| | F I L M - P H I L O S O P H Y | | | |
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| | | | 2004.03.29 Film-Philosophy News | | | | | |
Subject: SCMS Conference 2005: London
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Preliminary announcement has been made of the
Society for Cinema and Media Studies conference
for 2005:
Location: The Institute of Education, University
of London http://ioewebserver.ioe.ac.uk/ioe/
Date: March 31-April 3 2005
Deadlines:
15 July 2004: Posting of Calls For Papers for
pre-constituted panels and workshops.
15 September 2004: submission of proposals for
open-call papers and pre-constituted panels and
workshops.
Details will be forthcoming on the SCMS Website:
http://www.cmstudies.org
Send inquiries to [log in to unmask]
| | | | | | |
From: Rayna Denison
<[log in to unmask]> Subject: CFP: LOVE
MAYBE: A Romantic Comedy Study Day MIME-Version:
1.0
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Dear All
With apologies for cross-posting:
LOVE MAYBE: A Romantic Comedy Study Day
Call for Papers
Study Day on the Romantic Comedy, University of Nottingham 19th August, 2004
The "lightweight" yet contested natures of both
romance and comedy within film have led critics
to skew arguments around, or to ignore
completely, the vital contribution made to
culture by the romantic comedy. This one day
event is a response to Love Actually’s claim that
"love is all around us". Exploring the prevalence
and longevity of the romantic comedy in film we
ask whether the need for love is indeed at the
heart of the romantic comedy. The aim is to delve
into the production, marketing, distribution and
reception of romantic comedies to uncover the
textual and industrial reasons for their enduring
popularity. In addition, we hope to develop and
challenge previous feminist and "screwball"
debates around the romantic comedy, to see
whether these interventions really speak to the
heart of the genre. This study day is intended to
provide a forum for debate on the romantic comedy
that will widen the scope of debates around the
genre, as well as perhaps enabling us to look at
these films in a new light.
Topics might include: Stardom and the romantic
couple, alternative couples, gender relations and
feminism in the romantic comedy, production and
marketing of the genre, music and sound in the
romantic comedy, the romantic comedy auteur or
audiences for romantic comedies.
Proposals for papers should be no more than 250
words and the deadline is 14th May 2004. For
further information, or to submit a proposal,
please contact Rayna Denison at
<mailto:[log in to unmask]>[log in to unmask],
or by post to:
Rayna Denison
Institute of Film Studies
School of American and Canadian Studies
University of Nottingham
University Park
Nottingham
NG7 2RD
| | | | | | |
Date: Thu, 25 Mar 2004 17:00:18 +0000
From: Yvonne Tasker <[log in to unmask]> Subject:
Interrogating Post-feminism Conference
** Notice of upcoming Conference **
Interrogating Post-feminism: Gender and the
Politics of Popular Culture Friday 2nd and
Saturday 3rd April, University of East Anglia, UK
This international conference will explore the
gender politics of recent popular culture. The
event brings together scholars in feminist media
studies from over eleven countries: more than
fifty speakers will address different aspects of
'post-feminism' as a pervasive and politically
significant cultural phenomenon.
Plenary speakers: Charlotte Brunsdon (University
of Warwick), Angela McRobbie (Goldsmiths College,
University of London), Kathleen Karlyn Rowe
(University of Oregon), Sarah Projansky
(University of Illinois) and Steve Cohan
(Syracuse University).
The full conference programme, information on
registration etc. can be found at
http://www.uea.ac.uk/eas/postfeminism
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From: Helen Wheatley <[log in to unmask]>
Subject: Journeys Across Media Conference
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‘Journeys Across Media’
JAM 2004 at the University of Reading
Friday 23 April 2004
The ‘Journeys Across Media’ (JAM) forum 2004 is
an informal one-day conference, organised by and
for postgraduate students working on topics in
film, theatre, television and ‘new media’
studies. The focus of this year’s forum is the
significance of medium specificity and hybridity
within Film, Theatre, Television and New Media
Studies.
The conference fee will be £15, including
refreshments and lunch. The day is expected to
run from 10am – 5pm. The registration form is
available on the JAM 2004 website at
www.rdg.ac.uk/fd/Research/jam2004.htm.
The conference organisers, Sara Steinke and
Simone Knox, can be contacted by email at
[log in to unmask]
Speakers include:
Jodie Allinson (University of Glamorgan),
'Cross-media audience experience: objectivity
through subjectivity' Matt Barber (University of
Exeter), 'Actors in the Whitehouse: American
politics in film and television'
Mark Broughton (Birkbeck College, London), 'Louis
Mazzini’s Postcard: the genius loci of Kind
Hearts and Coronets' Ivana Broziã (University of
Reading) 'A Case for Intermediality: Theatre of
Sheila Yeger'
Elizabeth Coulter-Smith (University of Central
England), 'Exploring the ‘Whitespace’ in the
Scholarly Hypertext Thesis' Yuna de Lannoy
(Birkbeck College, London), 'Noh and Shakespeare
in Kurosawa’s films'
Jiska Marita Engelbert (University of Wales),
'Viewers’ code competence in ideological decoding
of television news. The construction of the
viewer’s role within the text.'
Anthony Enns (University of Iowa), 'The horror of
media' Kirsty Fairclough (University of Salford),
'Changing Tastes: Lifestyle Television and the
Politics of Transformation' Dave Hipple
(University of Reading), 'Star Trek the Motion
Book Series Phase II: the text that conquered the
world by accident' Pietari Kääpä (University of
East Anglia), 'Transcending untranslatability:
Aki Kaurismäki in a transnational context' Tim
Langer, 'Significance of medium specificity and
hybridity – Aspects of enunciation in The Lord of
the Rings'
Kirsten Law (Sheffield Hallam University),
'Virginia Woolf and film adaptation: the issue of
a gendered madness in Mrs Dalloway' Gareth
Longstaff (University of East London), 'Online
personal adverts and gay male interactive desire'
Katerina Loukopoulo (Birkbeck College, London),
'The Arts Council and Channel 4 co-production of
films and TV programmes on the visual arts'
Normah Mustaffa (University of Cardiff), 'Recall
of Online News: A quantitative study of web page
design'
Beverly Newman (UWE), 'Why is cheating in
computer games a key site?' Jenna Pei-Suin Ng
(University College, London), 'Sifting Gold from
chaff: deconstructing the hybridity of the
docudrama' Christos Prossylis (Middlesex
University), 'Directing the ancient Greek drama
using high-tech modern techniques: a new
metalanguage expression' Roopa Saini (Goldsmiths
College, London), 'Crossing Boundaries: The
cultural audiences of Indian diasporic film'
Aparna Sharma (University of Glamorgan),
'Navigating through the hybrid' Nicola Shaw
(Manchester Metropolitan University),
'Drama/Documentary: direct address and
conventions of authentication on British
television' Elina Traiforou (University of
Reading), 'Amator: the cinematic text as a form
of ontological, social and ethical inquiry' Mark
Woods (University of Glamorgan), 'Some
conclusions on the current state of research on
the question of “National Cinemas”'
| | | | | | |
From: Heather Nunn <[log in to unmask]>
Subject: Reality TV day - preliminary announcement MIME-Version: 1.0
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Reality TV: contexts, debates, futures
Preliminary announcement of event – further details to follow.
Day event hosted by the School of Humanities and
Cultural Studies to celebrate the launch of the
Centre for Research in Audiovisual Culture
(CFRAC) organised by Anita Biressi, Deborah
Jermyn and Heather Nunn.
Date: Saturday 22nd May 9am-5pm
Venue: Chapman Hall, Southlands College,
Roehampton University of Surrey Fee: £15 (£5
unwaged/student rate) fee includes refreshments
and lunch
Includes book launch for Understanding Reality
Television (Routledge: 2004) edited by Su Holmes
and Deborah Jermyn.
Speakers include:
Jonathan Bignell (Reading)
Title: tba
Anita Biressi (Roehampton)
Title: Feel My Pain: the Trauma of Reality TV
Annette Hill (Westminster)
Title: Television Audiences and Factual Programming
Su Holmes (Southampton Institute)
Title: ‘It’s a Jungle Out There…’: Conceptualising Fame in Celebrity Reality TV
Janet Jones (Aberystwyth)
Title: How Big Brother works to dispel the ‘mediation anxiety’
Heather Nunn (Roehampton)
Title: Reality TV and the Therapy Playroom
Estella Tincknell (UWE)
Title: tba
Brian Winston (Lincoln)
Title: The Paradox of Reality TV
Register by email to: [log in to unmask]
and either pay on the day or post cheques to Dr
Anita Biressi, Roehampton University of Surrey,
School of Humanities and Cultural Studies, Digby
Stuart College, Howard Rm. 101, Roehampton Lane,
London SW15 5PH. Cheques payable to ‘University
of Surrey Roehampton’.
| | | | | | |
From: Susan Morrison <[log in to unmask]>
--
This is a renewed' call for papers' for issue #64
of CineAction, an international film journal
published 3 times a year in Toronto, Canada. The
deadline for this issue has been extended to June
15, 2004. The theme for this issue is 'New
Directions?', the central question being whether
there are any identifiable trends and directions
in the first place. Are we, at the beginning of
the twenty-first century, witnessing any sort of
transformation in filmmaking, production,
distribution, reception? Have the parameters
changed because of a recent move towards
transnationalism or multi-nationalism in film
production? Is there still the possibility (or
desirability) of a distinctly national cinema? At
the same time, individual films and/or filmmakers
may also be investigated for ways in which they
challenge the conventions of the medium.
Papers should be submitted in hard copy only,
mailed directly to Susan Morrison, the editor of
this issue. Once accepted for publication, the
paper will then be emailed as a file attachment.
The deadline for submission June 15, 2004. It
would be appreciated if a brief proposal be
submitted as early as possible as an indication
of intention to submit.
A style guide will be emailed on request. Please
address all queries and submissions to the
issue's editor:
Susan Morrison
314 Spadina Road
Toronto ON
Canada M5R 2V6
email: [log in to unmask]
| | | | | | |
From: Mark Jancovich <[log in to unmask]>
Subject: FW: Film and Comic Books. Call for book
chapters
Call for Book Chapters: Film and Comic Books.
Edited by Ian Gordon, Mark Jancovich, and Matthew
P. McAllister
Comic book characters such as Superman and Batman
appeared in B movies and film serials long before
the blockbuster adaptations of the 1970s and
1980s. Likewise Superman, Batman, Spider-Man, and
the Hulk featured in low production value
television series from the 1950s to the 1970s. In
recent years film makers have adapted a plethora
of comic books for the screen including Marvel's
the X-Men, Spider-Man, Blade, and the Hulk, Alan
Moore's From Hell and The League of Extraordinary
Gentleman, and Road to Perdition and Ghost World.
Production deals for comic book character-based
movies have multiplied rapidly. Beyond Hollywood,
Asian film makers have joined the trend with Jet
Li appearing in Black Mask and Michelle Yeoh in
the self-described "comic book style" Silver
Hawk. It seems that more is at stake than a shift
from low budget/status productions to
blockbusters. Critical acclaim has flowed for
many of the recent efforts and respected
directors such as Sam Mendes and Ang Lee have
lent their talents to films based on comic books.
At the same time, particularly since the success
of Maus, comic books have gained increased
critical respectability even attaining the dizzy
heights of favourable reviews in the New York
Times and the New York Review of Books, albeit
accompanied by discussions of what constitutes a
comic book.
We are looking for articles of between 6,000 and
8,000 words that address the changing and
interrelated dynamics of film and comic book
production and reception. Possible subjects might
include, but are not limited to:
Shifting notions of legitimacy
Directors
Changing nature of popular heroes/mythology Role
of film in popularizing/promoting small indie
comics and the transformation of such texts that
may occur Impact of films on the comic book
industry Role of corporate synergy (such as the
DC/Warner Bros connection) Economics of production
CGI and the blurring of the "real"
Semiological and semiotic comparison of the texts. Fan cultures
Audiences
Genres and formats
Specific films: Superman, Batman, Spider-Man,
X-Men, Blade, From Hell, Ghost World, Black Mask
etc
Please address chapters/proposals by March 15, 2004 to:
Ian Gordon, Email: [log in to unmask]
Department of History,
Faculty of Arts and Social Sciences
National University of Singapore
11 Arts Link, AS1 05 - 27
Singapore 117570
Tel: (65) 6874 3838
Fax: (65) 6774-2528
Notification of acceptance of chapters will be made by May 1, 2004.
The Editors
Ian Gordon, Associate Professor and Head
Department of History, National University of
Singapore
Select Publications:
Comic Strips and Consumer Culture (Washington:
Smithsonian, 1998, Paperback edition 2002)
Comics and Ideology (New York: Peter Lang, 2001)
edited with Matthew McAllister and Edward Sewell
"Superman on the Set: The Market, Nostalgia and
Television Audiences," in Quality Popular
Television: Cult TV, the Industry, and Fans
(London: British Film Institute and Berkeley:
University of California Press, 2003)
"Advertising", and "Coca-Cola" in Encyclopedia of
American Studies (New York: Grolier, 2001)
"Cultural Symbols", "Culture of Consumption",
"Singapore Airlines", and "War Bonds", in
Encyclopedia of Advertising (Chicago: Fitzroy
Dearborn, 2003)
Mark Jancovich, Professor of Film Studies,
University of Nottingham Select Publications:
Series Editor: Inside Popular Film (with Eric
Schaefer, Boston College) Manchester University
Press.
Quality Popular Television (edited with James
Lyons) BFI, 2003. Horror: The Film Reader,
Routledge, 2001. The Film Studies Reader (edited
with Joanne Hollows and Peter Hutchings) Arnold,
2000.
Rational Fears: American Horror in the 1950s,
Manchester University Press, 1996.
Approaches to Popular Film, (edited with Joanne
Hollows), Manchester University Press, 1995.
The Cultural Politics of the New Criticism, Cambridge University Press, 1993.
Matthew P. McAllister, Associate Professor of Communication, Virginia Tech.
Select Publications:
Selling Survivor: The use of TV news to promote
commercial entertainment. In A. N. Valdivia
(Ed.), A Companion to Media Studies. Blackwell,
2003
Is commercial culture popular culture?: A
question for popular communication scholars.
Popular Communication, 1:1, (2003), 41-49.
Television news plugola and the last episode of
Seinfeld. Journal of Communication, 52:2, (2002),
383-401.
Comics and Ideology, edited with Edward Sewell
and Ian Gordon. Peter Lang, 2001.
The Commercialization of American Culture: New
Advertising, Control, And Democracy. Sage, 1996.
| | | | | | |
From: Paul McDonald <[log in to unmask]>
Subject: CFP: CINEMA Motion-Illusion-Spectacle
(National Film Theatre 26-28th Nov. 2004)
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CINEMA: MOTION-ILLUSION-SPECTACLE
Exploring the legacy of Eadweard Muybridge
National Film Theatre, London
26-28th November 2004
An international conference hosted by the Centre
for Research in Film and Audiovisual Cultures
(CRFAC) at the University of Surrey Roehampton
and the National Film Theatre (NFT).
Keynotes
Mary Ann Doane (Brown University) author ‘The
Emergence of Cinematic Time: Modernity,
Contingency, the Archive’
Michele Pierson (University of Queenland) author
‘Special Effects: Still in Search of Wonder’
Call for Papers
Eadweard Muybridge’s motion studies were a
landmark in the development of moving pictures.
Since the work of Muybridge and other nineteenth
century innovators, illusions of motion have
continued to captivate and enthral, reaching
their most contemporary expressions in the
special effects design and animation art of
contemporary cinema, to the mediated environments
of interactive electronic games and simulation
spectacles.
Occasioned by the centenary of Muybridge’s death,
Cinema: Motion-Illusion- Spectacle will explore
the legacy of Muybridge and his contemporaries
through the development of mediated illusions of
motion from pre-cinema to contemporary digital
aesthetics. While focusing on film and cinema,
the conference will take a broader interest in
illusions of motion across photographic,
televisual, interactive and simulation media. The
conference with examine the fascination and
attractions of such illusions and consider these
developments as participating in a culture of
vision and motion from the nineteenth century to
the present day.
We are interested in receiving proposals from a
wide range of research directions relevant to the
focus of the conference including:
Pre-cinema
Early cinema
Digital cinema
Animation
Interactivity
Visual and special effects
Spectacle and the spectacular
Science, technology and vision
Modernity and vision
Simulation environments
Sound and perceptions of motion
The venue for the conference will be the British
Film Institute’s National Film Theatre (NFT) in
London. To support the conference, throughout
November the NFT will be programming a series of
events relating to pre- and early cinema. Also
during the period of the conference, adjacent to
the NFT the Hayward Gallery will be hosting Art
of Illusion, an exhibition focusing on many
aspects of optics, optical instruments and
pre-cinematic technologies, with material from
the collection of Werner Nekes and work by
contemporary (20th/21st century) artists.
From April 2004, visit the conference web site at http://www.crfac.org.
Proposals
Abstracts of 300 words accompanied by your name
and contact details to [log in to unmask]
OR Dr Paul McDonald, School of Humanities and
Cultural Studies, University of Surrey
Roehampton, Roehampton Lane, London SW15 5PH, UK.
Deadline for proposals 12th July 2004. Anyone
submitting a proposal will be notified of the
outcome by 6th September 2004.
Conference Directors: Stacey Abbott, Paul McDonald and Paul Sutton.
| | | | | | |
From: "Charlie Gere" <[log in to unmask]>
Subject: <nettime-ann> [event] British Art and
New Media Symposium at Tate Britain
To: [log in to unmask]
Message-ID:
<[log in to unmask]>
Content-Type: text/plain; charset=US-ASCII
From the Tate Britain website symposia page
Saturday 3 April 10.00-19.30
British Art and New Media
In the past 10 years, Britain has fostered a
unique and distinctive set of practices in the
field of new media. This conference will look at
these diverse characteristics and preoccupations.
From the net to CD-ROMs to mobile technology,
British artists have found innovative,
provocative and cutting-edge ways to explore
themes of popular culture, conceptualism, social
interventions, identity formations and networks
and modes of distribution.
This one-day event will present some of those
practices and explores how to critically engage
with new media art. What are the contexts and
structures informing curatorial decisions, public
reception and artistic practice? Finally it will
consider its own history and use the past to
inform the present.
Speakers include Steve Dietz, Thomson &
Craighead, Geoffrey Batchen, Nick Crowe, Shilpa
Gupta, Sarah Cook, Charlie Gere, Desperate
Optimists, Carey Young, Matt Fuller, Lucy
Kimbell, Julian Stallabrassand Saul Albert.
This conference will be followed by drinks at the
launch of Carey Young's new installation.
This conference was initiated by The Arts
Council, England in association with Tate Britain
and Film and Video Umbrella. It coincides with
the launch of New Media Art: practice and context
1994-2004, an ACE / Cornerhouse Publication
Tate Britain Auditorium
#25 (#15 concessions) includes drinks reception
For tickets book online
<http://www.tate.org.uk/tickets/default.htm?performancelist.asp?ShowID=1422&Source=web>
or call 020 7887 8888
| | | | | | |
From: Margot Bouman <[log in to unmask]>
Subject: Invisible Culture : Issue 7 : Casting
Doubt MIME-Version: 1.0
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The editors of Invisible Culture are pleased to announce the release of
ISSUE 7: Casting Doubt
Guest Edited by Leanne Gilbertson and Elizabeth Kalbfleisch
Available online at: http://www.rochester.edu/in_visible_culture/ivchome.html
The essays in this issue of Invisible Culture
testify to the significance of doubt as a subject
worthy of sustained inquiry, as a mode of
analysis, and as a keystone of visual studies. In
the last few years we have witnessed how quickly
and thoroughly a culture may mobilize resources
when confronted with circumstances of
indeterminate or incomprehensible meaning. We
have become increasingly aware of how doubtful
moments and images are exploited in order to
perpetuate fear. We have seen firsthand how the
residue and remains of doubtful encounters may be
cast off, smoothed over, or swept away -- and the
shocking speed and awesome force with which this
occurs. In response to dominant cultural
reactions to uncertainty, this collection
reclaims the positive productivity of the
fleeting, dispersed, and frequently isolating
experiences of doubt by drawing together a range
of work dedicated to interrogating its
manifestations.
Contributors to this issue explore doubt in
relationship to varied media, cultural location,
and methodology, including photography,
contemporary art, film, Surrealist literature,
psychoanalysis, and political propaganda. This
issue of _Invisible Culture_ brings questions
surrounding doubt into focus, casting doubt by
arranging the prevalent, often unspoken and
invisible phenomena of doubting into a meaningful
and previously unimagined constellation.
The articles included in this issue are:
The Image Before Me
By Peter Hobbs
The Automatic Hand: Spiritualism, Psychoanalysis, Surrealism
By Rachel Leah Thompson
The Naked Truth or the Shadow of Doubt? X-Rays
and the Problematic of Transparency
By Corey Keller
Real Lies, True Fakes, and Supermodels
By Elizabeth Mangini
"Eat it alive and swallow it whole!": Resavoring
Cannibal Holocaust as a Mockumentary
By Carolina Gabriela Jauregui
Leaflet Drop: The Paper Landscape of War
By Jennifer Gabrys
______________________________________________________
Past issues of _Invisible Culture_ include:
"Visual Publics, Visible Publics" (Issue 6);
"Visual Culture and National Identity" (Issue 5);
"To Incorporate Practice" (Issue 4); "Time and
the Work" (Issue 3); "Interrogating Subcultures"
(Issue 2); and "The Worlding of Cultural Studies"
(Issue 1).
_Invisible Culture_ has been in operation since
1998, in association with the Visual and Cultural
Studies Program at the University of Rochester.
The present editors, Margot Bouman, Lucy Curzon,
T'ai Smith, and Catherine Zuromskis, have revised
the journal's original mission statement, with
the goal of reaching a broader range of
disciplines. The journal is dedicated to
explorations of the material and political
dimensions of cultural practices: the means by
which cultural objects and communities are
produced, the historical contexts in which they
emerge, and the regimes of knowledge or modes of
social interaction to which they contribute.
As the title suggests, Invisible Culture
problematizes the unquestioned alliance between
culture and visibility, specifically visual
culture and vision. Cultural practices and
materials emerge not solely in the visible world,
but also in the social, temporal, and theoretical
relations that define the invisible. Our
understanding of Cultural Studies, finally,
maintains that culture is fugitive and is
constantly renegotiated.
_Invisible Culture_ accepts book, film, media,
and art review submissions of 600 to 1000 words.
| | | | | | |
From: "Docfilm" <[log in to unmask]>
Calling for authors to write for the Encyclopedia
of Documentary Film, to be published by Routledge
in September 2005. The Encyclopedia will be a
three-volume work and will contain over 850
entries describing individual films, directors,
producers, theorists, production companies, and
publications. It will also address broad themes
such as modernism, Marxism, and feminism, and key
concepts including reflexivity and autobiography.
Entries will also cover style techniques,
technical issues, and types of documentaries.
Overviews of the documentary film traditions of
specific countries and regions will also be
provided.
Available articles range from 500 to 7000 words
in length. For their first 2000 words
contributors will receive a copy of the
Encyclopedia on publication. You will also be
paid, on publication, at the rate of $75 per
thousand words for any writing over the initial
2000 commissioned.
For more information regarding style guidelines,
sample articles, and available entries, please
email [log in to unmask] Thank you
very much.
Kristen Holt
Assistant Development Editor, Reference
Routledge
Taylor & Francis Books
29 West 35th Street
New York, NY 10001
Fax: (212) 563-2269
[log in to unmask]
| | | | | | |
From: Dan Fleming <[log in to unmask]>
Subject: HEFCE-CETL partnership search?
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The Media Studies group at the University of
Ulster, Coleraine, is looking to participate in
the bidding process for HEFCE's Centres for
Excellence in Teaching and Learning, if we can
identify a willing partner in England. As a
Northern Ireland university we cannot bid on our
own behalf, but the Dept. of Education and
Learning (DEL) in Northern Ireland will support
the participation of the University of Ulster in
collaborative bids with English HEIs where the
English HEI is the lead partner bidding to
establish a CETL. Importantly, if such a joint
bid is successful, DEL will cover the NI share of
the bid (excluding capital developments). DEL is
making available up to £500K per annum for this
purpose over 5 years.
Closing date for HEFCE-CETL bids is 23 April. See
http://www.heacademy.ac.uk/CETLs/
Media Studies at Ulster has a long established
and successful track record in teaching and
learning in this field (matched by its research
reputation), so is looking for an English partner
of similar standing that may already be planning
(or that we might prompt!) to bid for CETL
funding. We have a particular current interest in
'next generation' approaches to media practice
teaching using software/new technologies and its
embedding in the critical culture of media
studies. So some congruence with an English
partner in that area of teaching and learning
might strengthen a collaborative bid.
For example, we're currently very interested in
adapting some of Linker's and Mongrel's
principles to media practice within a Media
Studies programme: http://www.linker.org.uk and
http://www.mongrelx.org/ and this sort of thing
might be flagged as one of our distinctive
contributions to an England-based CETL? But we're
open to other and broader forms of collaboration
in the field of Media Studies teaching and
learning.
If you're interested in our contributing to a
CETL bid that you'll lead, please contact:
Dan Fleming, Professor of Media and Cultural
Studies, University of Ulster, Coleraine,
Northern Ireland BT52 1SA. Tel.028 7032 4479
email [log in to unmask]
| | | | | | |
From: "Philippa Gates" <[log in to unmask]>
Call For Papers
War in Film, Television, and History Conference November 11-14, 2004
www.filmandhistory.org
Area: Masculinity and the Contemporary Hollywood War Film
Proposals are invited for papers to be presented
at the “War in Film, Television, and History
Conference” in Dallas, Texas, November 11-14,
2004 for a panel on “Masculinity and the
Contemporary Hollywood War Film.”
The World War II film was marked by its focus on
men working together to fight a common enemy; the
Vietnam War film, on the other hand, suggested
that working together was impossible and that the
most significant conflicts to overcome were those
that occurred between the heroes. Critics have
identified three phases of the Vietnam war
film—the “tale of moral confusion” like
Apocalypse Now (1979); the “revenge film” like
Missing in Action (1984); and the “realist combat
film” like Platoon (1986)—all of which present
the vicitmization of the American G.I. However,
since 1998, Hollywood has produced a new cycle of
war films that, instead, exalt his desire to “do
the right thing” and join the “band of
brothers”—i.e. the Army of One. This cycle
includes Saving Private Ryan (1998), Three Kings
(1999), Tigerland (2000), Behind Enemy Lines
(2001), Pearl Harbor (2001), Windtalkers (2002),
Black Hawk Down (2001), Hart’s War (2002), We
Were Soldiers (2002), and Tears of the Sun
(2003). These contemporary war films--whether set
in World War II, Vietnam, Persian Gulf War, or
Mogadishu 1993--share common themes, images, and
conventions, including their representation of
masculinity.
This panel will consider the shifts in the
representation of masculinity and heroism in
Hollywood’s visualization of America at war.
Topics might explore the resurrection of the
World War II cooperation model in the
contemporary war film; the representation of men
in combat, or in training, or on the homefront;
the continuation of the themes from the Vietnam
film; the idealization of American heroism; and
the demonizing and/or lack of representation of
the evil “other.” Papers might explore such
themes or questions in contemporary films or
compare their employment in two distinct cycles
of the war film. Papers exploring masculinity in
television series or fiction and film are also
welcome.
“War in Film, Television, and History” is an
interdisciplinary conference meeting in Dallas,
November 11-14, 2004, organized by the Film and
History League and the Literature/Film
Association. The featured speaker is Adrian
Cronauer--the radio personality whose life was
the basis for Good Morning Vietnam (1987),
starring Robin Williams. Cronauer will discuss
how his original script was transformed by
Hollywood into the final version seen on screen.
Full details on location, registration, etc., can
be found on the website: www.filmandhistory.org.
Please send proposals with abstract (approx 300
words) and a short bio no later than July 30,
2004 to:
Philippa Gates
Film Studies Program Coordinator
Department of English and Film Studies
Wilfrid Laurier University
75 University Ave W
Waterloo, ON, N2L 3C5, Canada
Phone: 519 884 0710 x 2476; Fax: 519 884 8307 Email: [log in to unmask]
| | | | | | |
ASLI DALDAL, ART, POLITICS AND SOCIETY: SOCIAL
REALISM IN ITALIAN AND TURKISH CINEMAS (ISTANBUL:
THE ISIS PRESS, 2003).
25 USD,
ISBN: 975-428-252-8
(FROM THE ACKNOWLEDGEMENTS)
This book is based on a revised dissertation,
completed at BogaziÁi University, Department of
Political Science in 2002. I would, hence, like
to thank my advisors Ilkay Sunar and Cem Taylan
(late) for their guidance in setting up the
general framework of this study. Likewise, I am
indebted to Turkish Academy of Social Sciences
(TUBA) for their financial assistance that made
it possible for me to spend the academic year of
1998-99 at Duke University, Department of
Literature. I would especially like to express my
sincere gratitude to Frederic Jameson, the Chair
of the Literature Department at Duke, who invited
me as a visiting scholar and gave generously of
his time.
More than a dry dissertation, this study has
principally been a work of genuine interest for
me, done with enthousiasm. Apart from the
academic assistance I received from various
institutions, I would especially like to
acknowledge the following for their contributions
and support: Giovanni Scognamillo, Vedat T¸rkali,
Sinan Kuneralp, Naci G¸Áhan, C¸neyd Okay, Ahmet
S¸ner and G–r¸nt¸ as well as Yeni Film
writers...Last but not least, I should also thank
the young ìphilosophersî Iíve met in and around
orta kantin at BogaziÁi University...
Asli Daldal (Ph.D) is currently a lecturer at
Bogazici University, Dept. of English Literature
FOR ORDERING INFO:
www.theisispress.com
ALSO VISIT:
www.simurg.com.tr
www.pandora.com.tr
| | | | | | |
A new issue of Screen
has been made available:
Winter 2003; Vol. 44, No. 4
URL: http://www3.oup.co.uk/screen/hdb/Volume_44/Issue_04/
-----------------------------------------------------------------
Ghosting the machine: the sounds of tap and the
sounds of film Jodi Brooks, pp. 355-378
-----------------------------------------------------------------
The suspended spectacle of history: the tableau
vivand in Derek Larman`s Caravaggio James
Tweedie, pp. 379-403
-----------------------------------------------------------------
Good times in race relations? CBS`s Good Times
and the legacy of civil rights in 1970s
prime-time television Aniko Bodroghkozy, pp.
404-428
-----------------------------------------------------------------
'Televerite` hits Britain: documentary, drama and
the growth of 16mm filmmaking in British
television Jamie Sexton, pp. 429-444
-----------------------------------------------------------------
Laughing into an abyss: cinema and Balkanization pp. 445-464
-----------------------------------------------------------------
Likwan Pang : Building a New China in Cinema: the
Chinease Left-Wing Cinema Movement, 1932-1937
Reviewed by Chris Berry , pp. 465-470
-----------------------------------------------------------------
Dai Jinhua and Tani E. Barlow , ed. Dai Jinhua,
Cinema and Desire: Feminist Marxism and Cultural
Politics in the work of Dai Jinhua Reviewed by
Chris Berry , pp. 465-470
-----------------------------------------------------------------
Jean Mitry : Jean Mitry, The Asthetics and
Psychology of the Cinema Reviewed by Howard Finn
, pp. 471-475
-----------------------------------------------------------------
Sarah Cardwell : Adaption Revisited: Television
and the Classic Serial. Reviewed by Iris
Kleinecke , pp. 476-480
-----------------------------------------------------------------
Robert Giddings and Keith Selby : The Classic
Serial on Television and Radio Reviewed by Iris
Kleinecke , pp. 476-480
| | | | | | |
Issue 30 of
SENSES OF CINEMA
is online at
http://www.sensesofcinema.com
Spotlights include:
2003 World Poll
Special Perversion Spotlight
Serge Daney essay
Mystic River, The Singing Detective
Interview with Julie Talen
Telephilia
Jean Epstein's La Chute de la maison Usher Otis Ferguson
Contemporary Hong Kong blockbusters
Contemporary reworkings of samurai genre
Plus:
GREAT DIRECTORS - Sergei Eisenstein, Hal Ashby,
Jean Cocteau, David Lean, Quay Brothers, Douglas
Sirk
TOP TENS / BOOK REVIEWS / FESTIVAL REPORTS /
| | | | | | |
international journal of
media & cultural politics
Life with the ultimate conglomerate: a call for
short essays on the politics of contemporary
media content, control and policy
We, the citizens, own the airwaves, yet we don't
control them. The corporations that control them
feed us a steady diet of electronic junk food and
it is making our democracy sick. (Ralph Nader)
The first half of the twentieth century produced
pessimism about ideological control and social
and cultural harm as a consequence of media
expansion. By the end of the second half of the
century, a variety of theoretical positions had
posited the media as a usurpation of reality
itself. Whatever the status of such claims, the
media now claim a centrality which has profoundly
redefined culture.
To mark the launch of MCP, the Editors are
inviting scholarly mini-essays of over 1000 and
not more than 1500 words on any theme exploring
the relationship between the contemporary media
and the politics of representation, or policy, or
control, and commenting on recent waves of
pessimism about the media in culture (Virilio's
concept of 'fin de siècle infantilization', for
example, or Nader's 'electronic junk food').
Contributors are invited to address print,
broadcast or electronic media as they choose, and
likewise to adapt the theme to specific forms,
genres, theories, practices, demographics,
localities, audiences, pedagogic and research
contexts, and topical issues.
All contributions should be submitted to
Katharine Sarikakis - [log in to unmask]
- by email attachment, by 31 May 2004.
For details on style, please go to: http://www.intellectbooks.com/journals/mcp/
Best wishes
The Editors
MCP
Please note that MCP is also now accepting full
length submissions for the inaugural volumes to
be published in 2005, on general media and
cultural politics themes.
| | | | | | |
Subject: Moving Image Collection now live MIME-Version: 1.0
Content-Type: text/plain
From: Robert Lindsey [[log in to unmask]]
Some of you might find this web portal of
interest. The original message was posted on the
Autocat cataloging discussion list.
Jane Johnson wrote:
I am pleased to announce that the MIC: Moving
Image Collections portal is now live and ready
for review and comment from the archival moving
image community: http://mic.imtc.gatech.edu. MIC
is built on a portal structure, to customize
information for its diverse audiences. Choose a
portal to find resources and perform more complex
searches for moving images (Collections Explore)
and organizations (Archive Explore).
We continue to welcome entries for MIC's Archive
Directory, an international online guide to
moving image repositories. Whether you are a
moving image archive, or simply hold a few film
titles as part of a larger general collection, we
invite you to register your organization with
MIC. By listing your institution, you join a
groundbreaking initiative to provide access to
moving images worldwide, and contribute to
further collaboration, research, and mentoring in
the archival moving image community.
Any institution or individual holding archival
moving image materials is eligible for a
Directory entry. To complete an Archive Directory
form with contact information, services and
collection descriptions, and cataloging and
preservation activities, go to the MIC site and
choose 'List your Archive' under MIC Spotlight,
or click here: http://mic.u.washington.edu.
Please take a look around, let us know what you
think, and have fun! We welcome and appreciate
your comments and questions. Please send them to
[log in to unmask] Thank you!
___________________________________________________
Moving Image Collections (MIC, pronounced 'mike')
is an integrated online catalog of moving images,
with an archive directory and links to resources
on moving images and moving image preservation.
It is designed to facilitate collaborative
cataloging, preservation, exhibition, and
digitization activities, and includes these
features:
a.. Union catalog of moving images held by a
variety of organizations, including libraries,
museums, archives and television broadcasting
companies, including films, videos, and digital
streaming video
b.. Searchable directory of organizations with moving image collections.
c.. Portals for archivists, educators and other
communities d.. Resources about moving images and
moving image preservation for archivists,
educators, and the general public
e.. Search displays combining information about
services and access to collections with title
information
A cataloging utility and user-defined dynamic portals are in development.
MIC is a collaboration between the Association of
Moving Image Archivists (AMIA) and the Library of
Congress. It receives funding from the National
Science Foundation and is a participant in the
National Science Digital Library. Alpha
implementer sites, all with significant moving
image collections in analog and digital format,
include the Library of Congress, Cable News
Network (CNN), Fortunoff Video Archive for
Holocaust Testimonies,
National Geographic Television, National Library
of Medicine, Northeast Historic Film, Oregon
Health and Sciences University, Pacific Film
Archive, the Peabody Collection at the University
of Georgia Libraries, the Prelinger Collection at
the Internet Archive, ResearchChannel, the
Smithsonian Institution, and Wisconsin Center for
Film and Theater Research.
The Library of Congress will host MIC. Developer
sites are Rutgers, the State University of New
Jersey, Georgia Institute of
Technology, and the University of Washington.
Jane D. Johnson
MIC Project Manager
Library of Congress
[log in to unmask]
(732) 828-8918
Visiting Scholar
Rutgers, the State University of New Jersey (732) 445-5904
(732) 445-5888 (fax)
MIC: Moving Image Collections
A Library of Congress-AMIA Collaboration| http://mic.imtc.gatech.edu
| | | | | | |
*
*
Film-Philosophy Email Discussion Salon.
After hitting 'reply' please always delete the text of the message you are replying to.
To leave, send the message: leave film-philosophy to: [log in to unmask]
For help email: [log in to unmask], not the salon.
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