_______ 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, 10 April 2002
New Publication:
Martin Rieser, Andrea Zapp, editors:
New Screen Media: Cinema/Art/Narrative
The British Film Institute (BFI), London/Center for Art and Media
(ZKM) Karlsruhe, 2002
The advent of new media presents a serious challenge to our
understanding of visual representation, of narrative and indeed the
whole art of the moving image. New narrative forms in hypertext,
multimedia, computer games, interactive broadcast and screen media
are constantly redefining the relationship between the creators of
content and their audiences, who increasingly are becoming the
co-producers of meaning.
This publication juxtaposes the work of leading cultural theorists
and philosophers of new media, against creative artists' attempts to
accommodate to these vehicles of content. The book shows how
classical narrative in many areas has been giving way to a new, more
fragmentary culture of drama. It re-purposes the use of critical
tools for discussing the inner design and immersive effects of the
new media forms and its social, political and cultural contexts.
Alongside a discussion of how these new stories relate to issues of
identity and the body, restructured temporal and spatial models and
interfaces, the book explores differing creative platforms such as
the Internet, Media Installation, Interactive Broadcast, CD-ROM and
Expanded Cinema. The artists, themselves exploring innovative
solutions, critically examine their own practice, with a special
focus on fiction-based forms of interaction.
The volume is presented with an accompanying DVD-ROM, featuring
extracts from some of the groundbreaking works discussed by leading
media theorists from Europe and the USA, including: Annika Blunck,
Alex Butterworth, Sean Cubitt, S=F6ke Dinkla, Jon Dovey, Timothy
Druckrey, Malcolm Le Grice, Lev Manovich, Peter Weibel, Paul Willemen
and John Wyver.
DVD-ROM
Made in conjunction with the ZKM Center for Art and Media, Karlsruhe,
Germany, this unique addition to the book provides a rich sampler of
interactive work and videos by which to explore the experimental
territory, where the cinematic and digital arts are converging in new
forms of narrative.
Such work has usually been shown in international gallery and
conference venues, which have been inaccessible to a general
audience. This compilation is carefully cross-referenced with the
book to open a comprehensive overview to a wider public. The
cross-platform DVD-ROM provides up to 4 Gigabytes of detailed
illustration and analysis of the work of artists and interactive
filmmakers from around the world, who are at the cutting-edge in
creating and critiquing these new hybrid forms of interactive
narrative.
Practitioners such as: Zoe Beloff, Michael Buckley, Luc Courchesne,
Toni Dove, Ken Feingold, Chris Hales, Graham Harwood, George Legrady,
Merel Mirage, Martin Rieser, Jill Scott, Bill Seaman, Jeffrey Shaw,
Eku Wand, Grahame Weinbren and Andrea Zapp are featured. A
representative selection of Installation forms, CD-ROM, Web, and
Broadcast are examined in depth.
=46or full details including how to order your copy see
www.bfi.org.uk/newscreenmedia
_______________
andrea zapp
www.azapp.de
artist-in-residence
Leverhulme Trust London/Dept. of Visual Arts, Univ. of Salford,
Greater Manchester
Tel. 44 (0)161 2956089, Fax -2952605 (studio), 44 (0)161 8657351 (home)
Martin Rieser/Andrea Zapp, editors:
New Screen Media. Cinema/Art/Narrative - Book and DVD
Publisher: British Film Institute (BFI), London and Center for Art
and Media (ZKM) Karlsruhe
January 2002
http://www.bfi.org.uk/newscreenmedia
www.amazon.co.uk
_____________________________________________
_____________________________________________
From: "Bureau of Public Secrets" <[log in to unmask]>
Subject: Films by Guy Debord
After being withheld from circulation for 17 years, all six of Guy Debord's
films were screened at the 2001 Venice Film Festival and it was announced
that they would all be made generally available again in spring 2002. The
opening is now scheduled for April 9-11 in Paris.
Ken Knabb has been asked by Alice Debord to make a new English translation
of Debord's complete filmscripts. This translation will be used for
subtitling, and will also be published in book form. If all goes well it is
likely that subtitled versions of all the films will be available within the
next year or so.
Meanwhile, you can find out more about Debord's films at:
http://www.bopsecrets.org/SI/films.htm
(soundtracks of two of the shorter films)
http://www.bopsecrets.org/PS/Debordfilm.htm
(on his film adaptation of his book "The Society of the Spectacle")
http://www.bopsecrets.org/SI/bibliog.htm
(filmography and latest news)
* * *
The Bureau of Public Secrets website features numerous texts by and about
Guy Debord and other members of the Situationist International, the
notorious avant-garde group that helped trigger the May 1968 revolt in
France.
BUREAU OF PUBLIC SECRETS
P.O. Box 1044, Berkeley CA 94701
http://www.bopsecrets.org
_____________________________________________
_____________________________________________
From: "David Gauntlett" <[log in to unmask]>
Hello, here's some news about developments at
Theory.org.uk - http://www.theory.org.uk - the website
of resources on media, gender and identity...
>> THEORISTS IN LEGO
See four of your favourite theorists in Lego form.
You can even view the complete new Lego
construction set, Lego 5230 Anthony Giddens
In His Study. See http://www.theory.org.uk
>> ANOTHER BOOTLEG TRADING CARD
The collection of Theory.org.uk Trading Cards
continues to grow because visitors keep making
extra cards. Last month we added cards on
Pierre Et Gilles and Girl Power. This month we've
received a card about Deleuze and Guattari
which you can now see at http://www.theory.org.uk
>> ACTUAL SERIOUS STUFF TOO
New resources include...
* A new essay on Ally McBeal by Judith Schroeter. Is
the skinny lawyer a positive role model? The essay
makes use of theory by Ulrich Beck.
* A new page discussing (post?)-feminist theorist
Angela McRobbie.
See http://www.theory.org.uk/new.htm
The other resources continue to be revised and
maintained too.
Many thanks for your interest,
Best wishes,
David Gauntlett
_____________________________________________
_____________________________________________
From: Dominique Fontaine <[log in to unmask]>
Subject: Press Release
Pour la version franÁaise :
http://www.fondation-langlois.org/f/informations/nouvelles/index.html
[ Veuillez excuser les envois multiples / apologies for cross-posting ]
**Press Release**
THE DANIEL LANGLOIS FOUNDATION AND POXY COMMUNICATIONS
ANNOUNCE THE PRODUCTION OF **ANARCHIVE 2 - MICHAEL SNOW**
http://www.fondation-langlois.org/e/collection/snow/index.html
Montreal, March 28, 2002 - The Daniel Langlois Foundation for Art, Science,
and Technology and poxy Communications are proud to announce they are
teaming up for the DVD-ROM **anarchive 2 - Michael Snow**, which will be
launched this fall. This co-production has been made possible thanks to
financial support from Telefilm Canada and assistance from Canadian Heritage
(the Museums Assistance Program) and the Canada Council for the Arts.
In collaboration with the artist Michael Snow, the Foundation has chosen a
selection of about 80 works to be illustrated and documented with images,
audio and video clips, and 2-D and 3-D animation along with documents from
the artist's archives. poxy is handling the design, production and artistic
direction of the DVD-ROM whose interface is being partly designed by Michael
Snow. The DVD-ROM will include a comprehensive database of all works by the
artist, lists of exhibitions as well as an exhaustive bibliography. For
further details on this project, consult the Foundation's site:
http://www.fondation-langlois.org/e/collection/snow/index.html
Michael Snow is among Canada's leading artists. In March 2000, his film work
earned him one of the country's highest distinctions, the Governor General's
Award for visual and media arts. A multidisciplinary talent, Snow works as a
painter, photographer, filmmaker and musician. His 1967 film Wavelength
revealed him as one of North America's foremost avant-garde filmmakers.
In the past decade, Snow has taken part in all the major exhibitions
focusing on images in the contemporary world. Among these exhibits: Passage
de l'image (mounted by the Centre Georges Pompidou), Projections, les
transports de l'image (first presented at the Centre Le Fresnoy) and the
Biennale d'art contemporain de Lyon (which in 1995 celebrated a century of
cinema). In addition, the Art Gallery of Ontario and the Power Plant at
Harbour Front put on a joint retrospective called The Michael Snow Project.
Recently, a major retrospective on Snow, Panoramique : oeuvres
photographiques et films = Photographic Works and Films : 1962-1999, was
held in Europe. Last year, the Arnolfini Gallery in Bristol, England,
presented Michael Snow: almost Cover to Cover, an exhibition that is now
touring England.
For the past two years, the Daniel Langlois Foundation has been involved in
developing and prototyping a bilingual DVD-ROM dedicated to Snow's work. The
disc will target the education market, particularly universities and art and
film schools. It is being produced in partnership with Anne-Marie Duguet of
the UniversitÈ de Paris 1 (Sorbonne-PanthÈon) and is part of anarchive, a
collection of CD-ROMs and DVD-ROMs exploring contemporary artists and
created with their assistance. This series began with anarchive 1 -
Muntadas: Media Architecture Installations. Two other DVD-ROMs are now in
the works. The first, which Anne-Marie Duguet is also putting together,
looks at the work of Nam June Paik. The second, for which the Foundation and
poxy have joined forces, investigates Snow's work.
ABOUT THE DANIEL LANGLOIS FOUNDATION FOR ART, SCIENCE, AND TECHNOLOGY
The Daniel Langlois Foundation's purpose is to further artistic and
scientific knowledge by fostering the meeting of art and science in the
field of technologies. The Foundation seeks to nurture a critical awareness
of technology's implications for human beings and their natural and cultural
environments, and to promote the exploration of aesthetics suited to
evolving human environments. The Center for Research and Documentation
(CR+D) seeks to document history, artworks and practices associated with
electronic and digital media arts and to make this information available to
researchers in an innovative manner through data communications.
ABOUT POXY COMMUNICATIONS
poxy, which celebrates its 10th anniversary this year, is a development
studio working in technology, culture and branding. Based in Montreal and
Paris, poxy offers such services as branding, 2-D and 3-D graphic design,
graphic animation for new media and cinema, and interactive communications
(mobile telephony, Internet, CD-ROM and DVD-ROM). Its creative talent has
garnered poxy many national and international awards. poxy's diverse
client list includes Softimage, Avid Technologies, Getty images, Domtar,
Labatt Breweries, Orage, MindAvenue, Lightworks, Liberty, Interbrew, Papiers
Rolland and Dharma Resorts.
SOURCES
Jean Gagnon, Director of Programs, Daniel Langlois Foundation
Audrey Navarre, Assistant of the Director of Programs
(514) 987-7177, [log in to unmask]
www.fondation-langlois.org
Jean-SÈbastien Ouellet, General Manager
poxy Communications
(514) 866-6900, Ext. 222, [log in to unmask]
www.epoxy.ca
INFORMATION
ValÈrie Gonzalo
(514) 626-6976, [log in to unmask]
Marie & June inc.
(514) 270-5005, [log in to unmask]
_____________________________________________
_____________________________________________
From: "ROY ASCOTT" <[log in to unmask]>
Sent: Wednesday, March 27, 2002 4:47 AM
Subject: new journal: technoetic arts
technoetic arts
an international journal of speculative research
edited by Roy Ascott
CAiiA-STAR.net
Editorial Advisory Board
Annick Bureaud, Observatoire Leonardo des arts et des technosciences, Paris
Oron Catts, SymbioticA, University of Western Australia, Perth
Mohammed Aziz Chafchaouni, Foundation Al Andalus, Rabat
Monika Fleischmann, Fraunhofer Institut Medienkommunikation, Bonn
James K. Gimzewski, California NanoSystems Institute, UCLA
Steve Grand, Cyberlife Research, Shipham
Piet Hut, Institute for Advanced Study, Princeton
Eduardo Kac, School of the Art Institute of Chicago.
Pierre Levy, University of Ottawa
Luis Eduardo Luna, Center for the Study of Psychointegrator Plants,
Visionary Art and Consciousness, Florianoplos.
Ryohei Nakatsu, ATR Media Integration & Communications Research
Laboratories, Kyoto
Marcos Novak, Architect Los Angeles
Emanuel Dimas de Melo Pimenta, ASA Art and Technology, Lisbon /S“o Paulo
Edward Shanken, ISIS Research Center, Duke University, North Carolina
Neil Spiller, Bartlett Faculty of Built Environment, University College
London
Barbara Maria Stafford, Department of Art History, University of Chicago
Evan Thompson, Department of Philosophy, York University, Toronto
Victoria Vesna, Design|Media Arts, UCLA
Stephen Wilson, Conceptual/Information Arts, San Francisco State University
Won-Kon YI, Dankook University, Seoul
This peer-reviewed journal presents the cutting edge of ideas, projects and
practices arising from the confluence of art, science, technology and
consciousness research. It has a special interest in matters of mind and the
extension of the senses through technologies of cognition and perception. It
documents accounts of transdisciplinary research, collaboration and
innovation in the design, theory and production of new systems and
structures for life in the 21st century, while inviting a re-evaluation of
older worldviews, esoteric knowledge and arcane cultural practices.
Artificial life, the promise of nanotechnology, the ecology of mixed reality
environments, the reach of telematic media, and the effect generally of a
post-biological culture on human values and identity, are issues central to
the journal's focus.
Contributions may be between 3000 and 7000 words
and should be accessible to the non-specialist reader.
Editor's email: [log in to unmask]
Author's guidelines are to be seen at:
www.intellectbooks.com/sub/note_a.htm
Publishers:
Intellect Books
www.intellectbooks.com
PO Box 862, Bristol BS99 1DE, England
_____________________________________________
_____________________________________________
From: "Paul D. Miller" <[log in to unmask]>
Subject: The European Graduate School
Hey folks, this is a project I'm working on with folks like Jean
Baudrillard, John Waters and Slavoj Zizek etc etc it's a pretty
heavy/intense theory scene, and well, I just wanted to make sure the list
knows about it. Basically people show up at a remote region in Switzerland
and you hang out with various philosophers etc etc for a couple of weeks.
It's a pretty chilled out scene. Essentially it's a PHD program with some
of the more dynamic minds invoved with conteporary architecture,
philosophy, and media/design. And the degree is at the same level as
places like Yale etc etc It's kind of like the Black Mountain College
scene in the 1960's... If anyone is interested, just check out the
website. This year is already set up, but if anyone's interested for next
year, well... let me know.
peace,
Paul
Here's a brief blurb about the program:
http://www.egs.edu/
The European Graduate School EGS Media and Communications program,
aiming at creative breakthroughs and theoretical paradigm shifts,
brings together master's and doctoral students with the visionaries and
philosophers of the media world who teach about art, media,
communications, film, internet, web and cyberspace studies from a
cross-disciplinary perspective.
Our faculty includes, Giorgio Agamben, Chantal Akerman, Pierre
Aubenque, Alain Badiou, Jean Baudrillard, Yve-Alain Bois, Victor
Burgin, Tracey Emin, Christopher Fynsk, Peter Greenaway, Donna Haraway,
Martin Hielscher, David Lynch, Jean-Fran=E7ois Lyotard=DD, Paul D. Miller
a.k.a. Dj Spooky that Subliminal Kid, Carl Mitcham, Jean-Luc Nancy,
Jochen Poetter, Avital Ronell, Wolfgang Schirmacher, Michael Schmidt,
Sandy Stone, Fred Ulfers, Gregory Ulmer, Victor J. Vitanza, Hubertus
von Amelunxen, John Waters, Samuel Weber, Siegfried Zielinski, and
Slavoj Zizek.
The comprehensive program of the European Graduate School EGS is
distinguished by the cordial interaction of eminent faculty members
with students who are the best of the cybergeneration. A true
international mix, they are outstanding college graduates as well as
filmmakers, artists, web designers, computer programmers, college
instructors, writers, actors, photographers, theater directors,
teachers, journalists, graphic designers, musicians, critics, and
editors.=20
The selection process of the Media and Communications program at the
European Graduate School EGS is stringent and personal. We consider
only fiercely independent students who work well within a program
combining distance learning, studies and limited residency in Saas-Fee,
Switzerland. Our students are expected to choose their own emphasis and
area of concentration as supported by their Master's and Doctoral /PhD
thesis / project. The language of instruction is English.
"None are more hopelessly enslaved than those who falsely believe they are
free...."
Johann Wolfgang von Goethe
Port:status>OPEN
wildstyle access: www.djspooky.com
Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid
Subliminal Kid Inc.
Office Mailing Address:
Music and Art Management
245 w14th st #2RC NY NY=20
10011
_____________________________________________
_____________________________________________
From: Vladimir Padunov <[log in to unmask]>
Russian Film Symposium 2002: Imperial Fatigue
http://www.rusfilm.pitt.edu
Unlike much of Europe in the early twentieth century, Russia did not
replace a dynastic-religious empire with a nation-state. Instead, it had
substituted its dynastic empire with a socialist one, enduring
three-quarters of a century. In the years after the 1991 collapse of the
USSR, the critical task facing Russia's leadership was not "merely" the
appropriation of an existing structure. Instead, for the first time in
Russia's thousand-year history, the task was to forge a nation-state
from the remains of Europe's last multinational empire, the third
largest empire in human history. "Imperial Fatigue" presents a selection
of recent films that trace, directly or indirectly, Russia's sloughing
off of its imperial burden and reconstitution as a nation-state when the
very function of the nation-state is called into question.
Monday, 29 April - Sunday, 12 May 2002 (films with English subtitles;
exhibits; readings and performances)
_____________________________________________
Vladimir Padunov
Department of Slavic Languages and Literatures
1433 Cathedral of Learning voice: 1-412-624-5713
University of Pittsburgh FAX: 1-412-624-9714
Pittsburgh, PA 15260 [log in to unmask]
Russian Film Symposium http://www.rusfilm.pitt.edu
_____________________________________________
_____________________________________________
Date: Wed, 6 Mar 2002 08:47:37 -0600
From: samantha krukowski <[log in to unmask]>
Subject: join KINETICS
Convergent Media Program,
Department of Radio-TV-Film,
University of Texas at Austin
presents...
KINETICS, a new listserv
devoted to conversations about:
experimental media
analog and digital exchange
post-cinematics
and synaesthetic production
To subscribe, send an email to
<mailto:[log in to unmask]>[log in to unmask]
Include in the body of the text:
subscribe kinetics yourfirstname yourlastname
soon after you will receive a confirmation email with further details
and specific information
regarding this listserv
Hope to see you there.
- - --
Dr. Samantha Henriette Krukowski
Convergent Media
Department of Radio-Television-Film
University of Texas at Austin 78712
www.actlab.utexas.edu
512.471.4222
synapsestudio
www.rasa.net/samantha
_____________________________________________
_____________________________________________
Date: Thu, 07 Mar 2002 01:03:53 GMT
From: "Synne Bull" <[log in to unmask]>
Subject: NET.FILM
The characteristics of NET.FILM:
Today's software and rapidly increasing bandwidth capabilities enable
new ways of experiencing the Internet. One of the ways in which this is
explored is in the concept of NET.FILM. NET.FILM relies on the motion
picture language in displaying the online content. The following manifesto
describes the specificities of the NET.FILM in detail:
1. The term NET.FILM is used to describe a certain types of web pages that
calls upon the perception of film using the WWW browsers.
2. NET.FILM incorporates the multimedia nature of the Internet.
3. The Internet platform gives NET.FILM the ability to change content
and structure at any time.
4. NET.FILM is assembled for the viewer in the very moment of the
activation of its link.
5. The different files that make up the structure of the NET.FILM can
change at any time. The film always stays in separate components.
NET.FILM is therefore never fixed. It can change from one second to
another.
7. NET.FILM can be modified only by the authors that have access to the
servers were the components reside. Thus, the authors of the movie are
always known.
8. The NET.FILM makers always have the possibility to change or add
content.
9. NET.FILM is programmed to refresh itself and to call its components
without interaction by the viewer.
10. The browser is used as a "projector" for the NET.FILM.
11. The collaborative aspect of NET.FILM is essential and will be
present in the viewers mind when he/she knows that the film being
watched could change its appearance at any time.
12. NET.FILM is different from all other types of film because its
parts reside as separate files on a server.
13. The NET.FILM viewer does not participate by physical interaction
but mentally as with any other film experience. Instead of having an
on-click navigation, the NET.FILM plays all its components automatically in
the way it is programmed.
14. Any web page with the <REFRESH> tag that leads the viewer through its
content, and makes intentional meaning-structure out of this, could be
regarded as a NET.FILM.
----------------------------------------------------------------------------
-------------------
"NET.FILM" is part of the online section of "The Ides of March", the 3rd
Biennial exhibition at ABC No Rio Gallery ( http://www.abcnorio.org ). The
show will be up between 3/15/02 - 4/11/02 and the "NET.FILM" web site will
be launched at the opening reception, March 14th.
"NET.FILM" will include works by the following artists:
-BULL.MILETIC
-Katie Bush
-Young-hae Chang + Marc Voge, HEAVY INDUSTRIES
-Vuk Cosic
-Graham Milton, BEWARE THE ROBOTS
-Motomichi Nakamura
"The Ides of March" will also feature other online work by ABC No Rio
associates.
_____________________________________________
_____________________________________________
WORLD CINEMAS
identity
culture
politics
25-27th June 2002
University of Leeds
Keynote speakers include Dudley Andrew, Pamela Church Gibson, Richard Dyer,
Peter Evans, Alec Hargreaves, Michael Chanan
Panels on:
Snapshots: national cinema/world cinemas
National identity (internationalising national cinema)
Violence in the movies
Screening Homosexuality
Stars and Stardom
Sub-national groups
Women/identity/nation
Post-dictatorships
Film and gender
World cinema and Hollywood
Women behind the camera
National identity in crisis
Postcolonialism
Language and Music
Popular/carnival v. elite
Transculturation and transgression
Work-in-progress film showing by the Leeds University Institute of
Communication Studies.
For programme and registration details see
http://smlc01.leeds.ac.uk:8095/smlcweb/conference/Conference.htm
or contact: Ken Hargraves, Dept of Spanish and Portuguese, The University of
Leeds, Leeds LS2 9JT, England, e-mail [log in to unmask], or by fax to
(44)o)113 2333517
Professor Diana Holmes, Dept of French, The University of Leeds, Leeds LS2
9JT, England, e-mail [log in to unmask]
_____________________________________________
_____________________________________________
The American West(s) in Film, TV, and History
7 to 10 November 2002, Kansas City, Kansas, United States
UPDATE
Please note that the deadline for proposals for this
conference has now been set for 15 August, 2002. See
web site for Areas of Study within this topic and Area
Chair contact information.
This conference is an outgrowth of activities by Film &
History and its membership group, the Film and History
League.
E-mail enquiries: Peter C. Rollins, Editor, Film & History [log in to unmask]
Website: http://www.filmandhistory.org
Organized by: Film and History League; Film & History: An Interdisciplinary
Journal of Film and Television Studies
_____________________________________________
_____________________________________________
From: IFS <[log in to unmask]>
Subject: 2002 Robert Flaherty Film Seminar
MIME-Version: 1.0
Content-Type: text/plain; x-mac-type="54455854"; x-mac-creator="4D4F5353"
Content-Transfer-Encoding: 8bit
FOR IMMEDIATE RELEASE
From: Margarita De la Vega-Hurtado, Acting Director, IFS
March 4th, 2002
IFS presents:
THE 48TH ROBERT FLAHERTY FILM SEMINAR
Friday June 14 - Friday June 21, 2002
VASSAR COLLEGE, POUGHKEEPSIE, NY
This year’s Seminar is programmed by ED HALTER, Director of the New York
Underground Film Festival and contributing film critic for The Village
Voice and other publications. Frances Flaherty founded THE ROBERT
FLAHERTY FILM SEMINAR in 1955 to nurture exploration, introspection and
dialogue about the art and craft of the moving image and its potential
to illuminate the human spirit. This event celebrates the memory of
Robert Flaherty and his spirit of exploration and innovation, artistry
and vision. Works shown at the Seminar range from non-fiction, the
traditional domain of the Flaherty, to experimental, fiction, and new
media works. The unique “Flaherty experience” grows out of the
screenings and the intense and intimate discussions that follow.
Looking back to the roots of independent media and forward to the new
auteurs of tomorrow, Flaherty Seminar 2002 presents an exciting and
edifying spectrum of work from the world of underground cinema,
nonfiction filmmaking, and experimental art. This year's guests
include: Jem Cohen, Frank Scheffer, Jeff Krulik, James Fotopoulos,
Elisabeth Subrin, Roddy Bogawa, Sam Green, Suki Hawley and Michael
Galinsky, Kevin Everson, Robert Banks, Ela Troyano and many other guests
and surprise films.
The Seminar is open to all artists, practitioners, students and
enthusiasts of film and video. Find out more about the seminar or
register online at WWW.FLAHERTYSEMINAR.ORG. Registration has already
begun. Space for the seminar is limited so please register early.
Grants-in-Aid are available to qualified candidates to attend the
seminar. Grants-in-Aid is a general category of support for those
interested in, and involved with film and video. Geraldine R. Dodge
Fellowships are available to New Jersey residents to attend the 2002
Flaherty. The application deadline for Grants-in-Aid and the Dodge
Fellowships is April 19, 2002.
Contact:
International Film Seminars
198 Broadway, Room 1206
New York, NY 10038
(212) 608-3224
[log in to unmask]
WWW.FLAHERTYSEMINAR.ORG
International Film Seminars
198 Broadway, Room 1206
New York, NY 10038-2515
T: 212 . 608 . 3224
F: 212 . 608 . 3242 (please call first)
http://www.flahertyseminar.org
_____________________________________________
_____________________________________________
Table of Contents for
Screen, Volume 42, Issue 3: Autumn 2001.
Available on the World Wide Web at:
http://www3.oup.co.uk/screen/hdb/Volume_42/Issue_03/
Editorial,
pp. 245-248.
A sociology of the cinema: the audience,
E Altenloh, pp. 249-293.
The Boys Don't Cry debate. The transgender gaze in Boys Don't Cry,
J Halberstam, pp. 294-298.
The class character of Boys Don't Cry,
L Henderson, pp. 299-303.
Reviews,
pp. 304-311.
_____________________________________________
_____________________________________________
From: "Ian Buchanan" <[log in to unmask]>
[log in to unmask]
symploke, a journal of comparative theory and literature, seeks submissions
for its special issue Theory Trouble (Vol. 11, no. 1). Welcome are
contributions discussing the current and future status of theory in the
humanities. Is theory in trouble? What are the sources of this trouble? What
is left of theory? Has theory lost its relevancy and critical edge? Has it
lost the self-identity that it once had? How important is it for theory to ask
self-reflexive questions about what it is and does? Is self-reflexivity linked
to relevancy? Send manuscripts by 15 August 2002 to the Editor, Jeffrey R. Di
Leo, symploke, Department of English (MC 162), University of Illinois at
Chicago, 601 South Morgan St., Chicago, IL 60607-7120 (fax: 312-413-1005). See
www.symploke.org for submission details. Inquiries, questions, comments:
[log in to unmask]
_____________________________________________
_____________________________________________
From: Geoff King <[log in to unmask]>
Subject: The Spectacle of the Real (London) 6/30; 1/25-6/03
The Spectacle of the Real
>From Hollywood to ‘Reality’ TV and Beyond
Brunel University, London, 25-26 January 2003
Hollywood special effects offer spectacular creations or re-creations
that make claims to our attention on the grounds of their
‘incredible-seeming reality’. They can appear both ‘incredible’ and
‘real’, their appeal based on their ability to ‘convince’—to appear real
in terms such as detail and texture—and on their status as fabricated
spectacle, to be admired as such. At a seemingly very different end of
the audio-visual media spectrum, ‘reality’ television offers the
spectacle of, supposedly, the ‘real’ itself, a ‘reality’ that ranges
from the banality of the quotidian to intense interpersonal engagements
(two extremes experienced in Big Brother, for example).The two also
overlap, however, nowhere more clearly and jarringly than in the
ultimate ‘spectacle of the real’, the destruction of the World Trade
Center in New York, live television coverage of which evoked constant
comparison with big-screen fictional images.
Impressions of the ‘real’ or the ‘authentic’ (or the authentic-seeming)
are valued as forms of media spectacle in a number of other contemporary
media forms. Other examples include the ‘uncanny’ verisimilitude of the
latest developments in computer-generated animation displayed in films
such as Final Fantasy: The Spirits Within (2001) and Shrek (2001), and
the recent tendency to include scenes of real sexual intercourse in more
‘legitimate’ forms of cinema (even if this has been confined to the
‘continental art film’ sector).
The aim of this conference is to explore some of the issues emerging
from this fascination with both the impression of ‘reality’ and the fact
that it is often presented and experienced as a form of spectacle; or,
alternatively, the fascination with the spectacular and the fact that it
is often considered in terms of its apparent ‘realism’. Broad questions
we wish to explore through the examination of a wide range of textual
material concern the nature and different forms of both ‘spectacle’ and
of ‘the real’ (along with ‘reality’, ‘realism’ and ‘authenticity’); and,
especially, the points of conjuncture between the two. If the term
‘spectacle’ tends to orient us towards the big-budget Hollywood
productions, for example, we also wish to consider its wider resonances.
How, for instance, are heightened moments of spectacle, such as those
found in overtly visible special effects sequences, marked off
differently from the spectacle of audio-visual production more
generally? Other potential questions to be addressed include issues of
consumption:
how do different forms of spectacle mobilize (or seek to mobilize)
different kinds of spectatorship and what kinds of pleasures or other
engagements do they entail? What are the similarities and differences
between Hollywood spectacle and that produced in other geo-cultural
contexts. And if ‘spectacle’ ranges across forms as diverse as the
Hollywood blockbuster, videogames and ‘reality’ TV, what about more
overtly political interventions that seek to question or reject the
practices of the commercial mainstream. In this context, the term
‘spectacle’ evokes the broader social critiques of consumer capitalism
associated with figures such as Guy Debord or Walter Benjamin and the
‘anti-spectacular’ strategies pursued by elements of the political
avant-garde.
Proposals for papers are invited across this range of issues, in film,
television and new media. Please send proposals of 350-400 words to
Geoff King, Film and TV Studies, Lecture Centre, Brunel University,
Cleveland Road, Uxbridge UB8 3PH or e-mail to [log in to unmask]
by 30th June, 2002.
--
Dr Geoff King
Course Director
Film and TV Studies
Brunel University
01273 690683
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From: Deborah Jermyn <[log in to unmask]>
Subject: CFP - 'From Here To Reality - Reality TV and its Contexts'
MIME-Version: 1.0
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Please forward the following to all subscribers - thank you.
Call for Papers:
From Here to Reality: Reality TV and its Contexts
edited by Su Holmes and Deborah Jermyn, Southampton Institute, UK
Proposals are sought for an edited collection on Reality TV. The explosion
of Reality TV has transformed the contemporary television landscape. The
formats, images and conventions of reality programming have been stitched
into the very fabric of television - its institutional structures,
economics, schedules and viewing cultures - to an extent unimaginable just
five years ago. The book seeks to explore this shift by focusing on the
emergence and significance of Reality TV and its production and consumption
in specific programme forms. While the form encompasses a range of
programming, we welcome proposals which examine:
· The use of 'ordinary people' placed in 'extraordinary' situations
(for example Big Brother, Eden, Survivor, Shipwrecked, Castaway 2000,
PopStars, Pop Idol, Bar Wars, Faking It)
· The use of 'real' footage recorded by journalists/ emergency
services/ CCTV
The editors seek contributions exploring the contemporary cultural
significance of Reality TV for both broadcasters and viewers, including the
following:
· Broadcasters:
· Global formats
· National differences
· Comparisons between commercial/ public service broadcasters
· Strategies of particular channels
· Industry discourse
· Marketing/ promotion
· Text:
· Historical emergence of Reality TV
· Genre boundaries/ generic hybridity/ intertextual relationships with
other programme forms
· Press and/or industry definitions/ responses/ construction of
cultural value/ criticisms
· Methodological approaches to hybrid texts
· Technological/aesthetic construction of Reality TV
· Reality TV and media convergence
· Interactivity
· Construction of melodrama/ realism/ the 'ordinary'
· Construction of stardom/ celebrity/ success
· Representation of identity - gender, class, sexuality, 'race',
ethnicity
· The politics of surveillance/ 'voyeurism'/ 'exploitation'/
'exhibitionism'
· Ideological representation of 'deviance'/ crime
· Audience/ Consumption
· Programme address
· The promise of Reality TV - interactivity/ 'empowerment'
· The intertextual circulation of Reality TV - Internet, press,
magazines
· Fan responses
· Comparative responses to shows in different national contexts
· Relationships between viewers and 'performers'
Please send proposals of approximately 500 words with a short CV by June 1
2002 to:
Su Holmes and Deborah Jermyn
Faculty of Media, Arts and Society
Southampton Institute
East Park Terrace
Southampton SO14 0YN
U.K.
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