions for a special theme issue:
"Craft Vs. Art: Artisans and Artists in a Global Economy"
Today, the distinction between standard definitions of arts and crafts are
is being transformed. Their respective practitioners are being renergized by
the potentials of a high-tech economy, shifting consumer tastes and the
increased permeability of generic and geographical boundaries.The
traditional division between "utility" and "beauty" seems antiquated when
one considers the extensive attention given to furniture, ceramics, and
design in many major art museums. Have developments in technique and
technology irrevocably blurred the distinction between art and craft and was
that distinction tenable in the first place? How are artisinal guilds and
artists defining themselves against one another or against institutional
labels and what are the implications of these definitions for our
understanding of cultures high, low, canonical, or marginal? Object is
seeking 800-1000 world articles that deal with any aspect of the
relationship between arts and crafts in our present moment. In addition,
Object will consider publishing images of work relevant to the topic.
Object is a project of the Arts Journalism Collective, a group focused on
creating a forum for arts and entertainment criticism vital for thriving
arts communities. Object strives to bridge the gaps between artists,
audiences, and critics from a wide variety of disciplines in and out of the
"academy" as well as providing a training ground for writers, editors,
photographers, and designers in the field of arts journalism. Those
interested in submitting articles a well as those interested in our mission
can contact Object’s theme editor, David Jenemann at [log in to unmask] or
visit Object at www.objectmag.com. Essays and queries can be e-mailed until
March 15.
David Jenemann
Comparative Studies in Discourse and Society
University of Minnesota
9 Pleasant St. SE
Minneapolis, MN 55455
www.objectmag.com
_____________________________________________
_____________________________________________
From: [log in to unmask]
Date: Thu, 31 Jan 2002 05:20:32 EST
Subject: Talking Pictures
To: [log in to unmask]
Talking Pictures (http://www.talkingpix.co.uk) has several new articles on
its website.
Alan Pavelin celebrates the work of Jacques Rivette; Adrian Gargett
analyses The Thin Red Line and looks at the hyper-style of Jean-Jacques
Beineix and at paranoid Hollywood movies; Poz Hulls compares Fight Club
with the Sixth Sense.
We also have several exclusive interviews by Carol Allen, and a tribute to
Douglas Adams by Darren Slade.
Cheers
Nigel Watson
Webmaster
_____________________________________________
_____________________________________________
Scope's New Book and Film Reviews and Conference Reports are now online.
Book Reviews
The Analysis of Film, By Raymond Bellour, A Review by Herman Wasserman
Dreams Within a Dream: The Films of Peter Weir, By Michael Bliss, A Review
by Graeme Harper
The Films of Fritz Lang: Allegories of Vision and Modernity, By Tom Gunning,
and M, By Anton Kaes, A Review by Dana Polan
Mean Streets and Raging Bulls: The Legacy of Film Noir in Contemporary
American Cinema, By Richard Martin, A Review by Karen McNally
Magical Reels: A History of Cinema in Latin America, By John King, A Review
by Dolores Tierney
Reel Nature: America's Romance with Wildlife on Film, By Gregg Mitman, A
Review by David Ingram
Reinventing Film Studies, Edited by Christine Gledhill and Linda Williams, A
Review by Kirsty Fairclough
Salò or The 120 Days of Sodom, By Gary Indiana, A Review by Luca Prono
When Hollywood Loved Britain: The Hollywood "British" Film 1939-45, By H.
Mark Glancy, A Review by Ian Brookes
Film Reviews
The Philadelphia Festival of World Cinema, 28th April 7th May 2001, A Review
Essay by Ruth and Archie Perlmutter
America's Sweethearts, A Review by A. Mary Murphy
Best in Show, A Review by Kate Egan
Exit Wounds, A Review by Francis W. Grady
Final Fantasy: The Spirits Within, A Review by Niran Abbas
Harry, Un Ami Qui Vous Veut Du Bien, A Review by Marco Mancassola
Highlander: Endgame, A Review by Marion Muirhead
Moulin Rouge, A Review by Elizabeth Abele
Nightbreed, A Review by Jay McRoy
Planet of the Apes, A Review by Geoffrey Weiss
Pollock, A Review by Lisa Rull
Shrek, A Review by Rebecca Farley
Sweet and Lowdown, A Review by Bill Davis
This is Spinal Tap, A Review by Paul Binnion
Tron, A Review by Will Brooker
Conference Reports
Metz and Modems: A Report on the Society for Cinema Studies Conference 2001,
by Matt Hills
Defying the Norm: Modern Representation of the Male Body: A Report on Men's
Bodies, 2001, A Report by Tom Wilkinson
Book Reviews
Mark
--
Dr Mark Jancovich
Reader and Director
Institute of Film Studies
School of American and Canadian Studies
University of Nottingham
Nottingham, NG7 2RD
United Kingdom
Tel: 0115 951 4250
Fax: 0115 951 4270
URL: http://www.nottingham.ac.uk/film
_____________________________________________
_____________________________________________
From: honor <[log in to unmask]>
Subject: Surveillance & Control: an event on surveillance technologies &
new media art, March, Tate Modern
FIRST ANNOUNCEMENT:
SURVEILLANCE + CONTROL
AT TATE MODERN
Surveillance and Control
A half-day conference in March
http://www.tate.org.uk/modern/programmes/events.htm
< sincere apologies to anyone who receives this twice, or receives this in
error. Please forward this to anyone you think may be interested >
TIMES AND DATES
1400 - 1830 [ GMT ]
1500 - 1930 [ Central European Time ]
0900 - 1330 [ US Eastern Standard Time ]
1930 - 0000 [ Indian / Culcutta Time ]
0100 - 0530 [ Australian Eastern Summer Time, 10 March]
0300 - 0730 [ New Zealand Summer Time, 10 March ]
LOCATION
Starr Auditorium, Level 2, Tate Modern, London, UK
INTRODUCTION
As part of Tate Modern's Interpretation and Education programme, a half day
conference on surveillance technologies and new media art will be take
place. SURVEILLANCE AND CONTROL considers widespread uses of electronic
surveillance, analysing recent social and political developments, and
asking how various surveillance technologies have impacted on new media art
practice.
Tickets £10 (£5 concessions)
Bookings are now being accepted for this event.
To book tickets to attend, please ring Tate Ticketing on: 020 7887 8888 or
email <[log in to unmask]>.
ABOUT THE EVENT
We are living in a medialised society. Surveillance devices are used
increasingly to monitor physical space, while the operation of global
interception systems show the vulnerability of electronic space. The
increasing ubiquity of surveillance has radically transformed the relation
between public and private spheres, as well as the very nature of political
and technological control.
This half day conference will probe recent developments in surveillance
debates. Investigative journalist, Duncan Campbell and media theorist,
Eric Kluitenberg look at issues such as the use of the English/American
automated interception and relay system, Echelon, and the controversial
Regulation of Investigatory Powers Act (RIPa), which updates UK law on the
interception of communications.
Presentations by artists, Marko Peljhan, Kate Rich and Julia Scher will ask
how artists are responding to, or subverting the surveillance strategies
employed by the commercial and governmental sectors.
ABOUT THE SPEAKERS
- - - Julia Scher, USA
Julia Scher is an artist, whoís work focuses on the subjects surveillance
and cyber-sphere. Aiming at the exposure of dangers and ideologies of
monitoring systems, Scher creates temporary and transitory
web/installation/performance works that explore issues of power, control
and seduction. She has lectured at Harvard University, Princeton University
and Rutgers University.
Online data: interview: http://www.rhizome.org/object.rhiz?2772
- - - Marko Peljhan, Slovenia
Marko Peljhan is a media artist and founder of the organisation, Projekt
Atol, which runs Makrolab, an autonomous communications, research and
living unit. Makrolab has been shown at documentaX in Kassel in 1997, on
Rottnest Island-Wadjemup, Australia in 2000, and will be installed at
Tramway in Glasgow, Scotland in 2002.
Online data: http://makrolab.ljudmila.org/
- - - Kate Rich, UK / Australia
Kate Rich is a video engineer for BIT (Bureau of Inverse Technology). BIT
develops data, tracking and visualisation devices for critical deployment,
such as the SUICIDE BOX vertical motion recorder, the BIT PLANE miniature
spyplane, and the BANG BANG camera network.
Online data: http://bureauit.org
- - - Duncan Campbell, UK
Scottish born Duncan Campbell is an investigative journalist, author,
consultant and television producer specialising in privacy, civil liberties
and secrecy issues. His best-known investigations have led to major legal
clashes with successive British governments. In 1988, he revealed the
existence of the ECHELON project, which has since 1997 become controversial
throughout the world and especially in Europe.
Online data: http://www.gn.apc.org/duncan
Chair:
- - - Eric Kluitenberg, Netherlands
Eric Kluitenberg is a writer, theorist and organiser of culture and
technology events. He lives in Amsterdam and currently works for De Balie,
Centre for Culture and Politics, where in 2001 he organised The Society of
Control - a event showcasing artists' use of electronic observation
technologies.
Online data: De Balie: http://www.balie.nl
WEBCAST
This event will be presented live on the Tate website, as part of Tateís
Webcasting Programme. You can experience the event live online in audio and
video using the Real Player.
To find out more, visit: <http://www.tate.org.uk/modern/programmes/webcasting>.
If you haven't experienced Tate Modern's webcasts before, please visit our
technical help page:
<http://www.tate.org.uk/modern/programmes/help.htm>.
MORE INFORMATION:
For more on this event, see:
http://www.tate.org.uk/modern/programmes/events.htm
or contact:
Honor Harger, Webcasting Curator, Interpretation & Education, Tate Modern
Email: [log in to unmask]
PH: (44) 020 7401 5066
For more information about Tate or getting tickets for the event:
Tate Box Office
Email: [log in to unmask]
PH: (44) 020 7887 8888
URL: http://www.tate.org.uk
_____________________________________________
_____________________________________________
From: Dan Streible <[log in to unmask]>
Subject: Call for Papers on newsreels
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Call for Papers: ?Re-Examining the Newsreel?
for WIDE ANGLE:
Journal of Film History, Theory, Criticism and Practice
For a half century, newsreel footage was produced in massive quantity
and exhibited incessantly around the world, covering a broad range of
geography and subject matter. As the building blocks of historical
documentaries, compilation films, and TV news programming, newsfilm
recorded from the 1910s through the 1960s also constitutes an important
element of contemporary nonfiction film and television. Therefore, the
critical and historical literature devoted to newsreel is due for
expansion and reconsideration.
This issue of WIDE ANGLE re-examines the history and status of the
millions of feet of newsfilm housed in archives around the world. We
seek essays that address the institutional and historical contexts in
which newsreel footage was created. How have newsreels represented
history and historical events? How is the material found in newsfilm
archives to be scrutinized as it is re-appropriated in contemporary
documentary and other works of cinema and media?
This WIDE ANGLE issue also aims to synthesize historical and archival
research with a critical studies approach. Manuscripts might address:
specific production companies, national case studies, methods and
contexts of production/distribution, the exhibition and reception of
newsreels, ideological critiques and interpretations of both original
newsreels and films that use news footage in alternate ways.
In addition to full-length manuscripts (ca. 5,000 ? 10,000 words),
publishable reference materials (bibliographies, filmographies, archival
guides, etc.) are also welcome.
By July 1, 2002, please send manuscripts to be considered for
publication to
Prof. Dan Streible
Dept. of Art (Film Studies)
University of South Carolina
Columbia, SC 29208
USA
Inquiries welcomed:
[log in to unmask]
(803) 777-9158 tele
(803) 777-0535 fax
About WIDE ANGLE
WIDE ANGLE presents some of today?s foremost scholarship in film studies
and examines a variety of topics ranging from international cinema to
the history and aesthetics of film. Each issue concentrates on a single
topic and offers extensively illustrated articles, interviews with
prominent filmmakers, and reviews of recent books in the field. The
journal?s unique thematic approach is well suited to course work,
facilitating assigned reading and classroom discussion on particular
film subjects. Readers include: scholars and students of film studies,
film department chairpersons, literary critics, bookstores, and film and
video producers.
WIDE ANGLE's policy is to encourage the publication of quality
scholarship employing diverse methodologies and espousing different
points of view. We invite articles and commentaries from all film and
television scholars and professionals. We also welcome translations of
articles related to each issue's theme and reviews of current books on
film and television.
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