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Dear MECCSA members,
As the deadline for proposals for Doing Women’s Film and Television History IV proposal is upon us – Monday, November 13th (10pm GMT) - I am sharing biographies of our keynote speakers. The conference will also be holding events with women practitioners and will include screenings of films by women. The CFP for the conference is below.
Prof Jane Gaines is the award-winning author of two books: Contested Culture: The Image, the Voice and the Law and Fire and Desire: Mixed Race Movies in the Silent Era, both of which received the Katherine Singer Kovacs prize from the Society for Cinema and Media Studies. She received an Academy of Motion Picture Arts and Sciences Scholarly Award for her forthcoming book on early cinema, Historical Fictioning: Women Film Pioneers and for work on the Women Film Pioneers digital archive published by Columbia University Libraries in 2013. She has written articles on intellectual property and piracies, documentary theory and radicalism, feminism and film, early cinema, fashion and film, and critical race theory that have appeared in Cinema Journal, Screen, Cultural Studies, Framework, Camera Obscura, and Women and Performance. Most recently, she has been engaged in a critique of the “historical turn” in film and media studies.
Dr Oluyinka Esan is a Reader in the School of Media and Film at the University of Winchester, UK. Her research focuses on the impact of the media on society, particularly from a development perspective. Dr Esan's work has focused on the social relevance of media messages, audience reception (women and children), studies on production practices and advocacy on child rights and health issues. She is the author of Nigerian Television: Fifty Years of Television in Africa (2009) and she is General Editor of the Association of Media Scholars and Professionals of Nigeria (ACSPN) book series. Her current research focuses on patterns of participation of women as media professionals in a sample of Nigerian television channels that cater for audiences both in Nigeria and its diaspora. She has a broad portfolio of consultancy experience in advocacy and behaviour change communication, working with agencies, international bodies and local NGOs in Nigeria.
Dr Rashmi Sawhney is an academic, occasional writer and co-founder of the VisionMix<http://www.visionmix.info/> network. Rashmi has been faculty at CTMP<http://www.ctmp.ie/>, Dublin, where she taught and supervised doctoral research on a practice-based PhD programme in ‘Cultural Studies and Social Documentary Practices’. She has curated a range of public programmes including film screenings and symposia in Dublin and was visiting faculty at Trinity College, while she lived there from 2006-12. Her research explores the production, circulation and exhibition of moving image cultures at the intersections of cinema, visual arts, and digital media in the South Asian context and she has a special interest in science fiction film and video<http://www.intellectbooks.co.uk/journals/view-issue,id=2987/>. Rashmi has been teaching, doing research, and publishing<https://jnu.academia.edu/RashmiDeviSawhney/Papers> since 2002, and prior to joining Srishti, was Associate Professor at the School of Arts and Aesthetics, Jawaharlal Nehru University and also briefly headed the Arts Practice and Curatorship programmes at India Foundation for the Arts. At Srishti, Rashmi leads the M.A. in Aesthetics and Visual Cultures<http://srishti.ac.in/programs/pg-program-ma-in-aesthetics-and-visual-cultures>. This is the first interdisciplinary postgraduate programme in India, focusing on Curatorial practices and film/art writing, in response to the cultural histories and ecologies of South Asia.
Prof Shelley Stamp is a leading expert on women and early film culture tracing the contributions women made to early Hollywood as filmmakers, moviegoers, performers, critics and theorists. She is the author of Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon and Lois Weber in Early Hollywood. Her research has been supported by grants from the National Endowment for the Humanities, the Academy of Motion Picture Arts and Sciences, and the UC President's Fellowship. She has served as a consultant for the National Film Preservation Foundation, EYE Film Institute Netherlands, Turner Classic Movies, and the American Movie Classics cable channel. Her expert commentary has appeared on several DVD releases of rare silent films and she is the Founding Editor of Feminist Media Histories: An International Journal<http://fmh.ucpress.edu/>. Currently she is at work on a comprehensive history of Women and the Silent Screen in America, co-authored with Anne Morey
Prof Yvonne Tasker is Professor of Film Studies and previously Dean of Faculty Arts and Humanities at the University of East Anglia. She is the author and editor of numerous books, as well as articles, about the politics of popular culture, including, most recently, Soldiers' Stories: Military Women in Cinema and Television Since WWII (Duke, 2011), Gendering the Recession: Media and Culture in the Age of Austerity (edited with Diane Negra, Duke, 2014) and The Hollywood Action and Adventure Film (Wiley-Blackwell, 2015). In addition to being well-known for her scholarship on gender in Hollywood, she has written about the importance of visibility to women’s film authorship. She is currently developing an archival project on the British filmmaker Jill Craigie.
*CFP
Doing Women's Film and Television History IV: Calling the Shots – Then, Now, and Next
May 23 – 25, 2018
University of Southampton, UK
Organising team: Shelley Cobb, Linda Ruth Williams, and Natalie Wreyford
The focus for DWFTH-IV is predicated on the idea of the contemporary as an historical formation. The conference will offer a space to think about the interconnectedness of the past, present and future in feminist historiography and theory, as well as across all forms of women’s film culture and film and television production. It will also consider women’s film and television histories and their relationships with the contemporary, framed and read historically, to reflect on our methodological, theoretical, ideological and disciplinary choices when researching and studying women and/in film and television. In addition to this theme, we are interested in proposals/panels on all topics related to women’s film and television history, from all eras and from all parts of the globe.
The following is an indicative (and by no means exhaustive) list of possible topics:
* history formulated as in medias res: how do we do contemporary history, and what are the implications of thinking of the historical in this way?
* the impact of social, economic and industrial conditions on women’s roles and creative practices
* new ways of doing textual analysis of women’s films (rethinking feminist theory?)
* re-thinking women as ‘auteurs’ of film and television (directors, showrunners, producers, actors)
* international and transnational contexts: connections, comparisons, collaborations, migration
* crossing industry boundaries: film, television, theatre, radio, journalism, art, etc
* practice-based research: directing, screenwriting, sound/set/costume design, etc
* women audiences/viewers and women as fans
* women campaigner/activists in film and television and for on-screen/off-screen change
* women’s film criticism/women film critics
* women’s independent filmmaking and/versus women’s mainstream (or blockbuster) directing
* changing the curriculum: critical canons, pedagogies core modules/classes
* the relationship between film and television genres
* women practitioners’ negotiations of femininity and/or feminism in their working lives
* the intersection of class, race, sexuality, disability and women both on screen and behind the camera
* issues of archiving and preservation and distribution and exhibition and broadcasting
Proposals for twenty-minute presentations must include the title of the presentation, a 250-word abstract and a brief biography the author(s). Pre-constituted panels of three speakers may also be submitted, and should include a 250-word panel rationale statement, as well as individual abstracts. Proposals should be submitted to [log in to unmask]<mailto:[log in to unmask]><mailto:[log in to unmask]><mailto:[log in to unmask]> before 3 November 2017. Participants will receive a response from the selection committee before 20 December 2017.
Hosted by:
Calling the Shots: Women and Contemporary Film Culture in the UK, 2000-2015: http://www.southampton.ac.uk/cswf/ and Women’s Film and Television History Network - UK/Ireland: https://womensfilmandtelevisionhistory.wordpress.com<https://womensfilmandtelevisionhistory.wordpress.com/>
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Dr Shelley Cobb
Associate Professor of Film
University of Southampton
http://www.southampton.ac.uk/film/about/staff/sc1p07.page
Principle Investigator of AHRC-funded Calling the Shots: women and contemporary film culture in the UK
http://www.southampton.ac.uk/cswf/index.page
Author: Adaptation, Authorship, and Contemporary Women Filmmakers
http://www.palgrave.com/us/book/9780230283848
Co-editor: First Comes Love: Power Couples, Celebrity Kinship and Cultural Politics
http://www.bloomsbury.com/us/first-comes-love-9781628921205/
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