| | F I L M - P H I L O S O P H Y | | | |
| | | | | | | | | | | | | | | |
| | | Journal : Salon : Portal | ||| | |
| ISSN 1466-4615 | | |
| || PO Box 26161, London SW8 4WD | | | |
| | http://www.film-philosophy.com | | | |
| | | | 2004.01.06 Film-Philosophy News | | | | | |
SPECIAL EVENT -- Serge Daney, l'Homme Cinema.
FILM SERIES & SYMPOSIUM
Harvard University (January 2004, Symposium on Thursday, January 29)
Heir apparent to the legendary French critic and
theorist Andre Bazin, Serge Daney (1944 -- 1992)
carried the torch of French film criticism to a
new generation of cinephiles with his insightful
writing for Cahiers du cinema (for which he
served as editor-in-chief from 1975 to 1981,
ushering in a significant era of post-auteurist
criticism), for the newspaper Liberation, and at
the influential journal he founded, Trafic.
Despite his canonical status in European film
circles, his reputation abroad has been largely
constrained -- in no small part because his work
has yet to be translated into English. Never a
victim of fashion, Daney was a champion of both
classical Hollywood genre films and promising new
directors from France and abroad. Today, his
reputation goes beyond film criticism: he is well
known as a "passeur", writing on television,
image and communication. As a kind of new Gilles
Deleuze, Serge Daney is today one of the most
famous contemporary French intellectuals.
This program offers a sampling of some of the
critic's most beloved films as well as a rare
documentary in which Daney provides testimony to
his passion for film and culture at large. Each
evening's program will be introduced by a local
film historian, scholar, or critic.
It will be co-presented with French Cultural
Services, the Minda de Gunzburg Center for
European Studies at Harvard University, Vive les
Arts-Boston, and Cahiers du cinema, which will
also publish the proceedings of the symposium in
an upcoming issue. Special thanks to Centre
National du Cinema, the Department of Film
Studies at Yale University, the Goethe Institut
and Unifrance Film.
SYMPOSIUM -- Beyond Film Criticism: A Symposium in Homage to Serge Daney
Harvard University (Thursday, January 29, 10am -- 4pm)
For this day-long symposium, a diverse group of
international scholars and critics will gather to
examine the influence French critic Serge Daney
brought to bear on contemporary film culture, the
contested position of the cinephiliac, and the
divide between academic and journalistic
criticism. Panellists will include French
director Arnaud Desplechin, Professor Dudley
Andrew of Yale University, critic and editor
Jean-Michel Frodon (director, Cahiers du cinema),
Emmanuel Burdeau (editor, Les Cahiers du cinema),
Kent Jones (Film Comment), Klaus Eder (FIPRESCI),
Tom Conley (Harvard University), Bill Krohn
(UCLA). In addition, Elvis Mitchell from the New
York Times, Tom Sellars from the Village Voice,
Jim Hoberman from the Village Voice among others
may confirm their participation.
Minda de Gunzburg Center for European Studies Harvard University
27 Kirkland St. at Cabot Way, Cambridge
for more information: 617 292-0548 / http://www.harvardfilmarchive.org
FILM SERIES -- The Eye of Serge Daney
Harvard Film Archive (January 7-29)
In homage to Serge Daney, the Harvard Film
Archive is screening several films Daney wrote
on, whether he loved or hated them. Each film
will be introduced by a short pre-screening
presentation, made by academics, artists, critics
or journalists. A good opportunity to see under a
different point of view famous films such as
"Children of Paradise" , "Purple Noon", "Night
and Fog", Hitchcock's "Psycho" and "North by
Northwest", "Annie Hall". The whole schedule and
complete list are already available by clicking
on the link below:
http://www.harvardfilmarchive.org/calendars/03_winter/daney.html#serge
Harvard Film Archive
24 Quincy Street, Cambridge
for more information: 617 495-4700 / http://www.harvardfilmarchive.org
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New Southeast Asian Cinemas Conference: Where Big Budget Meets No Budget
May 3rd-4th 2004, Singapore
Proposal
The last few years have seen the emergence of art
films from Southeast Asian countries like
Thailand, Indonesia, Philippines, Malaysia and
Singapore even as authoritarian regimes
collapsed, and the ensuing economic downturn
signaled the end or near-ending of mainstream
filmmaking industries. These films, sometimes
little known or unpopular in their own countries,
have been making the international film festivals
circuit and attracting much critical attention
from Cannes to Singapore to Japan, Vancouver and
Montreal. Concurrently, there has also been a
revival of more commercial films such as Iron
Ladies, Ong Bak, Suriyothai (Thailand) and Ada
Apa Dengan Cinta (Indonesia) in local cinemas.
Globalization, the internet, video piracy and the
creation of niche market art cinemas have also
meant that films from neighbouring ASEAN
countries are being viewed in metropolitan cities
like Bangkok, Singapore, Jakarta and Kuala
Lumpur. In addition, the development of digital
video technology has spawned groups of young
eager filmmakers and video activists throughout
the region who are producing quick, low-budget
films. Confronting budget constraints, those
trained in the west in film and video production
have also seized the new media to make newer
cheaper films.
How are these films breaking from the moulds of
their national cinematic traditions? In
establishing difference from the commercial
mainstream of melodramas or 'bomba' cinemas, are
SEAsian avant garde films merely reverting to an
older Western avant garde cinematic tradition
like the French New Wave? Or are there other
trends that are equally influential in this
deterritorialised space and age? Are we beyond
theories of postcolonial Third Cinema? How do
filmmakers balance popular viewing desires with
their own desire for making art? What makes a
Malaysian film uniquely Malaysian? Can these
"Third World" narratives be read as national
allegories? If not, how should they be read and
in what context?
This conference seeks to showcase and create
academic and social discourse among scholars,
film critics, buffs and media activists about the
multiple new cinemas from the region. We want to
create better awareness of film as both an
artistic expression and ideological and
educational tool and to provide a forum and
international networking for participants.
We hope to publish selected papers in an edited
book on Emerging Southeast Asian Cinemas after
the conference.
We welcome paper abstracts that:
* explore and analyse the complexities and
problems of the current industries in any
Southeast Asian country: effects of funding,
censorship, bureaucratic and state policies in
production, distribution, exhibition, etc. *
employ critical approaches from film
theory, film aesthetics and reception studies to
discuss Southeast Asian films * focus on
sociological, anthropological, cultural,
postcolonial aspects (including questions of
race, gender, class, sexual/queer identities,
ideology) of Southeast Asian films * discuss
independent filmmaking as opposed to mainstream
national cinema * reflect SEAsian diasporic
film perspectives of SEAsia * deal in-depth
with specific SEAsian film genres: horror,
romance, comedy, melodrama, documentary, war,
video essay, sexploitation/bomba, etc.
deadline: February 15th, 2004
Please submit a 250-300 word abstract to Khoo Gaik Cheng: [log in to unmask]
Dr. Khoo Gaik Cheng
Postdoctoral fellow
Asia Research Institute
The Shaw Foundation Building
Block AS7 Level 4
5 Arts Link, Singapore 117570
tel: (65) 6874 1222; fax: (65) 6779 1428
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From: "Taylor, Ben" <[log in to unmask]> Subject: Taste: A Symposium
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The Media and Cultural Studies team at Nottingham
Trent University are hosting a symposium on taste
on Friday 23 January 2004. If you are interested
in attending (which is free), please contact Ben
Taylor ([log in to unmask]).
Taste: a symposium
Friday 23 January 2004
George Eliot Building, room E122
Clifton Campus
Nottingham Trent University
10.45 Registration, tea & coffee
11.15 Session 1
'Cultural Policy and Questions of Taste'
Ben Taylor (Nottingham Trent University)
'Taste as a Weapon of Mass Destruction'
Alan Warde (Manchester University)
1.00 Lunch
2.00 Session 2
'Cooking, Class and Gender'
Joanne Hollows (Nottingham Trent University)
'Disaster Kitsch: Taste, Memory and the
Catastrophe' Tracey Potts (Staffordshire
University)
'Naff British Films: Revisiting the Decade that
Taste Forgot' Matthew Knill (Nottingham Trent
University)
4.00 Close
For further details, please contact Ben Taylor,
Department of English & Media Studies, Nottingham
Trent University, Clifton Lane, Nottingham NG11
8NS. Email: [log in to unmask]
| | | | | | |
From: Christine O'Sullivan
<[log in to unmask]> Subject: FW: BUFVC and
SSBL collaborate in Learning on Screen
conference, London 4th - 6th April 2004
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Dear Colleagues
Please note this forthcoming conference event.
Significant discounts on registration fees are
available for those booking early (on or before
23rd January 2004).
******************************
Learning on Screen 2004
Valuing moving pictures and sound in learning,
teaching and research London 4th - 6th April
******************************
The British Universities Film & Video Council is
collaborating with the Society for Screen-Based
Learning in organising this important conference
which will take place at the Regent's Park
Holiday Inn, Carburton Street, London W1. The
event will commence with a pre-conference evening
event on Sunday 4th April and this will be
followed by two full days of conference sessions
on 5th and 6th April 2004. On the evening of 5th
April the Learning on Screen Awards 2004 will be
presented during the conference dinner. There
will be a small-scale exhibition held alongside
the conference.
This conference will be of direct interest to
teachers, producers, researchers, distributors,
service providers, librarians and technology
vendors working with moving image media.
The programme for the two main days of the
conference will be organised into four broad
themes - (i) Work in Progress; (ii) New
Techniques for Production, Storage and Delivery;
(iii) Media Literacy; (iv) Access to and Use of
Archive Film and Television Content.
Please note that there are significant discounts
for early booking (pre 23rd January 2004) and
further discounts for staff in BUFVC or SSBL
member institutions. Access the website at
www.bufvc.ac.uk/learningonscreen for further
information. You can download and print out the
conference booking form from
www.bufvc.ac.uk/learningonscreen/booking.html or
e-mail [log in to unmask] to obtain
specific conference information.
A PDF of the conference booking form is attached herewith for convenience.
Please circulate this announcement to any of your
colleagues locally who study, use or deliver
moving images in their work for further or higher
education.
We look forward to seeing you at the conference in April.
Murray Weston
Director
BUFVC
----------------------------------------------------
British Universities Film & Video Council 77
Wells Street LONDON W1T 3QJ
Tel: + 44 (0)20 7393 1504
Fax: + 44 (0)20 7393 1555
Website: www.bufvc.ac.uk
-----------------------------------------------------
Details on BUFVC regular one day courses are
online at www.bufvc.ac.uk/courses/index.html
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April 18-27, 2004 there will be organized in capital of Poland:
WARSAW INTERNATIONAL JEWISH FILM FESTIVAL
HA-MOTIV HA-JEHUDI 2004
This Festival will be both a presentation and
competition for films in the following
categories: feature, documentary, experi-mental
and animated films - all on Jewish themes.
Warsaw played a special role in the culture of
Jewish people. Before Word War II biggest Jewish
community in the world lived here. It was in
Warsaw that first films in Yiddish were shot. For
centuries the Jewish people lived, worked,
cherished their traditions in harmonious
coexistence with the Poles and other
nationalities of the Republic. They shared with
the Polish people the difficult moments of their
country, co-created Polish culture, took part in
economic life and in the repeated armed efforts
to regain and maintain Poland's independence. In
1939, the Jewish community counted 3 million. In
the course of World War II it was practically
wiped out from the Polish soil. It lies with us
what and how much will be saved of the Jewish
culture and passed on to generations to come. The
Warsaw International Jewish Film Festival will be
held in Warsaw in mid-April 2004. During the
Festival historical movies as well as films about
contemporary Jewish communities all over the
world are to be presented to the public. The
Festival prizes are: statuettes of Phoenix - a
symbol of revival - and money prizes. Films will
be shown in cinemas in more than 20 Polish towns,
among others: Gdansk, Cracow, Lublin, Lodz,
Plonsk, Plock, Siedlce, Wroclaw - in cooperation
with various institutions and organizations.
Leading Members of Honorary Committee: Wladyslaw
Bartoszewski and Shimon Peres. Members of the
Programme Board: Marek Edelman, Agnieszka
Holland, Marcel Lozinski, Janusz Majewski, Janusz
Morgenstern, Krzysztof Piesiewicz, Andrzej Wajda,
Krzysztof Zanussi, Maria Zmarz- Koczanowicz.
Honorary Patron is Israeli Embassy in Poland.
Organizers of the Festival are among others:
Media Kontakt, National Film Library, Judaica
Foundation, Jewish Religious Community in Warsaw,
Mazovia Center of Culture and Art, Ministry of
Culture, Museum of History of the Polish Jews,
Society for the Protection of the Archives of the
Institute of Literature in Paris, The
Municipality of the Capital City of Warsaw,
Jewish Historical Institute.
We invite you or you with your films: feature,
documentary, experimental, animated, produced in
2002 or later, in our Festival. Various forms of
films can be entered: not shorter than 6 minutes,
recorded on 35 mm, 16 mm, BETACAM, SVHS, DV, and
DVD. The deadline for submitting films is: 20th
of February 2004. Form and terms of participation
are available on site:
<http://www.warsawjff.ant.pl/>www.warsawjff.ant.pl.
Film should be sent to:
WARSAW INTERNATIONAL
JEWISH FILM FESTIVAL
MEDIA KONTAKT
ul. Wilcza 12 C, 00-532 Warszawa,
Ph+(4822) 627 28 31-32, fax: + (4822) 622 60 13
e-mail: <mailto:[log in to unmask]>[log in to unmask]
On behalf of organizers:
Miroslaw Chojecki Festival Director
Jan Kidawa-Blonski Artistic Director
Media partners:
- Polish Television SA
- Polish Radio, 1st Program
- Daily "Rzeczpospolita"
- Weekly "Wprost"
- Monthly magazine “Midrasz"
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Radical Theory Forum
A workshop at the European Social Forum, Paris http://www.fse-esf.org/
As part of the European Social Forum, we are
interested in assembling an international network
of intellectuals/activists who are interested in
the
relationship between new theories and new forms of politics. How can we move
beyond a simplistic opposition to representative
politics? How can the network form contaminate
the institutional spaces in which a vast number of
people live and work? How can we relate the analysis of new forms of power
with experimentation in political practice?
The workshop is sponsored by: Signs of the Times; Ephemera; New Formations;
Radical Philosophy.
Room 1, Max Jacob, Bobigny, 13 November 14:00-17:00
Sponsored by:
Signs of the Times
http://www.signsofthetimes.org.uk/ Ephemera
http://users.wbs.warwick.ac.uk/ephemera/ephemeraweb/journal/
New Formations
http://www.l-w-bks.co.uk/formation.html Radical
Philosophy http://www.radicalphilosophy.com/
| | | | | | |
From: Terry Threadgold <[log in to unmask]>
Subject: Extension of deadline: 'What is Media
Theory?' Special Symposium for 'Social Semiotics'
SOCIAL SEMIOTICS: Special Symposium: 'What is
Media Theory?' - 15/1/04 (for Vol 14 (2) 2004)
General Editor: Professor Terry Threadgold, Cardiff University, Wales, UK
Co-Editor: Dr Radhika Mohanram, Cardiff University, Wales, UK
Associate Editor, Australia: Dr Joseph Pugliese,
Macquarie University, NSW, Australia
Associate Editor, USA: Dr Toby Miller, New York University, USA
Book Review Editors: Dr Karin Wahl-Jorgensen,
Cardiff University, Wales, UK Rebecca Farley,
Portsmouth University, UK
Editorial Assistant: Judith Pryor, Cardiff University, Wales, UK
'Social Semiotics' is a refereed journal and has
been published continuously for 14 years. The
journal invites work that explores relationships
between Culture, Meanings and Practices in a
broad range of contexts. We invite contributions
from anyone who feels at home in the
transdisciplinary conjunction which the journal
represents.
Papers should be 5-7 000 words in length and referenced in Chicago style.
First drafts to be received by 15 January 2004.
Please send contributions by email to: [log in to unmask]
or by post to: Professor Terry Threadgold
Professor of Communication & Cultural Studies
Head, School of Journalism, Media & Cultural Studies
Cardiff University
Bute Building
King Edward VII Avenue
Cardiff CF1 3NB
UNITED KINGDOM
| | | | | | |
From: "Laraine Porter" <[log in to unmask]>
Please find information below about the 2004
British Silent Cinema Festival. The Festival will
take place between 15-18 April at Broadway in
Nottingham. The title for event is 'Goodbye to
All That' British Silent Cinema and World War I
and we are currently seeking expressions of
interest from people willing to give
presentations on a wide range of related
aesthetic, historical, social, political and
military themes.
Please make a note of the dates in your diaries
and contact me if you would like any further
details
Best wishes
Laraine Porter
*********************************
The 7th British Silent Cinema Festival
GOODBYE TO ALL THAT
British Silent Cinema and World War One
15-18 April 2004
Broadway Nottingham, UK
Call for presentations
ìWe who are left, how shall we look againÖî
(Wilfred Gibson Lament)
The earth-shattering events of the 1914-18 War
changed all aspects of British society and
culture. The 2004 British Silent Cinema Festival
will focus on the Great War as a catalyst for
change as seen through the British film.
We invite presentations from anyone working on
any aspect of British silent cinema and World War
One as a watershed in British history.
Contributions should be illustrated with film and
might include: life in Britain before and after
the War, military and ërole of honourí films, the
Home Front, popular music and film, how returning
soldiers were portrayed in feature films,
disability and medical films, the emancipation of
women, class issues, relationships with the
German film industry, war humour, anti-war films,
advertising, animation and propaganda.
The British Silent Cinema Festival will take
place at Broadway, Nottingham and is organized in
conjunction with the British Film
Institute/National Film and Television Archive
and the Imperial War Museum.
For more information and to be placed on our
mailing list please email [log in to unmask]
write, or call Laraine Porter at:
Broadway
14-18 Broad St
Nottingham NG1 3AL
UK
Tel: 00 44 115 9526600
Enquiries relating to the film holdings of the
bfi /NFTVA please contact [log in to unmask]
| | | | | | |
From: "William H. Rosar" <[log in to unmask]>
Subject: JOURNAL OF FILM MUSIC: Herrmann Studies
This is to announce that we now have the table of
contents up for the Herrmann Studies issue on our
website http://www.ifms-jfm.org. The issue itself
should be available in a few weeks.-
-Bill Rosar
Editor
THE JOURNAL OF FILM MUSIC
[log in to unmask]
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From: Susan Morrison <[log in to unmask]> Subject: CFP: New Directions?
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--
This is a ' call for papers' for issue #64 of
CineAction, an international film journal
published 3 times a year in Toronto, Canada. The
theme of this issue is 'New Directions?' the
intent being to open up for discussion questions
of trends and directions in contemporary
international cinema. 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? Has American cinema 'won'? 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 is May 15, 2004. It
would be appreciated if a brief proposal be
submitted by Jan. 30 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: "Kenneth Eisenstein" <[log in to unmask]>
Please Distribute Widely!
CALL FOR PAPERS
Experimental Cinema
Graduate Conference on Cinema
Conference Date: April 3rd, 2004, University of
Chicago Keynote Address: Branden Joseph,
University of California at Irvine Deadline for
Abstracts: January 1st, 2004 Experimental Cinema
is the second annual Graduate Cinema Conference
at the University of Chicago, a one-day event
that will bring together new work being done by
graduate students on experimental cinema. We
welcome papers from graduate students on a wide
range of topics, including, but not limited to,
the following:
-Experimental film practice and music, video,
performance -Experimental cinema and
mainstream/commercial film practice, independent
filmmaking, and Hollywood
-Experimental film and the art world (galleries,
museums, periodicals) -Critical reception of
experimental, underground, and avant-garde cinema
-Experimental cinema and aesthetics
-Experimental cinema and technology
-Experimental cinema and phenomenology
-Expanded Cinema
-Films: production and exhibition histories,
formal analyses -Filmmakers and artists: their
films, writings, theories, and work in other media
-Institutional histories
-The future of experimental cinema
Over the past few years, scholars, especially
young scholars, have been re-examining
experimental cinema as a major filmic and
artistic genre. Greater consideration has been
given to thinking about experimental film in
relation to the other arts, and to thinking about
its own institutional histories. As the formative
periods of avant-garde, underground, and
experimental cinema (the 1920s, post-war decades,
1960's & 70's, etc.) are approached and
reconsidered by a new generation, Experimental
Cinema will provide an opportunity for graduate
students currently working on these topics to
share their research, gauge various
methodological and theoretical questions, and
hopefully develop new ones.
The keynote speaker is Branden Joseph, Assistant
Professor of Art History at the University of
California at Irvine. Joseph's talk will focus on
his recent research on Tony Conrad's films The
Flicker and The Eye of Count Flickerstein.
Branden Joseph's publications include "'My Mind
Split Open': Andy Warhol's Exploding Plastic
Inevitable" and Random Order: Robert Rauschenberg
and the Neo-Avant-Garde (MIT Press, 2003). He is
also the co-editor of the journal Grey Room.
| | | | | | |
From: Robert Lort <[log in to unmask]> Subject: Azimute
Hello,
A brief announcement to let you know that Azimute
has just published two new texts.
"Chocolate Blood, Anorexic With Burning Foot" by
Robert Lort, which analyzes Deleuze and
Guattari's striking evocation of the anorexic. -
"The mouth of the anorexic wavers between several
functions: its possessor is uncertain as to
whether it is an eating-machine, an anal machine,
a talking-machine, or a breathing-machine (asthma
attacks)." (Deleuze and Guattari)
http://www.azimute.org/texts/awbf.html
And, "The Space of Absence in the Music of Giya
Kancheli" by Dylan Trigg, although not directly
associated with Deleuze and Guattari, this
beautiful text analyzes themes of silence, exile
and mourning in the context of the Russian
filmmaker Andrei Tarkovsky and the poets
Baudelaire and Celan.
http://www.azimute.org/music/kancheli_absence.html
Azimute is an online publisher dedicated to
publishing theoretical texts concerned with
Deleuze and Guattari and related aspects of their
work.
Regards
- --
Robert Lort
http://www.azimute.org
| | | | | | |
From: Rayna Denison
<[log in to unmask]> Subject: Special
Issue of Scope: An Online Journal of Film Studies
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Dear All
With apologies for cross-posting:
CALL FOR PAPERS
Scope: An On-line Journal of Film Studies
Special Issue: Convergence and Divergence in the Media
With the advent of cable and satellite, digital
television, the Internet and home cinema, claims
by manufacturers and critics that new disparate
media are integrating or converging are gathering
momentum. However, recent scenes from reality
television series The Osbournes, in which Ozzy
Osbourne is shown pummelling his universal remote
control in frustration, indicate that consumer
relationships with these converging media are
anything but straightforward. In fact, equal
claims can be made for increasing levels of
divergence among these media, with numbers of
media and products attempting to create and
delineate new markets for themselves. This
special issue of Scope is intended to investigate
the relationships between the media and their
producers and consumers in order to better
understand the points at which these media are
undergoing processes of convergence and
divergence.
Attempts to create such new markets for media and
their hardware often centre on the presence of
film. Film forms the basis for the premiere
channels on satellite and cable television, it
provides the locus for DVD and video and it has
been central to the development of home cinema.
Film as content therefore provides a link between
the development of even the most disparate media
technologies be they soft- or hardware in form.
Equally these new media have the power to shift
the meanings of film in popular culture. The
Editors would like to encourage submissions that
account for local, national, transnational and
global approaches to these new media. We
therefore also strongly encourage submissions
from a wide range perspectives including
political economy, cultural policy, marketing and
mediation, reception and aesthetics.
Submissions on, but not limited to, the following topics are welcomed:
Digital television: changing the cultural
meanings of TV Interactivity in the new media
Marketing and retailing home cinema
“Lifestyle” cinema: the design of home cinema
Dolby and THX in the home and in cinemas
Consumers of home cinema and digital technologies
The digital TV revolution (?): Freeview and the
BBC TiVo and Sky et al: consumer freedom or
spying on consumers? Cable and satellite film
channels
Film and/on the Internet
Film and the music video
New media and film piracy/regulation
Quality and the impact of home cinema
technologies (including surround sound, flat
screens, plasma screens etc.) Film and/in DVD
technologies
Competing spaces of exhibition: domestic and
public Going out/Staying in: audiences and the
different cultural uses of film Computers and
entertainment: films, games and interactivity
Hierarchies of viewing: film across the media The
family and film
Nationality and film on satellite and cable TV
Due date for submissions: 1st September 2004
Editors: Mark Jancovich, Gianluca Sergi and Rayna Denison
Submissions to the Journal should contain a short
200 word abstract, be between 5,000 and 7,000
words in length, double-spaced and should follow
the Scope Submission Guidelines (to be found at
http://www.nottingham.ac.uk/film/journal/submiss.htm).
Any queries about submissions for the special
issue are welcome.
To submit a paper or query please contact Rayna
Denison at [log in to unmask] The closing
date for submissions is 1st September, 2004. In
accordance with the Submission Guidelines 2 full
copies of papers and a floppy disk can also be
sent by post to:
Scope: An Online Journal of Film Studies C/o
School of American and Canadian Studies
University of Nottingham
University Park
Nottingham NG7 2RD
Scope is an entirely free online journal of film
studies edited by staff and students within the
Institute of Film Studies at the University of
Nottingham. As our title suggests, we provide a
forum for discussion of all aspects of film
history, theory and criticism. It is our belief
that an electronic publication such as Scope can
best serve its readers interests by promoting as
wide a range of approaches and critical
methodologies as possible.
As a fully refereed journal, Scope is dedicated
to publishing material of the highest scholarly
quality and interest, and to this end we have
assembled a distinguished international advisory
board of professional academics and critics.
While we welcome contributions from established
writers, we are also keen to act as a supportive
environment within which those new to the field
of film studies can publish their first work.
| | | | | | |
From: "Swart, Wernard"
<[log in to unmask]> Subject: NEW issue
of journal of visual culture MIME-Version: 1.0
Content-Type: text/plain
>Dear Colleagues
>
>Here is the latest table of contents for journal of visual culture.
>
>To view the abstracts, click on the link below.
>
>IF YOUR LIBRARY SUBSCRIBES TO THIS JOURNAL,
>ONLINE FULL TEXT VERSIONS ARE AVAILABLE AT YOUR
>INSTITUTION
>
>For more information on the journal such as how
>to submit articles, please visit
>www.sagepub.co.uk
>
>Please forward this message to interested
>colleagues - thank you.
>----------------------------------------------------------------------------
>
>
>journal of visual culture
>
>Volume 02 Issue 03 - Publication Date: 1 December 2003
>
><http://www.sagepub.co.uk/JournalIssue.aspx?pid=105702&jiid=511269>
>
>The imaginary breeze: remarks on the air of the
>Quattrocento Georges Didi-Huberman Ecole des
>Hautes Etudes en Sciences Sociales, Paris, France
>
>Performance, live culture and things of the
>heart Peggy Phelan Stanford University, USA
>
>Havana: memoirs of material culture
>Giuliana Bruno Harvard University, USA
>
>Waiting and seeing
>Adrian Rifkin Middlesex University, UK
>
>Abandoning advertisements over edificial
>ekphrases John L. Jackson Jr Duke University,
>USA
><http://www.sagepub.co.uk/JournalIssue.aspx?pid=105702&jiid=511269>
>
>
>Miniatures
>
>Kafka calling on the camera phone
>Lutz Koepnick Washington University, St Louis,
>USA
><http://www.sagepub.co.uk/JournalIssue.aspx?pid=105702&jiid=511269>
>
>
>Civic Centre: reclaiming the Right To
>Performance Andrea Phillips Slade School of Fine
>Art, London, UK
><http://www.sagepub.co.uk/JournalIssue.aspx?pid=105702&jiid=511269>
>
>
>A turn for the worse of better?: the on stage
>attitude of miles davis Marcel Swiboda
>University of Leeds, UK
>
>Look the other way--but first order more chairs:
>Field Works, Victoria Miro Gallery Annexe,
>London 16-17 May 2003 Janet A. Kaplan Moore
>College of Art and Design, Philadelphia, USA
><http://www.sagepub.co.uk/JournalIssue.aspx?pid=105702&jiid=511269>
>
>
>Books
>
>Margolin, Victor, Hannah Higgins and Hermione
>Hartnagel, photographs by Patty Carroll, Culture
>Is Everywhere: The Museum of Corn-Temporary Art,
>reviewed by Michael Golec
>
>Mahon, Alyce and Sarah Wilson (eds), Decadence
>of the Nude, reviewed by Matthew Barr
>
>Leslie, Esther, Hollywood Flatlands: Animation,
>Critical Theory and the Avant-Garde, reviewed by
>Richard Stamp
>
>Charlie Gere, Archaeologies of Vision: Foucault
>and Nietzsche on Seeing and Saying, reviewed by
>David Carrier
>
>Charlie Gere, Digital Culture, reviewed by Johan van de Walle
>
>Index to Volume 2
PLEASE NOTE OUR CHANGE OF ADDRESS
From 22nd December 2003 the new address for SAGE
Publications' London offices will be:
SAGE Publications
1 Oliver's Yard
55 City Road
London EC1Y 1SP
UK
Telephone: +44 (0)207 324 8500
Fax: +44 (0)207 324 8600
| | | | | | |
After our highly successful launch event in July
this year, we are very pleased to announce the
second Culture and the Unconscious conference to
be held at SOAS, London on 9th and 10th July
2004. Bringing together, psychoanalysts, artists
and academics, this conference aims to bring the
clinically-based insights of psychoanalysts and
the theoretical and critical approaches of
academics into dialogue with one another. In this
second Conference we hope that several kinds of
presentation will be made, drawn from the
experiences of the clinical consulting room, from
the theories and critical methods of academics,
and from the creative practice of artists and
writers. We aim in particular to bring these
different perspectives together, in joint
presentations around the shared experience of a
particular expressive form or work of art, and in
debates on key issues. It is our belief that
reflections on culture are most interesting and
productive when they take place in a context
where emotions and sensations as well as minds
are engaged.
The call for papers and the registration form are
now available online at the following address:
http://www.uel.ac.uk/news/events/cultureandunconscious2.htm
The deadline for proposals is 16th January 2004.
Best wishes
Caroline Bainbridge
for the Organising Committee
******************************************* Caroline Bainbridge
Senior Lecturer in Psychosocial Studies
University of East London, UK
*******************************************
| | | | | | |
‘Journeys Across Media’
JAM 2004 at the University of Reading
Friday 23 April 2004
CALL FOR PAPERS
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. We warmly invite postgraduate students
to present and discuss their research.
Building on the success of last year’s JAM forum,
this event provides an opportunity for
postgraduate students to gain experience in
presenting aspects of their research as a
conference paper within a friendly environment.
During the day there will be many opportunities
to meet fellow postgraduates and exchange ideas.
The focus of this year’s forum is the
significance of medium specificity and hybridity
within Film, Theatre, Television and New Media
Studies. Proposals for papers are invited under
the following strands:
Texts (medium-specific or hybrid kinds of texts
in one or more medium) Audiences (medium-specific
or cross-media audiences and audience practices)
Institutions (production, exhibition and
distribution in one medium or across media)
The conference fee will be £15, including
refreshments and lunch. The day is expected to
run from 10am – 5pm.
Papers should be no more than 20 minutes. Please
send proposals of 250-300 words plus a 50 word
biographical note by Monday 2 February 2004 to:
Sara Steinke/Simone Knox,
JAM 2004,
The Department of Film, Theatre and Television University of Reading
Bulmershe Court
Reading, RG6 1HY,
or email [log in to unmask]
| | | | | | |
Screen -- Table of Contents Alert
A new issue of Screen
has been made available:
Summer 2003; Vol. 44, No. 2
URL: http://www3.oup.co.uk/screen/hdb/Volume_44/Issue_02/
-----------------------------------------------------------------
Article
Haunted places: Montréal's Rue Ste Catherine and
its cinema spaces Charles R. Acland, pp. 133-153
-----------------------------------------------------------------
Article
Pictures of the past in the present: modernity,
femininity and stardom in the postwar films of
Ozu Yasujiro Alastair Phillips, pp. 154-166
-----------------------------------------------------------------
Article
Between friends: love and friendship in
contemporary Hollywood romantic comedy Celestino
Deleyto, pp. 167-182
-----------------------------------------------------------------
Article
Signs of angst and hope: history and melodrama in
Chinese fifth-generation cinema Ning Ma, pp.
183-199
-----------------------------------------------------------------
Dossier
Victimage and violence: Memento and trauma theory Peter Thomas, pp. 200-207
-----------------------------------------------------------------
Dossier
Authorship, history and the dialectic of trauma:
Derek Jarman's The Last of England Daniel
Humphrey, pp. 208-215
-----------------------------------------------------------------
Dossier
Masking the horror of trauma: the hysterical body
of Lon Chaney Karen Randell, pp. 216-221
-----------------------------------------------------------------
Dossier
Laughter during wartime: comedy and the language
of trauma in British cinema regulation 1917
Michael Hammond, pp. 222-228
-----------------------------------------------------------------
Report
Imagination: Visual Culture and Identity since
the 1940s Adrian Horn, pp. 229-234
-----------------------------------------------------------------
Review
Jane M. Gaines: Fire and Desire: Mixed-Race
Movies in the Silent Era Reviewed by John
Fullerton, pp. 235-239
-----------------------------------------------------------------
Review
Pearl Bowser and Louise Spence: Writing Himself
into History: Oscar Micheaux, His Silent Films,
and His Audiences Reviewed by John Fullerton, pp.
235-239
-----------------------------------------------------------------
Review
Peari Bowser, Jane Gaines and Charles Musser,
eds. Oscar Micheaux and His Circle:
African-American Filmmaking and Race Cinema of
the Silent Era Reviewed by John Fullerton, pp.
235-239
-----------------------------------------------------------------
Review
Toby Miller, Nitin Govil, John McMurria and
Richard Maxwell: Global Hollywood Reviewed by
James Lyons, pp. 240-245
-----------------------------------------------------------------
Review
Gregory A. Waller, ed. Moviegoing in America: A
Sourcebook in the History of Film Exhibition
Reviewed by James Lyons, pp. 240-245
-----------------------------------------------------------------
Review
Dimitris Eleftheriotis: Popular Cinemas of Europe
- Texts, Contexts and Frameworks Reviewed by
Catherine Fowler, pp. 246-249
Screen -- Table of Contents Alert
A new issue of Screen
has been made available:
Autumn 2003; Vol. 44, No. 3
URL: http://www3.oup.co.uk/screen/hdb/Volume_44/Issue_03/
-----------------------------------------------------------------
Article
She is not herself: the deviant relations of
Alien Resurrection Jackie Stacey, pp. 251-276
-----------------------------------------------------------------
Article
Affecting legacies: historical memory and
contemporary structures of feeling in Madagascar
and Amores perrros Laura Podalsky, pp. 277-294
-----------------------------------------------------------------
Article
A pattern of inheritances: Alan Bennett, heritage
and British film and television Ian Goode, pp.
295-313
-----------------------------------------------------------------
Article
Girls on film: the musical matrices of film
stardom in early British cinema Jon Burrows, pp.
314-325
-----------------------------------------------------------------
Report
British Universities Film & Video Council: a
twenty-year report Murray Weston, pp. 326-332
-----------------------------------------------------------------
Report
The 24th International New Latin American Film
Festival Dolores Tierney, pp. 333-336
-----------------------------------------------------------------
Review
Giuliana Bruno: Atlas of Emotion: Journeys in
Art, Architecture and Film Reviewed by Laura U.
Marks, pp. 337-342
-----------------------------------------------------------------
Review
Hamid Naficy: An Accented Cinema: Exilic and
Diasporic Filmmaking Reviewed by Alastair
Phillips, pp. 343-346
-----------------------------------------------------------------
Review
David N. Rodowick: Reading the Figural, or
Philosophy after the New Media Reviewed by C.
Paul Sellors, pp. 347-350
-----------------------------------------------------------------
Review
Andrew Higson: English Heritage, English Cinema:
Costume Drama since 1980 Reviewed by Belén Vidal,
pp. 351-354
| | | | | | |
Issue 29 of
SENSES OF CINEMA
is online at
http://www.sensesofcinema.com
Spotlights include:
Australian contemporary cinema:
Japanese Story, Australian comedies
Abbas Kiarostami: 'space' and 'place'; Ten; short
films of Kiarostami Interviews: Jacques Rivette,
Jennifer Dworkin Tsai Ming-liang's Skywalk is Gone
The Sopranos and televisuality
Myths of 'pre-Code' cinema
John Smith, Hong Kong horror, Tarzan movies Rear Window
Plus:
GREAT DIRECTORS - Peggy Ahwesh, Jerry Lewis,
Dario Argento, Ritwik Ghatak, Frank Tashlin,
Robert Siodmak, Ken Loach and more
TOP TENS / BOOK REVIEWS / FESTIVAL REPORTS / CTEQ ANNOTATIONS
Plus:
Senses of Cinema is embarking on a donations
drive. For more information, please visit the
donations page at
http://www.sensesofcinema.com/donations.html
| | | | | | |
From: Greg Hainge <[log in to unmask]>
Subject: Culture Theory and Critique. 44.1 & CFP
(2)
CULTURE, THEORY AND CRITIQUE
Call for papers (2 - open issue and special issue
on 'Noise') and contents of 44.1.
Unless specified otherwise, please direct all
correspondence regarding CTC to:
[log in to unmask] ; apologies for
cross-postings.
For full details on _Culture, Theory and
Critique_, submission information, instructions
to authors, a free online sample copy and
contents listings from volume 43 on, please visit
the journal's website at:
http://www.tandf.co.uk/journals/routledge/14735784.htm
_Culture, Theory and Critique_ is an
interdisciplinary journal for the transformation
and development of critical theories in the
humanities and social sciences. It aims to
critique and reconstruct theories by interfacing
them with one another and by relocating them in
new sites and conjunctures. _Culture, Theory and
Critique's_ approach to theoretical refinement
and innovation is one of interaction and
hybridisation via recontextualisation and
transculturation. The reconceptualisation of
critical theories is achieved by:
* assessing how well theories emerging from
particular spatial, cultural, geographical and
historical contexts travel and translate into new
conjunctures.
* confronting theories with their limitations or
aporias through immanent critique.
* applying theories to cultural, literary, social
and political phenomena in order to test them
against their respective fields of concern and to
generate critical feedback. * interfacing
theories from different intellectual,
disciplinary and institutional settings.
_Culture, Theory and Critique_ publishes one
special issue and one open issue per volume.
JUST PUBLISHED. VOLUME 44.1 April 2003.
Special Issue: Images and text.
Editor's Introduction
Jon Simons
What Does Pierce's Sign Theory Have to Say to Art History? James Elkins
Adventures in Subsemiotics: Towards a New
'Object' and Writing of Visual Culture.
Sunil Manghani
Reading and Writing the Passions in Duchenne de
Boulogne's Mécanisme de la Physionomie Humaine
Virginia Liberatore
Symbol, Idol and Murti: Hindu God-Iamges and the
Politics of Mediation Gregory Price Grieve
>From Description to Depiction: Free Indirect Discourse and Online
Garphical Chat
Ken Hillis
The Cinematic Mode of Production: Towards a Political Economy of the Postmodern
Jonathan Beller
CALL FOR PAPERS - OPEN ISSUES
Inquiries for open issues should be directed to:
[log in to unmask] Submissions for open issues
should be sent to _Culture, Theory and Critique,
Department of Hispanic and Latin American
Studies, University of Nottingham, Nottingham NG7
2RD, UK. Submissions for the open issues may be
sent at any time.
Submissions are subject to peer review.
CALL FOR PAPERS: SPECIAL ISSUE, MAY 2005 'NOISE'.
Today, noise is breaking away from the status of
undesirable phenomenon bestowed upon it by
traditional communications theory. No longer
merely an undesirable element to be eradicated so
as to retain the purity of the original signal,
noise is infecting expression from all realms,
spawning genres and movements, complexifying
rather than destroying semantics. Indeed, noise
has become an integral part of our late modern
condition, and not only because of the amount of
noise produced by late industrial and digital
societies. It is perhaps only natural that we
attempt to insulate ourselves from this latter
noise, but to treat all noise in this way, to
attempt to eradicate *all* forms of noise is
fundamentally to disavow the ground on which our
every expression is transmitted. This issue of
_Culture, Theory and Critique_ will aim to listen
to (or look at) noise in all of its guises both
literal and metaphorical, to restore noise to its
rightful place and to examine the ways in which
noise can refigure existing theories, theories
which also at times collude in this politics of
noise reduction.
Amongst the key issues to be addressed in this volume will be:
* Manifestations of noise in culture (noise
music, post-digital music, static, hiss, snow and
other complex frequencies). * The 'silent' noise
behind various communicational acts (what is at
stake when mistaking this noise for silence?) *
The construction of meaning (why is it that
meaning is challenged by noise and what does
meaning arise from?) * The politics of noise
(does noise indeed signal a new political economy
as Attali claimed? is noise revolt?) * Noise and
hybridity (does hybridity challenge a noiseless
economy?) * Should noise and noisiness be
maintained (or perhaps maintained solely as an
outside) or is a politics of noise reduction
justified? * Does noise constitute a possible
alterity?
Inquiries and submissions should be directed to:
Dr Greg Hainge, School of Humanities, University
of Adelaide, SA 5005, Australia.
[log in to unmask]
and to: Dr Paul Hegarty, Department of French,
University College Cork, Cork, Ireland.
[log in to unmask]
Deadline for submissions: 1 June 2004.
--
Dr Greg Hainge, Lecturer in French, Head of
French Discipline, Centre for European Studies,
University of Adelaide SA 5005. tel: (Int. + 61)
(08) 8303 5659, fax: 8303 5241
http://www.geocities.com/ghainge/
******
_Culture Theory and Critique_ Editorial Board.
******
Experimental Arts Foundation, Adelaide, Board Member.
******
Australian Society for French Studies Publications Editor
******
Australia and NZ Representative of the Société d’Études Céliniennes
| | | | | | || | | | | | |
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