.
| | 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 | | | |
| | | | 2004.05.25 Film-Philosophy News | | | | | |
From: Richard Rushton <[log in to unmask]>
Subject: CFP: Cinema and Technology conference
MIME-Version: 1.0
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CINEMA AND TECHNOLOGY Conference
April 2005
LANCASTER UNIVERSITY
The Institute for Cultural Research at Lancaster
University in the United Kingdom will host a
major international conference around the broad
theme of "Cinema and Technology". The conference
will take place at Lancaster University and
nearby venues from 6 to 9 April 2005.
Confirmed Plenary Speakers:
Marie-Luise Angerer - Kunsthochschule
Medien/Kunst- und Medienwissenschaften, Köln Lisa
Cartwright - Department of Communication,
University of California-San Diego James Elkins -
Art History and Criticism, University of Chicago
Thomas Elsaesser - Department of Media and
Culture, University of Amsterdam
Conference aims:
Our aim is to address the digitisation of the
film image and the consequences of this process
for theories of history, subjectivity, agency and
perception. Within this general framework,
participants will be encouraged to engage with
the dematerialisation of the film image, the uses
of digital cameras, the forms of contemporary
cinematic experience, and revisionist debates
about the meanings of technology. The conference
will feature two major plenary sessions and a
range of parallel sessions focusing on such
issues as: · The digital imagination
· Changing forms of cinematic consumption
· Histories of film technologies
· The apparatus and technologies of vision
· Cinema/technology/ideology
· Sound and light in cinema
· The politics of cinema technologies
· Technologies of new media
· Other related topics
We are also planning a series of related events
in and around Lancaster that highlight the
conference themes in a more informal setting,
including a public lecture by a film industry
figure, a film premiere, and a tour of
cinema-related venues in the Lake District.
Proposals:
Scholars in any discipline are invited to submit
proposals for papers that address the
implications of technology for cinematic practice
and theory. Proposals for preconstituted panels
are also welcomed. Proposal should include:
provisional title, an abstract of up to 250
words, your name and contact details (including
an email address), and should be sent to June Rye
([log in to unmask]) by 1 September 2004.
For further details and updates, visit
http://www.lancs.ac.uk/fss/cultres/events/cinematech/cinematech.php
| | | | | | |
From: Kathleen Stock <[log in to unmask]>
Subject: British Society of Aesthetics conference
announcement MIME-Version: 1.0
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British Society of Aesthetics Annual Conference
2004 St. Edmund Hall, Oxford, September 10 -12
Guest speakers:
Stephen Davies (University of Auckland)
Robert Hopkins (University of Sheffield) Jenefer
Robinson (University of Cincinnati)
Full programme to be announced shortly.
For more information, or to download a booking
form, please follow the links for “Annual
Conference” on the British Society of Aesthetics
web site, at http://www.british-aesthetics.org
| | | | | | |
From: ALEXANDER GRAF <[log in to unmask]>
Subject: Avant-Garde Film Conference, Edinburgh,
September 2004 MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 8bit
Conference announcement
AVANT-GARDE CINEMA: A REASSESSMENT
Conference Dates: September 24-26, 2004
Location: Faculty Room South, David Hume Tower,
George Square, Edinburgh University
Convened by Professor Dietrich Scheunemann, Edinburgh University
About the Conference:
The planned conference on avant-garde cinema is
part of a wider reassessment of 20th century
avant-garde art, literature and film carried out
in the framework of a research project supported
by the AHRB. The conference's overall objective
is to pave the way for a fresh assessment of
avant-garde film and to develop its theory as an
integral part of a newly defined conception of
the avant-garde as a whole.
It is one of the surprising features of existing
theories of the avant-garde that they either
wholly neglect avant-garde cinema (Renato
Poggioli) or explicitly exclude it from the
construction of the theory (Peter Bürger). As a
result the prevailing definitions and
distinctions of the avant-garde as a whole "do
not fit" avant-garde cinema, as Anne Friedberg
notes. The conference will attempt to close this
gap. It will extend its explorations into
classical and post-war developments in
avant-garde cinema with a view also to providing
new insights into the relationship between
historical and neo-avant-gardist movements.
The conference will be divided into the following
5 sections: oThe Classical Avant-Garde Revisited
- on the formal trends of abstract and Dada films
in the 1920s
oThe Wider Scope of Avant-Garde Cinema -
focussing on dominant avant-garde themes and
genre in films of the late 1920s and early 1930s
oAmerican Avant-Garde Film since 1943 - Deren,
Anger, Brakhage and Warhol oReappropriations,
Transformations and New Trends - aesthetics and
technological influences in post-war European
avant-garde film oNew Forms, New Techniques, New
Technologies - on avant-garde film in the 1980s
and 1990s, video and digital aesthetics.
General Information: The conference will take
place in the Faculty Room South, David Hume
Tower, George Square, Edinburgh University, from
Friday, 24th to Sunday, 26th September, and is
open to all interested parties. Pre-registration
is required at a fee of £90.00, which includes
coffees and teas, early-evening buffet dinners
and screenings of Mario Peixoto's Limite, Andy
Warhol's Chelsea Girls and a selection of
contemporary French avant-garde films. Please
contact Alexander Graf at the University of
Edinburgh to register or to request a programme
([log in to unmask]; Fax: +44 131 6503604).
| | | | | | |
From: Rayna Denison
<[log in to unmask]> Subject: Love
Maybe Registration
We are delighted to announce that registration
for Love Maybe: A Romantic Comedy Study Day,
being held at the University of Nottingham on
August 19th, 2004 is now open.
The day will include three keynote presentations
from experts in the field including Bruce
Babington, Celestino Deleyto and Martin Shingler.
There will also be a number of panels titled
"Something Old and Something New: The Romantic
Comedy and the Hollywood Star System"; "Space and
Identity: Places and People to Fall in Love With"
and "Sealed with a Kiss: Narrating the Romantic
Comedy".
For further details of our programme and the registration form please go to
<http://www.nottingham.ac.uk/film/>http://www.nottingham.ac.uk/film/
and click on the available links.
Regards
Rayna Denison
Institute of Film Studies
School of American and Canadian Studies
University of Nottingham
| | | | | | |
From: [log in to unmask]
Subject: CFP:Michael Powell Centenary
Conference(UK)- 31st Oct,2004/2-4th Sept,2005
Call for Papers - "Michael Powell Centenary Conference"
Sept. 2/3/4th 2005 (deadline for proposals Oct.
31st 2004), Dept of English, University of Wales,
Bangor.
Plenary Speakers (provisional): Professor Ian
Christie (Birkbeck, London), Professor Lesley
Stern, University of California, San Diego
**********************************************************************
This conference marks the 100th anniversary of
the birth of Michael Powell, writer, producer and
director. Alongside the renewed critical and
academic interest in Powell’s work over the last
quarter century, film scholarship has developed
new approaches and new objects of study.
Proposals are invited for papers tackling any
aspect of Powell’s work directly or drawing on
his work to engage with wider cultural,
historical or theoretical interests. Possible
topics include (but are not limited to):
(a) Powell’s partnership with Pressburger; (b)
Those who influenced Powell or were influenced by
him (within and beyond film culture);
(c) The relationship between Powell and other
directors, writers and artists; (d) Powell and
Pressburger’s collaborators (composers,
designers, actors, cinematographers, dancers,
producers) and their use of literary source
material;
(e) Powell’s position within paradigms of
regional, national, continental and global cinema;
(f) Constructions of femininity, masculinity,
sexuality, class, race, national/exilic/diasporic
identities;
(g) Themes: the orient; landscape; pastoral,
neo-Romanticism, memory; home, history, war, art;
(h)Spectatorship, spectacle, and voyeurism;
excess, the ‘composed film’, silent film
aesthetics.
(i) Genres: the ‘art film’; the war film,
melodrama, documentary, epic, fantasy, biopic,
masque, musical/opera/operetta, comedy; (j)
Powell’s early career; his late career; (k)
Powell as a writer;
(l) Unrealised projects;
(m) The critical, popular or sub-cultural reception of Powell’s work;
Submissions are invited from scholars and
students of film, media, gender and cultural
studies, history and art history, music, history,
literature, sociology and cultural geography.
Proposals from postgraduates are welcome.
Brief abstracts (300 words) for 20 minute papers,
with a 1 page c.v., should be sent to Andrew
Moor, Dept. of English, University of Wales,
Bangor, Gwynedd, LL57 2DG, Wales, UK.
Alternatively, email your abstract and c.v. to
[log in to unmask] (please mark your email
subject line “Powell Centenary Conference”).
Proposals may also be considered for panels (of 2
or 3 papers): these should include panel title,
brief description of panel theme, name of the
panel chair, 1-page abstracts of each paper and
contact details for each presenter (name,
institutional affiliation postal address and
email address).
Andrew Moor, May, 2004
| | | | | | |
Call for Papers: The Hollywood Left.
Steve Neale (University of Exeter, UK) and Peter
Stanfield (University of Kent, UK) are co-editing
a special issue of the journal Film Studies: An
International Review (Manchester University
Press) and are inviting essay contributions on
the films and television productions that
involved members of the Hollywood Left. Much is
now known about the input made by the Hollywood
Left to films, television programmes, radio and
theatre in the 1930s, 1940s, 1950s and 1960s.
However, with some notable exceptions, there has
so far been very little detailed discussion of
the films, programmes, plays, novels and stories
they wrote or directed. In particular, there has
been a lack of work that is sensitive both to the
role of creative workers and the institutional
contexts of production, distribution, exhibition
and consumption. The editors are looking for work
that will contribute to a greater understanding
of the creative process either within an
individual title, across a cycle of films, an
individual's body of work, or a particular
production company's output. Please send
proposals for essays of 6-8,000 words to both
[log in to unmask] and
[log in to unmask] Accepted essays must be
completed by May, 2005.
| | | | | | |
ANNOUNCEMENT:
Transart Institute New Media Summer Academy
Workshops August 20 - September 10, 2004
The Transart Institute will open to the public a
Summer Academy featuring intensive five and ten
day new media workshops offered by the school's
MFA faculty and visiting artists. Through a full
range of workshops new media artists receive
fresh input and support from a variety of sources
both technical and artistic.
This summer's workshops will include such diverse
courses as "Self Indulgent Design" with DAVID
CARSON, "Robot Making" with N.A. BAGINSKY, "Sound
Visualization" with Venice Biennale participant
ULF LANGHEINRICH of Granular Synthesis,
"Instrument Body Electric (with wearable
computers)", Dr. JÜRG GUTKNECHT, Professor of
Computer Systems at ETH Zürich, and Noh dancer
IRENE KULKA, "Experimental Animation" with
CLAUDIA ROHRMOSER, "Narrative Filmmaking" with
"Osama" Golden Globe winner SIDDIQ BARMAK, and
"Time-based Art and Cross-Over Projects" with Art
Clay.
For workshops geared towards MFA students,
including "Photography Master Workshops" with
NICK WAPLINGTON, "Editing/Compositing for Video
Installations: 2D Imagery in 3D space" with
CASPAR STRACKE, "Graphical Programming for Sound,
Video and Multimedia using Max/MSP & Jitter" with
ART CLAY, and "Interjecting Performance Art into
an Interdisciplinary Praxis" with CHRISTOPHER
HEWITT, a limited number of spaces will be made
available to the public (with approval by
faculty).
Enhancing the workshop series for participants
will be invitations to select Master of Fine Arts
(MFA) Program artist talks and lectures including
guest artists and speakers from this year's Ars
Electronica 2004: "TIMESHIFT - The World in
Twenty-Five Years" (www.aec.at/timeshift). The
workshops will occur before and after the Ars
Electronica festival and Transart Institute
faculty will contribute a segment to the Ars
Electronica symposium.
Fresh input and access to new ideas and resources
is vital for new media artists to stay inspired,
excited and informed and to see themselves and
their work in a wider context. The Transart
Institute Summer Academy offers artists an
opportunity to get this kind of creative surge.
For art school graduates it can be a real boost.
Workshops: a tentative list with working titles
can be found at:
http://www.transartinstitute.org/Pages/Program.html#Anchor-Workshops-44867
(Please note: workshop spaces and Linz
accommodations are limited).
Biographies: a list of faculty bios can be found
at:
http://www.transartinstitute.org/Pages/Members.html
For more information, we would be happy to hear from you.
Klaus Knoll, Dr.phil.
Director, Transart Institute
WWW.TRANSARTINSTITUTE.ORG
+43 (699) 1077 2684 (mobile), +43 (1) 270 0023
(phone/fax) Mailing address MFA: Transart
Institute Master of Fine Arts in New Media, Donau
Universität Krems, Dr. Karl-Dorrek-Strasse 30,
3500, Krems, Austria Mailing address Workshops:
Transart Institute Summer Academy: Prager Strasse
10/1/3, 1210, Vienna, Austria Mailing address
USA: 332 Bleeker Street, #H27, New York, New York
10014
Transart Institute, Master of Fine Arts Program
in New Media This international low-residency
two-year graduate art program leads to an MFA in
New Media. Students are free to pursue work in
any media art-related genre and to create their
own course of study, working independently and
with the support of self-chosen faculty and
artist mentors. Three intensive residencies
permit students to continue with their
professional life while participating in the
program. Genres include: Animation, Cyber Art,
Experimental Art, Film/Video, Graphic Design,
Installation Art, Interactive Art,
Interdisciplinary Art, Performance Art,
Photography, and Sound/Music.
Transart Institute Summer Academy For three weeks
of intensive new media workshops, the Summer
Academy is open to the public (by portfolio).
Students are also invited to selected MFA artist
talks and lectures.
MFA Residency: August 20 - September 5, 2004 on
location at University of Art and Design Linz
Summer Academy workshops: Session 1: August 21 -
25, 2004 Session 2: August 26 - 30, 2004
Symposium: September 5 - 10, 2004 in conjunction
with Ars Electronica: www.aec.at Accreditation:
Cooperation with Donau University Krems:
www.donau-uni.ac (July 16, 2004) Deadline for
receipt of summer 2004 applications: August 1,
2004
| | | | | | |
Call for Papers
**Deleuze and The Social**
An edited anthology
As a popular field of study and an increasingly
utilized tool for social research, the work of
Gilles Deleuze has perhaps come to fulfil
Foucault's prophecy that one day we would see a
Deleuzian century. However, the nature of this
century which is becoming so Deleuzian is
arguably plagued by problematics surrounding what
becoming 'Deleuzian' might mean. Studies of
Deleuze in relation to philosophy,
psychoanalysis, literary theory, moral reasoning
and critical theory offer insight into the work
of this eminent scholar and place Deleuze's
writings in an historical academic context.
Simultaneously, sociological, cultural,
architectural, artistic and educational studies
have, particularly over the past decade, become
increasingly popularized by references to Deleuze
and his fantastic neologisms. Yet, the space
between these two trajectories; that is, the
spaces between Deleuze's conceptual philosophy,
the ethics that underlie them, and everyday
community practices, politics and social
relations, remain relatively unmapped.
What does it mean to read Deleuze in relation to
the social? To retain an ethical commitment both
to Deleuze as a scholar, and to those material
social concerns which continually call us to
action? In what ways can we enable community
practices and social politics to resonate with
Deleuze's work? Brian Massumi and Paul Patton
have offered us some fascinating work in this
area - work which is, to date, the closest
example we have of reading Deleuze in relation to
the social. This anthology aims to build upon and
extend the critical insight offered by the work
of these established scholars. Through reading
social, political and community concerns in
relation to Deleuze we look to inform social
theory and Deleuzian scholarship in considered,
original ways.
The anthology, 'Deleuze and The Social', will
bridge a gap between high-level Deleuzian theory
and critique and popularizations of Deleuze;
trajectories which are often grounded in
Deleuze's love for reappropriating, reinventing
and creatively bastardizing theory. The anthology
particularly seeks to explore how 'minority'
bodies and communities can be re-thought in
relation to Deleuzian theory, and to investigate
the ethical implications of such an encounter.
Editors call for expressions of interest from
authors to be submitted as a 500 word abstract
detailing a proposed book chapter and the ways in
which the chapter will address issues relating to
Deleuze and the social.
Possible areas of contribution may include, but
are not limited to: * Activism, Deleuze and
political change
* Gendered subjectivities
* Minoritarian ethics
* New technologies and virtual communities
* Illness and aesthetics
* Regional spaces and identity
* Bullying
* Vernacular creativity
* Behavioural disorders
* Performance art
* Classroom interfaces between policy, pedagogy and corporeality
* Sexual practices, politics and power
* Style and aesthetic communities
* Suicide
* Sonic communities
* Transgenderism
* Drug use
* Eating disorders
* Environmentalism
* Disability
* Graffiti and public space
* Bodily mutilation
* Activism
* Addiction
* Mental health
* Globalisation/Capitalism and bodies
* Refugee bodies
* Environmental Activism
* Indigenous politics
* Gambling
* Delinquency, crime, and imprisonment.
Deadline for expressions of interest: 31 July 2004
Please email submissions to:
Anna Hickey-Moody and Peta Malins at:
[log in to unmask]
Or send hardcopy submissions to:
Peta Malins
Department of Criminology
The University of Melbourne
Melbourne 3010
Australia
Phone +61 3 83449464
Fax +61 3 93494259
| | | | | | |
14th Annual Central New York Conference on
Language and Literature October 29-31, 2004
SUNY-Cortland
Proposed Panel -- "Pictures of the Possible:
Philosophy and Politics in Science-Fiction
Literature and Film."
Submission Deadline: July 15, 2004.
Proposals accepted on all topics relating to
philosophy and/or politics in science-fiction.
Papers may address specific films or works of
literature. More general approaches are also
invited, such as sci-fi as a pedagogical tool in
teaching philosophy, or the nature of politics in
the sci-fi utopia or dystopia. All approaches
welcome.
Please submit a 250-500 word abstract to Elric M.
Kline, [log in to unmask] by July 15.
Notification of acceptance will be sent via email
no later than August 15.
| | | | | | |
From: educate <[log in to unmask]>
Subject: NOW AVAILABLE: WMM'S NEW 2004 CATALOG
FEATURING 24 OUTSTANDING NEW RELEASES
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 8bit
Thought everyone would want to know that the new
Women Make Movies catalog is now available.
Thanks, as ever, for your continued support of
the organization.
Best,
Malika
Malika Crutchfield
Women Make Movies
462 Broadway, Suite 500
New York, NY 10013
[log in to unmask]
Women Make Movies ( www.wmm.com ), the largest
distributor of women's films and videos in the
world, is pleased to announce the release of our
new 2004 Film and Video Catalog. Our
extraordinary collection of more than 500 titles
includes 24 New Releases that address some of
today's most timely and compelling social and
human rights issues, including perspectives from
women of the Middle East, South Asia and Latin
America. Learn more about our New Releases at
www.wmm.com/catalog/new_releases or find out how
to request a catalog at
www.wmm.com/catalog/catalog.htm.
*******NOW AVAILABLE: WMM'S NEW 2004 CATALOG
FEATURING 24 OUTSTANDING NEW RELEASES*******
Women Make Movies is pleased to announce the
availability of our new 2004 Film and Video
Catalog!
As global concerns become increasingly important,
WMM is more dedicated than ever to bringing the
perspectives of women to the forefront of pubic
discussion with a collection that is
international, timely and diverse. To that end,
this year's catalog features 24 extraordinary New
Releases that address some of today's most
relevant social and human rights issues.
Featured is an impressive collection of films
from women in the Middle East and South Asia,
which includes Afghanistan Unveiled by Brigitte
Brault and the Aina Women Filming Group, the
first team of women journalists to be trained in
that country and For a Place Under the Heavens,
by Sabiha Sumar (Who Will Cast the First Stone
and Don't Ask Why). Sumar's latest feature,
Silent Waters, will be screening in New
Directors/New Films in New York later this month.
We're also proud to offer a number of new titles
that explore both the political history and
contemporary issues in Latin American countries,
including The Kidnapping of Ingrid Betancourt, by
Victoria Bruce and Karin Hayes, and War Takes, by
Adelaida Trujillo and Patricia Castaño, both of
which address the current situation in Colombia.
Finally, we're excited to present some of the
year's most anticipated films, including Beah: A
Black Woman Speaks, by LisaGay Hamilton, which is
featured on this year's catalog cover. This
moving tribute to the life of actress, poet and
activist Beah Richards documents her struggles
against racial stereotypes in Hollywood and New
York, and her passionate work for Civil Rights.
Find out more about these and other New Releases
at www.wmm.com/catalog/new_releases.
If you're a current WMM customer, your 2004 Film
and Video Catalog should be arriving soon. To
find out how to request a catalog, visit
www.wmm.com/catalog/catalog.htm.
****************ORDERING INFORMATION*******************
Visit our website at
www.wmm.com/catalog/catalog.htm for more
information on our catalog of films. Please place
orders online or via email, fax, mail or phone
using the information below.
Women Make Movies
462 Broadway, Suite 503E
New York, NY 10013
Phone: 212.925.0606 x360
Fax: 212.925.2052
Email: [log in to unmask] / www.wmm.com
****************ABOUT
WMM******************************* Women Make
Movies is a non-profit media organization which
distributes films made exclusively by and about
women, covering some of today's most relevant and
compelling social and human rights issues. Now
through Spring, we have several programs on
television. In March, you'll find Beah: A Black
Woman Speaks on HBO, The Kidnapping of Ingrid
Betancourt on Cinemax Reel Life and Ruthie &
Connie: Every Room in the House on HBO Signature.
Coming in April, look for Love & Diane on P.O.V.,
and My Terrorist on the Sundance Channel. Our
collection of more than 500 films and videotapes
are also used by thousands of educational,
community and cultural organizations annually.
For more information, visit www.wmm.com.
| | | | | | |
Rhizomes: Cultural Studies in Emerging Knowledge
CALL FOR PAPERS - Open Issue
Since 2001, Rhizomes has promoted experimental
work located outside current disciplines, work
that has no proper location. We encourage
migrations into new conceptual territories
resulting from unpredictable juxtapositions. We
are currently accepting submission for Rhizomes
#9, an open topic issue.
Due date for submissions: 01 October 2004
As a full text online periodical, Rhizomes
emphasizes multimedia to foster imaginative work
that challenges typical critical forms. While
submissions need not necessarily include
developed multimedia, authors should consider how
their work might be enhanced by elements specific
to the online medium. Contributors may work with
editors and technical staff to establish a more
effective online presentation, for example, by
providing relevant image and/or audio files as
well as specialized instances of code.
Rhizomes engages in a collaborative review
process. In addition to an initial screen by the
editors, contributions will undergo a "blind"
review by at least two members of the editorial
board.
Interested parties are highly encouraged to
review the Rhizomes website ^÷ located at
www.rhizomes.net ^÷ to gain familiarity with the
various styles and subjects of previous journal
issues. As our name suggests, works written in
the spirit of Deleuzian approaches are welcomed
but not required.
Co-Editors: Ellen Berry and Carol Siegel Review Editor: Craig Saper
All submissions to Rhizomes should conform to
standards for citation that govern publications
in the author's field and should include a
bibliography, if appropriate. We will consider
short pieces but typically do not consider texts
of more than 7500 words, including notes. Any
queries about potential submissions for the open
issue are welcome.
Carol Siegel, Submissions Editor
English Department
Washington State University, Vancouver
14204 NE Salmon Creek Ave.
Vancouver, WA 98686-9600
[log in to unmask]
Craig Saper
[log in to unmask]
| | | | | | |
From: Roger Hallas <[log in to unmask]>
Screening Capital
Call for Papers
Society for Cinema and Media Studies Conference
2005 London, March 31-April 3, 2005
This panel examines issues regarding the
representation of capital and capitalism in film,
television and new media. How do such media forms
visualize and/or narrativize the im/materiality
of capital and the complexity of capitalist
systems? Potential topics include (but are not
limited to) reality TV (The Apprentice), guerilla
TV (Paper Tiger), documentaries (Yes Men),
avant-garde film/video (Eisenstein's Capital
project) or feature films (Pi). Papers focused on
questions of representing global capital are
particularly welcome.
Please send enquiries or proposals (300-400 word
abstract, short bibliography and short bio) by
August 15, 2004 to: [log in to unmask]
For appropriate conference forms and further
information see the SCMS website:
http://www.cmstudies.org
Roger Hallas, English Department, Syracuse
University, 401 Hall of Languages, Syracuse, NY
13244.
| | | | | | |
2004 From: "kranz" <[log in to unmask]>
CFP: Lit/Film Assoc. Conference in Dallas, Nov. 11-14, 2004
Call for Papers
This year, the Literature/Film Association and
Literature/Film Quarterly join the Film and
History League and Film and History in Dallas,
TX, from November 11-14 for a joint conference.
The LFA invites proposals (300-500 words) for
individual papers and panels on the general topic
of "War and Conflict in Literature and Film."
Deadline for abstracts and proposals is July 30,
2004. Please send proposals to David Kranz, LFA
2004 Program Chair, at English Dept., Dickinson
College, Carlisle, PA, 17013, or (preferred) by
email at [log in to unmask], with copies to Jim
Welsh at [log in to unmask] and Peter Lev at
[log in to unmask]
Information on the LFA portion of the meeting can
be found at the LFQ website,
www.salisbury.edu/LFQ.html. Details about the
conference overall are available at
www.FilmandHistory.org. The featured speaker at
the conference will be Adrian Cronauer, whose
life was dramatized by Robin Williams in the
Barry Levinson film Good Morning Vietnam (1987).
David L. Kranz
Professor of English and Film Studies
Dept. of English, Dickinson College
Carlisle, PA 17013
717-245-1219
| | | | | | |
British Journal of Aesthetics
http://www3.oup.co.uk/aesthj/
Published by Oxford University Press on behalf of
the British Society of Aesthetics
The British Journal of Aesthetics is published to
promote study, research, and discussion of the
fine arts and related types of experience from a
philosophical, psychological, sociological,
scientific, historical, critical, and educational
standpoint.
Founded in 1960, The British Journal of
Aesthetics is highly regarded as an international
forum for debate in aesthetics and the philosophy
of art.
Appearing quarterly - in January, April, July,
and October - it publishes lively and thoughtful
articles on a broad range of topics from the
nature of aesthetic judgement and the principles
of art criticism to foundational issues
concerning the visual arts, literature, music,
dance, film, and architecture.
A substantial reviews section offers searching
analyses of major new work in the field.
Print ISSN: 0007-0904
Online ISSN: 1468-2842
Professor Peter Lamarque
Department of Philosophy
University of York
York YO10 5DD
UK
Email: [log in to unmask]
Content available by subscription. Free sample issue available online.
See: http://www3.oup.co.uk/aesthj/subinfo/
Current Issue: Volume 44, Issue 2, April 2004
Date: 11 May 2004
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From: "Caroline Bainbridge"
<[log in to unmask]> Subject: Culture and
Unconscious 2 programme
The provisional programme for Culture and the
Unconscious 2 (9th/10th July 2004, SOAS, London)
is now available online at the following address:
http://www.uel.ac.uk/news/events/cultureandunconscious2.htm
Speakers include:
David Bell
Jon Friedman
Stuart Hall
Mary Jacobus
E Ann Kaplan
Marilyn Lawrence
Geoffrey Pearson
Michael Rustin
Janet Sayers
Gabriele Schwab
Valerie Walkerdine
Marina Warner
Kathleen Woodward
Colleagues are advised to book early in order to
take advantage of the reduced 'early bird' rates
which end on 28th May and in order to reserve a
place at the conference dinner. A registration
form is available for download on the conference
website. It should be printed out and sent by fax
or snail mail, together with payment. The website
also has details of a range of accommodation in
the area.
We hope you'll be able to join us at what promises to be a very exciting event!
Caroline Bainbridge
for the Organising Committee
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From: "Pelin TAN " <[log in to unmask]>
2nd Design and Cinema Conference
April 06th-09th 2005
Fac. of Architecture, Istanbul Technical University
After the first 'Design and Cinema' conference
held May 2003 with the theme 'Design in
Wonderland', the 2nd Design and Cinema Conference
will be held 06-09 April 2005 at the Faculty of
Architecture in Istanbul Technical University
with the theme 'form follows film'. The first
conference was an occasion getting together
researchers, professionals from various
disciplines of design, cinema and also philosophy
and film & production studies. It aimed to create
a common ground that researchers and
professionals from two main areas, design and
cinema, share their knowledge to generate new
information within this innovative platform.
Following the first conference, this conference
is also aiming to set off experiences and ideas
in the points of intersection of Design and
Cinema, within analyzing and understand from
various perspectives and discuss through
discourses the notion. We endeavor to develop
deep study by asking questions under three titles.
Concept of form
Design as a forming element
Cinema as a forming element
The deadline for abstracts is October 24th, 2004.
We're inviting researchers, designers, people
working for the cinema sector and students from
all over the world, to this new and limitless
field for sharing and exchanging information.
For detailed information:
Conference Website:
http://www.design-cinema.itu.edu.tr
Conference E-mail Address:
[log in to unmask]
---------------------------------
Organisers: Ayhan Enisci, Ali Vatansever, Pelin Tan
Pelin Tan (Ph.D. candidate, BA Sociology; MA Art
History), Research Assistant in Graduate Studies
of Art History, Institute of Social Science,
Istanbul Technical University, 80191-Taskisla,
Istanbul-TR Phone&Fax+902122456631
[log in to unmask]
Technical Editor of ITU Academic Journal of Social Science
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From: [log in to unmask]
Subject: CFP/Launch of "Trans-Pennine Film Group": 8/10/04 Manchester
Announcement & Call for Papers: Launch of “The Trans-Pennine Film Group”
Sat. 8th October 1:00pm, Cornerhouse Cinema, Manchester
The ‘Trans-Pennine Film Group’ aims to provide
scholars and teachers of film, media and related
disciplines across the northern region with
opportunities to deliver / hear research papers,
discuss work in progress and participate in
constructive dialogue with (ie “meet”) colleagues
from universities/institutions across the North
of England and North Wales.
The Group will initially be administered via the
Department of English & The Centre for Creative
and Performing Arts at the University of Wales,
Bangor. Thereafter, a panel may be appointed to
oversee the Group’s activities. In the academic
year 2004 – 2005, a ‘roving’ seminar series of
around 6 meetings will be organised. Seminars may
consist of longer individual papers, or of
(un)themed panels of up to 3 speakers.
The initial session will be held at the
CORNERHOUSE CINEMA in MANCHESTER on SAT 9th
OCTOBER 2004 (free – many thanks to Sarah Perks
at the Cornerhouse). At this meeting, a paper
will be given and discussed (details to be
confirmed). Time will be made available after the
paper(s) to discuss what format you would like
the group to take, whether you would like a
formal Society to be established, how it should
be run and what activities you would like it to
develop. Space at this session is limited to @35
people and will be allocated on a first come
first served basis.
The Group needs VENUES for its seminar series.
Invitations are therefore sought from anyone
willing to play host at their own institution (or
to organise an event at a nearby venue). It is
expected that some institutions already running
‘in-house’ seminar groups might like to widen
their audience catchment by grafting one of their
own sessions into the Group’s activities.
This is also a call for papers. These may be
shorter (20-30 mins) or longer (1 hr). Please
send an abstract (< 300 words), together with
brief biographical details and a note of your
affiliated institution, making clear how long the
paper will last. Proposals for shared panels are
welcome too, and should include details for each
speaker and abstracts for all papers.
A full series of papers and venues will hopefully
be advertised by August/September 2004. If you
would like to attend the first session, or would
like to receive details of seminars and other
activities, please contact me.
Please email Dr. Andrew Moor at
[log in to unmask] (enter “Trans-Pennine Film
Group” in the “subject” field) or write to me at
Dept. of English / Centre for Creative and
Performing Arts, Univ. of Wales, Bangor, Gwynedd,
LL57 2DG.
A. Moor
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MEDIENTHEORIEN - Eine philosophische Einf¸hrung
(Media Theories - A Philosophical Introduction)
Edited by Alice Lagaay and David Lauer
2004, paperback, 324 pages, Campus Verlag
(Frankfurt/Main, New York) EUR 18,90; ISBN
3-593-37517-6
Not only are media the subject of much talk, text
and broadcasting in the contemporary mediatised
world, but competence in using a media-related
theoretical vocabulary has become compulsory in a
host of academic disciplines. The notion of media
is thus fast on its way to becoming a key concept
in the arts, humanities and social sciences.
However, just as ubiquitous as the concept of
media itself are the complaints about its
blurredness. Indeed, there is no general
agreement as to what is to be understood as a
medium. Instead, what we have are a multitude of
competing and contradictory definitions of the
term and a range of different theoretical
approaches resulting in a plurality of "media
theories" of which it is hard to gain an overview.
This confusing state of affairs is precisely what
the new publication attempts to come to grips
with. In addition to an extensive and
groundbreaking introduction it includes eleven
introductory texts about different contemporary
media theorists. Each contribution aims to
provide a general orientation in a debate of many
voices and discusses the potential of the concept
of media as a central term for cultural science
and philosophy. The question of what constitutes
media thinking from a philosophic perspective is
pursued throughout.
CONTENT (translated from German):
Introduction: A philosophical view on media
theories (by Alice Lagaay und David Lauer)
Media as Infrastructures and Archetypes: MARSHALL
McLUHAN (by Oliver Lerone Schultz)
Media as Psychotechnologies: DERRICK DER KERCKHOVE (by Simone Mahrenholz)
The Form of the Medium: NIKLAS LUHMANN
(by Thomas Khurana)
How not to simulate or: what is beyond the
media?: JEAN BAUDRILLARD (by Christof Windg”tter )
Light in the Bunker. Media theory as Dromology: PAUL VIRILIO (by Alice Lagaay)
Mundus ex machina: VILEM FLUSSER
(by Gernot Grube)
Cultural techniques of Time(axis)manipulation
FRIEDRICH KITTLER (by Sybille Kr”mer)
The Dialectic of Media: HARTMUT WINKLER
(by David Lauer)
Basic mediality and the disclosedness of world: MARTIN SEEL (by Stefan Blank)
From Theories to Instruments: MIKE SANDBOTHE (by Jan Janzen)
Society of the Screen: LEV MANOVICH
(by Werner Kogge)
________
David Lauer, M.A. | Institut f¸r Philosophie | Freie Universit”t Berlin
Habelschwerdter Allee 30 | 14195 Berlin
Fon 030.838-53691 | Fax 030.838-56430 | Privat
030.69507052 [log in to unmask]
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