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        f i l m - p h i l o s o p h y
                salon news

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Style & Meaning
Midsouth Philosophy Conference
Philosophy In The Contemporary World
Theory@Buffalo
International Festival of Film and New Media on Art
In (Between) The Images
The Crisis In Analytic Philosophy
Kino-Eye3: CyberCities
Henry Street
Cinema And The Senses
Symposia

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The University of Reading	Department of Film & Drama

STYLE & MEANING

Textual Analysis - Interpretation - Mise en scène

17 18 19 March 2000

Call For Papers

Without detailed analysis of individual movies film study is inevitably
stranded in assertion and generalisation. While the best writing of every
theoretical persuasion has always worked closely on the texture of films,
there have been major disagreements and debates about the nature of film
style and mise en scène, the place of interpretation in film studies and
the methodological frameworks for textual analysis. The conference will be
devoted to the detailed study and interpretation of films, together with
historical and theoretical perspectives on close analysis.

In addition to the familiar pattern of panel discussions and plenaries, the
conference will include workshops in which speakers will present frameworks
for analysis of the detail of a movie, as an introduction to discussion.

Proposals for three kinds of presentation are invited:

*	Close readings grounded in detailed analysis.
*	Discussion of historical and / or theoretical issues related to
film analysis, style,
interpretation etc.
*	Workshop introductions, designed to open up issues about a
sequence (or sequences),
as a prelude to extended debate (workshops will last about 90 minutes).

Titles of films to be discussed at the conference will be circulated in
advance.

Abstracts should be about 200 words (presentations will be about 20 minutes
in length) and should be submitted no later than 30 June 1999, to: Style &
Meaning Conference, Department of Film & Drama, The University of Reading,
Bulmershe Court, Earley, Reading, RG6 1HY. Fax: 0118 9318873. e-mail:
[log in to unmask]

Organising Committee
Alison Butler, John Gibbs, Jim Hillier, Douglas Pye

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Midsouth Philosophy Conference

University of Memphis, Tennessee, USA
March 5-6, 1999

CALL FOR PAPERS

The 23rd annual Midsouth Philosophy Conference is scheduled for Friday
afternoon and Saturday, March 5-6, at the University of Memphis. Papers on
any topic of philosophic interest are welcomed. Papers are limited to 25
minutes reading time (normally, 12 double-spaced pages). Submit TWO printed
copies, and a copy in ASCII either as an email attachment or on a computer
diskette. Each copy must include an abstract (100 words maximum!), the
paper's title, author's name, institutional affiliation, mailing address,
email address, and telephone number. Papers which do not meet all of these
guidelines will not be considered. Send submissions to:

Dr. Jack Purcell
Department of Philosophy
Middle Tennessee State University
Murfreesboro, TN 37132-0073, USA
<[log in to unmask]>

Papers must be submitted by JANUARY 6. Papers will be reviewed by a
committee, and notification of acceptance will be made in late January.
Each paper will have a commentator. Those interested in commenting should
notify Dr. Purcell by January 10 of availability and areas of interest.

Dr. MARGARET WALKER of The Ethics Center at the University of South Florida
will be the keynote speaker. Funding for the keynote speaker is provided by
the University of Memphis' Center for the Humanities, directed by Dr.
Jennifer Wagner-Lawlor.

The University of Memphis UNDERGRADUATE PHILOSOPHY CONFERENCE will have
parallel sessions. Please encourage students to attend and submit papers.
Papers may be on any area of philosophy. Papers are limited to 25 minutes
reading time (normally, 12 double-spaced pages). Preference will be given
to well-focused shorter papers. Review of submissions will begin on January
11. Papers must be submitted by January 22. Send two printed copies with an
abstract (100 words maximum!) to: Undergraduate Philosophy Conference,
Department of Philosophy, University of Memphis, Memphis, TN 38152. Include
a telephone number or email address.

Dr. Thomas Nenon has reserved rooms for Friday (3/5) and Saturday (3/6) at
the Holiday Inn Midtown on 1837 Union Avenue, a ten minute drive from
campus. The room rate is $60 per night. Make reservations directly; the
hotel's telephone number is 901-278-4100. The airport shuttle goes to the
hotel for $10.

Visit the Midsouth Philosophy Conference¼s website at
http://www.mtsu.edu/~jpurcell/MidSouth/midsouth.htm

The Midsouth Philosophy Conference is underwritten by the Department of
Philosophy and Center for the Humanities of the University of Memphis, and
the Department of Philosophy and Institute of Liberal Arts of Oklahoma City
University. Website support is provided by Middle Tennessee State
University.

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Call for papers: Philosophy In The Contemporary World

Reply to: Joe Frank Jones, III <[log in to unmask]>
or James Sauer <[log in to unmask]>

PHILOSOPHY IN THE CONTEMPORARY WORLD -- the journal of the Society for
Philosophy in the Contemporary World -- solicits papers which address the
ways in which philosophy might be applied to contemporary problems, or
which use the resources of philosophical thought to help define, analyze,
clarify, or resolve contemporary problems. The articles should be clearly
and concisely written, and should address their subjects in an original and
substantive manner.

PHILOSOPHY IN THE CONTEMPORARY WORLD is fully refereed, indexed, and
copyrighted. It is published four times a year by the society, which is a
non-profit organization under IRS code 501(c)3. No member receives pay or
remuneration of any kind from SPCW. Journal subscriptions include
membership in the society and vice-versa. Subscriptions are $40.00 per year.

Articles of two or three thousand words are preferred, but articles of
exceptional quality of any length will be considered. An abstract of the
article should be included and will be published. All materials, including
the abstract, block quotations, and notes, should be double-spaced.
Notes should be used sparingly, numbered consecutively, and placed at the
end. Parenthetical references are encouraged. For guidelines, see any issue
of the journal, the latest edition of Kate L. Turabian's A Manual for
Writers, or the latest edition of the Chicago Manual of Style. A brief
style guide is available on request. It is the author's responsibility to
make style revisions, and accepted manuscripts will not be published until
style revisions have been made. Three hard copies should be submitted. The
author's name should not appear on the manuscript copies, which cannot be
returned. Authors should enclose a postcard if they want immediate
acknowledgment of receipt of their manuscripts. Unsolicited book reviews
are not accepted.

Articles accepted for publication should be resubmitted on computer disk
with accompanying hard copy. Submission in Microsoft Word is preferred,
though other software programs are often acceptable. PHILOSOPHY IN THE
CONTEMPORARY WORLD is created in PageMaker 5.0 on a Power Macintosh.
Manuscripts should be sent to:

Joe Frank Jones, III
Editor, PHILOSOPHY IN THE CONTEMPORARY WORLD Religion/Philosophy
Barton College
Wilson, NC 27893-5000
[log in to unmask]
(252) 399-6448

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Theory@Buffalo, an interdisciplinary journal of graduate student writing,
invites submissions of under 10,000 words for the 1999 issue on : 'The
Practice of Theory: Questions on the Roles and Uses of Theory in the Arts
and Sciences'. Please send essays in triplicate with coverpage, or on disc
in Microsoft Word format by March 1, '99 to: Stacey Herbert
Comparative Literature Dept.
State University of New York-Buffalo
Buffalo, NY 14260
web site: www.wings.buffalo.edu/theory

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Dear Friends,   The 1st International Festival of Film and New Media on Art
is going to be held, 2-6 December 1998, in the greek capital of Athens and
aims to promote the progressive convergence of cinema, art and new
technologies.   By seeking new experiences the Festival blends
technological innovation with emerging forms of creation.   This year´s
eclectic selection is composed of creative documentaries and cd-roms on the
most domains of art that challenge a tradition of research and renewal.  
18 countries participate with films on Gilbert and George, Panamarenko,
Felice Varini, Carlo Scarpa, Guggenheim Bilbao, Notre Dame d Amiens, V28,
Rosas Danst Rosas, Christo, Zaha Hadid, Albert Camus, Gaudi, Guy Bourdin,
Shostakovitch, Alberto Camesi, Costakis, Vladimir Merta, Akira Kurosawa,
Yiannis Tsarouchis and many others.   At the same time, the New Media
section of the Festival is a true multidisciplinary happening at once
stimulating, bewildering and always surprising.   19 cd-roms from 13
countries will be presented on a special designed installation at the Fine
Arts School of Athens. Among them are: MAUS, LE LOUVRE COLLECTIONS AND
PALACE no2, LE CRI NEERLANDAIS, REGISTROS DE ARQUITECTURA, TECHNOPHOBIA,
ITALIAN DESIGN:THE PLAYERS ON CD-ROM, SCRUTINY IN THE GREAT ROUND, FAMILY
FILES, TOMMY THE INTERACTIVE CD-ROM, LEONARDO DA VINCI CD-ROM, THE HOUSE,
I.D. INTERACTIVE DESIGN REVIEW,TOMATO, IMPROVISATION TECHNOLOGIES ZKM and
many others.   Lectures on cinema on art and multimedia on art will be held
for two days, 5/12 and 6/12 noon to 17:00, with guest speakers from Louvre,
Centre George Pombidou, Arts Council of England, ERT, Funny Garbage,
Antirom, YLE, VPRO, EYE magazine, Media Desk and Mediamatic.   All films
will be presented simultaneously in english and greek.   For any more info
please do not hesitate to come in contact with the PR office at 01-7520064
and fax 01-9242407, Mr. Chrisostomos Chalkidis.   The site of the festival
is www.filmart.gr   Thank you and I am looking forward to seeing you in
Athens.   Sincerely   Yiannis Skourogiannis Director of IFFNMA   57
Archimidous GR-116 36 Athens

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[ art.image ] announces its upcoming international conference on moving images!

In (Between) The Images
Moving Images in Their External And Internal Expansion

Graz, Dec 4 - 6, 1998

[ art.image ] - well known since 1993 for its 'film+arc.graz' festival -
establishes now In (BETWEEN) THE IMAGES as another forum for discussing the
current 'state' of moving images, thus again emphasizing the many and
complex relations of, and between, image production and (social, aesthetic,
public, etc.) phenomena related to (different and diverse) spaces.

At present, the CONCEPT OF THE IMAGE is at the centre of numerous debates,
not only in the fields of film/media/art, but it increasingly appears to be
a focal point of analyses which reflect cultural developments as a whole.
In this sense, IN (BETWEEN) THE IMAGES is focussed on central paradigms of
the contemporary, apparently more and more hybrid production of moving
images, with special regard to new types of (also social) dispositives as
are produced by such image formations.

The phenomenon of the (INTERNAL AND EXTERNAL) DISCLOSURE OF IMAGE SPACES,
which can be traced in many pieces of artistic works, as well as the
multiplying of perspectives and the increasingly experimental relation to
the spectators will be explored from various main perspectives which will
deal with both theoretical bases and, primarily, aspects of spatiality and
perception, i.e. an appropriation of bodies and spaces by images.

Thus, IN (BETWEEN) THE IMAGES aims at the eminent modification of
interpreting procedures and perception spaces - a modification which turns
images and spaces into FLUCTUATING CONSTELLATIONS where the border between
images and spaces can no longer be defined as a surface and where image and
spectator do not seem to be in any hierarchical relation but rather to
revolve around each other, as do the various topics and parts of the
conference:

0 - OPENING PERFORMANCES 1 - FULL SCREEN - EMPTY PLACES? 2 - IMMERSION <->
EXPANSION: TRACES OF ASSIMILATION 3 - DECENTRALIZING THE EYE: BODIES AND
IMAGES 4 - post-STORY-post: PARALOGIC STRUCTURES 5 - PERSPECTIVES 6 -
STUDENTS WORKSPACE 7 - 'VIDEO BETWEEN' PROGRAM 8 - 'IN (BETWEEN) ARTISTS' 9
- VIDEO LONGUE 10 - IN (BETWEEN) THE SITES

What kinds of images are these, what kinds of interpretations and spaces of
perception do the various forms of screens and image spaces refer to? What
new type of 'aesthetics of behaviour' is depicted by these new image
spaces? How to define those - conceptual, fictitious - image spaces which
appropriate media-based moving images, turning the spectator into a
'spect-actor'? Do these complex levels of images - layered against and
towards each other - still aim at the production of meaning, do they tell
stories? What are the consequences of all this for production and mediation?

In theoretic lectures and round tables, in the presentation of current
artistic projects, but also in performances and video screenings by leading
artists, theorists and curators in the field of image production these
questions will, among others, be the main focus of the conference.

0

OPENING PERFORMANCES - Fr, Dec 4, 1998

GEORGINA STARR/SEAN DOWER/OLIVER HANGL - MALCOLM LEGRICE - VINYL VIDEO
among others.

1 - 5

PANELS - Sat/Sun, Dec 5/6, 1998

ALEX ADRIAANSENS, V_2, Rotterdam, STUDIO AZZURRO (I), PIERRE BONGIOVANNI,
Centre International de Création Vidéo, Montbélliard, SHU LEA CHEANG (USA),
CHRIS DERCON, Museum Boijmans van Beuningen, Rotterdam, TIMOTHY DRUCKREY
(USA), KEN FEINGOLD (USA), RUDOLF FRIELING, Zentrum für Medienkunst,
Karlsruhe, PERRY HOBERMAN (USA), ANDRÉ ITEN, Saint Gervais Geneve,
MARGARETHE JAHRMANN, O.K Centrum für Gegenwartskunst, Linz, DAVID LARCHER
(GB), MALCOLM LEGRICE (GB), DIANA MCCARTY, Intermedia Department, Academy
of Fine Arts, Budapest, NICOLAUS SCHAFFHAUSEN, Frankfurter Kunstverein,
RUTH SCHNELL, Academy of Applied Arts, Vienna, BILL SEAMAN (USA), MIKE
STUBBS, Hull Time Based Arts, Hull, and others.

7

'VIDEO BETWEEN'

A series of guest-curated programs by PIERRE BONGIOVANNI, ANDRE ITEN,
RUDOLF FRIELING, and MIKE STUBBS, from leading institutions concerned with
moving images, will combine an intriguing line-up of artists' videos
revolving round the topics of the conference.

8

'IN (BETWEEN) ARTISTS'

DAVID LARCHER, KEN FEINGOLD, SHU LEA CHEANG a. o., will show their seminal
works representing the foremost concerns of artists working in the field of
expanded and hybridized imagery.

9

VIDEOLONGUE

will provide an experimental environment for individual access to video.
Considering both the specifities of site and medium it will create a field
of getting in (between) the images both in terms of concentration and
leisure - realised by students of the Faculty of Architecture at the
Technical University, Graz.

10

IN (BETWEEN) THE SITES

get regularly updated information at http://www.thing.at/art.image!

[ art.image ]

Hallerschlossstrasse 21
A-8010 Graz
tel. +43-316-356155
fax +43-316-566156
http://www.thing.at/art.image

PLEASE NOTE OUR NEW E-MAIL ADDRESS:

[log in to unmask]

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Call for Papers

The Crisis In Analytic Philosophy

An International Conference
12-13 April 1999
Centre for Post-Analytic Philosophy
University of Southampton, UK

Plenary Speakers
James Conant, Colin McGinn, Alan Montefiore, Stephen Mulhall, Mark Sacks,
Quentin Skinner, Crispin Wright

Analytic philosophy displays the classic symptoms of crisis. The current
interest in its origins and history, and in the Continental tradition from
which it had so zealously distinguished itself, reveals a new
self-consciousness in this once self-confident movement. But what is the
nature of this apparent crisis and what lessons can it teach us? The
purpose of this conference is to explore diagnoses of the sense of crisis
in analytic philosophy and to offer prognoses of the future directions of
philosophical inquiry.

CALL FOR PAPERS

Offers of papers, accompanied by an abstract of 300-500 words, should be
sent to the conference organiser (Dr. Denis McManus, [log in to unmask]).

The final deadline for paper abstracts is 31 December, 1998.

Mailing Address
'Crisis' Conference
c/o Dr. Denis McManus,
Department of Philosophy,
University of Southampton,
Southampton, SO17 1BJ.

Further Information
see our website:
http://www.soton.ac.uk/~philosop

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Kino-Eye3: CyberCities
A festival on the relocation of urban space 5-28 November (conference 20-22
November)

A Production of De andere Film/Centrum voor Beeldcultuur Koninklijk Paleis,
Meir 50, Antwerp (Belgium)

AGENDA

Thu 5 Nov. 20.00 City Symphonies: Metropolis (F. Lang) Sat 7 Nov. 22.00
City Symphonies: Blade Runner (R. Scott) Tue 10 Nov. 20.00 City Symphonies:
Rain (J. Ivens), Images d'Ostende (H. Storck), A Propos de Nice (J. Vigo),
Rien que les heures (A. Cavalcanti) Sat 14 Nov. 21.00 City Symphonies: Heat
(M. Mann) Mon 16 Nov. 20.00 City Symphonies: Menschen am Sonntag (R.
Siodmak & E.G. Ulmer)

CONFERENCE

Fri 20 Nov. 20.00 Scott Bukatman: 'The Syncopated City: New York and
Musicals' (lecture)
		21.00 Utopia/Dystopia (video)
		23.00 City Symphony: New York
Sat 21 Nov. 14.00 Saskia Sassen: 'Electronic Space and Power' (lecture)
		15.30 David Blair: 'MetaTokyo' (presentation)
		17.00 Mapping the City (video)
		20.00 Edward Soja: 'SimCities: Hyperreality and the
Restructured Urban Imaginary' (lecture)
		22.00 Virus/Surveillance (video)
		23.00 City Symphony: Rudy Burckhardt (film)
Sun 22 Nov. 14.00 Christine Boyer: 'Crossing CyberCities' (lecture)
	15.30 Closing debate
		17.00 City Symphony: Dominic Angerame (film)
		20.00 City Symphonies: Kino-Glaz (D. Vertov)

CONFERENCE END

Mon 23 Nov. 20.00 City Symphonies: La Tour + Paris qui dort (R. Clair) Fri
27 Nov. 22.00 City Symphonies: Berlin, die Sinfonie der Grossstadt (W.
Ruttmann)
Sat 28 Nov: 21.30 City Symphonies: Playtime (J. Tati)

KINO-EYE3: CYBERCITIES

'It is then that the great buildings lose reality and take on their magical
powers. They are immaterial; that is to say one sees but the lighted
windows. Squares after squares of flame, set and cut into the aether. Here
is our poetry, for we have pulled down the stars to our will.' (Ezra Pound
on New York)

The birth of the modern city, the railroad and the cinema are - as any film
historian knows - intimately linked events. The geometric sublimity of the
city with its bridges and skyscrapers and the dynamic sublimity of the
train journey could only be rationalized via a cut up reality, the cuts and
close-ups of the cinema. To a large extent early cinema reflected the
experience of the fl=E2neur, the city dweller who with every new passage
took in new constellations of bewildering images which he then later
(re-)constructed into a coherent, sometimes narrative whole. The close-up
disturbs the passage of time, freezes what is in permanent motion and would
otherwise remain blurry, chaotic, invisible. As Walter Benjamin has amply
demonstrated in his groundbreaking studies of early modernist experience,
both the narrative logic, the phenomenological reality and the technical
apparatus of the cinema are reflections of the caleidoscopic reality of the
metropolis. The past century has seen a countermove in which the city has
in its turn become more and more cinematographic, illusory, virtual. The
sweatshop production logic of industrial city life (the city of Dickens and
Dreiser) was replaced by the ethereal datalabor of uniform(ed) knowledge
workers, the polymorphous masses of the agora were replaced by the
standardized and hyper-transparent meeting place of the shopping mall,
human contact is induced via fiberoptic cables and the city loses its
material center. Postmodern urbanists like Jean Baudrillard talk about the
'hyperreality' of the city as 'pure simulation'. Cities like New York are
'vital, kinetic and filmic'. While the city threatens to lose its meaning
as public space cyberpunk-auteurs like William Gibson dream of the
cyberspace matrix as a virtual reality version of Le Corbusiers Radiant
City. And it's not only in fiction that cyberspace is rediscovered as a
utopian urban space. While the Infobahn is essentially an anti-spatial
space, the traditional fora of urban life are easily transferred to the
ethereal dataspace. An interesting thing about the virtual city - the 'city
of bits' - is that its spatial model can best be described as a condensed
infinity (Rem Koolhaas' 'culture of compression'), an infinite space
without space, a meeting place with an infinite number of entrances. Just
as the early twentieth century dream of progressive urbanization, of the
city as final fullfilment of all democratic promise was corrupted by the
monopolization of public space, the dream of digital democracy is
threatened however by the corporate take-over and socio-economic control of
the virtual agora. Kino-Eye3: CyberCities will explore the relationship
between visual media and urban structures, between the disappearance of
public city space and the budding urban infrastructure (virtual libraries,
museums, theaters, bookstores, banks, shopping centers, ...) on the
internet. What can we learn from these new cohabitation models, from these
'cities of bits'? Is the city of tomorrow a hypnotic, vertiginous mirage
inspired by Blade Runner and Baudrillard or a concrete - albeit
anti-spatial - collective of conscious users?

INFO

Lectures: 150 BF
Video and film: 120 BF
Weekend price: 1350 BF
Cd-rom, internet and debate: free admission

Reservations:
Centrum voor Beeldcultuur
(32) 3-234.16.40 (tel.)
(32) 3-226.27.64 (fax)
[log in to unmask] (e-mail)
http://www.dma.be/cvb/as (website)

Location:
Koninklijk Paleis/Filmmuseum
Meir 50, Antwerpen
By car: parking facilities (Hopland, Oude Vaartplaats, Stadsschouwburg, St.
jacobsmarkt, Groenplaats, Eiermarkt, Lombardenvest, Oudaan) Public
transportation: tram =E9 (Hoboken/linkeroever), tram 15
(Mortsel/Linkeroever)

AS/Sinebase/Kino-Eye/TechnoLust
De andere Film v.z.w.
Meir 50
B-2000 Antwerpen
Belgium/Europe
0032-3-234.16.40 (vox)
or:0032-3-233.85.71
0032-3-877.44.88 (fax)
or: 0032-3-231.86.60
[log in to unmask] (e-mail)
http://www.dma.be/cvb/as

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Henry Street:
A Graduate Review of Literary Study

Invites submissions for a new feature section:
'Negotiations'

_Henry Street_ is proud to announce the inception of a new feature. This
section of the journal will present both a graduate student essay
foregrounding or critiquing the ideas of a well-established scholar and
that scholar's reply. 'Negotiations' is intended to be a stimulating
meeting point for the ideas of graduate students and senior members of the
profession.

We invite graduate students from English and related disciplines to submit
essays that critique, comment on, or otherwise address the work of a
prominent scholar, from whom _Henry Street_ will then solicit a response.
Please note that we are not trying to promote interpretive hostility, but
rather spirited, attentive, and mutually respectful debate. Should we be
unable to obtain a response from your chosen interlocutor, your essay will
proceed to publication as a regular article.

The first 'Negotiations' feature will appear in issue 7.2. Robert Lesk's
essay 'Untenable Imaginings and Imagined Communities: Robert Lecker on the
Failings of Criticism' critiques institutional imperatives informing the
book _Making it Real: The Canonization of Canadian Literature_ by
well-known McGill University professor Robert Lecker; Prof. Lecker's reply
addresses the inevitability and the ambivalence of such institutional
imperatives.

_Henry Street_ is in its eighth year of publishing the work of graduate
students from all over the world, and is indexed by the Modern Language
Association and the Canadian Literary Periodicals Index.

Submissions should not exceed 7000 words, must conform to MLA style, and
may be addressed to:

Henry Street
Department of English
Dalhousie University
1434 Henry Street
Halifax NS B3H 3J5
Canada

_Henry Street_ also welcomes the submission of critical and occasional
articles by graduate students in English or related disciplines at any
time. Specific submission deadlines for upcoming issues are as follows:

7.2
General issue
Deadline: November 1, 1998

8.1
Postmodernism, Primitivism, Nostalgia
Deadline: December 15, 1998

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CONFERENCE ANNOUNCEMENT

Cinema And The Senses
VISUAL CULTURE AND SPECTATORSHIP

NOVEMBER 13-15, 1998
IO MEYERS STUDIO (GATE 2)
UNIVERSITY OF NEW SOUTH WALES
KENSINGTON, NSW

Cinema and the Senses will examine the interesections between different
modes of spectatorship and the historically shifting forms of cinema as a
cultural technology.

KEYNOTE SPEAKERS:
PATRICE PETRO, (English, University of Wisconsin-Milwaukee) ASHISH
RAJADHYAKSHA (Center for the Study of Culture and Society, Bangalore)
MEAGHAN MORRIS (ARC Senior Fellow, Humanities, University of Technology)
ADRIAN MARTIN (Freelance Film Scholar and Age Film Critic)

FINAL DRAFT PROGRAM

Friday

9.30-10am. Registration

10-11.30 am (Io Myers Theatre)
Keynote
	Patrice Petro (English, University of Wisconsin-Milwaukee)
'Cultural Dispositions, Transitory Moods: Women and Visual Culture in
Weimar Germany.'

11.30-12pm
coffee break

12-1.30pm (Io Myers Theatre)
	Helen Grace (School of Cultural Histories and Futures, University
of Western Sydney, Nepean) 'Sensuous Thought and the Decorporeality of
Vision'
	Therese Davis (Department of Sociology and Anthropology, University
of Newcastle) 'Name Without a Face: Cinema and the Trauma of
Non-Recognition'

1.30-2.30pm
lunch

2.30-4.15pm
session a (Io Myers Theatre)
	George Kouvaros (School of Theatre, Film and Dance, UNSW) 'Twilight
Memories: Cinema, Photography and the Afterimage' 	Paul Starr (English
Department, University of Queensland) 'Still Images, Smoke and Affect'

2.30-4.30pm
session b (C10)
	Leanne Downing (Department of Arts and Education, La Trobe,
Bendigo) 'Spotting the Difference'
	Sue Gillett (Department of Arts, La Trobe University Bendigo) 'Just
Between Us: The Mediation of Affects in Jane Campion's Sweetie'
	Anne Rutherford (School of Communications and Media, University of
Western Sydney, Nepean) 'Corporeality of Vision/Writing of Affect'

4.30 -5.30: drinks (foyer of Io Myers Theatre)

7pm: Screening of Four Chapters (Char adhyay) Kumar Shahani film, Chauvel
Cinema (tickets from cinema).

Saturday

10-11.30am (Io Myers Theatre)
	Cathryn Vasseleu (Philosophy, University of NSW) 'The Moving Image
and Spectacular Animation'
	Simon During 'Occult relations: spiritualist encounters with
optical technologies' (English Department, University of Melbourne)...

11.30-11.45am
coffee

11.45am-1.15pm
session a (Io Myers Theatre)
	Helen Macallan, (English Department, University of Newcastle)
'Modernity, Mooching and The Kid Stakes (1921)' 	Ning Ma (School of
Communications and Media, University of Western Sydney, Nepean) 'Will to
Life vs Will to Power: History and Melodrama in the Fifth Generation
Chinese Cinema'

session b (C10)
	Warwick Mules (Film and Cultural Studies, School of Humanities,
Central Queensland University) 'Film and machinic culture: a re-examination
of early film and spectatorship'
	Bill Schaffer (School of Art History and Theory, University of Sydney)

1.15-2.15pm
lunch

2.15-3.45pm (Io Myers Theatre)
Keynote:
	Ashish Rajadhyaksha (Center for the Study of Culture and Society,
Bangalore) 'Who is Looking: Spectatorship and Democracy in the Cinema'

3.45-4pm
	coffee

4-5.30pm (Io Myers Theatre)
	Meaghan Morris (ARC Senior Fellow, Humanities, University of
Technology) 'Style and Cynthia Rothrock ('you can take the girl out of
Scranton...')'

7pm Conference dinner

Sunday
11am -12.15pm (Io Myers Theatre)
	Adrian Martin (Freelance Film Scholar and Age Film Critic) 'Ball of
Fire'

12.15  12.30 Coffee

12.302pm
session a (Io Myers Theatre):
	Alan Cholodenko (School of Art History and Theory, University of
Sydney) 'The Crypt, The Haunted House of Cinema'
	Lisa Trahair (School of Theatre, Film and Dance, University of NSW)
'A Taste for Murder: Aesthetic Practice in The Silence of the Lambs'

session b (C10):
	Tara Forrest 'Routine Operations: Benjamin, Habit and Experience'
(School of Theatre, Film and Dance, University of NSW) 	Roger Hillman (Art
History and Visual Studies, ANU) 'German Songline or World Music?
Beethoven's Ninth and European Cinema'

2 - 2.45pm lunch

2.45-4.15pm (Io Myers Theatre)
	Ross Gibson, (Humanities, University of Technology, Sydney) 'If the
Walls Could Tell - mise en scene and spatial consciousness' 	Laleen
Jayamanne (Department of Art History and Theory, University of Sydney) ' A
'40 acres and a mule filmworks' - Do the Right Thing - 'a Spike Lee joint':
blocking and unblocking The Block'

4.15-4.30pm coffee

4.30-5pm Plenary (Io Myers Theatre) Patrice Petro, Ashish Rajadhyaksha, and
Kumar Shahani

5pm-6pm closing drinks, Io Myers Theater foyer

Registration (includes light lunch, morning & afternoon tea) AUD120.
Concessions AUD60.

FOR ENQUIRIES
Contact: +61 2 9385 5635
	+61 2 9351 4213
E-mail: [log in to unmask]
	[log in to unmask]

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Symposia: An Electronic Journal Of Philosophy

http://www.trincoll.edu/~phil/symposia/symposia.html

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EDITORS' STATEMENT
	A new electronic journal of philosophy, SYMPOSIA is devoted to
providing a forum for the presentation and discussion of new thought.
	Indeed, as the millennium approaches, philosophical discourse in
this country appears to be in danger of giving itself over, in large
measure, to the repetition of the positions and arguments of canonical
figures (old and new). And what passes for 'contemporary' thought, in this
context, often amounts to little more than polemicizing. 	Our
contention, on the contrary, is that philosophy is alive and well-and we
mean to back this up with evidence of the most concrete kind. What we
recognize in this situation, however, is the need for a special kind of
forum-one that makes room for new and different kinds of thinking by
refiguring the manner in which we have become accustomed to 'doing
philosophy.'
	Accordingly, each issue of SYMPOSIA will cite a key paragraph as
its 'topic text.' This text will serve as the focal point for criticism,
commentary, intervention, debate, invention. And as the 'academic voice' of
present philosophical discourse drops away, the stage is set for original
thought.

	Andrew Haas and Edward P. Kazarian, editors

___________________________________________________

CALL FOR PAPERS
We are currently seeking submissions for our first issue. The deadline for
reciept of submissions is January 1, 1999

TOPIC TEXT
'And this is a universal law: a living thing can be healthy, strong and
fruitful only when bounded by a horizon; it if is incapable of drawing a
horizon around itself, and at the same time too self-centered to enclose
its own view within that of another, it will pine away slowly or hasten to
its timely end. Cheefulness, the good conscience, the joyful deed,
confidence in the future--all of them depend, in the case of the individual
as as of a nation, on the existence of a line dividing the bright and
discernable from the unilluminable and dark; on one's being just as able to
forget at the right time as to remember at the right time; on a powerful
instinct for sensing when it is necessary to feel historically and when
unhistorically.'

	Nietzsche, Untimely Mediations, II, 1.

SUBMISSION GUIDELINES
1) Avoid citations or quotes from other authors or sources other than the
issue's 'topic text.' While we maintain the relevance of critiquing
received ideas, in this forum, we seek a direct and daring engagement with
the matter at hand.
2) Avoid footnotes or endnotes. They often remain unread, and they have
become a crutch for less than truly interesting, remarkable or
extraordinary thought.
3) Avoid jargon or stylistic imitations of so-called radical thinkers. The
rule here is: 'if you're going to use it, explain it, and what you mean by
it.'
4) We encourage textual experimentation, including the appropriation and
employment of anything one can find.
5) We insist on rigor in the best sense of the term-sloppy, badly or
partially thought out, or 'fast and loose' thinking and writing only
perpetuates the problems we are trying to address. 6) We encourage works of
any length, but ask that authors write precisely. Clearly, that which best
serves thought can only be determined with respect to the text at hand, and
sensitivity in this regard is very important. 7) Most of all, we are
looking for original thought. The time has come-and perhaps it is long
overdue-for philosophy in this country to come into its own. SYMPOSIA seeks
to be this place.

HOW TO SUBMIT
1. Submissions should be sent by electronic mail to
[log in to unmask] or [log in to unmask] 2. In the body of
the e-mail, please include the following information: author's name,
instititional affiliation (if applicable), electronic mail address, postal
mail address, and phone number;t he title of the paper submitted, the name
of the file in which it was submitted; and a 500 word abstract of the paper.
3. Plese send submissions as file attachments in Microsoft Word or
WordPerfect format.

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