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|    |    | | 2004.10.08 Film-Philosophy News |  |    |     | | |






Call for Papers
Interdisciplinary Conference

Sacred Text, 'Sacred' (?) Film:
Responsible Interpretation of Scriptures
in Film and Popular Media


April 3-5, 2005
University of Central Florida
Orlando, Florida

Sponsored by the
University of Central Florida College of Arts and Sciences,
Judaic Studies Program,
Philosophy Department / Religious Studies Program
and the Initiative for Ethics in Entertainment and Media

Conference website: <http://www.philosophy.ucf.edu/sacred.html>

In the wake of several recent controversial 
cinematic interpretations of biblical texts, and 
in the context of the current international 
political uses of scriptures from different 
traditions, this conference hopes to foster 
enlightened debate about what constitutes 
responsible interpretation. Are there moral 
imperatives for film makers and producers of 
popular media to promote inter-religious 
understanding? If all interpretations serve 
specific interests, are there nonetheless 
hermeneutical and moral guidelines that should 
constrain the representation of religion and 
religious differences in popular media?

Plenary speakers: TBA

Academic papers addressing relevant issues from 
any discipline are welcome. Papers that touch on 
hermeneutical and ethical issues are especially 
welcome. Proposed presentations should be no 
longer than 30 minutes. Deadline: January 15, 
2005. Please send papers or extended abstracts, 
preferably in electronic form, to:

Shaun Gallagher at <mailto:[log in to unmask]>

or

Conference on Sacred Text, Sacred Film
Department of Philosophy
411 Colbourn Hall
University of Central Florida
Orlando, FL 32816-1352

Go to <http://www.philosophy.ucf.edu/sacred.html> for further information.


--
Bruce B. Janz
Associate Professor of Humanities
Department of Philosophy
Colbourn Hall
University of Central Florida
4000 Central Florida Blvd.
Orlando, FL 32816-1352
TEL: 407-823-6857
DEPT: 407-823-2273
FAX: 407-823-6658
email: <mailto:[log in to unmask]>
WWW: <http://pegasus.cc.ucf.edu/~janzb>



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ROUGE #3 is now online at http://www.rouge.com.au


'There's Nothing More International Than a Pack of Pimps'
Pierre Clémenti, Miklos Jancsó, Glauber Rocha, Jean-Marie Straub

Buñuel Bows Out
Paul Hammond

Friedkin Out
Bill Krohn

The Film We Accompany
Raymond Bellour

Her Mother's Son: Kinship and History in Ritwik Ghatak
Moinak Biswas

The Vogel Call
Nicole Brenez

The Ister: An Excerpt
David Barison & Daniel Ross

Reflections: The Self, the World and Others,and How All These Things Melt
Together in Film
Stephen Dwoskin

A Tribute to Jean Rouch
Paul Stoller

Jean Rouch 1917-2004: A Valediction
Michael Eaton


Shadows and Its Shadow
Two Horses by Darren McDonald

Beyond Assimilation: Aboriginality, Media History and Public Memory
Meaghan Morris



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From: "Janet Staiger" <[log in to unmask]>

Call for Papers: THE VELVET LIGHT TRAP
A CRITICAL JOURNAL OF FILM AND TELEVISION STUDIES
Issue #57: Authorship

Almost since the earliest constructions of the moving image, notions of
authorship have been developed and alternately contested.  While such
aspects as authors' roles, creative circumstances, and perceived autonomy
change across cultures and across time, the idea of "authorship" has
persistedeven in discourse that has proclaimed the very death of the
author.  Perhaps owing its greatest historical debt to auteur theory,
authorship has, in cycles, both embraced this idea and attempted to
disengage itself from that ideal.  To date, authorship remains a complex
aspect of media theory, possibly because no one theory of authorship can
account for the range of authorship experiences and diversity of authored
products thriving in contemporary societies.

Issue #57 of the Velvet Light Trap will explore authorship as it relates to
and is a product of historical and contemporary discourse.  We are
particularly interested in articles that highlight the changing discourse
on authorship in media theory.  The editors are also seeking submissions
that address the historical evolution of product branding and promotion
through authorship, in particular as it affects media distribution and
consumption patterns.  Submissions from a variety of analytical approaches
are strongly encouraged, including reception, political economy, textual
analysis, discourse theory, historiography, feminism, queer theory,
critical race theory, psychoanalysis and any other methods in cultural
studies.

Possible topics for this issue include, but are not limited to:

*Challenges to and/or reaffirmation of auteur theory
*Notions of authorship, mastery, and the canon
*Cooperative authorship practices and other complications of "the master"
filmmaker
*Ideology and authorship
*The resurgence of the documentary as privileged formincluding increased
visibility of the documentarian as author, public figure, and/or political
figure
*Reality TV's treatment of authorship in its productions
*Product branding via authorship, including trends towards the
Producer/Author and Actor/Author
*Authorship and representation of national identities, interests, dominant
and alternative voices
*Agenda-setting and authorship
*Historical perspectives of authorship
*Popular valorizations of authors
*The valorization or devalorization of authorship in industry, including
persisting "old guard" notions of authorship
*De- or re-mythologizing the author through metatexts, e.g. DVD features,
A&E Biography episodes, IFC programs, Behind the Scenes, Extra, etc.,
including the entertainment press or "gossip industries"
*Alternative notions of authorship
*Alternative outlets for authored materials
*Censorship
*Plagiarism, Intertextuality, Homage, Notions of "originality"
*Methodologies and authorship, e.g. reception studies, audiences, and/or
cultural studies approaches to fandom in relation to authorship
*Pedagogy and theories of authorship
*Fostering authorship in classroom settings, e.g. teaching screenwriting
through editing and music composition, including practices that result in
circumscribing authorship

To be considered for publication, papers should include a 100-200 word
abstract, be between 15 and 25 pages, double-spaced, in MLA style, with the
author's name and contact information included only on the cover
page.  Authors are responsible for acquiring related visual images and the
associated copyrights.  Queries regarding potential submissions also are
welcome.  For more information or to submit a query, please contact Jean
Lauer at [log in to unmask]  All submissions are due February 1,
2005.  Submit five copies of the paper to:

The Velvet Light Trap
C/o The Department of Radio-Television-Film
University of Texas at Austin
1 University Station, A0800
Austin, TX, 78712-0108

The Velvet Light Trap is an academic, refereed journal of film and
television studies published semi-annually by University of Texas
Press.  Issues are coordinated alternately by graduate students at the
University of Texas-Austin and the University of Wisconsin-Madison.  After
a prescreening, articles are anonymously refereed by specialist readers of
the journal's Editorial Advisory Board, which includes such notable
scholars as Charles Acland, Alexander Doty, David William Foster, Bambi
Haggins, Heather Hendershot, Charlie Kiel, Michele Malach, Dan Marcus, Nina
Martin, Walter Metz, Jason Mittle, James Morrison, Hamid Naficy, Karla
Oeler, Lisa Parks, and Malcolm Turvey.



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From:    Paul McDonald <[log in to unmask]>
Subject: CONFERENCE Cinema: 
Motion-Illusion-Spectacle (National Film Theatre 
26-28th November 2004)
MIME-Version: 1.0
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CONFERENCE ANNOUCEMENT

Cinema: Motion-Illusion-Spectacle
Exploring the legacy of Eadweard Muybridge

Centre for Research in Film and Audiovisual Cultures, Roehampton
University in collaboration with the National Film Theatre, London

26-28 November 2004

Eadweard Muybridge's motion studies became one of the founding gestures in
the development of moving images. Occasioned by the centenary of
Muybridge's death, Cinema: Motion-Illusion-Spectacle will explore his
legacy and that of his contemporaries through the development of mediated
illusions of motion from pre-cinema to contemporary digital aesthetics.
The conference will examine the fascination and attractions of such
illusions and consider their part in the development and reinvention of
cinematic motion, illusion and spectacle.

This conference is organized by the Centre for Research in Film and
Audiovisual Cultures (CRFAC) at Roehampton University, in collaboration
with the British Film Institute’s National Film Theatre (NFT).

Over three days the conference will discuss the subject of cinema and
motion through a series of panels with themes including technology,
science, stillness, space, and special effects.

Keynote presentations will be provided by Professor Mary Ann Doane (Brown
University, US), Professor Steve Neale (University of Exeter) and Michele
Pierson (University of Queensland, Australia).

For full details of the conference, please visit the Centre's site at
www.crfac.org.

This provides information on the conference schedule, recommended
accommodation in London, registration information and the location of the
venue.

Please note: all registation enquiries should be made through the box
office of the National Film Theatre (020 7928 3232).

Any other enquiries, contact Paul McDonald ([log in to unmask]).



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Call for Papers

Cinema in Europe: Networks in Progress

University of Amsterdam, June 23-25, 2005

  Over the past decades, definitions of Cinema in 
Europe based on auteurs, national styles and new 
waves have proven increasingly untenable. 
External factors, such as the globalisation of 
economies, shifting migration patterns, identity 
politics and formation, nation-states in 
transformation, the emergence of a 'Europe of the 
regions and capitals' as well as changes within 
cinema production, such as the deployment of new 
technologies, spearheaded by various national, 
trans-European and even regional film financing 
systems undermine the notion of a European Cinema 
as the sum of its national cinemas and 
outstanding directors.

Cinema in Europe: Networks in Progress aims to 
explore new connections, networks and nodal 
points in various cinemas and film industries 
that have emerged in the wake of boundaries 
overcome and hierarchies overturned. The 
conference will, moreover, look at the 
consequences of these changes by rethinking the 
habitual notions of nationally specific film 
cultures and their distinct authorial or 
stylistic signatures in and beyond Europe. 
Participants are encouraged to suggest new 
conceptual tools, propose new maps of the 
cinematic terrain - mainstream, avant-garde and 
independent - and establish new links within 
European media-scapes and media-spaces, as well 
as between European and world cinema. Possible 
topics and panels include:

New authorship studies
National Cinemas and New Waves
Cinephilia: Classics, Cults, Markets
European Animation Film
Re-Mapping the 'Old' and  'New' Europe: Central 
and Eastern European Cinema after 1989
Americanising Europe or Europeanising Hollywood?
Memory, Heritage, Literature and European Cinema
Festivals, Film Financing, Media Policy
European Stars and Genre Cinema
Puttnam, Eichinger, Zentropa, Canal +: More Power to Producers?
Documentary Europe
Digital Europe
Diaspora Cinema and the New Cosmopolitans
European Cinema, the Museum and the Avant-garde
Theologies in Film
Europe's Cinematic Cities


Proposals for 25-30 minutes papers should be 
submitted as a 200 words abstract by 31 December, 
2004 either to Prof. Thomas Elsaesser (elsaesser@ 
uva.nl) or Dr Eloe Kingma ([log in to unmask]).

Further details will be available online at 
<http://www.hum.uva.nl/asca>www.hum.uva.nl/asca



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Call for Papers: A special issue of Feminist Media Studies

"The Media Gendering of War and Conflict"

Guest Editor: Dafna Lemish, Tel Aviv University


      Events such as the September 11, 2001 attacks on the USA as well as
war or conflict in Afghanistan, the former Yugoslavia, Palestine, Chechnya
and Iraq, to name but a few, have all been at the centre of world media
attention. The sad truth is that war and conflict are an everyday reality
for many women, men and children all over the globe. UN Security Council
decision 1325 states that, “Most of the victims of armed conflicts are
civilians, especially women and children, who become refugees in their own
countries.” The Security Council’s decision also affirms the significance
of women’s ongoing contributions to “the prevention of conflicts and in
their peaceful solutions”, as well as the importance of their “equal
participation and full involvement in every effort towards peace and
security.”
      Despite this acknowledgement by the UN, world media portrayals of war
and conflict remains heavily dominated by patriarchal and colonial
reasoning. What is thus marginalized in the media as well as in wider
public discourses are voices that might begin to challenge these dominant
views. In what ways do patriarchal and colonial discourses shape public
knowledge of war and conflict – their circumstances, consequences and
possible resolutions? Do women journalists offer different frames and
perspectives? What forms of masculinity are typically represented in war
stories? What is the nature of portraying the victimization of women -
sexual war crimes, war related slavery of girls, or bereavement? What form
of agency is assigned to women as fighters in armed forces, as activists
in peace movements, or as political leaders? Has the media’s discussion of
mothers of suicide- bombers challenged our normative conceptions of
motherhood? Are the portrayals of war and conflict-related suffering of
women (and of children) sometimes exploited by the media with the view to
increasing audiences and if so, with what wider social and political
consequences? How might audiences make sense of gendered representations
of war and conflict?
      This special issue will provide a platform for discussions around the
intersection of gender, war and conflict across media genres – including
the news, fictional film, factual and entertainment television
programming - and in all dimensions – from media production, to texts and
audience reception. Papers will draw upon the rich resources of feminist
and critical gender-sensitive critique and diverse methodological
approaches to produce engaging and challenging analyses of the discussion
of war and conflict in the media.

Interested authors should, in the first instance, submit an abstract of
150-200 words to Dafna Lemish ([log in to unmask]) by no later than 15
September 2004. Upon approval, completed articles of 8,000 words
(including notes and references) should be sent to Dafna Lemish via e-mail
by no later than 15 January 2005. The special issue will be published as
Volume 5(3), November 2005.



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From: drnorth <[log in to unmask]>
Subject: CFP: ‘Sights Unseen: Unfinished British Films’ (collection)

Call For Papers: ‘Sights Unseen: Unfinished British Films’ (Essay Collection)

Deadline for Proposals:  31st August 2004

This is a call for contributions to a proposed collection on British films
which, for a variety of reasons, did not make it to the screen. John Hill in
British Cinema in the 1980s (1999) focused his attention on “how texts are
activated in relation to specific socio-historical contexts and, therefore,
how particular films may be read in relation to the specific circumstances in
which they were first produced and circulated.” This project seeks to recover
the stories of films which have never had chance to be semiotically or
culturally productive. They exist only as production contexts, with no
finished, consumable text to validate those efforts.

Since large numbers of indigenous films never receive theatrical distribution,
it seems particularly apt to include in the historical profile of British
cinema some of those productions which have never been exposed to public
scrutiny and reflection, which have never been able to contribute to the
nationally reflective role that cinema aspires to play. However, this project
is not about unreleased films, but about films which were never shot, or whose
shooting was never completed. In British Cinema in Documents (2000), Sarah
Street argues for a conception of film studies which includes a greater focus
on “non-filmic sources.” This book will assess the significance of a variety
of “non-filmic films,” constructing their histories through their production
documents.

I’m interested particularly in unfinished films of all genres from the 1890s
to the present day, but I’m also open to stories of unrealised projects by key
British directors, lost/destroyed negatives, severe censorship cases,
financial constraints or distribution blockages. The fragility of Britain’s
structures of film production means that, in order to understand the factors
which undermine them, it is essential to look at those texts whose passage
from page to screen was ultimately thwarted. Most film-makers who have
archived their business papers will have kept the residual documents left
behind from an aborted project, so I would especially like to hear from
archivists and historians with privileged access to the kinds of vestigial
traces through which incomplete films can be reconstructed as historical
texts. It is through archived collections that these texts can be revivified
from their remaining fragments, whether they are script drafts, production
notes or surviving footage.

Abstracts of 200-300 words, plus a brief c.v. should be sent by e-mail
([log in to unmask]) or by post to:

Dr Dan North
School of English/The University of Exeter
The Bill Douglas Centre for the History of Cinema and Popular Culture
The Old Library
Prince of Wales Road
Exeter
EX4 4PX



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Subject: CFP: Alfred Hitchcock and Philosophy
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 8bit
     From: [log in to unmask]
Reply-To: [log in to unmask]



Alfred Hitchcock and Philosophy


William Drumin and David Baggett, Editors


Abstracts are sought for a collection of philosophical essays on the movies of
Alfred Hitchcock. The editors are currently in discussion with Open Court
Press, the publisher of The Simpsons and Philosophy, The Matrix and Philosophy,
and The Lord of the Rings and Philosophy, regarding inclusion of this book in
the highly successful Popular Culture and Philosophy series. Essays should be
philosophically substantive but humorous, accessible, and engaging. Potential
contributors may wish to examine other volumes in the Popular Culture and
Philosophy series.

Possible themes and topics might include, but are 
not limited to, the following:
appearance/reality distinctions and epistemology; feminism; mutuality of sexes;
the “male gaze”; Hitchcock’s anti-utopianism; Stoicism; justification of
belief; nature of knowledge; Nietzschean ethics (perhaps in Rope); Kantian
ethics; the nature of moral justification; good and evil; free will; the nature
of reality; existentialism (for example, self-definition by choice, commitment,
and action); doing versus watching; living versus thinking; the ethics of
privacy invasion; William James and evidentialism; happiness; the problem of
evil; moral dilemmas; and aesthetics.

At this point we look to be fairly well covered in ethics and aesthetics, and
would be especially interested in essays covering epistemology or metaphysics,
though especially good abstracts on the former will still be considered.

The primary list of movies we’d like to see discussed includes Sabotage, Shadow
of a Doubt, Notorious, Rope (important for phil/ethics), Stage Fright,
Strangers on a Train, Rear Window, North by Northwest, Psycho, The Birds, and
Frenzy. Secondarily, these may well prove important as well: The 39 Steps,
Vertigo, Young and Innocent, Suspicion, Saboteur, I Confess, The Wrong Man,
Marnie, and Topaz.

Movies that potential contributors have already 
expressed an interest in include
North by Northwest, Rear Window, and Psycho. Topics already broached have
included the aesthetics of Hitchcock’s cameos, whether it’s ever right to do
wrong, the problem of evil, existentialist dread, deception and deceit,
probability and evidence, and the nature of right and wrong.


Contributor Guidelines:

1.      Abstract of paper (200 -750 words)

2.      CV or resume for each author and co-author

3.      Submission deadline for abstract: November 1, 2004

4.      Submission deadline for accepted papers: July 1, 2005

5.      Abstracts are to be submitted by e-mail 
(prefer e-mail with Word attachment
and, just in case, the abstract in the body of the e-mail as well)


Send to:

David Baggett
[log in to unmask]

Department of Philosophy
King's College
Wilkes-Barre, PA 18711



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Panel Proposal, Society for Cinema and Media Studies (SCMS) Conference
London, UK; March 31-April 4, 2005

The End of Camp as We Know It?

Is there such a thing as camp anymore?  Recent 
film releases strongly suggest that camp 
strategies and performances have definitively 
crossed over to the mainstream, both in 
independent/art house films (Almodóvar, Haynes, 
Luhrmann) and Hollywood blockbusters (Stepford 
Wives 2003, Johnny Depp in Pirates of the 
Caribbean, 2002).  In the face of these recent 
iterations, can we still characterize camp as 
“subcultural” or “subversive,” and do we even 
want to?  What does it mean when filmmakers cite 
what we might call “historical” or “traditional” 
camp for a broad audience?  This panel seeks to 
explore the question of what is the state of camp 
today in the realm of cinema as a practice, 
theory, and aesthetic.

Please send 200-250 word abstract and brief bio (by August 15, 2004) to:

Julie Turnock, department of Cinema and Media 
Studies, University of Chicago, USA 
([log in to unmask])



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From: Ken Knisely <[log in to unmask]>
Reply-To: Ken Knisely <[log in to unmask]>
  Subject: Philosophy Video Festival
       To: [log in to unmask]

Philosophy Video Festival Invites Student Entries




The First Annual Philosophy Video Festival will be held this December in
Boston at the Eastern Meeting of the American Philosophical
Association.  The festival features a contest to find the most profound
philosophical videos produced by philosophy students in North America
this year.


This yearís theme is ìCivil Liberties and National Security.î  Entries
must be between one second and four minutes in length, and be
philosophical in nature.  Entries must be received by November 12, 2004,
and will be judged by an eminent panel of philosophers and media
producers.


Cash prizes will be awarded to the top winners in the college and high
school categories.  For a complete set of rules, e-mail
[log in to unmask]


The festival is sponsored by the American Philosophical Associationís
Committee on Pre-College Instruction in Philosophy, and by the North
American High School Philosophers Association (NAHSPA)



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From: "Nicholas Ruiz" <[log in to unmask]>

Kritikos: an international and interdisciplinary journal of postmodern
cultural sound, text and image,

http://garnet.acns.fsu.edu/~nr03/

is currently accepting submissions for publication in 2004.

The purpose of the journal is to publish work that materializes theoretical
renderings of, and practical approaches to culture. In particular, Kritikos
seeks to publish work that is focused upon the currency of the postmodern
period.

Kritikos publishes material continuously; please allow 1-3 months for
review. Articles should be submitted in MSWord format and be between 3-5K
words in length;
book reviews should be between 500-1000 words.

Video and images should be submitted in commonly utilized formats. (e.g.,
MP3, AVI, Real Audio, MPEG,
Windows Media, .JPG, .GIF, .WAV, etc.)
web:

Send submissions via email or post:

Nicholas Ruiz III
Graduate Teaching Assistant
Interdisciplinary Program in the Humanities
Florida State University
205P Dodd Hall (#1560)
Tallahassee, FL 32306
[log in to unmask]



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THIRD BIENNIAL
FILM & HISTORY CONFERENCE
"War in Film, Television, and History"
at the Dolce International Conference Center in Dallas, Texas
(please visit www.filmandhistory.org for more information)

Call for Respondents on
"Fahrenheit 9/11 and the (Culture) War at Home"
Saturday, November 13, 2004

Panel: "Fahrenheit 9/11 and the (Culture) War at Home"
An extended session is now being planned on the significance and impact of
Fahrenheit 9/11 as a documentary, an historical film, and a popular
phenomenon. Three brief 10-15 minute introductory presentations on popular
media culture and the 2004 election, Michael Moore and his film and TV
work, and a concise production history of Fahrenheit 9/11, will be followed
by an open and freewheeling discussion, spurred by a series of respondents
who will each have the floor for 3-5 minutes to present a focused argument
on some aspect of the topic at hand. The audience, too, will be encouraged
to share opinions and ask questions throughout.

Anyone interested in serving as a respondent, please e-mail Gary Edgerton
[log in to unmask], panel chair and moderator, with a short 40-50 word
summary of the point that you wish to make by September 30. Preference in
being selected as a respondent will be given to those attendees who are not
otherwise presenting papers at the conference. We will assemble a
cross-section of viewpoints and include as many respondents as time allows.

All respondents will be listed in the program by name and institution.
Respondents are also expected register for the conference. Full details on
registration procedures and fees, travel and accommodations, and related
information can be found at www.filmandhistory.org. The Film & History
League is co-hosting the "War in Film, Television, and History" Conference
(November 11-14, 2004) with the Literature/Film Association. Regularly
updated information on the Film & History League and the 2004 Conference
can be accessed at http://www.filmandhistory.org.

Gary R. Edgerton, Chair
Communication and Theatre Arts Department
633 Batten Arts and Letters Building
Old Dominion University
Norfolk, Virginia 23529-0087

phone: 757.683.3831
fax: 757.683.4700
e-mail: [log in to unmask]



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Reply-To: "niels.buch" <[log in to unmask]>
  Subject: CFP: The Living Thought of Gilles Deleuze (Denmark) (1/15/05;
11/3/05-11/4/05)
       To: [log in to unmask]

Call for Papers

The Living Thought of Gilles Deleuze

Conference at University of Copenhagen, Denmark
November 3-4, 2005

One of the prominent themes in the writings of Gilles Deleuze is an
understanding of thinking as being alive. Thinking is conceived as an
affirmation of life, and life itself is affirmed by thinking as something
that is alive. In other words, the relationship between life and thinking is
an affirmative relationship, in which life is affirmed by thinking and
thinking affirmed by life. The notion of the double affirmation in Nietzsche
et la philosophie (1962) is revolving around such an affirmative
relationship between life and thinking.

The affirmative relationship between life and thinking is further elaborated
in the books on Proust et les signes (1964) and Le bergsonisme (1966). In
these books Deleuze explores the affirmative relationship between life and
thinking through the lense of temporality. The temporality of the
affirmation is primarily described in two modes: the proustian
apprenticeship of signs as an ongoing becoming, as a number of leaps and
revelations, is organized from the viewpoint of a future, whereas the
bergsonian notions of duration, memory and élan vital accentuates a
relationship to the past.

It can be argued that the double affirmation of life and thinking is one of
the basic themes in Différence et répétition (1968). In fact, Deleuze
presents the reader with a conception of life as a multitude of differential
relationships between immanent forces, and thinking in the affirmative mode
is described as a number of temporal syntheses and repetitions. In this
respect we can rearticulate the complex notions of difference and repetition
as they are presented by Deleuze as a philosophical portrait of living
thought.

The collaboration between Gilles Deleuze and Felix Guattari introduces,
among other aspects, an experimental and subversive dimension. The critique
of psychoanalysis in L’Anti-'dipe (1972) encompasses at least two
dimensions: a specific critique of a certain French psychoanalysis in the
early 1970s, and a more general critique of a mode of thinking that
willingly or unwillingly tries to domesticate life. In Mille plateaux (1980)
the authors present the reader with a number of critical models, ranging
from the rhizome to the nomadic machine, all of which contain a certain
potential for an affirmative and experimental thinking. If L’Anti-'dipe
criticizes thinking in the mode of negativity, then Mille Plateaux creates a
number of critical models for an affirmative thinking.

The books on cinema returns to a number of earlier themes in the writings of
Gilles Deleuze: the apprenticeship of signs, difference and repetition, the
temporality of affirmation... The history of cinema is described as an
apprenticeship of moving and temporal signs, and the notion of the
crystalline image, for instance, rearticulates the problem of how to
introduce time in thinking. The books are not simply applied philosophy, but
rather an attempt to articulate the experience of living images in terms of
thought: an empiricism of the cinema.

However, it is probably in the book on Foucault (1986) that Deleuze most
clearly outlines his understanding of living thought. His general
description of Foucault’s writings is guided by two questions: What is “the
middle” or the constant element in the thought of Foucault? What is the
element that Foucault and Deleuze have in common? The response to both of
these questions is concentrated in a notion of living thought, or in other
words a philosophical vitalism.

In Qu’est-ce que la philosophie? (1991) the authors further elaborate the
understanding of living thought by describing it as a creative thinking:
philosophy as creation of concepts, science as creation of functions, art as
creation of affects and percepts. This notion of thinking as a creation of
different entities - concepts, functions, affects and percepts - is a
continuation of the nietzschean notion of a double affirmation between life
and thinking. Between these two notions there is a wide variety of
manifestations and critical expositions of living thought in the writings of
Gilles Deleuze.

The conference on The Living Thought of Gilles Deleuze is held on the
occasion of the 10th anniversary of the voluntary death of Gilles Deleuze.
However, it is not simply our intentions to commemorate the death of a
philosopher, but more importantly to explore and celebrate the thoughts of
Gilles Deleuze as very much alive today.

The conference will be held November 3-4, 2005, at the University of
Copenhagen, Denmark, and is organized and coordinated in collaboration
between the University of Copenhagen and the Copenhagen Business School. The
language at the conference will be English. With the exception of keynote
speakers, whom will be announced shortly, each of the presentations at the
conference will be limited to 20 minutes in order to facilitate a commentary
session regarding each paper. It is planned that the papers at the
conference will be published afterwards in an anthology.

Proposals for papers, including a short academic biography, must be
submitted by January 15th 2005 to the organizers at [log in to unmask] and the
notification regarding acceptance will be announced by February 15th 2005.

For further information, please contact the organizers:

Associate professor
Martin Fuglsang
Department of Management, Politics and Philosophy
Copenhagen Business School
Blaagaardsgade 23B
DK 2200 Copenhagen N
Denmark
Phone: (+45) 3815 2813
Email: [log in to unmask]

Assistant research professor
Kim Su Rasmussen
Department of Cultural Studies and the Arts,
Comparative Literature and Studies in Modern Culture
University of Copenhagen
Njalsgade 140-142, Building 25.5
DK 2300 Copenhagen S
Denmark
Phone: (+45) 3532 9269
Email: [log in to unmask]



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From:    Michael Hammond <[log in to unmask]>
Subject: The Charles Chaplin Conference
MIME-Version: 1.0
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Content-Transfer-Encoding: 8bit

The Charles Chaplin Conference: July 7-10, 2005, London College of
Communication, London UK.

The British Film Institute, in conjunction with the University of
Southampton and the London College of Communication, will be holding a
major conference in the summer of 2005 on the work and worldwide cultural
influence of Charles Chaplin. This will coincide with the establishment of
the BFI’s Charlie Chaplin Research Foundation, which is designed to foster
innovative research in relation to Chaplin and his contemporaries. The
emphasis will be on dialogue and the bringing together of archivists,
researchers and scholars from a wide range of disciplines for the
presentation of papers and symposia to reassess Chaplin’s impact and
influence on film and the arts and modern culture. Proposals are invited
for papers covering areas of study such as, but not exclusively, film
history and aesthetics, archive and restoration, literary and cultural
modernism, theatre history, transnational currents of production and
reception, and social and cultural history.

We wish to encourage a wide range of approaches and areas of study but as
a guide possible areas of focus are:

Performance History: Papers for this area are invited concerning Chaplin
and the performing traditions that informed his work as well as his
influence on subsequent artists and traditions in the realms of Film,
Music Hall, Dance, Nineteenth and Twentieth Century Theatre History.

Chaplin as Transnational Star: Chaplin’s star persona and his popularity
have often been cited as ‘universal’. Papers are invited here to consider
and question this axiom in relation to his popular critical reception both
inside and outside the United States but particularly the interrelation
between Chaplin as Hollywood icon and the negotiation with that image
beyond the US. Areas of focus could include Chaplin Imitators, Chaplin as
International Icon, Chaplin and Fan magazines.

Chaplin and Sentiment: Much has been made over the years of Chaplin’s use
of sentimentality and this has most often been invoked as a critique.
Rather than resurrect this, approaches are invited which address sentiment
along lines which explore Chaplin’s use of, and influence by, this
tradition in Victorian popular culture ranging from popular fiction to
popular theatre and music hall.

Chaplin and Comic Traditions: Chaplin’s influence on film and television
comedy in the work of, for example, Jerry Lewis, Jacques Tati, Lucille
Ball, Carol Burnett or Danny Kaye, is evident if not entirely well
recognised. Possible areas of focus could consider both the vulgar roots
of Chaplin’s comedy and/or his enduring influence, recognised or not, on
subsequent and contemporary comedians in, but not limited to, Hollywood
(e.g. Adam Sandler, Jackie Chan, Jennifer Saunders etc.).

History of Film Aesthetics: Entering the film industry in 1914 Chaplin
learned his craft alongside the rise of what is now referred to as the
classical Hollywood style. Papers here could focus on Chaplin’s
contribution to the development of film aesthetics in areas such as his
use and engagement with the Hollywood style, Comedy and the rise of
Narrative Cinema or the rise of the feature film. Chaplin is also
pertinent to wider issues in film aesthetics such as Auteurism, the Avant-
Garde, or non-narrative filmmaking.

Industry History: Chaplin’s relationship with the Hollywood majors was
unique and often antagonistic. Papers here could include areas such as
Chaplin and United Artists, Chaplin as Independent producer/director,
Chaplin and the Hollywood System, Chaplin’s role in Hollywood Exhibition
and Distribution history worldwide.

Chaplin and the Intellectuals: Twentieth Century thinkers such as  George
Bernard Shaw, the Frankfurt School,  Henri LeFebvre and artists such as
Rene Clair to Samuel Becket found in Chaplin a cipher for the modern
subject.  Papers here could include work on Chaplin and Walter Benjamin,
Chaplin and the Frankfurt School, Chaplin and the City, Chaplin’s ‘high
culture’ critical reception and modern taste formations.

History and Uses of Chaplin ‘s Star Image: Chaplin’s star image has been
appropriated and incorporated in almost innumerable ways perhaps most
famously in the 1970s by IBM. This area encourages papers on a wide range
of the ways in which Chaplin’s image in its many forms (i.e. tramp,
inebriate, immigrant, cross-dresser) has been utilised for varied ends and
purposes.

Literary History: Chaplin’s tramp character has been the springboard for
works of fiction as well as critical speculation. In turn his characters,
the settings as well as the narratives themselves, drew upon literary as
well as theatrical antecedents. Papers here may consider areas concerning
Chaplin’s relationship to literature in areas such as Chaplin and Dickens,
Chaplin and Popular Literature, Literary Modernism, Chaplin and ‘high
literary culture’.

Macro and Cultural Politics: Chaplin’s status as immigrant and, according
to the FBI, potential political agitator are just two of a number of areas
for exploration as is his work and image in relation to cultural politics
from issues of globalisation to identity politics. Areas of interest would
be McCarthyism, The American Left, Exile and Diaspora, Chaplin and
Jewishness, Class, Gender and Sexuality.

Preservation of Chaplin films: The work of Association Chaplin in Paris,
Progetto Chaplin at Bologna University and the Chaplin Foundation at the
British Film Institute are central to the preservation and restoration of
Chaplin’s work. However, his films, particularly the early material exist
in numerous forms and editions. This area invites archivists and
researchers to offer work on approaches to archiving and restoring the
multiple versions and permutations of his work that is out there now.

Chaplin and Music: Chaplin’s work on film music and as a songwriter offer
a range of possible areas of work, from his influences to his compositions
for his own films. Proposals are invited on any of the varied aspects of
Chaplin and music.

Papers are expected to be no longer than 20 minutes in length. Proposals
of no more than 300 words should be sent by post or email attachment no
later than February 28, 2005 to:

The Charles Chaplin Conference
c/o Alison Kirwan
PA to Head of Library and Education
British Film Institute
21 Stephen Street
London  W1T 1LN
Email: [log in to unmask]
Tel: +44 (0) 20 7957 4786
Fax: +44 (0) 20 7436 7950



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Date: Tue, 21 Sep 2004 15:18:06 +0100
From: Mark Jancovich <[log in to unmask]>
Subject: CFP: Mysterious Bodies: Investigating 
the Corporeal in Television Drama

Mysterious Bodies: Investigating the Corporeal in Television Drama
Edited by Rayna Denison and Mark Jancovich

Horror has often been seen as incompatible with television given the
supposed conflict between the dangerous, fantastic and trangressive nature
of the genre and the safe, routine and domestic features of television
programming. However, recently horror has become a major feature of
television programming and there has been an expansion of programs
dealing with graphic representations of the body. Increasingly American
program makers, for example, have pushed the limits of acceptability in
terms of violent and sexual material. As a result, the collection will
look at a range of different types of television material in which the
body becomes the focus of graphic visual scrutiny as an object of
investigation and administration. The collection will therefore look at a
range of program from horror and science fiction through medical
dramas and those featuring forensic detection, to program dealing with
sex and/or the sex industry. However, these concerns should not be simply
seen as contemporary developments and indeed horror programming has been
a feature of television since the early days, with key shows such as The
Quatermas Experiment, The Outer Limits, Doomwatch, Dr Who, etc. As a
result, the collection will seek to explore the reasons for contemporary
developments while also investigating the historical processes that
prefigure it, and its various institutional and cultural contexts.


Topics covered might include:

* An analysis of the institutional conditions which relate to these
changing representations of the body, particularly the impact of cable
and satellite networks and regimes of censorship.

* Generic studies of the body on television, such as the examination of
the body in horror, science fiction, medical and crime dramas, etc.

* Identity and the body. Obviously the mysterious bodies raise issues
about sex, gender, sexual orientation and race both in relation to
the subject and object of investigation, but they may also provoke
questions about our relationship to and understanding of bodies.

* The problematic body of the hero. In many dramas, the mysterious body is
not simply other but often that of the main protagonist. Many heroes are
engaged in quest to make sense of their bodies and the destiny that it
determines for them and this can be seen in a range of shows, perhaps most
noticeably in Buffy and Smallville but also in dramas such as Nip/Tuck.

* Consuming the televisual body: fans, critics and other audiences. While
institutional and textual analysis has much to tell us about these bodies,
their representation also provokes powerful responses. While many are the
focus of intensive fan cultures, which merit detailed investigation, they
have also been the object of intense criticism and condemnation. What are
the politics of such objections.

Shows discussed might include: Quatermas; Alfred Hitchcock Presents; Outer
Limits; Twilight Zone; Dr Who; Star Trek; Mission: Impossible; Quincy; Dr
Kildare; St Elsewhere; Twin Peaks; The X-Files; CSI; Without a Trace;
Coldcase; Silent Witness; Waking the Dead; ER; Law and Order; Buffy the
Vampire Slayer; Sex and the City; Smallville; Nip/Tuck; Star Gate; Six Feet
Under; Tru Calling

Proposals or finished articles by 1 December 2004
Acceptance by 1 February 2005
Finished articles by 1 July 2005
Requests for revisions by 1 September 2005
Revised articles due by 1 December 2005
Submission of final manuscript to publisher 1 April 2006

Please send your proposal or article to BOTH Editors

Rayna Denison
Media and Film Studies
School of Humanities
University of Sussex
Falmer Campus
Brighton BN1 9RH
Tel: 01273 876587
Email: [log in to unmask]

And

Mark Jancovich
2.45 Arts Building
Film and Television Studies
University of East Anglia,
Norwich, NR4 7TJ,
United Kingdom.
Tel: 01603 592787
Email: [log in to unmask]



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