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F i l m - P h i l o s o p h y
ISSN 1466-4615
http://www.film-philosophy.com
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Call for Papers: Spectator Journal of Film and Television Criticism (Fall
1999) Special Issue: Screening the Past: Discourses of History on Film and
Television Editor: Steve Anderson <[log in to unmask]>
In recent years, a great deal of scholarly attention has been paid to the
role of film and television in the writing of history. However, most
examinations of filmic history focus on issues of accuracy and
responsibility as defined within the discipline of academic history. While
debates over good and bad historiography proliferate, questions about the
fundamental relationship between motion pictures, popular memory, and
historical epistemology remain critically neglected. This issue of
Spectator expands the debate over film and history to include voices which
ask not merely what we know of history but how we come to experience,
remember and participate in constructing the past. The goal is to redefine
the boundaries of historiography to include both marginal media practices
and voices which have been excluded from official historical discourse.
The Fall 1999 issue of Spectator will explore such questions as:
-What has been left out of popular and academic discourses of film and history?
-Have mass media histories simply eradicated the possibility of popular
memory or has a more entangled relationship developed between them? -Can
film and television contribute productively to the reciprocal relationship
between remembering and forgetting? -How do film and television further the
erosion of boundaries between history and memory; mythology and
historiography? -Is television adequately described as a medium that
produces only amnesia and the erasure of history?
Possible topics include:
- Postmodern history and the role of nostalgia - Alternative or radical
historiography in avant-garde film and video - Historical 'mockumentaries'
- Science fiction/time travel/fantasy narratives as history - Historical
trauma and documentary filmmaking - TV as historian/archivist
- Copyright protection and access to historical imagery - TV re-runs as
historical evidence
- Found footage films and the recontextualization of historical images -
Home movies as historical documents
- Digital media technologies and the transformation of historical evidence
- Paranoid culture and the proliferation of alternative or counterfactual
histories
Please submit 12-25 page, double-spaced manuscripts in Chicago endnote
style to: Steve Anderson/Spectator
School of Cinema-Television
Division of Critical Studies
University of Southern California
Los Angeles, CA 90089-2211
Spectator is a bi-annual journal of film and television criticism published
by the University of Southern California.
Deadline for submissions is October 1st, 1999
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From: Rebecca Bell-Metereau <[log in to unmask]>
BULLETIN BOARD PROPOSALS SCS 2000 CONFERENCE
The following panels and workshops are being developed for the March 9-12,
2000 conference in Chicago. The announcement of the panels and workshops
below does not imply that the final panels and workshops necessarily will
be accepted to the conference. All panels and workshops, regardless of
origin, are judged competitively by the program committee. If you are
interested in submitting a proposal for one of the bulletin board panels,
contact the individual chair. There is one deadline for submission of final
proposals to Justin Wyatt, Chair of the Conference Program Committee:
October 1. All proposals must be received by this date, so a deadline of
September 1 is recommended for getting your proposal to the preconstituted
panel chair/organizer.
Information on submitting final proposals on the required Standard Abstract
Forms was included in the April SCS Mailing. You can also obtain this
information and the forms through the SCS website,
http://www.cinemastudies.org.
FILM STUDIES AND THE TEACHING OF FILM IN LATIN AMERICA The living
experience of film scholars and filmmakers in Latin America during the last
decade (1990s) has been very difficult. Even though there
has been an increase in the creation of new media and cinema schools,
economic and political crises have presented diverse challenges for the
field. This workshop will offer a unique opportunity for U.S. and Latin
American film scholars and filmmakers to discuss current issues relating to
Latin American cinema. Screenings of films from these new film and media
schools will serve as a support for the workshop. ORGANIZED BY: Emperatriz
E. Arreaza-Camero Universidad Zulia/Universidad Andes
Av. 21 c/c 68 Edificio Uracoa, SA
Maracaibo, Zulia 4005
VENEZUELA: fax 011-58-61-518-864; [log in to unmask]
THE FUTURE OF FILM THEORY IN THE TWENTY FIRST CENTURY--IDEAS, HYPOTHESES,
PROGNOSES
Could we predict the developments in film theory? Or new developments in
technology make it impossible? Film theory has had periods of Grand Theory,
as well as borowings and dependence from other disciplines (semiotics,
psychoanalysis, studies of ideology). What could be new connections and
interrellations between film theory and other areas of humanities and
social sciences in the future; what traditions will continue, and which
will be abandoned?
Email: [log in to unmask]
Fax: (416) 978-3817 Address: Suite 14335, 130 St George Street, University
of Toronto, Toronto ON M5S 1A5 Canada
CINEMATIC AFFECT
The notion of affect exists in the shimmering oscillation between film and
filmgoer. "AF-fect" configures the viewer as a direct object of film's
impact. But "af-FECT" hints at a spectator who also affects the film. This
panel invites proposals emphasizing this reciprocity, perhaps including
ruminations on the resonance between film technologies and filmgoers'
bodies or genre as a democratic meaning-making process. Contact: Jennifer
M. Barker (UCLA)
838 Judson Avenue #1B
Evanston, IL 60208
E-mail: [log in to unmask]; Phone (847) 424-9037; Fax (847) 467-3978
THE "INTRODUCTORY FILM COURSE"
What issues do rapidly changing media technologies and the opening of new
areas of study raise for the standard Introductory Film course? We seek
contributions that address implications of changing projection formats,
evaluate available textbooks, describe creative syllabi and assignments, or
consider theoretical issues (e.g., canonicity, multiculturalism) key to the
introductory course. Proposals or inquires to Robin Bates:
[log in to unmask] and Peter Mascuch: [log in to unmask]
FEMINISM, SILENT CINEMA, MODERNITY
This panel extends recent revisionist work on the relations between early
cinema and modern life by taking gender and sexuality as primary categories
of analysis. Possible topics include papers on the elusive figure of the
"flaneuse"; relations between the city, the cinema and the new woman;
gender in the context of 'attractions'; technology's impact on gendered
bodies and film genres; women's relation to the 'cult of speed', etc.
Please send brief proposal by Sept. 1, 1999 to: Professor Jennifer M. Bean,
Cinema Studies Program, Box 354338, University of Washington-Seattle,
Seattle, WA 98195-4338 Ph: 206.616.6781; Fax: 206.685.2017; email:
[log in to unmask]
THE FILMS OF YVONNE RAINER
This panel will consider the career and influence of Yvonne Rainer from her
roots in minimalist performance to her latest films. Papers can consider
individual films or address larger concerns, but should seek to place
Rainer's work in the widest possible context in order to understand the
filmmaker's relationship to both American and international avant-garde and
feminist filmmaking.
Robin Blaetz, Film Studies Program, Emory University, Atlanta, GA 30322
404-727-4657 office; 404-727-4949 fax; [log in to unmask]
CHRIS MARKER: VISION, REPRESENTATION, MEANING This panel invites papers
that consider Chris Marker's influential yet under-theorized films.
Marker's work consistently employs the tropes of representation and
spectatorship expressly to rework them, to redefine meanings as structured
by vision. Papers may explore Marker's avant-garde,
ethnographic, art, documentary, or other films. Virginia Bonner, Film
Studies, 109 Rich Bldg., Emory University, Atlanta, GA 30322;
[log in to unmask], 404-727-4949 (fax).
ALL-MALE PORN
Am I the only one who thinks we MUST devote more attention to this
aesthetically astonishing and socioculturally crucial phenomenon, and that
historically and theoretically innovative approaches to it are just what
media studies needs right now? Abstracts for methodologically
self-conscious presentations welcome till September 15. Rich Cante,
Department of Communication Studies, The University of North Carolina,
CB#3285, 115 Bingham Hall, Chapel Hill, NC 27599-3285. Dept. Phone:
919-962-2311.
SHOULD LIFE BE SO BEAUTIFUL? CRISIS IN REPRESENTING THE HOLOCAUST The
co-chairs invite papers which address Life Is Beautiful (1998) and the
controversy over its representation of the Holocaust and Nazi concentration
camps. Co-chair contacts: Steve Carr * Assistant Professor of Communication
* NF 230 Indiana University - Purdue University Fort Wayne * Fort Wayne IN
46805 (219) 481-6545 (voice) * (219) 481-6183 (fax) * [log in to unmask] (email)
and Walter Metz, University Of Montana - Bozeman, VC 224, Bozeman, MT USA
Wk: (406) 994-6403 Fax: (406) 994-6545; [log in to unmask]
THE "PLACE" OF THE INTERNET IN FILM AND TELEVISION STUDIES Seeking papers
that analyze Internet texts (especially Web sites) in relation to film and
television. Although papers that focus on intermediality/intertextuality
(i.e., film and/or TV and the Internet/Web)
are encouraged, papers that concentrate solely (or mostly) on Internet
texts are also welcome. Please submit proposals by email. Email:
[log in to unmask], Jim Castonguay
FILM-FUTURE AND THE OTHER: THE POLITICS OF RACE IN SCI-FI FILMS Futuristic
cinema either ignores or manipulates racial conflict. From Kubrick's
all-white "2001" to the integrated cast of "THE MATRIX" -- race
matters, even when it appears not to, for visions of the future reflect how
a society comprehends its Now. This panel seeks papers examining racial
images in futuristic films. Delle Chatman, 6101 Sheridan Road East, Unit
#11B, Chicago, IL 60660 PHONE: 773-338-3716; FAX: 773-338-3718; EMAIL:
[log in to unmask]
PASSING AT THE INTERSECTIONS.
In light of recent studies of identity politics, "passing" may be
interchangeable with "cross-identification." This panel solicits papers
offering new insights on films that represent various modes of "passing"
along the axis of race, ethnicity, gender, sexuality or class. As the title
indicates, it is designed to extend the scope of discussion on passing to
complexities involved in an intersection of more than one identificatory
axis. Possible approaches may include: gender passing and class mobility;
gender politics within narratives of racial passing; assimilation and
commodification.
Please send your abstract and a brief bio by September 1 to: Hye-Ok Chung,
Department of English, Ballantine Hall 442, 1020 E. Kirkwood Ave,
Bloomington, IN 47405-7103; [log in to unmask]
THE FILM STAR IN INTERNATIONAL CONTEXT
This panel will examine film stardom in global cinema. Papers may take
historical, cross-cultural, and/or thematic approaches:e.g., development of
studio system and cultural machinery of star-making, star images,
performance styles, fan culture, intertextuality, and media/market
cross-overs. Open topic but studies of specific African, Latin American,
and Asian stars especially welcome. Anne Ciecko, 110 Hickory Court,
Lansdale, PA 19446 ph: (215) 412-7952; [log in to unmask]
ACTING AND CULTURAL CAPITAL
How do film actors model standards of taste to mass and subcultural
audiences? This panel explores the varied ways in which film actors have
historically embodied, transmitted, and represented different forms of
taste and cultural capital. Theoretical papers and particular star studies
both welcome. Marianne Conroy, Department of American Studies, 2139 Talliaferro
Hall, University of Maryland at College Park, College Park, MD 20742 phone:
(301) 405-0343; fax: (301) 314-9453; email: [log in to unmask]
CONSTRUCTION AND PERCEPTION OF CHINESE CINEMA The millennium offers us a
moment to re-examine the history of Chinese cinema and its position in the
classrooms of American colleges and universities. I am inviting proposals
on a panel discussion on the interrelationship between the construction and
perception of Chinese cinema. Interested participants please contact Shuqin
Cui: Dept. of Foreign Languages & Literatures, Southern Methodist
University, PO Box 750236, Dallas TX 75275-. Phone: 214/768-2443, Fax:
214/768-4133. E-mail:
[log in to unmask]
INTEGRATING MULTICULTURALISM ACROSS MEDIA STUDIES Besides developing
courses with specific "alternative" representational foci (e.g.,"Women in
Film"/"African-American Media Images"), many media scholars/teachers are
working to integrate racial, cultural, gender and class diversity into the
entire media studies curriculum. We seek contributions describing such
efforts, which might, for example, discuss
issues in revising established courses from multicultural perspectives or
in designing new courses that, whatever the thematic focus or central
theoretical approaches taught, integrally involve diversity in concept and
content. Proposals or inquiries to Ramona Curry, [log in to unmask], and
Lester Friedman , [log in to unmask]
INDUSTRY COOPERATION AND COLLUSION
While inter-studio cooperation is a well-known feature of Hollywood cinema,
aside from the workings of the MPAA's PCA the actual mechanism of this
collusion has not been fully explored. This panel seeks proposals that
examine industry cooperation and collusion from a variety of periods and
approaches. Proposals could emphasize issues, such as sound research, labor
disputes, or post-war publicity crises; or focus on specific agencies, such
as the MPAA Title Registration Bureau or the Association of Motion Picture
Producers, or even fraternal organizations, such as the Friars Club or the
Tub Thumpers. Contact: Scott Curtis, Dept. of Radio/TV/Film, 1905 Sheridan
Road, Evanston, IL 60208, (847) 491-2249, Fax: (847) 467-2389, [log in to unmask]
REMEMBERING LUIS BUNUEL
Next year marks the 100th anniversary of the birth of Luis Bu-uel, the only
filmmaker to successfully move from the avant-garde to a commercial mode of
production while preserving a subversive edge. Papers are welcome on any
aspect of Bu-uel's cinema. Send proposals to [log in to unmask] (Gerard
Dapena)
NEW MEDIA STUDIES AND THEORIES OF SPECTATORSHIP What are the uses and
limitations of film theories of spectatorship for new
media? Does 'gaze theory' apply to the viewer's relation to these new
media, particularly much-vaunted 'interactive' forms? Papers welcome which
consider any of the following: video, CD-ROM, digital technologies, WWW,
Web-TV and and new media installations that problematize film theories of
spectatorship.
Kelly Dennis, Dept. Art History, Theory, and Criticism, The School of the
Art Institute of Chicago, 37 S. Wabash Ave., Chicago, IL 60603
[log in to unmask]; 312/899-5087 w; 773/506-7431 h; 312/899-1431 fax
DISCOURSES OF RACE AND SEXUALITY IN RECENT FILM NOIR The 1990s have
witnessed a renaissance of American film noir that complicates our
understanding of the genre. This panel seeks papers that
address how representations of race and sexuality in recent film noir
challenge or replicate the tropes of classic black and white film noir or
film noir of the more recent past (i.e., the 1970s). In particular, how do
these representations of race and sexuality mediate and critique a
nostalgia for the genre? How does the construction of violence in noir also
rely upon specific kinds of racial or sexual identities? Margaret DeRosia,
History of Consciousness Dept., University of California, Santa Cruz, CA,
95604. ph. 510-835-5302.
[log in to unmask]
FROM PATHOGRAPHY TO HAGIOGRAPHY: IMAGING AND NARRATING THE SUFFERING BODY
This panel will explore how film, video, and/or photography narrates or
images the suffering body. Paper topics could include examinations of the
conventions of genres that are often centered around the suffering body
(autopathographies, hagiographies, maternal or war or medical melodramas,
etc.), of how the suffering body challenges notions of subjectivity that
are foundational to certain theories of film, video, and photography, of
how star bodies construct understandings of health and disease, etc.
Proposals should be sent by Sept. 1st to Mary Desjardins, Film Studies
Dept., Wilson Hall, Dartmouth College, Hanover, NH 03755.
REASSESSING CHRIS MARKER'S SANS SOLEIL
This panel would centre on a discussion of how Marker's cine-essay was or
was not prescient in its discussion of the incongruities of colonial
development as well as the cultural dichtomies between the feudal and
modern that extend well beyond the Japan that was the keynote of the film.
Dr. Timothy Dugdale, Department of Communication Studies, University of
Windsor, Windsor, Ontario, Canada N9B 3P4 http://www2.uwindsor.ca/~dugdale
WOMEN'S AUTOBIOGRAPHICAL FILMS.
Main emphasis should be upon narrative fiction and experimental works,
rather than on documentaries. Attention should also be given to new
scholarship on women's autobiographical writings, especially in a
post-modernist context.
Dr. Patricia B. Erens, University of Hong Kong, Dept. of Comparative
Literature Pokfulam Road, Hong Kong summer telephone in Chicago: (312)
787-9800
fax: 011-852-2587-7955; email: [log in to unmask]
THE CHICAGO DEFENDER AT THE MILLENNIUM: A TRIBUTE Since the turn of this
century, The Chicago Defender has long served as a
guarantor of African Americans' access to the nation's color-conscious
public sphere. While this press' successes in affecting a myriad of social
and political change movements is legendary, it is fitting that scholars
today have begun the historical recovery of this venerable paper's historic
role in affecting the shifts and changes in America's cultural movements.
The two-fold aim of this panel is offer a tribute to the Chicago Defender
and to explore the Chicago Defender's historical and ongoing centrality to
the unfinished project of discovering America's complete cinema history and
cultural heritage.
Anna Everett, Dept. of Film Studies, 4830 Ellison Hall, University of
California Santa Barbara, 805 893 8706 (Office), 805 893 8630 (FAX)
(CONTEMPORARY) TEEN MEDIA AND INTERTEXTUALITY We invite papers that
consider the industrial context for television/film
production and cross-promotion, the soundtrack as cross-media intertext,
the "hip audience" implied by scripts (e.g. Kevin Williamson), adaptations
of classic stories (Pygmalion), or which consider Teens as a discrete
audience in other historical periods and cultures (e.g., London/1970s,
Tokyo/1980s, the U.S. Midwest/1960s). Organized by Peter X Feng and Sheila
Murphy ([log in to unmask], Film and Video Center, 214 Humanities
Instructional Building, UC-Irvine, Irvine, CA 92697-2435, phone
949-824-7418, fax 949-824-2464).
YOU ARE WHAT YOU TEACH?: THE POLITICS OF IDENTITY AND AUTHENTICITY IN FILM
STUDIES
This workshop solicits presentations on the kinds of issues or problems
faced by scholars who research/teach in areas that are tightly linked to
their ethnic background (for example, an African American scholar who
studies African American film) or the reverse. What happens when one isn't
what one teaches?
Karla Rae Fuller, Columbia College Chicago, Dept. of Film and Video, 600 S.
Michigan Avenue, Chicago, IL 60605. Email: [log in to unmask]
"THE END OF THE WORLD"
NBC's daytime drama Another World will end on June 25. What can a
narratologist learn when a soap opera is brought to closure after 35 years?
How are the fans dealing with it? The forthcoming ending is rumored to be
"happy": what does this mean ideologically? Other interventions welcome.
Krin Gabbard, 403 W. 115th St., Apt. 51, New York, NY 10025 (516) 632-7460
(office); (516) 632-5707 (fax)
[log in to unmask]
TRANSNATIONAL TV: GLOBAL MEDIA AND LOCAL CONTEXTS This panel seeks papers
that address cases of international television and
the relationship between global media and local particularized meanings.
What are the consequences of increasing global flows of media products from
transnational communications corporations, and the construction of global
media markets that go with their activities? How can identities emanating
from continual cultural traffic and interaction be understood in terms of
the fluid diversity of today's global cultural order? Tim Halloran, 6902
Clinton Street, Los Angeles, CA 90036 (323) 965-9121; [log in to unmask]
REALITY UNCOVERED: POPULAR FACTUAL ENTERTAINMENT AND TELEVISION AUDIENCES
The popularity of reality programming has illuminated concerns about
tabloidisation, television audiences and the blurring of the boundaries
between information and entertainment. Proposals are invited which address
the communicative form and programme design of reality programmes, audience
response, and new developments in Northern European and American reality
television. Dr Annette Hill, Senior Lecturer in Mass Media, Center for
Communication and Information Studies, Block J, Northwick Park Campus,
Watford
Road, Harrow Middlesex, UK. HA1 3TP; Tel: +44 (0)171 911 5941; Fax: +44
(0)171 911 5942 Email: [log in to unmask] uk+6
WORKSHOP ON MEDIA HISTORIOGRAPHY: USES OF THE PAST This workshop aims to
bring together historians of film, radio, television
and related media to exchange information and ideas on the practice of
media historiography. Both theoretical and applied topics are welcome.
Insights from outside the US, work that addresses Internet resources, or
that brings attention to overlooked or marginalized sites/sources/topics
are particularly encouraged.
Michele Hilmes, University of Wisconsin-Madison, 6156 Vilas Hall, Madison,
WI 53706; phone 608-280-0280; fax 608-262-9953; [log in to unmask]
HOLLYWOOD IN THE 1980s
This panel will explore transformations in Hollywood's business and
aesthetic practices during the 1980s in relation to the industry's
corporate restructuring. Submissions addressing the impact of
conglomeration, mergers and takeovers on film and television texts,
programming, technologies, marketing / distribution strategies, exhibition,
regulatory structures, and other relevant interests are all welcome.
Jennifer Holt, UCLA, 111 S. Flores, Los Angeles, CA 90048 Phone:
323-651-1358; E-mail: [log in to unmask]
CINEMA AND THE STATE
How does contemporary interest in theories of the (democratic, fascist,
socialist, imperial, or postcolonial) State impact film studies? Papers
examining the role of the State--at the national or the local level-in
cinematic representation / spectatorship / regulation, and interested in
discussing their methodological assumptions regarding the study of cinema
and the State are solicited. Name: Priya Jaikumar, Dept. of English, 401
Hall of Languages Syracuse, NY 13244-1170 Ph: (315)443-2173; FAX: (315)443-3660
email: [log in to unmask] (temporary; until june 30) [log in to unmask]
(interim email address)
MATRICES OF MASQUERADE, OR IM-PERSONATION: Practices such as passing,
cross-dressing, and masquerade provide ideal sites for the study of the
performative dimensions of identity and textuality. Papers should consider
how the performance/destabilization of
identity categories (e.g., gender, sexuality, race, ethnicity, nationality,
class) on the level of the diegesis relates to textual practices on the
level of enunciation.
Ruth D. Johnston, 16 Hudson Street, #3D, New York, NY 10013 phone and fax:
212-227-1784; e-mail: [log in to unmask]
CLINT EASTWOOD'S DESERTS AND DIRTY HARRY'S STREETS: THE URBAN(IZED)
FRONTIER IN AMERICAN CINEMA AFTER 1970.
Since the 1970's, American cinema's two prevailing topoi, the frontier and
the city, began to share the same space and mythic vocabulary. In what ways
has the urban appropriated the language of the frontier and vice versa? How
has this interpenetration opened up particularly postmodern articulations
of American identity viz. race, ethnicity, gender and/or class? What are
the implications for cinema's historiographic capabilities? E-mail or mail
proposals by September 1, 1999 to: Alexandra Keller, Vassar College,
Department of Film, 212-727-0817 (fax and phone), [log in to unmask] and
Paula Massood, Brooklyn College/CUNY, Department of Film, 2900 Bedford
Avenue, Brooklyn, NY 11210-2889 212-678-4543 (fax and phone),
[log in to unmask]
THE RACIALIZED BODY IN NINETIES HOLLYWOOD Possibilities include:
Articulating race through the body. Intersections of
race and body type, race and gender. Racial-bodily transformations and
hybridity. Racial-millennial identity crises. Race and genres of the
fantastic. If possible, please include email address with proposal. Adam
Knee, Department of Cinema Studies, La Trobe University, Bundoora, VIC
3083, AUSTRALIA. Fax: (613) 9479 3638. Email: [log in to unmask]
POST-BROADCASTING
This panel will explore recent discourses which distinguish "new" media
technologies from "old" ones. "Post-broadcasting" is not the end of
traditional broadcasting but the articulation of "new" practices, texts,
and discourses. In an era of perpetually-hyped technological "revolutions,"
do technologies, texts, audiences, and industries relate any differently in
the "new" era? Derek Kompare, E-MAIL: [log in to unmask] ADDRESS
(after August 1): Department of Radio-TV-Film, TCU Box 298000, Texas
Christian University, Fort Worth TX 76129; OFFICE PHONE (after August
1): (817) 921-7630
SEEING THE OTHER: CINEMA, NATION AND THE IMPERIAL GAZE This panel will
focus on colonial cinema and consider how cinematic images
of colonial subjects are negotiated within the national imaginary. What
does the metropole's vision of colonialism reveal about the nature of
national subjectivity and the limits of the imagined community? How are
differently gendered or raced colonial subjects discursively positioned
within the Imperial imaginary? What happens when colonial subjects "look
back"? Jodi Lastman, University of Pittsburgh, Dept of English, 805
Chestnut Street, Meadville PA 16335. Ph. (814) 333-2538. email,
[log in to unmask]
AFTER LIFE/AFTER DEATH
The forthcoming release of Hirokazu Koreeda's _After Life_ suggests a
panel--or workshop--on cinematic representations of after life/ after death
experiences--bureaucratic heavens, sensual indulgences, uncontrollable
hauntings--and their relations to our lives. 1-2 page abstracts, please, to:
Chris Lippard, 1172 East Emerson Avenue, Salt Lake City, UT 84105; (801)
484-5622; [log in to unmask]
PORN 2000: INTERNATIONAL SKINS
Panel will focus on the sweeping global shifts occurring in the production,
distribution, and consumption of moving image hardcore at the end of the
century. Possible paper topics: star contract system, labor and corporeal
commodification in Eastern Europe, popularity of gonzo, relevance of
textual analysis. Contact: Jay Kent Lorenz, Georgetown University,
Department of English, Washington, DC, 20057-1131. Phone: 202/687-7531.
FAX: 202/687-5445. Email: [log in to unmask]
THE HOLLYWOOD BIOPIC: IN SEARCH OF A GENRE Can the Hollywood biopic be
defined as a genre in itself or can it only be
spoken of in a multi-dimensional sense of inhabiting other genres--e.g.,
the musical biopic, the war film biopic, the western biopic, etc.? How have
historical, cultural, and production factors determined the motivation or
development of the biopic, groups of biopics, individual biopics? Proposals
and inquiries to Glenn Man, 1425 Ward Ave., #7W, Honolulu, HI 96822;
phone--808-956-3088; fax--808-956-3083; [log in to unmask]
DIGITAL DIASPORAS
The diasporic movement of people globally has striking affinities with the
digital movements of the Internet, WWW, CD-ROMs, etc. Recent films and
videos have featured fantasies about digitality as an aspect of cultural
dispersal, hybridity, and multiculturalism. Papers are invited that engage
with any aspect of this cross-fertilization. Dr. Gina Marchetti and Dr.
Patricia Zimmermann Dept. of Cinema and Photography
Roy H. Park School of Communications
Ithaca College, Ithaca, NY 14850
(607) 274-1626; (607) 274-3431;
Fax (607) 274-1664; [log in to unmask]; [log in to unmask]
HOLLYWOOD INTERNATIONAL: INSTITUTIONAL PRACTICE AND CULTURAL FORM This
panel explores the international circulation of Hollywood media in relation
to the politics of cultural representation. Possible topics include:
(inter)national cultural policy, changing geographies of Hollywood
production, cultures of distribution, international marketing contexts, and
new delivery technologies. Cutting across legal, economic, and textual
approaches, this panel investigates how a diversity of signifying cultures
and institutions inform Hollywood standardization and fragmentation. Please
send 300-400 word abstracts by September 1, 1999 to: John McMurria (New
York University), 106 Marcy Avenue #1, Brooklyn, NY 11211; e-mail
[log in to unmask]; 718-599-7555
PERFORMING MASCULINITY: AN ENCORE
Seeking papers that take notions of masculinity and performance in new
directions. For example, instead of singling out masculinity, how might we
read gender across characters and texts? How do women performing
masculinity impact genre conventions? How does performing race, ethnicity,
class or sexual orientation intersect and inform representations of
masculinity? Contact: Michael Meadows Address: (June & July only) 4500 Cass
Ave, Detroit, MI 48201; Phone: (313)832-1528; e-mail [log in to unmask]
(Beginning August 1) Address: 77 Mason Terrace, Brookline, MA 02446
HISTORIOGRAPHIC APPROACHES TO FILM JOURNALS AS/AND FILM CULTURE Artifacts
in paratextual relation to celluloid prints have often played roles in the
dissemination, support, and justification of particular films,
directors, and industries at both national and regional levels. This
workshop proposes to examine the film journal's place in the creation of
cinematic culture(s) in Latin America and elsewhere in the hemisphere, and
the nature of historiography derived from such resources. Organizer:
Jeffrey Middents R., Program in Comparative Literature 2015 Tisch Hall,
University of Michigan, Ann Arbor, Mi 48109-1003 [log in to unmask]
THE PLEASURE PRINCIPLE: CULT, KITSCH, CAMP, AND OTHER GUILTY PLEASURES
Reconsiderations of the issue of audio-"visual pleasure" after Mulvey and
political correctness. For example, why is it that academic critics have
such a difficult time articulating the sorts of pleasure they derive from
watching movies? Is this a necessary evil? Occupational hazard? Esp.
interested in notions of "bad objects" and "stolen moments." Also esp.
interested in queer, feminist, and raced re-appropriations of "problematic"
mass-cultural movies and genres, in particular-but not
exclusively--melodrama (e.g., Valley of the Dolls). Robert Miklitsch,
English Dept., Ohio University, Athens OH 45701, Phone (H): 740-593-8755,
Fax: 740-593-2818, e-mail:
[log in to unmask] Queries and proposals by Sept. 15.
POST-WAR EASTERN EUROPE: PHILOSOPHY, THEORY, AND CINEMA Despite official
Marxist ideology, the philosophical thinking in Post-War
Eastern Europe exhibited a variety of approaches. In this period cinema, as
a newly legitimized art form, attracted serious philosophical interest.
This panel invites papers which explore the links between these various
modes of enquiry, film theory and films made in Eastern Europe from 1948
onwards. Sasa Milic Address: 112 BCSB, Iowa City, IA 52242; Phone: (319)
887-9553 (home); (319) 335-0584 (work); Fax: (319) 335-2930; E-Mail:
[log in to unmask]
RECONFIGURING AUTHORSHIP FOR THE NEW MILLENNIUM Conceptions of cinema have
expanded to include the diverse media of film,
video, CGI, etc., and reexamining our understanding of authorship reflects
cinema's multimedia heritage. This panel will interrogate the traditional
assumptions which locate the director (screeenwriter, cinematographer, or
producer) as author and suggest alternative models for cinema authorship.
Andrew Miller, University of Pittsburgh, 5612 Beacon St., Pittsburgh, PA
15217 (412) 422-1573; [log in to unmask]
THE ANXIETY OF INFLUENCE: JEAN-LUC GODARD & BERNARDO BERTOLUCCI This panel
will engage in a comparative analysis of the works of Godard and
Bertolucci over the last three decades: from the close relationship between
the two filmmakers during the 1960s to the different paths their careers
took, eventually. Please, contact: Gloria Monti, [log in to unmask]
IN THE MIX: CUT-AND-PASTE AESTHETICS
Cut-and-Mix culture has inspired cinematic and sonic works that incorporate
a transdiscipline sensibility. The application of digital tools has created
an entirely new mediascape that, with cinema at its core, has rippled into
diverse systems of new sampladelic art (both hi-and low-tech). Embracing
the recombinant energy of collage inspired aesthetics, this panel will
explore how the various uses of animation, graphic design, illustration and
music are giving urban cinematic visions motion through the use of computer
technology. Papers incorporating a theoretical "sampladelic sensibility"
anchored within the history of science, technology, and industry are
welcome. Please send abstracts, c.v. and/or bio by September 1 to: Erika
Muhammad, New York University, Department of Cinema Studies, 178 Clinton
Avenue #4, Brooklyn, NY 11205 Phone/Fax (718) 643-4370; e-mail:
[log in to unmask]
"ORIENTALISM" AND CINEMA
This panel seeks to explore the applicability of Edward Said's book
"Orientalism" to Middle Eastern film studies and filmmaking twenty years
after its publication. Papers can discuss the power relations existing in
representing the "other" or look at the shadow question of how the East
sees itself while coming to terms with the history of colonialism and its
effects on the colonized cultures. Dorit Naaman, Department of Cinema,
Binghamton University, P.O.Box 6000, Binghamton, NY, 13902;Telephone: (607)
722-2537, FAX# (607) 777-4648, E-mail: [log in to unmask]
FILM FANDOM
I invite paper proposals that will offer either case studies or theoretical
perspectives on aspects of cinema fandom. How does a consideration of
fandom enhance or change our understanding of theories of spectatorship,
key moments of cinema history (or historiography), or cinema's changing
place in broader cultural or media formations? Melanie Nash, email:
[log in to unmask]
Before July 31: 217 S. Johnson St., #4, Iowa City, IA 52240, phone (319)
354-8708; After July 31: English Dept., Arts Building, Rm. 155, 853
Sherbrooke Street West, Montreal, Quebec, Canada H3A 2T6
FILMING BLACK CHICAGO: DOCUMENTARY AND FICTION FILM This panel is
interested in papers covering films on Black Chicago. Papers
may deal with how films construct romance, the black family, and class
themes. Possible topics may include: Reevaluations of Family and Feminism
(Raisin in the Sun), Seventies African American teenage films (Cooley
High), Eating Family (Soul Food) and black labor strife (The Killing
Floor). Papers should include discussions that analyze how certain films
visually construct these identities within various Black Chicago settings.
Please send 500 word abstracts and a c.v. by 1 September to: Mark A. Reid
email: [log in to unmask] Tel: (352) 392-6650 ext. 246 (office); Fax:
(352) 392-0860; Department of English, Box 117310, Gainesville, FL
32611-7310
AFFECT AND SPECIAL EFFECT
This panel will explore four concepts in relation to cinematic special
effects: visuality, spatiality, temporality, and virtuality. Perhaps one
reason for critics vociferously decrying films relying on special effects
stems from the nameless and hereto for undescribed concepts addressed in
special effect usage. This panel seeks to address these concepts. Contact:
James Roberts, 115 Carnegie Building, College of Communications, Penn State
University, University Park, PA 16802 Ph: 814-231-8551; Fax: 814-863-8044;
Email: [log in to unmask]
THE SERIAL IMAGE: ISSUES IN FILM AND PHOTOGRAPHY The focus of this panel is
to examine the historical and cultural exchange
between film and photography. Exploring various intersections of their
shared cultural history, some specific topics might include: pre-cinema,
gender and representation, national cinema, the avant-garde,
commodification, and seriality. The panel welcomes papers which address
these issues from an aesthetic, theoretical or historiographic perspective.
I will be the contact, my information is: Ken Rogers, 200 Park Place, #4,
Brooklyn, NY 11238 (718) 638-7050, [log in to unmask]
IMAG(EN)ING HOME: CINEMAS OF EXILE AND DIASPORA As the 20th century ends,
national cinemas have expanded to make space for
the exile or diasporic filmmaker to create works exploring memory, place,
race, language, etc. This panel seeks papers on a movement, a filmmaker or
by a filmmaker as long as he/she couches their work within a broader
discussion. We are particularly looking for papers on Middle Eastern
cinema, but welcome discussions of other regions as well. Rebecca Romani,
2106 L Street, #2 San Diego, CA 92101 Ph: 619-235-9744, or 619-594-5735 (w)
Email: [log in to unmask]
SERIOUS FUN: POP MUSIC DOCUMENTARIES & THE NARRATIVIZING OF PLEASURE This
panel will consider the pop music documentary as an under-considered
form of documentary narrative. How do these films take our "fun" seriously
and, in the process, create narratives that calibrate and, potentially,
control the pleasure that is derived from popular music? Issues considered
can include patterns of historical narrative; readings of classic texts in
this form; depictions of the ideological dynamics of popular music
production and consumption; the place of the fan as narrative figure
(whether implicitly or explicitly) in these texts. Send proposals to: David
Sanjek 1 Richbell Road Apt. 123A Larchmont, N.Y. 10538 or to [log in to unmask]
DOING ARCHIVAL RESEARCH: AN INTRODUCTION This workshop will serve an
introduction to the use of archives for those
interested in doing archival projects but unfamiliar with the unique
protocols of such institutions. Scholars and archivists will discuss
accessing information in archives, handling of materials, archival
etiquette, and other practical and theoretical issues. Eric Schaefer,
Department of Visual and Media Arts, Emerson College, 100 Beacon Street,
Boston, MA 02116; (617) 824-8861 FAX: (617) 824-8803; [log in to unmask]
APOCALYPTICISM, THE MILLENNIUM, AND THE ASSAULT ON HISTORY Papers for this
panel should address the preoccupation with apocalypse and
catastrophe in American cinema/TV of the last quarter century. Papers may
focus on the image of society at its endpoint, and the ways by which a
fatalistic religiosity replaces an ideological view of history.
Economic/ideological and psychoanalytic methods preferred, although other
methods invited. Any genre may be investigated. Inquiries may be sent to
[log in to unmask] Until Sept. 1, all proposals should be mailed to:
Christopher Sharrett, 197 Treadwell St., Hamden, CT 06517. After Sept. 1,
send to: Christopher Sharrett, Dept. of Communication, Seton Hall
University, 400 South Orange Ave., South Orange, NJ 07079. Please be
conscious of deadline.
FILM GENRE AND NATION
In an effort to extend discussion of genre beyond formal, structural and
textual analyses and into the realm of cultural practice and lived
experience, this panel will be take the approach of analyzing the
relationship(s) between genre and nation. Various possible approaches
include discursive, historical, institutional and/or regulatory analyses of
the function of genre in its daily relationship to the nation. Please
submit 300-400 word abstracts to Shawn Shimpach ([log in to unmask]), 94
Havemeyer Street #4A, Brooklyn, NY 11211, before September 1.
NEW TECHNOLOGIES, NEW THEORIES?
Digital technologies tend to blur the distinctions that defined the
'specifities' on which most theories in film and television studies were
based. Distinctions such as those between private and public, individual
and collective, work- and leisure time, art and entertainment, have become
problematic as well. How to sustain filmstudies in this changing
environment? Dr. Jan Simons, Department of Film and Television Studies,
University of Amsterdam, Nieuwe Doelenstraat 16 1012 CP Amsterdam tel: + 31
(0)20 5252981/2980; fax: + 31 (0)20 5252938; email: [log in to unmask]
THE CHANGING DISCOURSE OF LATIN AMERICAN WOMEN'S CINEMA The panel will
analyze the pertinence and existence of new forms of social
and cultural representation of women within the most recent wave of Latin
American films directed by women. Additionally, it will address whether
these representations are truly subversive or transgressive with respect to
conventional cinematic discourse, or, whether these expressions are the
product of a feminist social response to society. These questions may be
explored within a single, or comparatively across several, national
contexts of production in Latin America. ORGANIZER: Mstra. Patricia Torres
San Martin investigadora/Docente del Centro de Investigacion y Estudios
Cinematograficos, Universidad de Guadalajara, Colonias 340 Col. Americana,
Guadalajara, JAL CP 44160 MEXICO tel/fax 011- 52-3-616-8341 (work); home:
011-52-3-826-2016
email: [log in to unmask]
REQUIEM FOR A HERO: CELEBRATING THE LIFE OF DJIBRIL DIOP MAMBETY Mambety is
considered by many to be the most paradoxical filmmaker in the
history of African cinema. With his untimely death in 1998, cinema has lost
one of the world's most talented and creative filmmakers, an artist of
exceptional insight and perception. This panel examines the legacy of this
indefatigable director, his works and philosophy, and contributions to
world cinema. Send abstracts and bios to: Frank Ukadike
([log in to unmask]), Department of Communication, 219 Newcomb
Hall, Tulane University New Orleans, LA
70118
TECHNOLOGICAL FRICTIONS IN LATIN AMERICA The transformation of
communications media raises new questions about the
benefits for less advanced countries. The panel explores how new media
technologies are evolving in Latin America by looking into the policies,
changing media relations, cultural implications, historical specificity,
technlogical leapfrogging, and new media conglomerates in entertainment
industries. Cristina Venegas (USC), [log in to unmask], 103-A S. Helberta
Avenue Redondo Beach, CA 90277; (310) 379-9181 tel/fax
CONTEMPORARY MIDDLE EASTERN CINEMA
The focus of this panel is films which have been produced in the past
decade. Papers can discuss particular films, filmmakers, or genres, within
the local or regional context. Jerry White, Film and Media Studies Program,
347 Arts Building, University of Alberta, Edmonton, Alberta, T6G 2E6,
Canada, 780-432-2988, Fax: 780-492-2715, Email [log in to unmask]
JAMES JONES, THE THIN RED LINE, and CINEMATIC ADAPTATION. Papers are
invited for a panel dealing with screen adaptations of the work
of American writer James Jones. These may include contributions on Terrence
Malick's THE THIN RED LINE, Andrew Marton's 1962 version, Vincente
Minelli's SOME CAME RUNNING (1958), and Fred Zinnemann's FROM HERE TO
ETERNITY. Archive and comparative explorations welcome. Tony Williams,
Department of English, Southern Illinois University at Carbondale,
Carbondale, Il. 62901-4503. Tel. (618-457-6313 home); 618-453- 6836 work);
FAX 618-453-3253)
e-mail [log in to unmask]
GOTTA SING, GOTTA DANCE: PERFORMANCE AND POPULAR MUSIC IN FILM This panel
considers the wide range of performance practices that are generated in
relation to popular music in film. In addition to performances
in musicals, topics might include karaoke, lipsynching, sing-a-longs,
playback singers, and uses of phonographs, radios, and other playback
technologies in non-musical films. Non-Hollywood topics especially welcome.
Send proposals to Pamela Robertson Wojcik, Dept. of Film, TV & Theatre, 320
O'Shaugnessy, University of Notre Dame, Notre Dame, IN 46556 or to
[log in to unmask]
HETERONORMATIVITY AND MALE STARDOM IN THE SILENT ERA We seek papers
investigating the role of male sexuality and sexual identity
in the institutional development of the star system during the silent
period. Presentations may be about individual stars, stars as commodities,
specific film genres, Hollywood society, or fandom. Theoretical work on
star biography and social history is welcome. Anne Wolverton, Department
of History, University of Chicago, Chicago, IL 60637, (773) 684-7502,
e-mail: [log in to unmask]; or Mark Lynn Anderson,
Department of English, University of Rochester, Rochester, New York 14627,
(716) 271-4878, e-mail: [log in to unmask]
QUERYING GENRE STUDIES: HORROR AS CASE STUDY What is genre's place in the
discipline today? Using horror as case study,
this panel queries genre theory, focusing on how specific theories of genre
(horror) interact with general theories of 'genre'. Papers ideally will
consider how genre study is challenged by and/or contributes to other
questions of concern to media studies today (nation, gender, sexuality,
race, reception, etc.). Please email panel chair for more complete
description and any other questions.
Harmony Wu, University of Southern California Email: [log in to unmask]
(BEST) Tel: 978-263-8118; Fax: 978-635-0275; (Email is preferred)
INTERMEDIALITY AND THE PERSISTENCE OF CINEMA How have discourses of new
media affected the institution(s) of cinema through film history? How are
"non-cinematic" technologies incorporated into definitions of "the cinema"?
How do individual films or cycles address
the changing production, exhibition, and spectatorship practices that
accompany new film technologies? Proposals on non-US film are especially
welcome. Paul Young, Assistant Professor, LCC Georgia Institute of
Technology, Atlanta, GA 30332-0165 (404) 894-1025; email:
[log in to unmask]; FAX: 894-1287
AMERICAN AVANT-GARDE IN 2000
Submissions invited for papers on Avant-Garde/Experimental Film. Possible
foci include contemporary artists, practice, and institutions; sites of
exhibition, distribution, criticism, and study; intersections with new
visual art, sound collage and music sampling, performance; the influence of
digital technologies on small gauge film formats; and
reconsiderations/reconfigurations of avant-garde film traditions. Michael
Zryd, Assistant Professor of Film Studies, Department of English,
University of Western Ontario London, Ontario, N6A 3K7 Canada tel:
519-679-2111 x5833; fax: 519-661-3776; e-mail: [log in to unmask]
--------------
Jim Castonguay
SCS Information Technology Officer
[log in to unmask] - http://www.cinemastudies.org ----The SCS Homepage:
http://www.cinemastudies.org
SCS-L is supported by the Telecommunication and Film Department, the
University of Alabama: http://www.tcf.ua.edu .
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