.
/////////////// F I L M - P H I L O S O P H Y
///////// International Salon-Journal
//////////////////// ISSN 1466-4615
//////// PO Box 26161, London SW8 4WD
///////////// http://www.film-philosophy.com
//////// 2004.11.21 Film-Philosophy News
From: David Callahan <[log in to unmask]>
Subject: Television, Aesthetics and Reality (Portugal)
Call for papers
'Television, Aesthetics and Reality'
Venue: Deptº de Línguas e Culturas, University of Aveiro
Proposed dates: 30th June & 1st July 2005
'Wherever explorers go in the future accompanied by television cameras, they will be actors, making their nebulous exits and entrances for the benefit of multiplanetary audiences. Nowhere will there ever again be pure events (if ever there were); everything hereafter will be stage-managed for cosmic Nielsons, in the interest of national or universal establishments.'
Robert L. Shayon, Saturday
Review, on coverage of the 1969 moon landing
-------
Few would doubt that television was the most influential medium of the second half of the twentieth century and shows signs of continuing as such in this century, a major producer of and conduit for what is popularly called culture of the masses. By no means have all of its genres or productions received recognition as art forms and those that have have received it belatedly and grudgingly. There is no programme, news format or advertisement which is not mediated to us through a murky mixture of business practices, generic suppositions or cultural imperatives. We need to be constantly vigilant with respect to the conventions and aesthetic considerations which make the televisual compelling, appealing or merely intelligible to us. This conference proposes to reflect upon television's packaging of reality in various national and international contexts, whether it be in current affairs, narrative entertainment or in the presentation of life-styles. We recognise the theorization of television on a scale running from dismissals of it as essentially a crass advertising medium to defences of it as richly innovative and
democratic, and believe that these views should be under constant analysis and revision.
Accordingly, we propose to treat the Conference theme in three related sub-sections:
1. 'Showing Reality' - Structuring the Public World
Television's representation of the news is known to possess enormous political importance. Media-driven perceptions of events often determine government agendas and election campaigns are primarily fought out on television. Western voter apathy has led politicians to consider whether future votes should not be cast on-line by people sitting at a television screen. In addition to the rise of 24-hour news channels and consequent ubiquity of television news, there has been an increased importance ascribed to documentary film and programme-making. Some have argued that polemical documentaries now do the job in pluralist societies that party ideologies used to do, but have now abandoned in an era of centrist politics and global market economics. It is no secret that multinational media empires exist and possess an influence of dubious democratic accountability. It is not always clear how these empires and organisations serve the interests of their viewing publics, and we can never be complacent in our assumptions about their priorities. This section seeks to continue the scrutiny of television representations of actuality, the way new technologies are being used and how television current affairs seem to shape and enforce homogeneity and consensus.
2. 'Reality Shows' - The Private as Public
Whereas once it was customary to see traumatic or intimate happenings in 'reconstruction', now it is possible to watch people being murdered in convenience store robberies on closed-circuit television footage, played over and over again in crime 'reality shows'. Events such as this are a logical development, on the one hand, from the cinema-vérité styles of the sixties and seventies and the 'fly-on-the-wall' documentaries that appeared shortly afterwards and, on the other, from the increasing deregulation of media industries which has permitted each product to establish its own market, and that market to become global. Shows in this vein have ushered in a 'reality aesthetic', which cop shows and even sitcoms ape, by the employment of low-tech camcorder technology, and have thus extended the stylization of the real by a new fragmented, pixellated grubbiness. The focus of this section is the interpenetration of performance and 'authenticity', and the extent to which
television, often requiring simulations of one kind or another, is happy to blur the distinction between them. The forms under review in this section would be not only the reality shows themselves but their implicit generic cousins, television drama, soaps, comedy, talent and game shows, sports coverage and musical entertainment.
3. 'Real People' - Generating Television Personality
In Chayevsky and Lumet's film Network (1976), a demented messianic newsreader is told of an important message he must disseminate by a shadowy God-like media tycoon. The newsreader asks why he has been chosen, to which the tycoon replies 'Because you are on television, dummy!' Not only are we reminded that the medium is greater than those who live by it, but also that this hierarchy may be somewhat opaque to television celebrities themselves, caught up in a logic of simulation that dilutes the significance of realities other than those that can be accessed televisually. The subtitle of this section takes up the term given to people who make their livings by appearing on the box - entertainers, anchors, presenters, talk-show hosts, interviewers, journalists, pundits, weather-persons. Who are these people? How did they get there? How do they speak? What do they look like? But the phrase also has a more abstract signification. Television confines and packages human personality perhaps even more drastically than it shapes stories and interprets news, to the extent that personality itself has become its principal subject as well as object. Is there a point at which the articulation of reality as personality will become exhausted or is it endlessly self-renewable? This section looks at television's role in creating 'celebrity culture' and its strategy of extending a limited share in it to the masses.
It is therefore proposed to hold a two-day conference on 'Television, Aesthetics and Reality' at the Department of Languages and Cultures, University of Aveiro, Portugal and we accordingly invite abstracts (maximum of 250 words) for papers of up to 20 minutes duration in one of the above-mentioned subsections, to be received before 15th February 2005. Papers (and abstracts) must be presented in either English or Portuguese; notification of acceptance will be made by the end of March 2005. The names of keynote speakers will be announced shortly.
The conference enrolment fee is 80 euros. Payment can be made by bank transfer to
'Universidade de Aveiro', account nº 00 35 0123 00097701930 10 or by cheque made out to
'Universidade de Aveiro' and sent to the organiser (can be negotiated for foreign participants):
Prof. A.D. Barker
Department of Languages and Cultures,
University of Aveiro,
3810-193 Aveiro,
Portugal.
E-mail: [log in to unmask]
Dept. fax: 00 351 234 370940
Dept. tel: 00 351 234 370358
Dept. e-mail: [log in to unmask]
//////////////////// ////////////////////
From: 'Laraine Porter' <[log in to unmask]>
Channel Crossings: Anglo-European Film Relations Before 1930
Broadway, Nottingham UK
7-10 April 2005
The 2005 Silent British Cinema Festival will explore the relationship between Britain and Europe in pre-1030s cinema. We are now calling for presentations from anyone working on any aspect of British Silent Cinema and it's links to Europe including the two-way exchange of ideas, aesthetics, creative and technical personnel such as stars, writers, directors and camera operators. We will also be exploring British and European industrial relations in terms of production, distribution and exhibition including the development of the Film Society movement in the UK and its impact on the promotion and exhibition of European film in British cities.
The deadline for submissions is 14 January 2005 and full details can be downloaded from the attached pdf or our website at
www.britishsilentcinema.com
We are currently construction a comprehensive website on British Silent Cinem on the address above, but for further details or specfic information please contact me at
[log in to unmask]
Thanks and best wishes
Laraine Porter
//////////////////// ////////////////////
From: Julian Stringer <[log in to unmask]>
Dear All
*Scope*'s new book reviews, film reviews and conference reports are now available online at:
http://www.nottingham.ac.uk/film/journal/index.htm
Here is the list of contents:
Book Reviews:
A Long Hard Look at Psycho, By Raymond Durgnat. A Review by Frances Pheasant-Kelly
Cinema of Interruptions: Action Genres in Contemporary Indian Cinema, By Lalitha Gopalan. A Review by Oindrila Mukherjee
Conspiracy Nation: The Politics of Paranoia in Postwar America, Edited by Peter Knight. A Review by Christopher H. Smith
Dreaming of Fred and Ginger: Cinema and Cultural Memory, By Annette Kuhn. A Review by Paul Grainge
Film: An Introduction (Second Edition), By William H. Phillips. A Review by Warren Buckland
Global Hollywood, Edited by Toby Miller, Nitin Govil, John McMurria, and Richard Maxwell. A Review by Daniel Chamberlain
Horse Opera: The Strange History of the 1930s Singing Cowboy, By Peter Stanfield. A Review by Sean Griffin
Mexico City in Contemporary Mexican Cinema, By David Foster. A Review by Karen Anijar and Nicole Teyechea
Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, Edited by Pearl Bowser, Jane Gaines and Charles Musser. A Review by Celeste-Marie Bernier
Studying Contemporary American Film: A Guide to Movie Analysis, By Thomas Elsaesser and Warren Buckland. A Review by Eugenie Brinkema
Tomás Gutiérrez Alea: The Dialectics of a Filmmaker, By Paul A. Schroede
Questioning African Cinema: Conversations with Filmmakers, By Nwachukwu Frank Ukadike. A Review by Ambrose Uchenunu
Film Reviews
Bringing Down the House, A Review by Rebecca Janicker
Charlie's Angels: Full Throttle, A Review by Natalie Wilson-Clift
Hulk, A Review by Bob Rehak
Irréversible, A Review by Eugenie Brinkema
Laurel Canyon, A Review by Michael Keating
The Magdalene Sisters, A Review by Brian Gibson
Playtime, A Review by Jerome de Groot
The Recruit, A Review by Ross Thompson
Spider, Videodrome, A Review Essay by Wayne Egers
Who Framed Roger Rabbit, A Review by Greg Jericho
X2, A Review by Rayna Denison
Conference Reports
Active Heroines Study Day, John Moores University, Liverpool in partnership with The Association for Research in Popular Fiction, 14 February 2004, A Report by Kerry Gough
The Wicker Man: Rituals, Readings and Reactions -- An Interdisciplinary Conference, Dumfries, 14-15 July 2003, A Report by Mikel J. Koven
Breaking the Boundaries in Television Historiography: Historical Research and the Television Archive, University of Reading, 9 January 2004, A Report by Jamie Medhurst
MeCCSA, The University of Sussex, Brighton, 19-21 st December 2003, A Report by Rayna Denison
best
Julian
Dr. Julian Stringer
Lecturer, Institute of Film Studies
School of American and Canadian Studies
University of Nottingham
University Park
Nottingham
NG7 2RD
England
Tel: +44 (0) 115 951 4846
Fax: + 44 (0) 115 951 4270
http://www.nottingham.ac.uk/film
//////////////////// ////////////////////
Issue 31 of
SENSES OF CINEMA
is online at
http://www.sensesofcinema.com
Spotlights include:
Contemporary Australian cinema
Film criticism & theory
Contemporary Argentinean cinema
Emile de Antonio
Errol Morris and The Fog of War
Semiotics and British pop culture
Lost in Translation, In the Cut, Irreversible New Zealand digital features
Rogério Sganzerla tribute
Tag Gallagher on John Ford
'Multichannel' techniques in cinema
Jean Rollin and Paris, May 1968
Plus:
GREAT DIRECTORS - Bava, Fulci, Ichikawa, Minnelli, Oshima, Ozon, Sayles, Zinnemann
TOP TENS / BOOK REVIEWS / FESTIVAL REPORTS / CTEQ ANNOTATIONS
Senses of Cinema http://www.sensesofcinema.com
Issue 32 of
Senses of Cinema
is online at
http://www.sensesofcinema.com
Articles include:
Films screening at Melbourne International Film Festival Bright Future
Coffee and Cigarettes
Histoire de Marie et Julien
Twentynine Palms
The Samaritan Girl
Lee Kang-sheng
Ulrich Seidl
Guy Maddin
Features
Orson Welles
Hiroshi Shimizu
Nuri Bilge Ceylan
The Dreamers, Elephant, Son frère, Rape
Jia Zhangke and the Chinese underground
Bill Mousoulis and Mark La Rosa
Rossellini's television work
Movie Love in the Fifties
Beyond the Grave of Genre
The Matrix films, Kill Bill,
Willem Dafoe, Richard Stanley, Frazer Lee, the telephone in the slasher film.
Plus:
GREAT DIRECTORS - Bogdanovich, Lipsett, Margheriti, Méliès, Oshii, Ouedraogo, Siegel, Sturges
TOP TENS / BOOK REVIEWS / FESTIVAL REPORTS / CTEQ ANNOTATIONS
Issue 33 of
Senses of Cinema
is online at
http://www.sensesofcinema.com
Articles include:
Australian Film Culture
The Ister
Parallel Lives
Reclaiming Australian Cinema
Comedy and Perception
Shallow Hal
The Gag Reflex
Buster Keaton and Deleuze
Early Film Comedy and Some Modernists
Sight Gags and Satire in the Soviet Thaw The 'Other': Gender, Race and Film Comedy
Features
A Talking Picture
Collateral
La Peau douce
Before Sunset
Woman is the Future of Man
Remembering Carlo Di Palma
Control Room
Spiderman 2
Keith Gordon
Fahrenheit 9/11
Interview with Zhu Wen
Thoughts on the Number Five
Flowers of Shanghai and Pickpocket
The Suspended Narrative
James Benning
Love's Secret
Stewart Home
Danish Cinema
The Idiots
Danish Cinema: No Stories to Tell?
Manuel Alberto Clara and Tine Grew Pfeiffer
Plus:
GREAT DIRECTORS - Becker, Bertolucci, Cukor, Demme, Forsyth, Kolm-Fleck
TOP TENS / FESTIVAL REPORTS / BOOK REVIEWS / CTEQ ANNOTATIONS
//////////////////// ////////////////////
Post-Scriptum.ORG
Département de Littérature comparée, Université de Montréal C.P. 6128, Succursale Centre-Ville
Montréal (Québec), H3C 3J7
Canada
Post-Scriptum.ORG, an independent electronic journal wholly run by graduate students, was founded by a group of doctoral candidates of the Department of Comparative Literature, with its first issue, Entre clichés et préjugés (Between clichés and prejudices), published in October 2002. Since comparative literature is located at a crossroads of disciplines, this journal is broad in scope, seeking to make an international and interdisciplinary forum available to students and scholars from a number of fields: literatures in French, English, German, and Spanish, art history, film, cultural and gender studies, etc.
Post-Scriptum.ORG wishes to publish articles on cultural theories, international literatures and the relations that literature has with other spheres or media. There are therefore no geographic nor linguistic limitations (apart from the languages of publication: English and French), but simply quality of scholarship.
Moreover, on 1st October 2003, the Post-Scriptum.ORG team was awarded the Forces Université de Montréal 2003 prize in the category of arts, letters, and culture, in recognition of its contribution in its first year of existence.
Post-Scriptum.ORG, a journal of interdisciplinary research in text and media, is pleased to announce the release of its 4th issue, «Europe in cinema. Questions of the production and the reception of European cinema». This issue is co-edited by Delphine Bénézet and Vincent Bouchard, both doctoral candidates in comparative literature at the Université de Montréal. Post-Scriptum.ORG is an electronic journal, and can be read at <>http://www.post-scriptum.org
Contents
Damien Rousselière (LEPII, Université Pierre Mendès France Grenoble II) : Concentration de la diffusion du cinéma et diversité culturelle : quel rôle pour les réseaux indépendants ?
Patrick Anthony Cavaliere (University of New Brunswick at Saint John) : Contemporary Italian Cinema and Fascism: Memory, History, and Politics in the Films of Bernardo Bertolucci
Deborah Walker (University of Auckland): From Honest Thief to Media Sociopath: American Culture through French Film Noir
Vincent Bouchard (Université de Montréal — Université Paris III) : L’Europe dans les cinémas canadiens
Leah Pate (Arizona State University) :
England and the Beasts: Ontologically Misreading the Other in Empire Cinema
//////////////////// ////////////////////
Screen -- Table of Contents Alert
A new issue of Screen
has been made available:
Summer 2004; Vol. 45, No. 2
URL: http://www3.oup.co.uk/screen/hdb/Volume_45/Issue_02/
-----------------------------------------------------------------
Media times/historical times
Bill Schwarz, pp. 93-105
-----------------------------------------------------------------
Heterotopia, heterochronia: place and time in cinema memory Annette Kuhn, pp. 106-114
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Taste and time on television
Charlotte Brunsdon, pp. 115-129
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Broadcasting historiography and historicality Paddy Scannell, pp. 130-141
-----------------------------------------------------------------
Passing time: reflections on cinema from a new technological age Laura Mulvey, pp. 142-155
-----------------------------------------------------------------
Scott Bukatman : Matters of Gravity: Special Effects and Supermen in the 20th Century Reviewed by J.P.Telotte, pp. 156-161
-----------------------------------------------------------------
Aylish Wood : Technoscience in Contemporary American Film: Beyond Science Fiction (Inside Popular Film Series) Reviewed by J.P.Telotte, pp. 156-161
-----------------------------------------------------------------
Michele Pierson : Special Effects: Still in Search of Wonder (Film and Culture Series) Reviewed by J.P.Telotte, pp. 156-161
-----------------------------------------------------------------
Alex HughesJames S.Williams, ed. Gender in French Cinema Reviewed by Martine Beugnet, pp. 162-167
-----------------------------------------------------------------
James S. Williams, ed. Revisioning Duras: Film, Race, Sex Reviewed by Martine Beugnet, pp. 162-167
-----------------------------------------------------------------
Carrie TarrBrigitte Rollet : Cinema and the Second Sex: Women`s Filmmaking in France in the 1980s and 1990s Reviewed by Martine Beugnet, pp. 162-167
-----------------------------------------------------------------
Lalitha Gopalan: Cinema of Interruptions: Action Genres in Contemporary Indian Cinema Reviewed by Gary Needham, pp. 168-171
//////////////////// ////////////////////
From: 'David McInerney' <[log in to unmask]> Subject: borderlands new issue: unassumable responsibility
Articles on Deleuze, Derrida, Debord, Agamben, and Balibar might be of interest. See below
DM
http://www.borderlandsejournal.adelaide.edu.au/
NEW ISSUE OUT NOW
Vol. 3 No. 1, 2004
UNASSUMABLE RESPONSIBILITY:
NEW PERSPECTIVES ON FREEDOM, JUSTICE AND OBLIGATION :: Editors: Catherine Mills & Fiona Jenkins
ESSAYS
Rosalyn Diprose
Responsibility in a Place and Time of Terror
Fiona Jenkins
Dialogue in the Aftermath:
On Good, Evil and Responsibility after September 11
Jean-Philippe Deranty
Agamben's Challenge to Normative Theories of Modern Rights
Frances Daly
The Non-citizen and the Concept of 'Human Rights'
Andrew Schaap
Assuming Responsibility in the Hope of Reconciliation
Ann Murphy
The Political Significance of Shame
Paul Miller
Truth Overboard: What does It Mean for Politicians and Statesmen to Assume Responsibility for their Words of Mass Destruction?
William McClure
Triumph of the Spectacle
Robyn Ferrell
Desire and Horror: Conceiving of the Future
Jack Reynolds
Derrida and Deleuze on Time, the Future and Politics
Paula Keating
The Conditioning of the Unconditioned: Derrida and Kant
Stan van Hooft
Ricoeur on Responsibility
Stephen Muecke
Sex Tourism and the Ethics of Contingent Responsibility
Catherine Mills
Contingency, Responsibility and the Law: a response
REVIEWS
Robyn Westcott
Negotiating the 'Double Position'
(Claire Carroll and Patricia King, Ireland and Postcolonial Theory, Cork UP, 2003)
Dinesh Wadiwel
Animal by Any Other Name?
(Charles Patterson, Eternal Treblinka, Lantern, 2002 and Giorgio Agamben, The Open: Man and Animal. Stanford, 2004)
Jason Read
Writing in the Conjuncture
Étienne Balibar, We, the People of Europe? Reflections on Transnational Citizenship, Princeton UP, 2004)
*******
SPREAD THE WORD ABOUT BORDERLANDS ::
Please forward this message to your friends, colleagues and students. Borderlands is free to access and seeks to engage with as wide a global audience as possible. We are happy for libraries to create catalogue entries for borderlands and for websites to link to it.
COPYRIGHT ::
Permission to reprint articoles from borderlands will be considered, but application must be made to borderlands publisher Anthony Burke beforehand.
NEWSLETTER ::
Sign up for the borderlands e-journal newsletter! You'll be sent email news and information about issues, authors, calls for papers, new publications and books for review.
To sign up, send a blank email to [log in to unmask]
The borderlands newsletter is hosted by EdNA Online. EdNA Online is a national education and training support project collaboratively funded by the State, Territory and Commonwealth education ministries of Australia.
________
Dr. Anthony Burke
Lecturer in International Relations
School of History and Politics
Faculty of Humanities and Social Sciences University of Adelaide SA 5005 Australia ph. 61 8 8303 5603 fax. 61 8 8303 3446
email: [log in to unmask]
Publisher/Managing Editor
::: borderlands ejournal :::
http://www.borderlandsejournal.adelaide.edu.au/ email: [log in to unmask]
//////////////////// ////////////////////
From: 'Avi Santo' <[log in to unmask]>
Please circulate widely. Apologies for cross-listings
Flow: A critical forum on television and media culture will launch its first issue on Friday, October 8, 2004. The Flow web address is www.flowtv.org
Flow’s mission is to provide a space where researchers, teachers, students, and the public can read about and discuss the changing landscape of contemporary media at the speed that media moves.
The first issue will feature columns from Anna McCarthy, Michael Curtin, Cynthia Fuchs, and Robert Schrag as well as a guest column by Henry Jenkins.
Other regular columnists include Eileen Meehan, Mary Beth Haralovich, Mimi White, Jim McGuigan, Doug Kellner, Tom Streeter, Frederick Wasser, Anna Everett, Chris Anderson, Brian Ott, Heather Hendershot, John Sinclair, Faye Ginsburg, Allison McCracken, and L.S. Kim. In addition, each issue will feature a guest column from a leading scholar in media studies (upcoming guest columnists include Tom Schatz, Horace Newcomb, Sharon Strover, Michele Hilmes, Toby Miller, Shanti Kumar, Tara McPherson, Laurie Ouellette, and Will Brooker), as well as an ever-expanding set of resources including syllabi, bibliographies, links, and news. There are also opportunities to contribute one-shot columns on specific topics for any interested parties.
Please print out the flier available at the following URL: http://www.utexas.edu/coc/rtf/FLOW/ad/flow.pdf and circulate it amongst your peers and students.
Flow is organized around short, topical columns written by respected media scholars on a bi-weekly schedule. These columns invite response from the critical community by asking provocative questions that are significant to
the study and experience of media. Visitors are welcome to use Flow as a community forum, a site of pedagogical engagement and classroom discussion or as a space for philosophical debate about our daily experiences of media. These columns will engage with current television programs and viewing practices while posing critical questions about representation (race, gender, class, sexuality, etc), reception (fandom, international audiences, etc.), industry practice (network branding, product placement, scheduling, etc), technology (interactive television, internet/ television convergence, etc), and modes of address(genres, narrative conventions, etc).
Flow is a project of the Department of Radio-TV-Film at the University of Texas at Austin. Flow is coordinated and edited by graduate students in the Department of Radio-Television-Film. Flow is sponsored by the UT RTF Department and the University of Texas Press.
//////////////////// ////////////////////
From: Dr Janet McCabe <[log in to unmask]> Subject: Critical Studies in Television
Call for papers: CRITICAL STUDIES IN TELEVISION. scholarly studies for small screen fictions.
CST is an online journal that aims to provide a major international forum for the presentation of research and discussion of television with a specific focus upon fictions made for the small screen. The emphasis of the journal is thus on programmes constructed for the medium of television not specifically catered for in current academic journals. This includes episodic and serial dramas and continuing serial dramas like soaps and single plays, but CST is also open to consideration of innovative and interactive fictions for the small screen.
http://www.criticalstudiesintelevision.com
Dr Janet McCabe
Research Associate,
Manchester Metropolitan University.
//////////////////// ////////////////////
From: 'Irwin, William' <[log in to unmask]> Reply-To: 'Irwin, William' <[log in to unmask]>
I am pleased to announce the publication of Woody Allen and Philosophy, Volume 8 in the Open Court series Popular Culture and Philosophy. The book is available for purchase from Amazon.com, BarnesandNoble.com, and at major bookstores. The table of contents is included below.
William Irwin, Ph.D.
Philosophy Department
King's College
Wilkes-Barre, PA 18711
Phone:(570)208-5900, ext. 5493
Fax:(570) 208-5988
e-mail: [log in to unmask]
Webpage: http://www.kings.edu/wtirwin
WOODY ALLEN AND PHILOSOPHY
Edited by:
Mark T. Conard
Aeon J. Skoble
ACT I: Morality, Interpretation, and the Meaning of Life
1. God, Suicide, and the Meaning of Life in the Films of Woody Allen. MARK T. CONARD
2. Integrity in Woody Allen's Manhattan. AEON J. SKOBLE
3. Does Morality Have to Be Blind? A Kantian Analysis of Crimes and Misdemeanors.
JAMES LAWLER
4. Arguing Interpretations: The Pragmatic Optimism of Woody Allen. IAN JARVIE
ACT II: Woody's Craft
5. The Mousetrap: Reading Woody Allen.
JAMES WALLACE
6. Woody on Aesthetic Appreciation.
JASON HOLT
7. Art and Voyeurism in the Films of Woody Allen. JEROLD ABRAMS
8. 'You Don't Deserve Cole Porter': Love and Music According to Woody Allen. JAMES SOUTH
9. Dead Sharks and Dynamite Ham: The Philosophical Use of Humor in Annie Hall. LOU ASCIONE
10. Reconstructing Ingmar: The Aesthetic Purging of the Great Model. PER BROMAN
ACT III: Five Films
11. The Dangers of Hedonism: A Midsummer Night's Sex Comedy. SANDER LEE
12. Inauthenticity and Personal Identity in Zelig. DAVID DETMER
13. It's All Darkness: Plato, The Ring of Gyges, and Crimes and Misdemeanors. JOHN PAPPAS
14. Self Knowledge in Another Woman.
JILL GORDON
15. Woody Allen's Film Noir Light: Self-Knowledge, Crime, and Love in The Curse of the Jade Scorpion.
MARY P. NICHOLS
//////////////////// ////////////////////
From: Frances Gateward <[log in to unmask]>
CALL FOR PAPERS
SPECIAL ISSUE OF POST SCRIPT
INDIAN CINEMA
Guest edited by Frances Gateward and David Desser
A recent spate of books has introduced the popular Hindi cinema to English-speaking, academic audiences, studies long overdue considering the wide popularity of these films in South Asia, Africa, EuropeS. and among the widely dispersed Indian diaspora. These studies have taken a 'macro' view of the topic, dealing with issues of national identity, gender, sexuality, stardom and transnationality. For a special issue of Post Script: Essays in Film and the Humanities, we would like to explore issues in a more focused way, in particular, examinations of commercial cinemas of the varied language groups, industry studies and transnational reception, remakes across language groups, genre, and music.
Completed essays of 4,000-6,000 words, in MLA format will be due August 1, 2005.
Inquiries can be sent to either editor:
Frances Gateward [log in to unmask]
David Desser [log in to unmask]
Questions about Post Script issues or subscription information should be directed to: Gerald Duchovnay/General Editor/Post Script: [log in to unmask]
//////////////////// ////////////////////
UNIVERSITY OF GLOUCESTERSHIRE
School of Humanities
One day Conference on
Islam and the Media
Tuesday 24th May 2005 11AM to 4PM
CALL FOR PAPERS
This is part of a series of one-day conferences on Islam that the School of humanities of the University of Gloucestershire has been organising annually. The conferences have been well attended and participants have found them informative, interesting and stimulating. Past Speakers have included Dr Zaki Badawi, Bishop Kenneth Cragg, Dr Mashuq ibn Ally, Dr. Malise Ruthven and Professor Ron Geaves.
The next conference with the theme of Islam and the Media will be held on 24th May 2005 (Tuesday) and will be held in the Park Campus of the University. The conference will commence at 10.30 AM (with coffee and registration) and will conclude at 4 PM. There will be a lunch break from 1PM to 2 PM. Each speaker will speak for 45 minutes followed by 15 minutes for questions and interactive discussion. Audiovisual facilities are available at the conference venue.
Speakers are free to choose any aspect of this broad theme. Intending speakers may please send the title of their paper with a short abstract to Dr. Theodore Gabriel, School of Humanities, Francis Close Campus, University of Gloucestershire, Swindon Road, Cheltenham GL50 4AZ, or email him at [log in to unmask]
//////////////////// ////////////////////
From: 'Paul Cooke' <[log in to unmask]>
Call for Papers
European Cinema Research Forum 2005
To be held at
the University of Leeds
1-3 July 2005
This year's ECRF conference is sponsored by a British Academy Networks Project, 'Screening Identities: Reconfiguring Identity Politics in Contemporary European Cinema'
Papers are invited on topics such as:
The 'star system' in Europe; the role of festivals and the changing shape of the European film distribution network; cinema funding and the EU; audiences and European cinema; film and European national/regional identity; language and culture in European cinemas; European 'dialogues' with Hollywood; European cinema as World cinema? European cinema and its eastern and southern neighbours; cinema and Globalization: European dimensions; contemporary European film: film style and form; 'art cinema' versus 'popular cinema'; 'minority' cinemas in European nations; images of Europe in World cinemas
Please submit a brief (2-300 word) abstract by 7 February 2005 to either Paul Cooke ([log in to unmask])or Danielle Hipkins ([log in to unmask])
Dr Paul Cooke
Lecturer in German Studies
Dept of German
University of Leeds
Leeds LS2 9JT
tel: 0113 3433507 (direct line)
fax: 0113 3433505
//////////////////// //////////////////// //////////////////// ////////////////////
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Film-Philosophy Email Discussion Salon.
After hitting 'reply' please always delete the text of the message you are replying to.
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