| | F I L M - P H I L O S O P H Y | | | |
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| | | Journal : Salon : Portal | ||| | |
| ISSN 1466-4615 | | |
| || PO Box 26161, London SW8 4WD | | | |
| | http://www.film-philosophy.com | | | |
| | | | 2004.02.25 Film-Philosophy News | | | | | |
CORPOREAL REALISM
Nagisa Oshima and the Japanese Nouvelle Vague
A Leverhulme Lecture by LUCIA NAGIB
Tuesday, 2 March 2004 - 6pm
Birkbeck, University of London
Room 1, 43 Gordon Square
London WC1H 0PD
To reserve a place, please call 020 7631 6112
Lucia Nagib is Leverhulme Trust Visiting Professor at the School of
History of Art, Film and Visual Media, Birkbeck, University of London
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For a proposed special session at the 2004 MLA Convention in
Philadelphia, December 2004:
"The Duration of the Ephemeral:
Theorizing Fugitive Sensations in Film & Literature"
Scholars froma variety of fields have been increasingly intrigued by the
ways moments, sensations, and "feelings" experienced as ephemeral
nonetheless endure--in memory, as perceptions, even as the shape or form
of a thought. In the process of articulating the endurance of ephemeral
phenomena as it materializes in literary texts, cinematic texts, and in
teh history of reading and viewing, we discover the undisciplined murk
out of which our current disciplines and methods emerge.
In the field of early cinema history, for example, Mary Ann Doane's recent
_Cinematic Time: Modernity, Contingency, and the Archive_ shows how the
cinema, "representing the sincular instant of chance and ephemerality in
the face of increasing rationalization, participated in the structure of
time and contingency in capitalist modernity" (Doane). Similarly ephemeral
phenomena periodically mark the history and reception of the novel, when a
text or a context of reading confronts the reader with a feeling, and the
feeling passes into the stuff of literary history. In a sense, many of us
are working to "make" the ephemeral "endure," if no where else than in a
scholarly capture of ephemera, or in exploring phenomena that have no
name, yet belong to our disciplines' prehistories.
This proposed panel calls for papers that attempt to articulate the
endurance of phemeral phenomena and fugitive sensations, be they fugitive
in the experience of the reader/viewer, or fugitive in the structure of
the narrative we attend to.
Send 500 word (max) proposals by March 20, 2004 to:
Rebecca Gordon,
Department of English
Indiana University
Bloomington, IN 47405
Email attachments welcome: [log in to unmask]
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STILLNESS AND TIME: PHOTOGRAPHY AND THE IMAGE
KENT INSTITUTE OF ART AND DESIGN, CANTERBURY
FRIDAY 7TH AND SATURDAY 8TH MAY 2004
The photograph has traditionally been seen as a quintessentially still
image. Its ability to freeze and hold a moment in time has been the source
of its peculiar fascination and the foundation of much of the theoretical
discussion about it. Today, however, the notion of the still image seems
less absolute. Within the last decade technological developments have
fundamentally altered the way in which we think about the still and the
moving image. In particular the convergence of photography and digital media
has challenged our concepts of the photographic, and of the relationship
between movement and time. Photographic artists extend the still image in
time through the use of film and video, and photographic images may actually
be derived from film stills or fragments of video. The intertwined histories
of photography and film and video also remind us of the complex ways in
which photography has interacted with the cinematic imaginary: referencing
it, representing it and plundering its visual language. This conference
offers an opportunity to rethink the concept of the photographic still and
the notion of stillness, within the culture of the moving image.
Amongst the issues this conference seeks to address are:
* What is the relationship between visual technologies, the recording
of movement and the production of time?
* How have contemporary visual art practices contributed to our
understanding of the concept of stillness and duration?
* What different temporalities are invoked by the photographic still,
the video still and the projected image?
* In what ways have electronic and digital technologies redefined our
understanding of the medium and what consequences does this have for our
understanding of spectatorship?
* How can our experience of one technology be imagined through another
and what implications might this for a theory of the image?
FRIDAY 7TH MAY
HUBERTUS V. AMELUNXEN is Director of The International School of New Media,
Lübeck, Germany and the Senior Visiting Curator of the Canadian Centre for
Architecture, Montréal. He was the editor of Fotogeschichte and has
published widely on philosophical aspects of photography and new media. He
is the author of several books, among them Allegory and Photography (1992)
and the editor and contributor to Photography after Photography: Memory and
Representation in the Digital Age (1997).
MARY ANN DOANE is Professor of Modern Culture and Media and of English at
Brown University. She is the author of The Emergence of Cinematic Time:
Modernity, Contingency, the Archive (2002), Femmes Fatales: Feminism, Film
Theory, Psychoanalysis (1991), and The Desire to Desire: The Woman's Film of
the 1940s (1987). In addition, she has published a wide range of articles
on feminist film theory, sound in the cinema, psychoanalytic theory,
television, and sexual and racial difference in film.
YVE LOMAX is currently Research Tutor in Photography/Fine Art at the Royal
College of Art, London. An artist and writer, she is the author of Writing
the Image: An Adventure with Art and Theory (2000) and her next book,
Sounding the Event: Escapades in Dialogue with matters of Art, Nature and
Time, will be published shortly.
GARRETT STEWART is James O. Freedman Professor of Letters at the University
of Iowa, USA. In addition to his work in the field of literature he has
published widely on various aspects of cinema. He is the author of Between
Film and Screen: Modernism's Photo Synthesis (1999) and his latest book The
Looks of Reading 1514-1990, on the scene of reading in painting from the
Renaissance through modernism, will be published shortly.
There will be a plenary session at the end of the day involving all of the
day's speakers. The session will be chaired by MARGARET IVERSEN, Professor
of Art History and Theory at the University of Essex, and the author of
Alois Reigl: Art History and Theory (1993). Her book of her essays entitled
Art Beyond the Pleasure Principle will be published shortly; her current
major research project concerns the artist's use of photography in the
period 1965-1975.
Saturday 8th May
VICTOR BURGIN is Millard Chair of Fine Art, Goldsmith's College, London. An
artist and writer, amongst his publications are The End of Art Theory
(1986), In/Different Spaces: Place and Meaning in Visual Culture (1996) and
Some Cities (1996). His latest book, The Remembered Film, will be published
later this year. He has recently held major shows of his work at the
Fundaci? Antoni Tàpies, Barcelona and the Arnolfini Gallery, Bristol.
MARK LEWIS is Principal Lecturer in Fine Art at Central St.Martin's School
of Art, London. An artist and filmmaker, he has held major solo exhibitions
of his work at the Museum of Modern Art, Oxford (2000) and the National
Gallery of Canada, Ottowa (2000). Amongst the numerous group exhibitions in
which he has participated, his work was included in the influential Cinema,
Cinema held at the Stedelijk Van Abbemuseum, Eindhoven.
KAJA SILVERMAN is Professor of Rhetoric and Film at the University of
California, Berkeley, USA. Her primary object of study is the field of
vision, which she approaches from a psychoanalytic and phenomenological
point of view. Among the monographs she has published are World Spectators
(2000) and The Threshold of the Visible World (1996). Although her earlier
work focused upon cinema, her recent research has extended into the areas of
photography and time based-art and she has written a number of major essays
on the work of the artists James Coleman, Jeff Wall, Alan Sekula, and
Eija-Liisa Ahtila.
JOHN STEZAKER is Senior Tutor in Critical and Historical Studies at the
Royal College of Art, London. An artist and writer, work from his latest
photographic series Angels has recently been shown in Lisbon and will
shortly be seen at the Musee de l'Elysee, Lausanne and the Hayward Gallery,
London. He has written widely on aspects of photography and contemporary
visual practices and his most recent published work has appeared in Essays
in Visual Culture (2003) and Conversation Pieces (ed. Pavel Buchler, 2003).
There will be a plenary session at the end of the day involving all of the
day's speakers. The session will be chaired by Laura Mulvey, Professor of
Film and Media Studies at Birkbeck College, London, and the author of Visual
and Other Pleasures (1989) and Fetishism and Curiosity (1996). She is
currently working on a new book entitled Death 24 x a second: Stillness and
the Moving Image.
Stillness and Time: Photography and the Moving Image is the third
international conference to be organised by Photoforum, a collaboration
between the University of Brighton, the Kent Institute of Art and Design,
and the Surrey Institute of Art and Design University College.
Conference Venue (both days): The Cragg Lecture Theatre, Kent Institute of
Art and Design,New Dover Road, Canterbury.
Conference Times (both days):Registration (and coffee): from 10.15.
Conference begins: 10.45. Conference ends: 18.00
Booking
Conference Fees (morning coffee, buffet lunch, and afternoon tea are
included)
Full fee for two days £75
Full fee for one day £45
Concessionary fee for two days £45*
Concessionary fee for one day £30*
Early booking is advised. No refunds will be made for any cancellations made
less than two weeks before the conference.
*Concessionary rates are available to full-time students and unwaged. Please
send proof when booking.
Send booking forms to:
David Green,
School of Historical and Critical Studies,
University of Brighton,
10/11 Pavilion Parade,
Brighton,
BN2 1RA.
Tel: 01273 643014
Fax: 01273 681935
E mail: [log in to unmask]
Please reserve me ..... places(s) for the Stillness and Time conference
for:
Friday and Saturday ............ Friday only.........Saturday
only...............
I enclose a cheque for £...........made payable to Photoforum*:
Name:.......................
Institution (if applicable):......................
Address:........................................
..................................................
...................................................
Tel:..............................................
E mail: ..............................................
Confirmation of your booking will be acknowledged by email (or post if an
email address is not supplied) on receipt of this form and your cheque.
Details of how to get to Canterbury and the conference venue will also be
supplied.
*We cannot accept payment by credit card. If you have queries regarding
payment for the conference via your institution please contact David Green
by email or telephone.
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From: Michael Zryd <[log in to unmask]>
Subject: society for cinema and media studies panels on experimental film
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I"m not sure if James Kreul has already posted
these panels to the list, but the
following are the panels on experimental / avant-garde cinema at the next SCMS
conference 4-7 March in Atlanta. If nothing else, they provide a (selective)
snapshot of current scholarship in the field, and demonstrate the pluralism of
the field itself (papers on everyone from Maya Deren to Vera Chytilova, from
Peal White to Lewis Klahr, from Matthew Barney to Peripheral Produce).
Experimental Panels at SCMC 2004
Thursday, March 4, 2004 2:00-3:45pm
B1: Experimental Strategies in Film Form and Exhibition
Room: Pine
Chair: Tracy Cox-Stanton (Kalamazoo College)
Tracy Cox-Stanton (Kalamazoo College), "Feminist
Counter-Cinema and an Aesthetic
of Consumerism in Vera Chytilova's Daisies (Czechoslovakia, 1966)"
Denise G. O'Malley (Massachusetts College of Art), "Reciprocity and
Representation: The Struggle for an Illusion in Chantal Akerman's Les
rendez-vous d' Anna"
Andrew V. Uroskie (University of California, Berkeley), "Reconsidering the
'Site-Specificity' of Expanded Cinema"
Jonathan Walley (University of Wisconsin, Madison), "Modes of Film Practice in
the Avant-Garde: The Case of Anthony McCall"
Friday, March 5, 2004 1:15-3:00pm
E1: New Crossroads: Early Cinema and the Historical Avant-Garde
Room: Pine
Chair: Jennifer Wild (University of Iowa)
Jennifer Wild (University of Iowa), "'L'Imagination CinŽmentale': Cinematic
Intervention in the Historical Avant-Garde"
Kaveh Askari (University of Chicago), "The Blue
Bird in the Yellow Press: Modern
Media and Decadent Aesthetics in the 1910s"
Rudolf Kuenzli (University of Iowa), "The Movie House Becomes Art Gallery: The
Surrealist Movement and the Showing of L'Age d'or"
Jennifer M. Bean (University of Washington), "Across the 'Great Divide': The
Adventures of Pearl White and the Historical Avant-garde"
Saturday, March 6, 2004 10:30am-12:15pm
I2: Deleuze and Avant-Garde Media
Room: Birch
Chair: Michael Booth (Northwestern University)
Michael Booth (Northwestern University), "What is Possession?: Maya Deren's
Experimental Ethnography and Deleuze's Images of Cinema"
Scott Durham (Northwestern University), "On the Powers of Cinema: History and
Untimeliness in Godard's Histoire(s) du Cinema"
Laura U. Marks (Simon Fraser University), "No Title Given"
Jeffrey Skoller (School of the Art Institute of Chicago), "Virtual Histories:
Experimental Film and the Poetics of the Not (Yet) Realized"
Saturday, March 6, 2004 1:15-3:00pm
J9: Avant-Garde and Institution
Room: Chestnut
Co-Chairs: Alexandra Keller (Smith College) and Melinda Barlow (University of
Colorado, Boulder)
Melinda Barlow (University of Colorado, Boulder),
"The Allure of the Avant-Garde
and the Romance of History"
Alexandra Keller (Smith College) and Frazer Ward (Smith College), "Matthew
Barney and the Conundrum of the Avant-Garde Blockbuster Artist"
Michael Walsh (University of Hartford), "Legacies of Cinematic Exhibition in
Contemporary Video Art"
Sunday, March 7, 2004 8:30-10:15am
M5: Accessing the Avant-Garde: Government Funding, the Co-Ops and DIY
Room: Maple B/C
Chair: Julia Knight (University of Luton)
Peter Thomas (University of Luton), "The Cooperative Spirit: Development and
Variance in the Distribution Policies of the NYFC, Canyon Cinema, LFMC/Lux and
Circles/Cinenova"
Kathryn A. Ramey (Temple University), "From Cinema 16 to 'Peripheral Produce':
The Legacy of DIY (Do It Yourself) Distribution
of Experimental/Avant-Garde Film
in the U.S."
Julia Knight (University of Luton), "Grant-Aided Film and Video Distribution: A
Mixed Blessing?"
Sunday, March 7, 2004 8:30-10:15am
M9: Women's Experimental Cinema
Room: Chestnut
Chair: Robin Blaetz (Mount Holyoke College)
Robin Blaetz (Mount Holyoke College), "Amnesis
Time: The Films of Marjorie Keller"
Kathleen A. McHugh (University of California, Los Angeles), "Herstory, Mystory,
Dunyementary"
Maria Pramaggiore (North Carolina State University), "Chick Strand's
Experimental Ethnography"
Melissa Ragona (Carnegie Mellon University), "Swing and Sway: Marie Menken's
Hand-held Video"
Sunday, March 7, 2004 10:30am-12:15pm
N2: Theory and Analysis: New Approaches to Film Music
Room: Birch
Chair: Thomas F. Cohen (Rhodes College)
Scott D. Paulin (Princeton University), "Music Aspiring to the Condition of
Cinema?: Chaplin Reception and Musical Impersonation"
Thomas F. Cohen (Rhodes College), "Serial Music and Experimental Film: Lewis
Klahr's Film Segment for Alban Berg's Lulu"
Katherine Spring (University of Wisconsin, Madison), "A Case of Techno: A New
Approach to Film Music Analysis"
Anthony Avruch (Bowling Green State University),
"Adorno and Film Music: A Third
Look at Composing for the Films"
--
Michael Zryd, Assistant Professor
York University
Dept. of Film & Video, 225 CFT
4700 Keele St.
Toronto, ON, CANADA M3J 1P3
Tel: 416-736-2100 x22164
Fax: 416-736-5710
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AHRB Centre for British Film and Television Studies
and
The Centre for Media Research, University of Ulster
Conference Announcement and Call for Papers:
Off-Screen Spaces: Regionalism and Globalised Cultures
(An international conference on Film, Television
and Media Cultures and Policies)
July 28-30 2004,
University of Ulster,
Coleraine (Portrush Campus)
This major international conference will explore
the relationship between 'global' popular culture
and various definitions of 'local' culture.
Crucial to an understanding of this relationship
is the concept of 'the region' as this has become
reconfigured by global economic and cultural
forces. Regional cultures exist in relation to
and in opposition to dominant national cultures
in complex and contradictory ways. National
cultures themselves are often posited as regional
cultures in opposition to the global and the
concept of 'critical regionalism' has been
canvassed as a challenge to global conformity. On
the other hand, in line with the strategies of
multinational corporations more generally,
multinational software manufacturers have divided
the global market into 'regions' for the purpose
of controlling the DVD market. This would suggest
that, despite the fact that regional cultures
seem to offer alternatives to the global market
there appears to be nothing intrinsically
challenging or radical in the concept of the
region.
The conference will explore the complex and
contradictory relationships among the local, the
regional, the national and the global and assess
the implications for both media representation
and local, national and transnational
audio-visual policy. Central to discussions will
be the concept of comparative film studies and a
number of papers will address the rationale and
theoretical implications of comparative media
research.
Confirmed speakers so far include Toby Miller,
John Hill and Paul Willemen. Conference sessions
will include the following themes:
Ukania and the Cultural Break-up of Britain
The Future for European National Cinemas
Irish Cinema and other small Anglophone cinemas
The BBC Charter Renewal Debate
Five Years of the Film Council
Globalised Hollywood
Comparative Film Studies
Asian Cinemas
Third Cinema Now
Exhibition and world cinema in Britain/Ireland
Call For Papers
Papers are invited which address any of the
themes of the conference but which especially
explore:
regional, national, global cinemas:
readings of particular films/filmmakers;
regional, national, global television;
globalised media and cultural identities;
national or regional policies;
independence/dependence etc;
comparative film or media studies;
critical regionalism
Abstracts of between 150-200 words should be
e-mailed or sent on disk to the address below.
The deadline for abstracts is 23 April 2004.
Please note that paper presenters need to
register for the conference and pay the
registration fee.
Abstracts and Enquiries to:
Janet Mackle Martin McLoone
Conference Co-ordinator Conference Organiser
Cultural Development
Centre for Media Research
University of Ulster
Coleraine
Northern Ireland
BT52 1SA
Tel: +44 (0) 28 7032 4683
e-mail: [log in to unmask]
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CALL FOR PAPERS
ICEC 2004
3rd International Conference on Entertainment Computing
September 1-3, 2004, Eindhoven, The Netherlands
http://www.icec.id.tue.nl/
[Full paper deadline: March 20, 2004]
We invite you to participate at the prestigious 3rd International
Conference on Entertainment Computing under the auspices of the
International Federation for Information Processing (IFIP). Based on
the very successful first international workshop (IWEC 2002) and the
second international conference (ICEC 2003), the next ICEC 2004 has
been set up as an international forum to exchange experience and
knowledge among researchers and developers in the field of
entertainment computing. Different submission types are invited that
present scientific ideas or improvements to existing techniques in
the broad multi-disciplinary field of entertainment and edutainment
applications.
Suggested research topics include, but are not limited to:
* Advanced Interaction Design, e.g. Haptic Interfaces
* Aesthetics, Ontology and Social Reflection
* Ambient Intelligence for Entertainment
* Art, Design and Media
* Augmented, Virtual and Mixed Reality
* Avatars and Virtual Action
* Computer Games and Game Based Interfaces
* Education, Training, and Edutainment Technologies
* Evolutionary Platforms / Hardware
* Graphics Techniques
* Human Factors of Games
* Human Sciences, Violence and Entertainment
* In-Car/Flight/Train Entertainment Systems
* Intelligent Board Games
* Interactive Digital Storytelling, and Interactive Tele-Vision
* Mobile Entertainment via e.g. Mobile Phones, PDAs etc
* Modeling
* Narrative Environments and Virtual Characters
* Networking (technical and social)
* New Genres, New Standards
* Novel Hardware Devices
* Pervasive Entertainment and Game-Playing
* Robots and Cyber Pets
* Simulation Applications of Games, and Military Training
* Social Computing and Presence
* Sound and Music
* Sport and Entertainment
* Video Games
* Visual Media Engineering
* Wearable Computers and Sensors for Entertainment
Case studies are invited from any entertainment and edutainment
application, including: Authoring, Computer Games, Cultural
Heritage, E-Commerce, E-Learning, Event-Marketing, Home
Entertainment, Media System Design, Service Robotics, etc.
The proceedings of ICEC 2004 will be published by the international
publisher Springer in the worldwide well established and highly
recognized serie Lecture Notes in Computer Science (LNCS).
The authors of the best papers will also get the opportunity to
publish extended versions of their papers in 'ACM Computers in
Entertainment' (ACM CiE), Journal of the International Computer
Games Association (ICGA Journal), Applied Artificial Intelligence:
An International Journal (AAI), and Leonardo Electronic Almanac (LEA).
Format
To prepare your submission(s) you have to follow the (author
instructions for LNCS. For the submission and review process
you have to submit in PDF. After acceptance you have to provide
your final submission in MsWord format.
Submission types:
Full Paper max. 8 pages
Short Paper max. 4 pages
Poster max. 2 pages plus Poster A2
Demonstration max. 2 pages plus set-up description
Important dates:
March 20, 2004 Submision of full papers
April 10, 2004 Submission of short papers, posters and
demonstrations
May 1, 2004 Notification of Acceptance
June 1, 2004 Submission of Camera Ready Copies
September 1-3, 2004 ICEC 2004 Conference
General Conference Chairs:
Matthias Rauterberg (chair) (mailto:[log in to unmask])
Anton Nijholt (co-chair)
Jaap van den Herik (co-chair)
In cooperation with
ACM SIGCHI & SIGGRAPH, BCS, BARA, CSI, DIGRA, GI, KIVI, NGI, PCS, SI, sky,
UPA
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Latin America in Film & History
Note: Michael K. Schoenecke and Scott Baugh of Texas Tech are Special
Editors for the Vol. 34 issues of _Film & History_. The topic is Latin
America and Latin American Film. Many film scholars--but, also, many who
study Latin America--will take an interest in their work. Below is the
TOC for the first of two issues (F&H is a semi-annual periodical):
Subscribe now and get both issues of Vol 34: www.filmandhistory.org
(Please check the web site for details on subscriptions methods, to
include PAYPAL.)
For more information on these writings, contact the Special Editors:
Michael K. Schoenecke: [log in to unmask]
Scott Baugh: [log in to unmask]
_Film & History: An Interdisciplinary Journal of Film and Television
Studies_ Volume 34.1 (March 2004)
1. 'San Martin, from Bronze to Celluloid: Argentina's Liberator as
Film Character' by Tzvi Tal (Tel Aviv U);
2. ' US-Argentine Coproductions, 1982-1990: Roger Corman, Aries
Productions, 'Schlockbuster' Movies, and the International Market'
by Tamara Falicov (U Kansas);
3. ' Sex, Class, and Mexico in Alfonso Cuaron's _Y Tu Mama
Tambien_' by Ernesto Acevedo-Munoz (U Colorado, Boulder);
4. 'Contemporary Histories of Mexico: Fictional Re-Creation of the
Collective Past on Television' by Maria de los Angeles Rodriguez Cadena
(U Wisconsin, Green Bay);
5. 'Manifesting La Historia: Systems of 'Development' and the
New Latin American Manifesto' by Scott Baugh (Texas Tech U);
6. Lourdes Portillo (Mexicana filmmaker) interview with Hector Torres
(U New Mexico).
Film Reviews
Book Reviews
See web site for more information: www.filmandhistory.org
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From: "Hector Jaimes" <[log in to unmask]>
To: [log in to unmask]
Subject: re: Call for papers
Date: Sun, 15 Feb 2004 00:06:18 +0000
X-OriginalArrivalTime: 15 Feb 2004 00:06:19.0298
(UTC) FILETIME=[899D0820:01C3F357]
Call For Papers – Edited Book (Film and History in Latin America)
Expressions of interest accompanied by abstracts
(by e-mail) of up to 300 words should be sent to:
Héctor Jaimes, Assistant professor, North
Carolina State University, Department of Foreign
Languages and Literatures, Box 8106, Raleigh, NC
27695-8106 (919) 515-9289 FAX: (919) 515-6981.
E-mail: [log in to unmask]
The recent and not too recent production of Latin
American films has engaged the audience with
remarkable insight regarding the historical
representation of said culture. History has been
portrayed as a metaphor as much as “cultural
memory;” as a struggle betwee n the “locals” and
the “outsiders,” as much as a question of
political amnesia; and as a medium to recapture
and strengthen the peoples’ identity. As we
currently live in a visual era where the image
overlaps and even erases the written word, this
book is intended as an exploration of the idea
that such historical representation requires much
evaluation with regards to history.
Along this line, one of the main questions to be
explored is the “politics” of representation in
relation to a specific society and to history
itself. That is, whether, despite the
objectivity of the medium (Bazin’s realism) the
filmmaker filters in or not ideologies that are
tied to dominant powers within the Latin American
culture today.
This book, in other words, is concerned with the
“political” as much as with the “historical”
aspect of a film as well as with how these two
elements intersect in order to “produce” an image.
Contributions: Papers and Abstr acts
Please send papers that are philosophically
informed as well as grounded in concrete film,
historical and political analysis. Papers should
be addressed to a diverse audience, which means
that, while pursuing the topic in depth, they
should be intelligible to non-specialists.
Submission Deadlines:
Submission of an Abstract (by e-mail attachment) March 1st, 2004
Submission of the Complete Contribution July 1st, 2004
Editorial Comments and Review Decisions October 1st, 2004
Submission of Revised Contribution December 1st, 2004
Send one hard copy (no e-mail attachments for the
hard copy) with no more 10000 words long
(excluding notes), type written, double-spaced,
and written according to the specifications of
The Chicago Manual of Style, 14th ed.. The essay
should be prepared for blind refereeing with the
author(s) name, institutional affiliation,
mailing address and e-mail appearing on a
separate sheet. Essays should be accompanied by
a self-addressed and stamped envelope. Decisions
regarding inclusion in the volume will be made by
September 2004.
Expressions of interest accompanied by abstracts
(by e-mail) of up to 300 words should be sent to:
Héctor Jaimes, Assistant professor, North
Carolina State University, Department of Foreign
Languages and Literatures, Box 8106, Raleigh, NC
27695-8106 (919) 515-9289 FAX: (919) 515-6981.
E-mail: [log in to unmask]
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From: Mica Nava <[log in to unmask]>
Subject: FW: Call for Papers/Fortress Europe
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Fortress Europe and Its "Others": Cultural
Representations in Film, Media and the Arts
4-6 April 2005
Institute of Romance Studies
School of Advanced Study
University of London
Call for Papers
The historical and mythical layers embedded in
Western European attitudes towards the "other"
and the "stranger" are currently being reinforced
by growing resistance to the flow of migrants and
refugees from non-European and Eastern European
countries, as well as to Pan-European trends
towards unification of the continent. This
resistance has been expressed most vocally by the
"far-Right" populist parties and movements, but
also in more restrictive immigration and refugee
laws throughout the liberal democracies of
Western Europe. Contemporary Europe's new
"others" are immigrants and refugees from poor
countries particularly from Africa and Asia.
Although Europe, as a geopolitical entity and as
an ideological concept, has itself rested on an
historical process of absorbing, hybridizing, and
assimilating different people from diverse ethnic
and national groups, European countries have
tended to view migration as challenging and
threatening their territory, identity and ways of
imagining themselves and others.
The aim of the conference is to explore how the
public debate about Fortress Europe has been
negotiated in the cultural and aesthetic spheres
within a wide range of representational forms,
from the media to film, photography, literature,
theatre, and the arts. Its aim is also to assess
the impact that such representations may have on
public opinion with regard to the issues
surrounding immigration and asylum. We are also
interested in contributions from and on Europe's
"Others"' themselves, particularly on their own
perceptions, imaginations, and fantasies of
Fortress Europe.
Proposals for twenty minute papers, should be
submitted in the form of a 200 word abstract by
30 June 2004 to Yosefa Loshitzky
[log in to unmask]
<mailto:[log in to unmask]>. Early
submissions are welcome. We plan to publish
selected essays in a refereed monograph.
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From: Darren Newbury <[log in to unmask]>
Subject: Visual Studies - call for papers
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VISUAL STUDIES - CALL FOR PAPERS
Visual Studies is a peer-reviewed international
journal that publishes visually-oriented articles
across a range of disciplines. The journal
represents a long-standing commitment to
empirical visual research, studies of visual and
material culture, the development of visual
research methods, and the exploration of visual
means of communication about social and cultural
worlds. The multidisciplinary character of the
journal is reflected in its attention to
visually-based research in sociology,
anthropology, cultural and media studies,
documentary film and photography, information
technology, education, communication studies as
well as other fields concerned with image-based
study.
The journal invites contributions across a broad
range, including but not limited to the following:
· studies of visual and material culture
· photography and documentary studies
· visual ethnography
· visual essays
· image-based research in sociology and anthropology
· applied visual research
· photo-elicitation studies
· studies of visual media and communication
· visual studies pedagogy
It is expected that most articles will be
accompanied by appropriate visual material, and
the journal encourages visually-led submissions.
Ethics special issue
Vol. 19 No.2 will include a guest-edited section
devoted to ethical issues in visual research.
Contributions and enquiries for this issue should
be directed to Diana Papademas at
[log in to unmask]
20th Anniversary volume
As the journal approaches its 20th anniversary
volume we are particularly keen to encourage
contributions that review the achievements of
visual research over the past twenty years and
offer directions for the future development of
the field.
For more information on Visual Studies,
instructions for authors and to request a sample
copy please visit:
http://www.tandf.co.uk/journals/routledge/1472586X.html
Recent Articles Include:
Material beings: objecthood and ethnographic photographs by Elizabeth Edwards
Visual evidence: A Seventh Man, the specified
generalization, and the work of the reader by
Howard Becker
'Where's Shaka Zulu?': Shaka Zulu as an
intervention in contemporary political discourse
by Keyan Tomaselli & Arnold Shepperson
Collateral coverage: media images of Afghan refugees by Terence Wright
Celebrating life after death: the appearance of
snapshots in Japanese pet grave sites by Richard
Chalfen
Hunters and healers: social change and cultural
conflict in rural Maine by Rebecca Goldfine,
Photographs by Olivia Goldfine
Interdisciplinary agendas in visual research:
re-situating visual anthropology by Sarah Pink
Contributions to the journal should be sent to:
Darren Newbury (Editor), Visual Studies,
Birmingham Institute of Art and Design,
University of Central England, Gosta Green,
Birmingham, B4 7DX, United Kingdom. Tel. +44
(0)121 331 7813 Fax. +44 (0)121 331 7824 Email:
[log in to unmask]
Submissions will be reviewed as they are
received, but the following may be taken as
indicative deadlines:
Vol.19 No.2 - 30th April 2004
Vol.20 No.1 - 30th September 2004
Vol.20 No.2 - 31st March 2005
Please send three copies of manuscript plus
photocopies of illustrations (not originals).
| | | | | | |
From: "Stuart Elden" <[log in to unmask]>
Subject: FW: International Journal of Baudrillard Studies
A new journal has been launched.
The International Journal of Baudrillard Studies:
http://www.ubishops.ca/baudrillardstudies/
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THE MAKING OF BALKAN WARS: THE GAME
THE BALKAN MALL
Curated by: "Personal Cinema"
Coordinated by: Ilias Marmaras and Nina Vagic.
Contact: [log in to unmask] [log in to unmask]
www.balkanwars.net
www.personalcinema.org
10 February - 14 March 2004
Media Lab Madrid
Centro Cultural Conde Dunque
c/ Conde Dunque 9 -11
28015 Madrid
Spain
T: +34 91 8121123 / 8120939
The project was proposed at Media Lab by:
Katerina Gregos, Sania Papa, and Denys
Zacharopoulos
Personal Cinema announces, The Making of Balkan
Wars: The Game and The Balkan Mall opening on the
February 10th 2004 at 1 p.m. at the Media Lab
Madrid.
"The Making of Balkan Wars: The Game" is a
Personal Cinema project primarily focused on the
social and cultural issues within the Peninsula
and on the creation of networks between artists,
art critics, writers and curators from
Southeastern Europe. It proposes some new media
works created by 51 participating artists
investigating the Balkan territory and way of
life.
Both geopolitical war games and epic strategy
video games are interrelated in this multi-media
project. While virtual battle scenes are
celebrated for their extreme realism,
contemporary warfare has begun to resemble
science fiction. The reality (or virtual reality)
presented by official narratives and industrial
entertainment does not adequately describe the
experiences of the people who are caught in the
actual war games. In the real-time of CNN, and in
video games, the simplification of cultures and
history is itself a form of violence.
The Making of Balkan Wars: The Game is intended
to counteract the sensational spectacle of war
presented by the media by deconstructing
stereotypes, focusing on the distortion of
identities, and revising the dominant logic of
explanation.
"The Balkan Mall" video game, the central node of
the project, created by the Personal Cinema team,
is the elevation of social, historical and
cultural elements of the Balkans into the form of
an imaginary Balkan shopping mall. It is a poetic
metaphor, which has many moments of ironic stance
towards the prevailing multicultural concepts,
historic disputes and contemporary political
developments in the area. The players and
spectators have the opportunity to learn how to
behave and act in a simulated Balkan reality, and
are informed about their level of
Balkanization/De-Balkanization through an
indicator within the interface of the game. The
game contains about 20 different spaces, and some
30 videos from artists participating in the wider
project; "The Making of Balkan Wars: The Game".
Following the "Myth of Interactivity" of new
media, in contrast to old media where the order
of presentation is fixed, the users can now
interact with and within a media. They can choose
which elements to display or which paths to
follow, creating each time a new pathway and
generating each time a unique work. In addition
to the virtual space, there is a real space, a
three-wall projection of a virtual room in which
both real and computer users can select and
project videos from the participating artists. In
this way the users become the co-authors and
co-curators of the work. This leads to changing
the view and standards of the art system of
curatorial presentation, putting all of us
(artists, critics, curators and spectators) in an
uncertain position of proposing a new art
behavior.
Personal Cinema: Maya Bontzou, Andy Deck,
Dimitris Dokatzis, Stelios Giannoulakis, Vassilis
Kokkas, Nikolas Kozakis, Ilias Marmaras, Panos
Papadopoulos, Yannis Scoulidas, Alexandros
Spyropoulos, Stewart Ziff
Participating Artists: Robert Alias Dragot, Genti
Shkurti (Albania); Beatrijs Albers, Francis
Schmetz, Jacques Lizene, Marie Andre, Eugene
Savitzkaya, Reggy Timmermans, Koen
Wastijn-Deschuymer, Ria Pacquee (Belgium); Albena
Mihaylova, Krassimir Terziev (Bulgaria); Irena
Paskali, Natasha Dimitrievska, Christina
Ivanoska-Yane Calovski (FYROM / Macedonia);
Mathias Wagner K (Germany); Kostas Beveratos,
Maya Bontzou, Dimitris Dokatzis, Stelios
Giannoulakis, Maurice Ganis, Ilias Marmaras,
Angelo Skourtis, Panos Vittorakis, Alexandros
Spyropoulos, Dimitris Tsardakas (Greece); Babis
Kandilaptis, Nicolas Kozakis (Greece / Belgium);
Vassilis Kokkas, Dimitris Tzamouranis (Greece /
Germany); Chiara Passa, Antonio Riello (Italy);
Floe Tudor, Mona Vatamanu, (Romania); Per
Pegelow (Russia); Andrej Tisma, Windows 99 -
hammer creative (Serbia); Milena ZeVu (Serbia /
Hungary); Vuk Cosic (Serbia / Slovenia); Aniceto
Exposito - Lopez, Angel Vergara (Spain /
Belgium); Selda Ashal, Gulsen Bal, Cem Genser,
Genco Gulan (Turkey); Ruth Catlow (UK); Stewart
Ziff (UK / USA); Andy Deck, Goron Dolan, Morgan
Showalter (USA)
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Call For Papers
Black and White - Representing the Other in Early Cinema
This conference grows out of the growing interest
in questions of representation in Early (Silent)
cinema. We wish to explore the filmic
construction of 'Otherness' in the films of the
period (1895-1927), that is the manner in which
challenges to the dominant social order or
subjectivity are represented. Papers may deal
with thematic, social or technical approaches to
the topic and might include, for instance,
discussion of immigrant audiences and early film,
the use of music, stereotypes and the evolution
of specific genres, questions of modernity,
explorations of gender, setting, race and
ethnicity. We particularly welcome proposals
which deal with representations of Ireland and
the Irish.
The conference will take place on October 7th and
8th 2004 in the Huston School of Film at the
National University of Ireland, Galway.
(*This immediately precedes the opening weekend
of the Pordenone Silent Film Festival 2004)
Please forward (250-300 word) proposals - stating
'Early Cinema Conference' in the subject line -
before May 16th 2004 to:
Tony Tracy
Huston School of Film and Digital Media
National University of Ireland Galway, Ireland
[log in to unmask]
Tel: 353 91 512188
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