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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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From: Sean Desilets <[log in to unmask]>
Call for papers
Image and Idea: The Cinema of Stanley Kubrick
2000 Northeast Modern Language Association Buffalo, NY April 7-8
Roland Barthes: 'Now even--and above all if--the image is in a certain
manner the limit of meaning, it permits the consideration of a veritable
ontology of the process of signification. How does meaning get into the
image? Where does it end? And if it ends, what is there beyond?'
No one who grew up watching Stanley Kubrick films can easily conceive of
the image as a limit of meaning. That's because Kubrick was a great master
at getting meaning into the image. His mature films always challenge their
viewers to read them like texts, offering networks of allusion and analogy
that treat images like language. The image of the obelisk in _2001_, for
example, 'looks' like a hole in the image that can be filled with reading.
There are other instances in Kubrick's cinema: the killings that punctuate
the two sections of _Full Metal Jacket_, the recurrence of Peter Sellers in
_Strangelove_, even (embryonically) the mannequin-factory fight scene in
_Killer's Kiss_.
This panel will consider Kubrick's methods of making cinematic meaning. Did
he, as many critics claim, produce cold and cerebral films that chose
pretentious quasi-philosophy over character and narrative, or do his films
offer genuinely challenging cinematic conceptualizations of real issues?
Can we detect a trajectory in the relationship between idea and image
throughout his career? How do race, gender, and sexuality figure in his
methods of signification? How do particular films put meaning into images?
To what extent do Kubrick's images resist or undermine their meanings?
Send 1-2 page abstracts by September 15, 1999 to:
Sean Desilets
Department of English
East Hall
Tufts University
Medford, MA 02130
[log in to unmask]
*******************************************************************************
Sean Desilets * 'The only people who
* * believe that there is
Department of English * a language that is
East Hall * * not theoretical are
Tufts University * professors of
Medford, MA 02155 * * literature.'
[log in to unmask] * Paul de Man
*******************************************************************************
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From: ArupRatan Ghosh <[log in to unmask]>
Hi,
We are publishing an eZine on film studies from India. We discuss about
cinema and postmodernism, cultural theory, feminism, Lacanian
psychoanalysis... on various topics like these.
Visit our website at http://www.angelfire.com/ar/view
It's absolutely free.
Please send your comments and write ups to the editors:
[log in to unmask]
A. R. Ghosh
editor
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From: Robert Kolker <[log in to unmask]>
Dear Colleagues,
'The Altering Eye: Contemporary International Cinema' was published by
Oxford University Press in 1983. It is a history and analysis of European
and Latin American cinema, starting with neo-realism, and exploring the
work of Godard, the British and Italian movements of the sixties, Cuban
revolutionary cinema, Cinema Novo, and the New German Cinema of the
Seventies.
The book's print run at Oxford is over, and I have put the complete text
online. While the original text is essentially unchanged, the online
edition will be a visual work in progress, with stills and moving images
selected to elucidate the text more accurately than a publicity still can.
Chapter One contains many of these illustrations, and the two following
chapters will have illustrations added over time.
'The Altering Eye' is available at
http://otal.umd.edu/~rkolker/AlteringEye, and I would be happy to hear your
response to the online edition.
Thank you,
Robert Kolker
----------------------
Robert Kolker
Department of English
University of Maryland
College Park, MD 20742
[log in to unmask]
http://otal.umd.edu/~rkolker
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THE VELVET LIGHT TRAP
A CRITICAL JOURNAL OF FILM AND TELEVISION STUDIES
Call For Papers: Diverse Audiences, Changing Genres: The Evolving Landscape
of Film and Television in the Age of Specialized Audiences
Notions of 'mass media' are becoming increasingly obsolete as the film and
television industry markets media to more specific groups. The cultural map
of media is evolving as a result of and to accommodate such changes as the
increased choices in cable television, a growing competition among media
producers and outlets, the emergence of new media technologies, and the
proliferation of media texts created for and produced by diverse groups
outside of the mainstream.
The Velvet Light Trap is interested in receiving papers that contemplate
and reveal the new formations of audience and genre that are occurring in
popular film and television as a result of the aforementioned changes.
Papers are encouraged to engage this shift from a variety of scholarly
perspectives, including but not limited to historical, industrial, textual,
theoretical, and reception studies.
Paper topics may include, but are not limited to:
* New genres
* Independent Films
* Hybridity and media futures
* Teen culture
* New representations of race, ethnicity, gender, and sexuality
* Animation
* Ratings industry
* Narrowcasting and niche marketing
* New Media
* Cable networks
Papers should be between 15 and 25 pages, double-spaced, in MLA style, with
a cover page including the writer's name and contact information.
All submissions will be refereed by the journal's Editorial Advisory Board.
For more information, contact Julie Taylor (512-471-4071,
[log in to unmask]). Submissions are due January 14th, 2000.
Please address manuscripts to:
The Velvet Light Trap
Department of Radio-Television-Film
University of Texas at Austin
CMA 6.118
Austin, TX 78712
The Velvet Light Trap is an academic, peer-reviewed journal of film and
television studies. The journal is published semi-annually in March and
September by the University of Texas Press. Issues are edited alternately
by graduate students at the University of Texas at Austin and the
University of Wisconsin-Madison. The Editorial Advisory Board includes such
notable scholars at Alexander Doty, Don Crafton, Michael Curtin, Cynthia
Fuchs, Herman Gray, Lynn Joyrich, Chris Straayer, and Lynn Spigel.
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Reply to: Karen Vered <[log in to unmask]>
CALL FOR PAPERS:
The Sixth Australian International Documentary Conference: Critical
Perspectives
November 2-6, 1999, Hilton Hotel, Adelaide, Australia
The Sixth Australian International Documentary Conference will bring
together academics, practitioners, and industry leaders from Australia and
around the world for a series of lectures, seminars, workshops, and events
focussing on the documentary. This year, the Conference highlights three
critical strands affecting contemporary societies and us as documentary
viewers and practitioners: Globalization; Ethics; and Future Directions of
the documentary form. Papers are invited on range of subjects, including
but not limited to:
* ethical issues pertaining to documentary
* the audiences for documentary
* documentary rhetorics
* global trends in production and broadcasting
* distribution - mainstream and alternative markets
* indigenous forms and practices
* cross-cultural approaches to documentary
* ethnography - concepts and developments
* biographical documentaries
* documentary representation of specific communities
* changing boundaries between drama and documentary
* politics of interventionist documentary
* future developments
You will need to submit the following:
1) a 250 word proposal
2) your email address or alternative contact details and any institutional
affiliation
For more information please visit our website at http://www.aidc.on.net
Or e-mail [log in to unmask], [log in to unmask], or
[log in to unmask]
All proposals must be received by e-mail, or postmarked, by 30th July, 1999
Send proposals to:
Critical Perspectives, AIDC
Department of Screen Studies
Flinders University
GPO Box 2100
Adelaide, 5001
AUSTRALIA
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From: Mark Jancovich <[log in to unmask]>
Call for papers
Must See TV: designing schedules, creating events, and finding audiences
Peter Kramer has claimed that a life is something you get when there's
nothing on television. Indeed, he has provocatively asked whether one can
name a crime movie of the past 15 years that is as good as an average
episode of NYPD Blue or Homicide: Life on the Street; a horror film that is
as good as an average episode of The X Files or Buffy the Vampire Slayer;
or a romantic comedy film as good as an average episode as any one of a
score of television sitcoms.
As this suggests, while television was traditionally discussed in terms of
habitual viewing and televisual 'flow', changing audience demographics, new
technologies, and industry strategies have all combined to produce the
category of 'Must See TV': shows which are no longer produced or consumed
as part of an habitual flow of televisual programming, but either through
design or audience response, become anchors, hooking people into the
schedule.
We are seeking proposals for articles on the topic of 'Must See TV'.
Possible subjects might include:
Changing industry strategies
* New televisual media (cable, video, satellite), the recycling of
television programming, and the construction of the television classic
Changing audience demographics and habits of viewing
* Fan cultures
* 'Ordinary' viewing and 'ordinary' audiences
* Genres and formats
* Specific programmes (e.g.): thirtysomething, Seinfeld, Twin Peaks, The
New Adventures of Superman, The X Files, NYPD Blue, ER, Star Trek, Buffy,
etc.
* Event television (such as Diana’s funeral; theme nights (Starsky and
Hutch Weekend); schedule disrupting news coverage; final episodes [e.g.
M*A*S*H, Cheers, Seinfeld])
Please send proposals of between 300 and 500 words -- or questions -- to:
Robert McMinn, School of American and Canadian Studies, University of
Nottingham, University Park, Nottingham, NG7 2RD, England. Email:
[log in to unmask]
OR
Mark Jancovich, Institute of Film Studies, University of Nottingham,
University Park, NG7 2RD. Email: [log in to unmask] Telephone:
0115 951 4250; Fax: 0115 951 4270
Please also include contact details, and a brief bio. The deadline for
proposals is 1 October 1999. The finished articles for accepted pieces
would be expected by 1 October 2000.
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INCS: Interdisciplinary Nineteenth-Century Studies and the University of
Paris-X, Nanterre present WAYS OF SEEING: THE NINETHEENTH CENTURY, an
interdisciplinary conference to be held at the University of Paris-X,
Nanterre France, June 22-24, 2000. Discussions and papers will be presented
in English. Send 200-400 word abstracts or papers by December 1, 1999 to:
Therese Dolan, via e-mail ([log in to unmask]) or by post at:
Department of Art History, Temple University, 8th Floor, Ritter Annex,
Philadelphia, Pa 19122 U.S.A. Notification of acceptance will be in
January. For more information see our website at
http://www.vanderbilt.edu/incs.
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From: Tarja Laine <[log in to unmask]>
Call for Papers: Travelling Concepts: Text, Subjectivity, Hybridity
(Amsterdam, January 11, 12 and 13, 2000)
Over the past year graduate students and postdoctoral scholars in the ASCA
seminar group have discussed the concepts of text, subjectivity and
hybridity based on the work of Mieke Bal, Stanley Fish, Clifford Geertz,
Martin Fuchs, Mark Freeman, Michel Foucault, Evelyn Fox Keller, Gayatri
Spivak, Mikhail Bakhtin and Homi Bhabha. More specifically, the seminar
focused on ways in which text, subjectivity and hybridity have traveled as
concepts between disciplines, scholars, historical periods and academic
communities.
>From this perspective the nature of concepts is understood in a variety of
ways. For example, it is assumed that concepts are normative and
programmatic rather than simply descriptive. While concepts are related to
a tradition, they are not stable and their use cannot boast simple
continuity. Concepts are complex and are never used in precisely the same
sense, hence the ramifications, traditions and histories, which are
conflated in their current usage, need to be unpacked and evaluated. The
validity and usage of concepts is then subject to debate which proceeds by
referring concepts back to the traditions and schools from which they
emerged, and forward to their relevance for cultural analysis today. And
because concepts travel, the Amsterdam School emphasizes the methodological
implications of the interdisciplinary study of culture.
ASCA is now inviting submissions on how text, subjectivity and hybridity
have traveled, as concepts, between disciplines, schools, historical
periods and academic communities, and how these considerations may be
brought to bear on case studies in cultural analysis. Those selected will
be invited to present their work at a conference organized by ASCA at the
University of Amsterdam, January 11, 12 and 13, 2000.
Proposals should be no more than 250 words in length and reach the ASCA
office at the address below, by Sept 15, 1999. Those chosen will be asked
to forward their completed texts of no more than 4000 words to ASCA, by
November 15, 1999.
Amsterdam School for Cultural Analysis, Theory and Interpretation
University of Amsterdam
Spuistraat 210
1012 VT Amsterdam
tel. +31-(0)20-5253874
fax. +31-(0)20-5253052
e-mail: [log in to unmask]
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From: 'Fergus Morrin <[log in to unmask]>
I am writing to inform you of a great new totally on-line film journal,
Scope. Scope - an Online Journal of Film Studies is published by the
University of Nottingham's Institute of Film Studies and aims to increase
scholorship in all areas of film studies.
At the end of each year, we will publish an annual compendium, which will
include all published materials from that year. (The first version will
appear autumn 2000). This will also be published simultaneously as a PDF
and in hardcopy. The print version will be available to individuals and
libraries for a small fee, necessary to cover printing costs, but all
online versions will continue to be free to all.
New book reviews are published every 3 months, so the next publication date
will be mid August, 1999.
The first articles will be published in January 2000.
If you would like to be sent a reminder on these dates, please contact us,
providing us with your name, contact details, research interests and
position.
It would be great if you could provide us with a link. . .
Cheers
Fergus Morrin (Editor),
SCOPE: an on-line journal of film studies, Institute of Film Studies,
University of Nottingham,
University Park,
Nottingham NG7 2RD,
England.
http://www.nottingham.ac.uk/film/journal/contents.htm
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From: Jayne Morgan <[log in to unmask]>
Taking stock: Media Studies at the Millennium
The first annual conference of the Media, Communication and Cultural
Studies Association (MeCCSA).
To be held at Sheffield University, January 7th to 9th 2000
This inaugural conference of the new association for Media, Communication
and Cultural Studies aims to encompass the diversity of these disciplines,
and to provide an opportunity for both established and younger scholars to
present and discuss ideas. Thus we invite presentations on any aspect of
media (including film, television and 'new' media), communications,
cultural studies and cultural policy.
Although welcoming papers on any relevant topic, we would also like to
encourage presentations and/or workshop sessions that explore the following:
® teaching and learning: what are the issues and challenges facing media
pedagogy? ® best practice?: how should media practice develop within higher
education? How has practice work impacted on media and cultural studies as
a whole? ® re-evaluation: what are the key concepts we want to retain and
develop from a hundred years of cultural theory and criticism? Might we
usefully look again at bodies of work such as, for example, early 'effects'
theory or authorship studies?
As this last theme indicates, we'd like to use this inaugural conference as
an opportunity to look back as well as forward, taking stock of the
distinct and overlapping fields in which we work. Both prospective and
retrospective, the conference will provide an opportunity to consider the
achievements of media, cultural and communication studies in the twentieth
century.
We aim to publish a selection of the papers presented at the conference.
Abstracts of between 200 and 300 words should be sent to the Conference
Organiser, Jayne Morgan, at the address below. Presentations will be 20
minutes in length; workshop sessions will be approximately 90 minutes.
Proposals should arrive no later than September 30th 1999:
Jayne Morgan
School of English and American Studies,
University of East Anglia,
Norwich NR4 7TJ
Or by e-mail to: [log in to unmask]
___________________________
Jayne Morgan
EAS RPG
UEA
Norwich NR4 7TJ UK
telephone: +44 1603 629678
email: [log in to unmask]
Researching Culture
10-12 September 1999
visit our website:
http://www.unl.ac.uk/SICS/culture.htm
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From: proboscis <[log in to unmask]>
*** COIL issue 8 now available ***
The eighth issue of COIL now available from bookshops and by subscription.
Artists Projects by:
Susan Alexis Collins -- 'Watermarks (Regents Canal)' Dryden Goodwin --
'Sustain'
Brigid McLeer -- 'Collapsing Here'
Hans Scheirl -- 'Cyber-Comix-Splatter Cinema' people.org
Texts:
Rita Gonzalez & Jesse Lerner -- 'Volkswagen Chakra' -- on Mexican
experimental cinema
Laura Malacart -- 'Journey into no woman's land' -- on Ulrike Ottinger's
'Ticket of No Return'
Winfried Pauleit -- 'Appointment, Disappointment, Missed Appointment' -- on
the film still (in English & German) Sarah Turner -- 'CUT' -- short film
script Joshua Oppenheimer & Christine Cynn -- 'People Who Die in Closets'
-- Hyper-real exposure of Scientology and cults Emina Kurtagic -- 'The Art
of Transience' -- on Lisl Ponger Chris Byrne -- 'Analogue to Digital
Conversion: linking video art and the web'
Naomi Salaman -- 'Still Dancing' -- on Duane Hanson
For details on bookshops and subscription prices please email. --
COIL journal of the moving image
Proboscis
PO Box 14649
London EC2A 3RD
[log in to unmask]
www.proboscis.org.uk
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From: Ken Mogg <[log in to unmask]>
The Hitchcock Scholars/'MacGuffin' Web site is becoming more fully active
again. Dr Nandor Bokor's two classic articles (slightly revised
and extended) on his visits to Hitchcock locations in the US and Europe
have been re-posted. The New Publications page lists and 'abstracts'
several recent books and articles (including what the director of PSYCHO
II, Richard Franklin, thinks of the Gus Van Sant PSYCHO). Ken Mogg has
returned to writing the 'Editor's Day' ruminations. Topics covered
currently include: 'sources' of THE 39 STEPS (Hitchcock 'borrowed' the idea
for the handcuffs ...); Hitchcock's complementary interests in documentary
detail and in caricature; the application of those interests
to THE PLEASURE GARDEN; more on Hitchcock locations; John Buchan,
Nietzsche, and Hitchcock; querulousness in Hitchcock.
Here's the start of the last-named item:
July 5 Hitchcock was very good at querulousness. By that I mean that he got
down on film, and/or in the film's
dialogue, classic moments of disgruntlement or peeved hostility or offended
suspicion. How often have we all attempted to relay someone else's point of
view, which had sounded perfectly feasible when we first heard it stated,
but which goes 'cold' when we recount it? So when 'Scottie' (James Stewart)
in VERTIGO (1958) experiences just such an occasion, telling 'Midge'
(Barbara Bel Geddes) what he's been told by Gavin Elster (Tom Helmore), it
rings very true - and is funny. Scottie's voice is suitably peeved as he
comments, 'I'm not telling you what I think, I'm telling you what HE
thinks!' ...
The Hitchcock Scholars/'MacGuffin' Web site's Home Page is located at:
http://www.labyrinth.net.au/~muffin/news-home_c.html
Coming soon: Dan Auiler's thoughts on Van Sant's PSYCHO.
(Ken Mogg's 'The Alfred Hitchcock Story', containing new information on all
of Hitchcock's 50-odd films, is published in the UK in August, in the US in
October. Included are essays by Dan Auiler, Steven L. DeRosa,
Philip Kemp, and others.)
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From: Toby Miller <[log in to unmask]>
I'm editing a new journal for Sage Publications, called Television & New
Media. Its focus is textual analysis, political economy, cultural history,
policy advocacy, and audience ethonography--a
television studies/cultural studies approach to the subject. The first
issue will be out in March 2000. Associate editors are Herman Gray, John
Hartley, and Lynn Spigel.
There will be some theme issues (the past, present, and future of studying
TV; digitalisation; active audiences; cable and satellite issues; pedagogy;
interdisciplinary matters; globalisation; race, gender, class, and nation)
the average isue of T&NM will include an 'In Focus' segment for papers that
can loosely be grouped together, as well as two segments designed for a
rapid response to new policy, textual, and other matters (an 'Editorial'
and a 'Prime Time' section) where the editor and other scholars will engage
with critical issues of the day. In addition, each issue will feature book
reviews. The overall shape is:
a) Editorial
b) In Focus
c) Book Reviews
d) Prime Time
We want papers in English, using Harvard-style reference, submitted with
three hard copies and an IBM-compatible disk. No electronic submission,
though email inquiries are welcome. For 'In Focus,' papers may be up to
8000 words. For 'Prime Time,' they shoud,be no longer than 25000 words. The
address for submissions:
Toby Miller
Department of Cinema Studies
New York University
721 Broadway, Room 600
NY NY 10003
Email: <[log in to unmask]>
Ph: (212) 9981614
Fax: (212) 9954061
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From:
mpomeran <[log in to unmask]>
The Media Studies Working Group
which brought you
BANG BANG, SHOOT SHOOT! and PICTURES OF A GENERATION ON HOLD
announces
B R A I N W A T C H I N G:
Intellect and Ideology in Media Culture
an International Conference
May 6-7, 2000
at Ryerson Polytechnic University, Toronto
*** visit us on the web: www.ryerson.ca/mgroup/brain.html ***
This conference will examine representations in film, television and
popular culture of mental life and social control, specifically: images of
'intelligence' and 'stupidity' and the relation of these to broad-based
systems of cultural and state control. We are interested in papers from
across disciplines that examine in contemporary or historical context:
types of intelligence and genius, wisdom, wit, emotionalism, dullness,
opinion-formation, misinformation, hegemony, the creative imagination, the
scientific attitude, intelligence-gathering, mystification and other
notable states of mind as related to our culture.
We are interested in the growing representation of the knowledge industry;
with particular emphasis on knowledge, thought, and creativity
as forms of capital.
We would hope to see papers on any of: FRANKENSTEIN, CLUELESS, the idiot
savant, OBLOMOV, films about filming, DUMB AND DUMBER; intelligence, media,
and social capital; PINKY AND THE BRAIN, BRAINSTORM, AMERICAN HISTORY X;
the figure of the mad professor, the dumb blond(e), the evil genius, the
brawny blockhead, etc.; FORREST GUMP, THE STUNT MAN, Homer Simpson, OF MICE
AND MEN, witty dialogue and witty situations; THE MANCHURIAN CANDIDATE,
evil scientists, intelligent aliens, THE MILLION DOLLAR BRAIN, films and
other narrative materials about psychiatry, various versions of INVASION OF
THE BODY-SNATCHERS, the teacher-student relationship, anti-intellectualism,
and the school experience; HENRY, I.Q., QUIZ SHOW, MARS ATTACKS, DAVID AND
LISA, HIGH SCHOOL, WELCOME BACK,
KOTTER, depictions of intellectuality in relation to gender, social class,
and race; THE X-FILES; PHENOMENON; Sherlock Holmes, RAIN MAN, the filmic
personae of Woody Allen and Jerry Lewis, Lassie, AMADEUS, Marilyn Monroe,
THE TRUMAN SHOW . . . . . all these are possibilities among many others.
Papers might consider how intellect is made visible; what import is borne
by pop cultural anti-intellectualism; how heroism and intellect are related
historically and/or contemporarily; the relation in popular culture,
television or film between intellect and morality; the appeal of
popularized stupidity and goofiness, etc.
**
Proposals for either (a) individual papers or (b) preconstituted panels
should include the following: (1) a title, (2) an abstract NOT TO EXCEED
300 WORDS, and (3) a brief one-paragraph biographical statement about the
presenter, including academic affiliation and email address. Proposals may
be sent by email to [log in to unmask] or regular mail to Keith
Hampson, Department of Sociology, A-809, Ryerson Polytechnic University,
350 Victoria Street, Toronto ON Canada M5B 2K3 and must arrive by noon,
local time, Wednesday December 1, 1999. WE WILL NOT ACCEPT PROPOSALS BY
FAX. Notification of acceptance will be sent by December 31, 1999.
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Reply to: Dave Rieder <[log in to unmask]>
E N C U L T U R A T I O N - > C F P: (Post-) Digital Studies ISSN: 1525-3120
The editors of _Enculturation_ seek papers for a special issue on '(Post-)
Digital Studies.' It is, perhaps, too soon to mark the end of a digital
age, but it is time to qualify its study: while the emergence and reliance
upon bit-based tech' continue to manifest, quantum and biological, and
technologies are also on the rise. In this issue, we hope to connect a core
of 'traditional' articles focused on digital issues with the two additional
approaches, the quantum and biotechnological.
We are interested in projects/papers that approach these topics from a
plurality of discourses. That is, we are interested in articles that
interface with these three broad topoi from a variety of circulatory
systems. These systems/approaches might incl ude one ore more of the
following: cultural studies, semiotics, psychoanalytics, feminisms,
hermeneutics, multimedia/communications theories, composition theories, and
narrative theories. Always encouraged are papers that strive to transform,
disrupt, o r otherwise distort established theoretical, critical topoi.
IN ADDITION to academic projects/papers, we are interested in reviews of
original web-based games and projects, interfaces, newly published books,
print- or e-zines, digital 'event scenes,' emerging worlds, totems, and
other new or underrepresentated appl ications of digital, quantum, or
biological phenomena.
Text-based submissions should be no longer than 5000 words. Please inform
Dave Rieder at [log in to unmask], before sending projects over 20 megs.
Do not feel constrained by the following topical heuristic:
The Matrix
eXistenZ
MP3 Culture
Memetics (Memes)
Histories of Computing/Programming
Interface Studies
The (Derridean) Archive
Critical Study of Data Warehousing and Databasing Rhetorics of Computer Games
IBM's Personal Area Networks (PAN)
Blaxxun's Cybertown and Virtual Living
The Mytheme of the Killer App'
Flesh Games
The New Age of Analog: NanoTech'
Harraway's Cyborg, An Update
Ergodic/Cyborg Literature
Virtual Spatial Studies
Histories of Women and Computing
Internet2
Web-cams
Phreaker Mystories
What happened to VRML?
Quantum Discourse
PI, Faith in Chaos
Y2K Lifestyles
Video/Computer Game Soundtracks
Computers and Writing
Biotech' and Meatspace
Representational Avatars and the Flesh that Love Them Kubrick's 2001
Rowell 2000 and the UFO Meme
Cyberpunk Attitudes (Lifestyle, Fictions, Films, Ethics) Libidinal E-conomies
Hayle's Post-Human
Noise/Entropy and Information
Cryptography (Histories, Theoretical Implications; Quantum) Cyberian Futures
The New E/conomy
Interface Cultures
All submissions DUE by 1 October, 1999. Please send submissions to:
Eddress:
Dave Rieder
[log in to unmask]
Address:
Dave Rieder
c/o Enculturation
Dept. of English
University of Texas at Arlington
UTA Box 19035
Arlington, TX 76019
Submission Form (text-only):
http://www.uta.edu/huma/enculturation/submit.html
--
_Enculturation_ is a journal devoted to theoretical/rhetorical approaches
to discourse, culture, and society. Please see our website (listed above)
for additional information.
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From: Susan Morrison <[log in to unmask]>
Call for Papers
This is a CFP for the 51st issue of CineAction, an international film
journal published in Toronto Canada three times a year. The theme for this
issue, due out in February 2000 is 'What Happened?', the intent being a
reflection back on and assessment of the state of film at the end of the
century. We are particularly interested in analyses of national cinemas, as
well as comments and observations on patterns and trends within the
dominant American film industry with regards to production, distribution,
exhibition, and consumption.
Papers should be submitted on disk, in text format, as well as in hard
copy, using footnote citations.
The deadline for submission is Nov. 15, 1999. It would be appreciated if a
brief proposal be submitted by Sept. 1 as an indication of intention to
submit.
Please address all queries and submissions to the issue's editor: Susan
Morrison
314 Spadina Road
Toronto ON
M5R 2V6
Canada
email: [log in to unmask]
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From: [log in to unmask] (Sean Cubitt)
Announcing Screen vol 40 n 2 Summer 1999 Special issue: FX, CGI and the
question of spectacle
issue editors: John Caughie, Sean Cubitt
Contents
Sean Cubitt: Introduction: Le reel c'est l'impossible: the sublime time of
special effects
Yvonne Spielmann: Expanding Film into Digital media Alison McMahan: The
Effect of Multifortm Narrative on Subjectivity Warren Buckland: Between
Science fact and science fiction: Spielberg's digital dinosaurs, possible
worlds and the new aesthetic realism
plus reports, debates and reviews
content: http://www.arts.gla.ac.uk/tfts/Screen.html orders:
http://www.oup.co.uk/Screen
>From the introduction:
The beautiful is ephemeral, but the sublime points towards eternity. Beauty
alludes to loss -- ecological fragility, the Being-towards-death, the
manque-à-être. The sublime, however, from the early films of Méliès and
Phalke points towards a time beyond the mundane, a post-mortem time, or a
time of the gods. The different temporality which the special effect
occupies vis-à-vis the time of narrative indicates its extra-historical,
extra-temporal status. Spectacle, abandoning duration along with any sense
of loss, ephemerality or beauty, in their place establishes the punctual
and fulfilled moment outside time, so cutting the Gordian knot of
representation. The time of the miraculous, sublime time, is always outside
causality: it cannot be expected or intended, and so cannot share the
commonality of either experiential time or historical time. But if,
according to the Heideggerian thesis, the key time excluded from
commonality is the moment of one's own death, we can perhaps suggest that
the time of sublimity, as constructed in mediation, functions as its
internal negation, the pre-figuring of a zero degree of communication: a
mimesis of death as the end of communication. By constructing its own end
as mediation, mediation establishes its own position as object of anxiety
and desire, the still point at which the communicative departs from
commonality to become object.
Sean Cubitt
Screen Studies Online
http://www.livjm.ac.uk/~mccscubi/screen.html Digital Aesthetics (Sage,
London and New York, 1998) http://www.ucl.ac.uk/slade/digita
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From: Steve Fore <[log in to unmask]>
The editors of the media studies journal Post Script are pleased to
announce the Fall 1999 publication of a special issue (Vol. 19, No. 1)
devoted to Hong Kong cinema. The issue contains essays on topics of both
historical and contemporary relevance, and includes considerations of
current production, distribution, and marketing trends within the SAR movie
industry, discussions of the multiple global audiences for Hong Kong
movies, analyses of thematic and stylistic issues raised by recent films
and filmmakers, and historiographical critiques of significant artistic,
social, and political trends.
Guest Editor: Steve Fore, School of Creative Media, City University of Hong
Kong
Post Script General Editor: Gerald Duchovnay, Department of Literature and
Languages, Texas A&M University-Commerce
Table of Contents:
Steve Fore, 'Introduction: Hong Kong Movies, Critical Time Warps, and
Shapes of Things to Come'
Cheuk Pak-Tong (Hong Kong Baptist University), 'The Beginning of the Hong
Kong New Wave: The Interactive Relationship Between Television and the Film
Industry'
Michael Curtin (Indiana University-Bloomington), 'Industry on Fire: The
Cultural Economy of Hong Kong Media'
Amelie Hastie (University of California-Santa Cruz), 'Fashion, Femininity,
and Historical Design: The Visual Texture of Three Hong Kong Films'
Anne T. Ciecko and Sheldon H. Lu (University of Pittsburgh), 'The Heroic
Trio: Anita Mui, Maggie Cheung, Michelle Yeoh--Self-Reflexivity and the
Globalization of the Hong Kong Action Heroine'
Cindy Hing-Yuk Wong (CUNY-Staten Island), 'Cities, Cultures and Cassettes:
Hong Kong Cinema and Transnational Audiences'
Hector Rodriguez (City University of Hong Kong), 'Organizational Hegemony
in the Hong Kong Cinema'
Yeh Yueh Yu (Hong Kong Baptist University), 'A Life of Its Own: Musical
Discourses in Wong Kar-Wai's Films'
Inquiries concerning bulk orders of the issue for classroom use, individual
copies, and Post Script subscriptions should be directed to:
Gerald Duchovnay, Head and Professor
Dept. of Literature and Languages
Texas A&M University-Commerce
Commerce, Texas 75429 USA
(903) 886-5260 FAX 903 886-5980
email: [log in to unmask]
Inquiries concerning editorial content may be directed to:
Steve Fore
School of Creative Media
City University of Hong Kong
83 Tat Chee Avenue
Kowloon Tong, Kowloon
Hong Kong
(852) 2788 8156
email: [log in to unmask]
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From: 'Aboubakar Sidiki Sanogo' <[log in to unmask]>
Public only: (202) 357-2700
SOUTH AFRICAN FILM SERIES AT NATIONAL MUSEUM OF AFRICAN ART
This summer, the Smithsonian's National Museum of African Art is offering a
film series on 'South African Cinema: Past, Present and Future.' The series
is being presented in conjunction with the museum's new exhibition
'Claiming Art/Reclaiming Space:Post-Apartheid Art from South Africa' and
with the 1999 Smithsonian Folklife Festival's program on South Africa. The
series runs from July 10 through Aug. 7.
South Africa has been the subject of films since D.W. Griffith filmed 'The
Zulu's Heart' (1908). During apartheid, Black South Africans were denied
access to the cinematic medium. Today, post-apartheid-era filmmakers are
looking for their own voice. This program reviews the evolution of South
African cinema and identifies some future trends.
Unless otherwise noted, the films will be introduced and discussion
moderated by Aboubakar Sidiki Sanogo, fellow, National Museum of African
Art. Carefully note the screening location for each film. All programs are
free of charge and are open to the public on a first-come, first-served
basis. Unless otherwise noted, all films are subtitled in English.
'South African Cinema Past, Present and Future'
Saturday, July 31, 7 p.m.
Dolly and the Inkspots (28 min., video, 1997) by the Scadeberg Film
Company, will be screened. This tribute to South Africa's great jazz
talents features Dolly Rathebe, queen of African jazz, and the
unforgettable harmonies of the Inkspots. In addition, the museum will offer
the film 'African Jim' (50 mins., 16mm, 1949) by Donald Swanson. A country
boy who comes to the city to secure work finds himself incompetent at
almost everything. When he discovers he has a magical voice, his life turns
into a fairy tale. This is the first film made in South Africa to feature
Africans as central characters. (Both films will be shown at the S. Dillon
Ripley Center Lecture Hall, 1100 Jefferson Drive, SW)
Saturday, Aug. 7, 7 p.m.
Paljas (120 mins., 35mm, 1998) by Katinka Heyns, will be screened. The
lives of members of an unhappy family living in a small town change
dramatically when a circus comes to town. (Hirshhorn Museum and Sculpture
Garden, 7th St. and Independence Ave., SW)
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From: gloria monti <[log in to unmask]>
Dear Godardians:
I am putting together a panel for the 2000 Society for Cinema Studies
Conference, which will take place in Chicago on March 9-12, 2000. Those of
you who are interested, please, e-mail me a proposal and a CV by no later
than September 1, 1999. Thank you.
Gloria
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]
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CONTINUUM: JOURNAL OF MEDIA & CULTURAL STUDIES
Volume 13 Number 2 July 1999
ISSN 1030-4312
Information Technology Now
Issue Editor: Darren Tofts
Introduction/Darren Tofts/page 133
Information Theory: from The Post Card to The Telephone Book and
beyond/Martin McQuillan/page 139
The Carnivalesque, the Internet and Control of Content: satirizing
knowledge, power and control/Donald F. Theal/page 153
Digital Constructivism: what is European software? An exchange between Lev
Manovich and Geert Lovink/Lev Manovich and Geert Lovink/page 165
Electronic Space and Public Space: museums, galleries and digital
media/Mike Leggett/page 175
Storming the Interface: hypertext, desire and technonarcissism/Belinda
Barnet/page 187
Communities in Cyberspace: towards a new research agenda/Ron Burnett/page 205
Cinematic paradigms for hypertext/Adrian Miles/page 217
Cultural Studies: currents and controversies Why is it Scholarship When
Someone Wants to Kill You?: truth as violence/John Hartley/page 227
The Poverty of Journalism: media studies and 'science'/Keyan G. Tomaselli
and Arnold Shepperson/page 237
The Sokal 'Hoax': some implications for science and postmodernism/Bob
Hodge/page 255
Can Cultural Studies be Disciplined? Or should it be punished?/Andrew
Milner/page 271
BOOK REVIEWS/page 283
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From: Alexander Kafka <[log in to unmask]>
I just want to alert subscribers to recent, current, and upcoming
contributions from SCS members to the Opinion/Arts section of The Chronicle
of Higher Education. We recently ran a piece by Andy Horton on humor in
Balkan cinema. Steve Vineberg has written several insightful essays for us,
the most recent on the effects of mass marketing on film-audience
expectations. In the issue that will be arriving in your offices or
libraries next week, Bob Kolker has an essay on the use of digital
technology in film scholarship. And upcoming are film-related pieces by
Alan Dershowitz and Krin Gabbard. These are just a few examples.
I shamelessly trolled the April SCS conference searching for good subjects
and good writers, and the hunt is ongoing. Unlike most film journal
articles, our film pieces are for a general academic audience and focus on
current or--better yet--upcoming releases. We don't run reviews or
profiles, but we do look for provocative trend pieces (1,000 to 1,600
words) or unconventional takes on releases everyone assumes they
understand. I hope that in your research, and just in your musings, you'll
keep our pages in mind. Feel free to contact me any time at the coordinates
below. And for those of you in interdisciplinary programs, bear us in mind,
too, for pieces on media, theater, dance, music, visual arts and other
creative endeavors, and feel free to pass this information along to your
colleagues.
Alexander C. Kafka
Assistant Editor, Opinion/Point of View
The Chronicle of Higher Education
1255 23rd St., N.W., Suite 700
Washington, D.C. 20037
202/466-1777
Fax: 202/452-1033
[log in to unmask]
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