Apologies for Cross-Posting
Dear All,
Just a quick reminder that the registration deadline for Acting Out: A
symposium on Screen Performance, Inference and Interpretation is only one
week away - friday 27th February 2009.
Registration forms and the provisional programme for the event can be
downloaded from our website:
http://www.rdg.ac.uk/ftt/research/ftt-actingout.asp
Please circulate to any colleagues, post-doctoral researchers or
postgraduate students who may be interested.
best wishes,
Lucy Fife Donaldson & Ceri Hovland
Acting Out – A Symposium on Screen Performance, Inference and Interpretation
Friday March 20 2009, Department of Film, Theatre and Television, University
of Reading, UK
Keynote Speaker – Andrew Klevan (St. Anne's College, University of Oxford) –
Film Performance: From Achievement to Appreciation (Wallflower Press)
Deadline for Registrations – Friday 27th February 2009
A provisional programme as well as Registration forms and further
information for the symposium are available from our website:
http://www.rdg.ac.uk/ftt/research/ftt-actingout.asp
Please direct any enquiries to the organisers Ceri Hovland and Lucy Fife
Donaldson at [log in to unmask]
___________________________________________________________________________
"Clearly films depend on a form of communication whereby meanings are acted
out." (Naremore, Acting in the Cinema, p. 2)
"I would like to say that what I am doing in reading a film is performing it
(if you wish, performing it inside myself)." (Cavell, Pursuits of Happiness,
1981, pp. 37-38.)
This one-day symposium seeks to provide a forum for scholars of screen
acting to meet and progress the spate of recent work on performance on film.
We would like to explore how we draw out performance through an
interrogation of the relationship between performance, inference and
interpretation.
As viewers we frequently respond instinctively to the material and kinetic
details of the performer within their fictional world. In consequence, the
role of inference could be said to be indivisible from interpretation. But
how important is that moment between engaging with a performance and
analysing it? How do you find it and observe it? What is the role of
inference in the process and production of performance? What is left unsaid
and/or assumed in performance?
Arguably, many performances communicate in non-verbal ways and leave a
certain amount to the imagination but how does this vary between performance
styles? More histrionic, melodramatic or ostensive performances are
frequently thought of as offering more privileged access to thoughts and
feelings or even a transparently clear communication of meaning. What kinds
of assumptions underpin this way of thinking about performance? And where
does this leave more contained or repressive performances?
The perceived problem of subjectivity is the ghost of film studies, haunting
many analyses but rarely addressed directly. How do discourses around
spectatorship effect discussion of performance? Could it be that the study
of performance is uniquely disposed to alerting us to the complexity of
engagement?
Contact Information
Ceri Hovland & Lucy Fife Donaldson
University of Reading
Department of Film, Theatre & Television
Bulmershe Court, Woodlands Avenue
Reading, RG6 1HY, England
Email: [log in to unmask]
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