From: "Myer C (HaSS)" <[log in to unmask]>
Dear Friends
There have been many good responses from across the globe for abstracts
for the November conference in Wales. We have extended the deadline for
abstracts to June 30th. Please let me know by return if you would like
to give a paper or attend.
Best wishes
Clive Myer
Director
The Film Academy
University of Glamorgan
Pontypridd CF37 1DL
Tel: 01443 654111
Fax: 01443 654067
email: [log in to unmask]
CILECT CONFERENCE
Centre International de Liaison des Ecoles de Cinéma et de Télévision in association with Sgrin the Media Agency for Wales and the National Association for Higher Education in the Moving Image (NAHEMI)
KALOS -K'AGATHOS
THEORY FOR FILM SCHOOLS 3
Hosted by
THE FILM ACADEMY
The University of Glamorgan
BEYOND THE THEORY OF PRACTICE
VENUE
CARDIFF SCREEN FESTIVAL
WALES
20 - 22 NOVEMBER 2003
CALL FOR PAPERS
Recent developments in film theory evaluate questions for both the place
of theory and the place of practice. They reopen issues of subject and
object and challenge the assumptions of the viewer and the viewed.
Cinema, it could be said, knows us better than we know it. That the gaze
of the screen may be stronger than the look of the spectator is a
powerful enough indictment of the empire of cinema. Our resolve as
subjects of and to this cultural empire is to find our place in its
world, beyond the screen's depiction.
Conversely, the shared enthusiasm between filmmakers, film theorists,
film students and film audiences to willingly embrace and encompass the
field of cinema, its pleasures, its pains and its plenitude suggests
that we take time to consider the relationship between maker and reader,
between practitioner and theorist, between theory and practice.
Filmmakers from Eisenstein to Godard produced seminal works in both film
and theory and many filmmakers and writers during the past thirty years
have developed both practices hand in hand.
What sort of films and practices are filmmaking students engaging with
today? Are they challenging audiences and extending the language of
practice? With an increasing number of film schools and film courses,
what new questions are being raised for and by our graduating students?
Are we providing the relevant insight for raising complex issues of
theory/practice or are we simply stretching the divide?
The theory of film practice and its discursive relationship with
filmmaking, can too easily be mistaken for cinema studies or cinema
history and many film schools today still separate theory from practice,
knowledge from craft, art from skill. Cinematic theoretical practice,
prevalent from early cinema to postmodern film, television and art
practices have impacted upon and changed the very medium itself. German,
Expressionism, Soviet Cinema, Italian Neo-Realism, French New Wave, New
American Cinema and (arguably) Danish Dogme as well as many individual
independent filmmakers across the world have challenged and advanced
cinema language beyond the economic realm of the formulaic.
This conference aims to address the importance of theoretical practice
today and evaluate its influence on film teaching and the film audience.
It is intended to bring together an international community of
filmmakers, film theorists and educators in order to consider future
strategies for the practice of film and theory in a 'post-theory'
intellectual environment. The topics set out below are intended as
guidelines for the conference although the scientific committee welcomes
proposals covering all aspects of this crucial issue.
Papers addressing the topics identified below will be welcomed along
with proposals for papers on other issues concerned with the future of
theory and practice especially in education:
* Discursive Practice
Praxis and the inter-relation of theory and practice. Theoria and
the act of looking. Beyond the New Wave - practice as theory. From
Eisenstein to Godard to Kiarostami. Contributions to new knowledge - the
PhD by Practice.
Philosophy of and in practice.
* Film as Art
The challenge to commerce - art or industry? Post-Classical film and
the crisis of exhibition. From Third World Cinema to World cinema - the
barrier of English language cinema. Teaching the 'Other' - non-normative
filmmaking. The art debate in film history.
* The Film School Laboratory
Breaking the mould - at the edge of the craft. Pushing the
boundaries - experiments with form and content. Film as research by
practice. Teaching the codes of production - not all owned by commerce.
What is to be undone? - breaking the inertia.
* Misunderstanding Audience
Demystifying the personal - the audience as object of the film.
Cultivating audiences - or giving the audience what the industry wants?
Creating new audiences. Reception theory. The post-Lacanian place of the
viewer.
* Narrativity in Threads
Do structures of narrative determine and define the place of the
viewer? How have books on scriptwriting affected film school production?
Are 'open' structures teachable? Does narrativity itself contain the
problematic of new thinking?
* Documentary Challenges
Cinema theory and practices grew from documentary and fictional
beginnings. Why is there such a chasm between fact and fiction? How do
documentary practices define themselves in their apparent similitude
with reality?
* Theorising Television
How is television received in difference to cinema? Has it the
cultural prerogative? Does institutional and economic power negate
aesthetic exploration? Does television cut across fact and fiction in
its omnipresence and ubiquity?
Conference Chair:
Clive Myer
Director of The Film Academy
University of Glamorgan
Wales
Associate Chair:
Steve Blandford
Associate Head of Humanities & Social Science
University of Glamorgan
Wales
Series Chair:
Igor Korsic
Professor of Film History & Theory
Academy of Theatre, Radio, Film and Television
Ljubljana
Slovenia
Please indicate expressions of interest for attendance or presentations
including area of interest on receipt of this email to:
[log in to unmask]
* Expressions of interest for papers or attendance should be received by
return
*
* Abstracts (500 words as an attachment in Microsoft Word) should be
received by June 30th 2003
* Include in your submission the title of the paper, full name(s) of
author(s), institutional affiliation(s), and your mailing address,
including email/phone/fax/and URL if applicable
* Your abstract must be accompanied by a declaration of intention to
attend the conference.
* Presentation papers should be no more than 20 minutes including
media.
*
* Articles developed from conference papers will be considered for
publication in the peer-reviewed Journal of Media Practice
*
*
* Conference costs:
Three days residential in Cardiff hotels and inclusive of conference
fees, lunches and gala party - approx. costs £300(2 star)/£400(3
star)/£500(4 star) (please state preference)
Non-residential inclusive of conference fees, lunches and gala party -
£150
In order to be included in the Conference Programme, publicity and
announcements, including the Website, the Registration Fee must be paid
no later than 20th September 2003.
* Programme Committee:
Clive Myer, Director of The Film Academy, University of Glamorgan, Wales
Professor Igor Korsic, Akademija za Gledalisce, Radio, Film in
Televizijo, Ljubljana, Slovenia
Dr Michael Punt PhD, Editor-in-Chief, Leonardo Digital Reviews, MIT
Press.
Dr Graeme Harper, Director of the Centre for Advanced Development of the
Creative Industries and Director of the Centre for the Creative and
Performing Arts, University of Wales, Bangor
Yossi Bal, Chair of the National Association for Higher Education in the
Moving Image.
John Adams, Editor of the Journal of Media Practice, University of
Bristol, England
Pavel Jech, FAMU, Filmova a Televizni Fakulta Akademie, Prague, Czech
Republic
BEYOND the Theory of Practice Conference convened by Clive Myer
Director
The Film Academy
University of Glamorgan
Pontypridd CF37 1DL
Tel: 01443 654111
Fax: 01443 654067
email: [log in to unmask]
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