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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: 'Ruth Lorand <[log in to unmask]>
A CALL FOR PAPERS
I am editing a book on the aesthetics of TV. The themes of the book are:
- Can TV be a source for new artforms?
- The relations between TV and other art-media (film, literature, music etc.)
- The influence of TV on art in general. - The aesthetic features of TV.
And realted the issues that touch upon the aesthetic aspect of TV.
Titles and abstracts should be sent to:
Ruth Lorand
Department of Philosophy
University of Haifa
Haifa 31905, Israel.
Fax: + 972-4-8249735
Email: [log in to unmask]
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From: Ken Knisely <[log in to unmask]>
Looking for philosophers interested in helping to produce a live 24 webcast of a conversation about the history of philosophy. Site of the conversation would be the Eastern Division meeting of the American Philosophical Association in Boston, Dec 27-30.
Coordinating organization will be Milk Bottle Productions, Inc.
MBPI produced two philosophy talk shows at the last APA East in Washington, which will be airing as part of a new season of No Dogs or Philosophers Allowed this spring on the Proto X cable network.
Please respond to [log in to unmask]
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From: [log in to unmask] 'Paul Young'
CALL FOR PAPERS -- Literature and Film
Annual Central New York Conference on Language and Literature
Cortland College of the State University of New York, Cortland, NY October 3-5, 1999
'Illumination and Excess: The Literary Adaptation Meets Film History'
Any abstracts that address literary adaptation in film are welcome, but I am particularly interested in abstracts/papers that approach cinematic adaptations of literary texts in the context of film history and national cinema traditions. How do the historical, cultural, and perhaps even technological context within which a particular adaptation was produced affect the adaptation in subtle and not-so-subtle ways? Some films might be said to 'illuminate' previously obscure aspects or implications of literary works, while others might 'exceed' the perceived meanings of the original work, changing it utterly in its translation to a different medium and a different historical/cultural moment (examples: the use of a James M. Cain source novel for one of the earliest Italian neo-realist films, OSSESSIONE; avant-garde vs. 'popular' adaptations of Poe, Emily Bront=EB, Shakespeare, Austen, etc.; translations of stream of consciousness and other tools of literary modernism into film; the uses of widescreen in historical 'epic' adaptations; etc.)
Please send an abstract (limit 500 words) or complete papers (limit 8-9 pp) and a 1-page vita by June 15, 1999 to:
Paul Young (session chair)
School of Literature, Communication, and Culture Georgia Institute of Technology
686 Cherry St.
Atlanta, GA 30332-0165
(404) 894-1025
email: <[log in to unmask]>
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CONTINUUM: JOURNAL OF MEDIA & CULTURAL STUDIES
Volume 13 Number 1 April 1999
ISSN 1030-4312
Cultural Studies: the next generation
Issue Editors: Henry Jenkins, Tara McPherson and Jane Shattuc
Introduction/Henry Jenkins, Tara McPherson and Jane Shattuc/page 5
The Ethics of Basketball/Thomas Mc Laughlin/page 13
Manufacturing the American Child: child-rearing and the rise of Walt Disney/Nicholas Sammond/page 29
Fertility Among the Ruins: the 'Heartland', maternity, and the Oklahoma City bombing/Victoria E. Johnson/page 57
Community of Unruly Women: female comedy teams in the early sound era/Kristine Brunovska Karnick/page 77
Shaping the Box: the cultural construction of American television, 1948-1952/Jim Welch/page 97
BOOK REVIEWS/page 119
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Inventory is a collective enterprise set up by a group of UK based writers, artists, and theorists looking to explore the alternatives to the limitations imposed on these disciplines. It operates on a number of fronts: as an experimental journal; in the presentation of material in diverse formats; and as an ongoing process whose form we can only guess at.
The journal is devoted to and interested in developing the essay as a form and thus has no review articles. We wish to make Inventory a space for a theory/practice that cojoins and conflicts writing and image, the found and made, observation and experience.
The relationship between things is of paramount importance, but we do not wish our method to have a scientific character (in the sense of an ethnographic, documentary discourse) nor an artistic literary value (which would condemn this material to an aesthetic musing).
We welcome contributions of text, correspondence, photo essays, and any manifestation of the extraordinary detritus of material culture. Deadline: ongoing
_______________________________________
Damian Abbott
http://www.damian.mcmail.com/inventory/subs.htm _______________________________________
[log in to unmask]
http://www.backspace.org/inventory
_______________________________________
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Reply-To: [log in to unmask]
Launching a exciting new film studies journal, Unscene Film: New Directions in Screen Criticism, published by Film Forum and universities in the UK.
The journal is available in both internet and paper versions, with the inaugural Special Issue 'Seventies Cinema', due for launch in Spring 2000.We enclose details of the journal's format and contents, and a call for papers.
UNSCENE FILM:
NEW APPROACHES TO SCREEN CRITICISM
General Editors
Dr Graeme Harper Xavier Mendik
Director School of Cultural Studies
Centre for Creative and Performing Arts/ University College University of Wales, Bangor Northampton [log in to unmask] [log in to unmask]
Editorial Board/Peer Review Panel include: Michael Grant, University of Kent at Canterbury Dr Mikita Brottman, Indiana University
Dr Julian Petley, Brunel University
Professor Barbara Klinger, Indiana University Professor Barry Keith Grant
and others currently being appointed
Unscene Film: New Approaches to Screen Criticism provides an open forum for new debates and innovative critical approaches to the study of film. The journal's readership includes film and media academics, screen journalists and film research students. The journal also encourages movement between film other arts discourses, and it is a policy of Unscene Film to avoid rigid formulations which narrow or compartmentalize cinema research. Unscene Film encourages creative and innovative criticism.
For example, the journal seeks to actively promote movement between what are often seen as 'academic' and 'journalistic' accounts of the cinema, as well as between reception and production; theory and method in cinema art; mainstream, cult and independent film; new and established film-makers and critics; the consideration of one historical condition and another; different cinematic regions. . . .
Essays/articles submitted for consideration are always subject to peer review.
In addition to its main essays, each issue also contains review/debate articles, interviews, book reviews and notices.
Suggestions for forthcoming Special Issues are welcome and can to addressed to the General Editors.
Current suggestions include:
1. Beyond Tarantino: New Narratives in Contemporary Hollywood
2. Filthy Money: Cult Cinema Audiences
3. Cinema Sounds: New Film Music
4. Beyond Third Cinema: Indonesian and Popular Eastern Film 5. The Big Bumper Book of Woo/Rodrigeuz
6. Attraction and Revulsion: Rethinking Silent Cinema 7. New Performance Criticism: New Hollywood Method
CALL FOR PROPOSALS/PAPERS
Seventies Cinema
Mad, Bad or Dangerous to Watch?
The first issue of Unscene Film: New Directions in Screen Criticism will consider the production and reception of cinema in the 1970s, with an emphasis on changes in American film production/reception during that era.
Suggestions for essays/articles on any of the following areas of interest
are welcome:
[1] '70s changes in the organisation of the film industry [2] new narrative patterns
[3] '70s representations of violence, race, gender [4] new audiences
[5] strong '70s genres and distinctive traits (for example: blaxploitation,
teen pic, new cult, horror, new music flick) [6] rethinking censorship in the '70s
[7] post-'70s: cinema changes brought about by film-making of the period
Deadline for submission of Abstracts: 1st June 1999 Deadline for submission of completed essays/articles: 1st December 1999
-------------------------------------
autoreply:
Graeme Harper BA Litt DCA PhD
Director
Centre for Creative and Performing Arts
University of Wales
[log in to unmask]
Web Page: http://www.bangor.ac.uk/english/ccpa/creative.html
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From: Abe-Nornes <[log in to unmask]>
On March 27-28, 1999, a group of scholars from a variety of disciplines met in Ann Arbor to hold a workshop on the state of Japanese film studies. The following is a wrap-up written by organizers Abe' Mark Nornes (University of Michigan) and Mitsuhiro Yoshimoto (University of Iowa). Abstracts of the papers under discussion can be found at the Kinema Club website (http://pears.lib.ohio-state.edu/Markus/Welcome.html).
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__Kinema Club Workshop__
Japanese Cinema Studies in the Rear View Mirror: Re-Viewing the Discipline
***Some continuing/concluding thoughts from Yoshimoto and Nornes***
The workshop met last week to consider the past, present and future of 'Japanese cinema studies.' At the end of the weekend, a number of participants asked us to post come concluding remarks. After a week of off-line discussion, we offer this summary along with a set of possible points of action. Needless to say, we can only make gestures to the contours of the complicated discussion that took place. We hope that participants can post their own responses and conclusions, and extend that discussion to the wider audience.
I.
It seems evident that there _was_ an academic field called 'Japanese Film Studies' starting from around the era of auteurism, and it was held together through the exercise of various film studies
methodologies that found use value in films from Japan. This 'use value' was something
people like Stephen Heath were quite self-conscious about in their work, but it is
something you can trace back to the writings of Donald Richie and Joseph Anderson whose writings were prominant for advancing certain critical and theoretical agendas within film studies. While there is a heterogeneous advance of debates over several decades, we can identify a period in which Japanese cinema signified more than just the cinema of Japan---the era of Richie's 'Kurosawa,' Bordwell/Thompson's 'Ozu,' Heath's 'Oshima,' Burch's 'golden age of Japanese cinema.' Put simply, film studies deployed 'Japanese film' to consolidate itself into an institutionalized field of study.
II.
This field of 'Japanese film studies' has disappeared. Of course, many of these scholars are still quite productive, however, the identity coalescing around that earlier field is gone. Some may feel an impulsive nostalgia for some 'golden age of Japanese film studies,' but at the workshop it was evident few people had given it much thought at all. One reason is probably that, ironically enough, despite the 'disappearance of the field' there are more people researching and teaching Japanese film than ever before. While there seems to be a generalized lack of interest in Japanese film at SCS functions, there is a pronounced shift to lit, anthro, history, etc. that produces conferences, conference panels, research programs, articles and books. Anyone on the job market has noticed that the position announcements mentioning Japanese film are coming from various area studies and language & literature departments.
At the workshop, participants noted a 'sense of crisis,' an expression we have not used. Rather, we think it is important that in the midst of this change, we proceed first with a sure sense of our own history. We can't really talk about the field of Japanese cinema studies, various disciplines which claim their stake in this field, and institutional sites where knowledge on Japanese cinema is produced, disseminated, and consumed, without discussing the specific history and current state of the field and other concrete aspects of knowledge production (names of scholars, representative or canonical works, etc.). As an important corollary, it seems the participants at the table talked as if they knew what film studies, Japanese literary studies or area studies are....terms that are less than obvious to us. Further, participants working in Asia remind us that the new connections between Japan-based scholars and those in other institutional contexts mean that there is a politics of critical _and_ institutional interaction that requires attention.
Exploring these questions is the first step in harnessing the energies that are creating today's flux. We note that while a surge in Japanese moving image media pedagogy is occuring in undergraduate teaching, it is unclear that the same thing is happening at the graduate level. More importantly, it is not clear that the new contact with this media is having any lasting effects on these various disciplines. For example, as long as anime is studied as just another
example of the exotic cultural text called 'Japan,' the fundamental structure and values of the discipline using it will remain basically unchanged. Exactly what 'use value' does Japanese 'film' now have for area studies, literature, and other segments of the academy?
Furthermore, with an eye to the disappearance of the field, we also need to (1) reintroduce Japanese cinema into Film Studies or (2) radically transform Film Studies into something else. In a certain sense, the latter is already in process, but as of today no serious attempt has been made to articulate Japanese cinema studies with the uncertain conditions of Film Studies itself. If there is some 'crisis' in Japanese cinema studies, it is inseparable from the 'crisis' of Film Studies itself. The decisive difference is that while Japanese cinema studies is just a sub-field and as a result extremely vulnerable to the institutional sea change, Film Studies as a firmly established discipline can afford to ignore its own predicament by turning itself into a more conservative discipline.
What we need is interesting research agendas, issues, questions which go beyond the boundaries of Japanese cinema studies. If Film Studies 'used' Japanese cinema for its disciplinary formation and expansion, is it possible for us, scholars of Japanese cinema, to 'use' Film Studies and area studies for our agendas?
III.
The workshop described this situation, asking people to consider its implications for
---pedagogical issues at both graduate and undergraduate levels ---job hiring and the conceptualization of positions ---the institutional demands on undergraduate teaching to support film
teaching (often large lecture courses or language teaching) vs. film
being exploited to fill seats
---peer review and tenure
---how work in film and other visual cultures will interact
methodogically and theoretically with the fields that are integrating it institutionally
---the academic book market and its review process ---the stunning paucity of Japanese film publications in American
libraries, and the lack of access to them in Japanese archives and libraries
---the impact of writing and film&video distribution on canon and
pedagogy
---the growing communication between American and Japanese scholars
***how do we intervene, direct and channel the change?
It was pointed out by one guest that the workshop participants share an object, but not a methodology or epistemic common ground. This is certainly an effect of trends toward interdisciplinarity in the American academy and the legitimization of popular culture as an object for area studies. However, a field that shares an object and not a discipline is fated to fail at the institutional level, because the institution relies on peer review which will ignore arguments that the object itself (its beauty or social agency) justifies its place in the academy. The guest pointed to the example of another field which suffered so many retirements and failed tenures that it has no senior professors; the consequence is that competitive research universities with graduate programs an find no one to hire and the schools are not producing new students, and so the field has in some way self-destructed in the institutional sense.
IV.
A few things became evident in the course of discussion.
---People coming out of film studies may be forced to think about
such problems before those working in fields that are 'just arriving' to the topic
---People on (competitive) tenure tracks may feel higher stakes in
the issue
---Since no one has given all these problems previous thought, and
since it's always difficult to describe something from your lived world
in such immediate transformation, workshop participants were constantly groping for common ground on which to speak to each other (this
in itself is somewhat troubling when it comes to peer review issues)
V.
In conclusion: We are, in a certain sense, 'euphoric.' We face multiple possibilities and that's good. We don't mourn the passing of that old field and its sense of institutional comfort. And despite the fact that it has left us groping to comprehend the consequences for our lives as teachers, intellectuals and as intellectual workers, we sense something very interesting on the horizon in a decade or so. The senior scholars who have already done a lot of research on Japanese film will be publishing the best work of their careers. Many newly arriving people will have published books and secured tenure. We will have read and engaged each other's work. It will not configure itself in a discipline, but we will have a much easier time talking to each other.
VI.
Some practical first steps.
Since our institutional situation is complicated and will play itself out over many years of teaching, writing and publication---not to mention reviews of one sort or another---the workshop ended by raising some concrete possibilities for increased interaction and collaboration that will help direct the current transformations we are beginning to identify.
At the same time, we assert these 'practical' projects need to be integrated into a more meta-critical discussion and debate. It is necessary for us to engage ourselves with the institutional formation and disciplinary politics squarely while working on multiple, concrete fronts.
Here they are in no particular order:
*** COMMUNICATION: We need to meet as a group more often, bring
more people to the table, and keep the discussion going. It is crucial
for us to talk face-to-face. Thus, there is a real need for more workshops, symposiums, conferences, and the like. For those of us at schools with budgets for guest lecturers, we should consider
appropriating these mechanisms to invite each other to give lunch-time seminars and the like. Another route is to organize panels
for conference. In addition to this, while writing and publishing as
much good work as we can, we should read each other's works and offer constructive comments. KineJapan is one forum for this, but
so is individual discussion and comment and criticism of manuscripts.
Finally, we should think about a conference in Japan.
*** KINEMA CLUB and KINEJAPAN: Most of the energy has shifted from
Kinema Club to KineJapan, and quite understandably. However, a recently installed log system has revealed that Kinema Club is being used far more than we imagined. It is getting well over
2,000 hits a week! A graph of the monthly usage from the site's inception to the present reveals a uniformly steady growth to the
present. At the moment, Aaron Gerow's reviews and the database are receiving the most use, however, we could certainly imagine many other ways to use both Kinema Club and KineJapan. They are conceived to be flexible, collaborative, and non-territorial. (This is an invitation to innovation.) As we consider the other items in this list, keep in mind how Kinema Club and KineJapan can facilitate these projects and agendas.
*** SUBTITLING: Our canon---such as it is---is incredibly narrow,
and the distribution systems for film and video mitigate against expansion. We need to take the situtation into our own hands and subtitle films. Films over 50 years old are public domain and could be distributed openly and commercially, and newer films would have to be done on a more informal basis. This can be done on the anime fan model or professionally.
Anime fan subbers produce subtitled video tapes using PCs and make free dubs for anyone that sends them blank tapes and a stamped return envelope; they stop this activity any time a commercial distributor picks up a film (although there is a question about whether this creates a chilling effect for distributors). This route could also use Kinema Club's original model: to have access to any of the tapes, one would have to contribute a new translation of a worthy film.
The professional route would create tapes or DVDs that could be inserted into the commercial system. Our collective effort would defray the expense of translation and print aquisition for distributors (at least for public domain films). A tape of subtitled _clips_ for pedagogical purposes would also be useful, as would tapes of silent films with benshi soundtracks in English and/or subbed Japanese.
*** TRANSLATION OF THEORY AND CRITICISM: Ironically, despite
the increased communication between scholars within and without Japan, there is a dearth of translations. A volume of key essays from Japanese criticism and theory would open up many pedagogical possibilities. It would stimulate new research agendas by calling attention to a rich aspect of Japanese film relatively untouched until recently. And it would certainly provoke new attention from Film Studies in general, which has a notoriously Euro-centric conception of the history of film theory.
*** ENCYCLOPEDIA: Routledge has just released an encyclopedia of
Chinese film, and is interested in producing one for Japanese film. Considering the kinds of 'encyclopedias' that have already been published, this could be an opportunity to revise the canon. It would also be an opportunity to think through the 'encyclopedia' itself, critique and experiment with its form. However, there are considerable practical and theoretical issues to hash out first. Are there enough dedicated and competent
collaborators to produce several hundred short (but excellent, critical) entries?
There must be other projects people can think of. We invite anyone reading this to start a thread on KineJapan. Such collaborative projects, including our march into the future, will start
right there.
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From: M Furniss <[log in to unmask]>
A new e-mail list has been started for individuals interested in animation scholarship. You can read messages and join at http://www.egroups.com/list/animationjournal/. You do not have to be a subscriber to Animation Journal in order to become a member.
-- Maureen Furniss
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From: 'Tom Rouse' <[log in to unmask]> Subject: Film Directors Email Discussion Lists
Film Directors Email Discussion Lists:
WeBeLists.com presents forums to discuss the works of your favorite directors.
malick-films
Discussion about the films of Terrence Malick.
peckinpah-films
Discussion list about the films of Sam Peckinpah.
kurosawa-films
Discussion about the films of Akira Kurosawa.
johnford-films
Discussion about the films of John Ford.
fellini-films
Discussion about the films of Federico Fellini.
Watch for more to follow
Subscribe online at http://www.webelists.com/ Follow link to Subscribe to Elists
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Reply to: [log in to unmask]
Xcp: Cross-Cultural Poetics
'Call for Papers'
Xcp: Cross-Cultural Poetics, a journal publishing innovative works in poetry, poetics, ethnography, and cultural & performance studies, seeks several previously unpublished essays for its upcoming issues:
1.) One or two essays are sought for a Fall 1999 special issue, 'Dia/Logos: Speaking Across'. Topics of interest include, but are not limited to, the following: hybridization of genres and traditions, transnational cultural formations, the poetics and politics of translation, dialogical ethnography, border theory, interviews (esp. w/ cultural studies theorists), etc.
Deadline: June 1, 1999.
2.) Several essays are sought for a Spring 2000 special issue, 'Documentary Poetics'.
Topics of interest include, but are not limited to, the following: the poetics and politics of fieldwork, films of Trinh T. Minh-ha, Deleuze's 'cinema', innovative readings of ethnographic films (cf. the recent volume _Beyond Document_), visual anthropology, Agee/Evans:_Let Us Now Praise Famous Men_, etc.
Deadline: October 1, 1999
Past contributors to Xcp: Cross-Cultural Poetics include Lila Abu-Lughod, Amiri Baraka, Rachel Blau DuPlessis, Nathaniel Mackey, and Gerald Vizenor.
All work should be sent to: Mark Nowak, ed., Xcp: Cross-Cultural Poetics, 601 25th Avenue South, Minneapolis, MN, 55454. Please include SASE for return of manuscripts, as well as your e-mail address.
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Subject: Media, Culture, and Technology (e-journal)
***X-POST from CFP***
Reply to: Andreas Kitzmann <[log in to unmask]>
http://www.kk.kau.se/mct/start.html
Welcome to M/C/T, a journal/e-zine concerned with Media, Culture and Technology. M/C/T is a new journal for a new medium for a new millennium.
M/C/T encourages writing that challenges given assumptions about the information society. We seek to analyse, critique, probe and raise questions about the intersecting vectors of media, culture and technology.
We invite our readers to join in the conversation and write for M/C/T. We encourage open hypertexts/cybertexts.
We are interested in publishing short, medium and full length articles, debates, reviews, multimedia, digital art, and just about anything that concerns media, culture and technology. We will publish 3 issues during 1999. We hope to increase that number in 2000, but that depends upon you!
This journal has its home (and server) at the Department of Media and Communication, Karlstad University, Sweden. It is an initiative of the Communication: Media and Information Technology research group. Our current editorial board consists of, Robert Burnett, Managing Editor; Andreas Kitzmann, Text Editor; Steve Gibson, Multimedia Editor; and Peter Bergting, Art Editor.
You can contact M/C/T in the following ways:
By mail: M/C/T - Journal of Media, Culture and Technology Media and Communications
Karlstad University
S-65188 Sweden
By e-mail:
General Inquiries: [log in to unmask] Article submissions: [log in to unmask] Multimedia submissions: [log in to unmask] Art submissions or commentary on the web site: [log in to unmask]
We would like to acknowledge our sister journal, M/C out of the Media and Cultural Studies Centre, University of Queensland, Australia. We encourage you to check out M/C.
http://english.uq.edu.au/mc/indexmain.html
_________________________________________________________________ Dr. Andreas Kitzmann [log in to unmask]
Senior Foreign Lecturer University of Karlstad, Sweden
Media and Communications 651 88 Karlstad, Sweden Universitetsg. 1 Fax: 46-(0)54-838445
Voice: 46-(0)54-702105 e-mail: [log in to unmask]
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CALL FOR PAPERS
MEDIA IN TRANSITION
A National Conference
October 8-10, 1999
Massachusetts Institute of Technology
Cambridge, MA
To celebrate the launch of our graduate program in Comparative Media Studies, we invite your participation in a conference on the topic of 'Media in Transition.'
This conference will also mark the conclusion of the Media in Transition Project, a series of lectures, forums and conferences begun in 1997 by the MIT Communications Forum and funded by the John and Mary R. Markle Foundation.
We intend this culminating conference to address the defining themes of the project by situating our current experience of media and cultural transformation in the perspective of earlier periods of technological and social change.
The Media in Transition Project aims to nourish a pragmatic, historically informed discourse about the significance of new communications technologies and the role of economic, political, legal, social and cultural institutions in mediating and partly shaping technological change.
A good deal of work on such topics has emerged in recent years across a range of academic disciplines. But one consequence of this intellectual diversity has been that scholars of comparative media have had little contact with each other. The Media in Transition conference hopes remedy this isolation by bringing together an interdisciplinary roster of scholars committed to understanding the past, present, and future of media.
We encourage papers that address the following themes:
The transformation of the book and book culture in the digital age Conceptions of intellectual property
Democratic culture and new media
The aesthetics of transition -- technological change and the arts and literature
The 'virtual community' as an historical construction Media change and central institutions (schools, libraries, banks, corporations, etc.)
Privacy, public safety, surveillance
Global media and local or national cultures Media audiences
'Vernacular theory' -- the role of science fiction, popular journalism, and other popular discourse in explaining emerging media
Technology and journalism -- the impact of technological change on journalism; newspapers and local readership
Social and cultural factors influencing the use and diffusion of new media Childhood and adolescence in a mediated culture Hypertexts: history, theory, practice
SUBMISSIONS: 1-2 page abstract to be submitted no later than July 1, 1999. Papers should be sent to: Media in Transition Conference, CMS office, 14N-430, MIT, Cambridge, MA 02139.
For more information about the Media in Transition Project: http://media-in-transition.mit.edu.
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>The premier issue of IN[]VISIBLE CULTURE: An Electronic Journal for Visual Studies is now available. The issue features art projects by Elizabeth Cohen and Sasha Lee. It also contains articles by Norman Bryson, Douglas Crimp, Michael A. Holly, Stephen Melville, Keith Moxey, and Janet Wolff.
>Please point your web browser to:
>http://www.rochester.edu/in_visible_culture/issue1.html
>We would appreciate any comments you may have about this issue.
>If you would like to share your thoughts with other readers, we have established a discussion group for the journal. For information on how to subscribe to the discussion group, and general information on the journal, please visit:
>http://www.rochester.edu/in_visible_culture.
>Thank you,
>Mario A. Caro
>Editor
>IN[]VISIBLE CULTURE: An Electronic Journal for Visual Studies http://www.rochester.edu/in_visible_culture [log in to unmask]
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From: Jayne Morgan <[log in to unmask]>
RESEARCHING CULTURE
An International Interdisciplinary Conference Hosted by the University of North London 10-12 September 1999 with
Ien Ang
Aijaz Ahmad
Jeffrey Richards
Angela McRobbie
and over 60 papers in concurrent panels over 3 days.
Today no single discipline owns the study of culture. This is an expanding field of analysis
across philosophy, anthropology, sociology, cultural and media studies, literature and film
studies, history, political economy, and more. We inhabit a cultural world in which globalisation may homogenise, but in which multi-cultural identities, hybridity and fundamentalisms define and redefine ëcultureí. This conference brings together researchers from a wide range of backgrounds to make sense of what Frederic Jameson termed the ëgigantic explosion of the culturalí in modern times. With more than 60 papers in concurrent panels over 3 days, there will be opportunity for wide ranging, interdisciplinary discussion. The Researching Culture conference will be formally opened by the Rt. Hon. Chris Smith, MP, Minister for Culture, and hosted by Professor Elizabeth Wilson.
For registration details,visit our website: http://www.unl.ac.uk/SICS/culture.htm
or email: [log in to unmask]
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From: J.E.Gibbs <[log in to unmask]>
I hope this updated information on the conference we are holding in March is of interest. Information is also available on the conference website http://www.reading.ac.uk/AcaDepts/lc/FD/home.html#International_Conference
John Gibbs.
The University of Reading Department of Film & Drama
Style & Meaning
Textual Analysis - Interpretation - Mise en scËne
17 18 19 March 2000
UPDATE
Key-note speakers include:
Laura Mulvey, V.F. Perkins, George M. Wilson
There are still opportunities to contribute to this major film conference devoted to practices of close analysis and in particular to the relationship between film style and meaning. After a period of relative neglect, in some respects film studies has been marked in recent years by significant developments in writing about visual style. Fundamental questions have been raised about the purposes of, and methodological frameworks for, the detailed analysis of film and about the place of interpretation and of evaluation. A central aim of the conference is to explore and debate methods of textual analysis and associated issues of meaning and value, as matters which should be central to teaching and writing about film.
In addition to the familiar pattern of keynote speakers, 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 extended discussion.
Proposals are invited on any area of cinema but we are looking especially for papers and workshop introductions which will contribute to debates about the principles and practices of close analysis. Proposals on pedagogy, on the history of criticism, or on theoretical issues related to film analysis, style, interpretation etc. are also welcome
Abstracts should be about 200 words (papers will be about 20 minutes in length and workshop introductions up to 30 minutes) 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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Press Release
The Netherlands Media Art Institute
MonteVideo/TBA
___________________________________________________________________________
That Media Thing
May 28th, 1999, 10.00 - 17.00 h.
2 Hoog Achter
___________________________________________________________________________
The Netherlands Media Art Institute, MonteVideo/TBA, in co-operation with ASCA (the Amsterdam School of Cultural Analysis) and L&B(Lier & Boog) / Global Vernunft, will organize the international symposium That Media Thing.
That Media Thing will focus on such questions as: in how far can we make a distinction between media art and other forms of art? Can media art theoretically be defined by one single enclosed model, or should we rather embrace the pluriformity encountered in both theory and practice? In media art, the lack of restraint with regard to tradition - which is characteristic of other, more established media - becomes clear in the manner of presentation. This is why That Media Thing will prioritise the problems of presentation.
Participants:
Artists: Peter Bogers (NL)
Ken Feingold (USA)
Curators: Iris Dressler and Hans D. Christ, Reservate der Sehnsucht, hARTware Projekte
Dortmund.
Theoreticians: Marie-Louise Angerer, Professor of New Media, University of Salzburg
Annette W. Balkema (moderator), journal L&B Joost Bolten, researcher New Media
Siegfried Zielinski, Kunsthochschule für Medien, Cologne.
At That Media Thing, the speakers' different points of view should spark off a debate on the possibility of new and topical concepts.
Synopses of the speakers' statements will be available from May 15th for perusal at MonteVideo/TBA, or via:
http://www.montevideo.nl/thatmediathing.html. After May 28th, this website will also be open to those who wish to respond to these statements. This chat box will be open until the end of September, 1999.
A report of the symposium will be published (in English) in L&B, Vol. 15, mid-October 1999.
The symposium language is English.
Admission: NLG 30.-, students NLG 15.- (please book in advance, Tel. +31 (0)20 6237101)
More news will be publicized via the MonteVideo/TBA homepage. __________________________________________________________________________________
For more information, please contact Bart Rutten [log in to unmask], or Marieke Istha, [log in to unmask]
The Netherlands Media Art Institute, MonteVideo/TBA, Keizersgracht 264, NL 1016 EV Amsterdam.
T: +31 (0)20 623 7101 F: +31 (0)20 624 4423 [log in to unmask] http://www.montevideo.nl
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From: Melis Behlil <[log in to unmask]>
Subject: Conference on Turkish Cinema
MIME-Version: 1.0
This posting is an update on the information sent out earlier on the 'Film Theory Meets Turkish History' Conference to be held at Istanbul Bilgi University in Turkey, between June 18-20, 1999. Information is also available at www.ibun.edu.tr/cinema . Updates and possible changes will be announced from the Conference Homepage.
Istanbul Bilgi University Film and TV Department will be holding a conference to bring together Teaching/Research Assistants, PhD and MA candidates from around the globe. The conference, which will be held June 18-20, 1999, will focus on the multiple identities and the multicultural facets of the Turkish cinema. As a virtually non-explored field from the standpoint of film theory, we believe this theme will open up new perspectives to all scholars who are researching and theorizing many of the aspects of national cinemas.
Schedule
18 June 1999, Friday
-Opening
Prof.Dr. Ylter Turan, Rector (YBU)
Martin Fryer (British Council)
-Prof. Nevena Dakovic (Belgrade University)
'Threshold of Europe / Imagining the Balkans -Workshops / Film Screenings
19 June 1999, Saturday
-Dr. John Hill (Ulster University)
'Living with Hollywood: National Cinemas in the Era of Globalization' -Yard.Doc.Dr. Selim Eyubo?lu and Tuna Erdem (YBU)
'Woman as a Metaphor'
- Workshops / Film Screenings
20 June 1999, Sunday
-Prof. Dr. Deniz Derman (YBU)
'The Transformation of an 'Impotent': Ebediyete Kadar' -Fatih Ozguven (YBU)
'The Taste Left In Our Mouth'
-Workshop Presentations
-Closing Party
Workshop Topics
Turkey Abroad
On the Town: City Life and Istanbul
Turkish Kitsch and Camp
Anything They Can Do, We Can Do Better?: Temptations of Remaking Influences From Beyond Hollywood
Women Under the Influence: Representation of Women Transformation and Hybridization of Genre Rise and Fall of 60's Popular Cinema
Stranger in a Strange Land: Theme of Migration Turkish History on Film
Colonialism, Counter Colonialism and Post Colonialism
For more information, please contact [log in to unmask]
Melis Behlil
Istanbul Bilgi University
90-212-216-2222 x364
90-212-216-8445 (fax)
[log in to unmask]
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From: Chris Brophy <[log in to unmask]>
INFOG99: WEBSITE NOW AVAILABLE
a conference on the latest digital developments in screen culture and research
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Dates: 14-16 July 1999 Venue: Cinemedia at Treasury Theatre, Melbourne , Australia
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
The full conference program, information on keynote speakers, registration form and accommodation information is now available on the Australian Film Institute website at:
http://www.afi.org.au/infog99/index.htm
or
http://www.afi.org.au/infog99
INFOG99 (Information Gathering 1999) is an initiative of Australian Film Institute Research & Information Centre presented in association with Cinemedia (Victoria), ANSPAG at Monash University and RMIT University Department of Communication Studies.
Registration* fee:
Early bird registration (received by 14/6/99) A$220 Registration after 14/6/99
A$250
Single day registration
A$150
*Registration includes lunch and morning and afternoon refreshments.
MAIN THEMES FOR INFOG99:
* Access - latest developments in the digital delivery of screen
products and services
* Strategies and issues for screen education in a digital environment
* Who is using the new technology? - the audience factor
Keynote Speakers at INFOG99 are:
* Dr Steven Ricci, Head of Research and Study at the UCLA Film and
Television Archive on archival moving images in Digital Domains * Tony Pearson, Co-Director of the Glasgow University Performing Arts
Data Service (PADS) speaking on this pilot project http://www.pads.ahds.ac.uk
* Richard Paterson, Controller, Projects & Development, British Film
Institute, on BFI online projects
Other program highlights include:
* Andrew L. Urban (UrbanCinefile) & Peter Hughes, La Trobe University
(Screening the Past) on screen e-journals * presentations on the Victorian Performing Arts Multimedia Library
(PAML) project and Docklands and Federation Square plans for digital programs and services
* Copyright Hypothetical
* Updates on access to video material in the TransAct broadband trial
(Kerry Webb, CSIRO) and a new indexing & querying system for AV libraries - VEGGIE (from DSTC at Uni of Queensland)
* Dr Tom O'Regan, Director Australian Key Centre for Media & Cultural
Policy & Mark Balnaves, Murdoch University, on Managing changes to a screen studies digital environment
* updates on online access to information on Australian screen
industries (Screen Network Australia site) and the collections of the National Film & Sound Archive of Australia, Cinemedia Access Collection/National Film & Video Lending Collection, and Australian research libraries specialising in screen information
For further information, contact the conference convenor: Chris Brophy
Information Services Manager
Australian Film Institute
Tel: 613 9695 7217
Fax: 613 9696 7972
email: [log in to unmask]
http://www.afi.org.au
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Announcing Culture Machine, a new journal in cultural studies/cultural theory
Inter-active, fully refereed, and with an International Editorial Board that includes Lawrence Grossberg, Peggy Kamuf, Alphonso Lingis, Meaghan Morris, Paul Patton and Mark Poster, the Culture Machine journal can be found at:
http://culturemachine.tees.ac.uk
The first issue, Taking Risks with the Future, edited by Gary Hall and Dave Boothroyd, includes:
Timothy Clark and Simon Wortham on instituting the institution Lawrence Grossberg, Johan Fornas, Ken Surin and Tadeusz Slawek on the future of cultural studies
Sue Golding, Adrian Mckenzie and Michael Naas on new technologies
Future issues include:
The University
Virologies
Culture Machine welcomes original, unpublished, unsolicited submissions on any aspect of culture and theory. Anyone with material they would like to submit for publication is invited to contact:
Culture Machine c/o Dave Boothroyd and Gary Hall School of Law, Arts and Humanities
University of Teesside
Borough Road
Middlesbrough
TS1 3BA
UK
e-mail: [log in to unmask]
or [log in to unmask]
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This is a call for papers for a special issue of CineAction (no. 50) which
will be devoted to the work of Hitchcock and Cukor to mark their centenary.
Deadline for submissions including a hard copy and disk is July 10th. We have already received a number of articles on Hitchcock, but are still
open to outstanding original submissions. Although this is planned as a
celebratory issue, intelligent adverse positions are by no means excluded.
Cukor's work is currently underrepresented.
Please mail submissions directly to the issue's editors: Robin Wood and Richard Lippe
40 Alexander St. apt. 705
Toronto Ontario
M4Y 1B5
ph. # 416 964 3534
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1999 Visible Evidence Conference,
The registration form is now available for this years conference. The form can be found on our web-site as a pdf file which you can open with Acrobat Reader. If you do not have this free program (acrobat reader) you can download it at:
http://www.adobe.com/prodindex/acrobat/readstep.html#reader
Our web-site address is www.cinema.ucla.edu/visible/
The program has not been finalized as of yet, but we anticipate that it will also be on the same web-site by mid June.
Please note that the Reg. fee is slightly higher than last year due to the fact that we need to cater lunch on both Saturday and Sunday.
Housing costs can be reduce by sharing a room, as rates are per room not per person.
The deadlines listed are firm, as non-paid housing reservations must be released on June 15.
If you have any questions please don't hesitate to contact us.
James Friedman
Manager, Archive Research and Study Center UCLA Film and Television Archive
310-206-5388
310-206-5392 (fax)
[log in to unmask]
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The Australasian Society for Continental Philosophy presents its annual interdisciplinary conference:
1999 - TO BE DONE WITH JUDGEMENT
ethics, aesthetics, etc.
27-29 AUGUST 1999
SYDNEY AUSTRALIA
with special guests:
ALAIN BADIOU
(University of Paris VIII - Vincennes at Saint-Denis) and STEVEN SHAVIRO
(Washington State University)
and a Round Table reflecting on the history of continental philosophy in Australasia
The ASCP invites all those working in the field of continental philosophy to participate in this annual forum. The year 1999 calls up a time of 'judgement', a time also no doubt for its critique.
'Judgement' is a word that in its passage across different contexts conveys gestures as disparate as the strike of a gavel and the stroke of
a paintbrush,
a hinge between the past and the future. With the visit of Derrida to Australia, it seems also to be a good moment to reflect on and judge the particular evolution of continental philosophy in this End of the World.
Submissions due by: June 30, 1999
Notification of acceptance by: July 22, 1999
Our Round Table will involve shorter (eg. 5 minute) presentations and general discussion. Please specify if you would like to make formal contribution to this discussion.
Please submit abstracts of no more than 300 words to [log in to unmask] or
PO Box 37, Holme Building, University of Sydney NSW 2006. Abstracts may be refereed so please be specific. Any inquiries also to this address.
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Scope: An Online Journal of Film Studies
Our book reviews are now online, via the link below!
The journal is available online for free, although there will also be a print form available that will compile the complete output of each year.
Also, if you would like to contribute to the journal, please send us your name, address and contact details. We are always looking for high quality reviews and articles.
Dr Mark Jancovich
Senior Lecturer and Director
The Institute of Film Studies
University of Nottingham
University Park
Nottingham, NG7 2RD
United Kingdom
Tel: 0115 951 4250
Fax: 0115 951 4270
email: [log in to unmask]
http://www.nottingham.ac.uk/film/
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Visual Culture and Globalization
2000 NORTHEAST MODERN LANGUAGE ASSOCIATION ANNUAL CONFERENCE APRIL 7-8, 2000 / BUFFALO, N.Y.
The aim of this panel is to critically examine the theoretical assumptions that have long associated contemporary (Western) visual culture with cultural imperialism _as such_, and which have consequently placed the visual at the center of our understanding of the globalization of culture.
There are a number of questions that need to be answered concerning the relationship of visual culture to globalization. For instance, why is it visual culture that has been seen as perhaps the most powerful and dangerous force for (and consequence of) cultural globalization? Why is it thought to have such potent effects on identity, shaping and modifying it in ways that (it is assumed) other global cultural forms (such as literature and music) do not? Why does the impact and significance of visual culture seem to be understood in relation to the geographic space of the nation and specifically to _national_ identity (as evidenced by numerous national cultural policies designed to encourage the production of 'local' visual culture over and against 'global' ones)? Does visual culture (usually associated with mass culture and the culture industry) have to be taken as a threat to 'local' individual and social identities, or does it have a role in producing new, potentially more complicated ones? Over the course of this century, the rise of visual culture to a position of relative dominance in (Western) cultural production has gone hand-in-hand with the intensification of the processes (economic, political, social and cultural) collectively known globalization. What still needs to be determined are the precise connections between visual culture and globalization, between the fascinations of the image and the breakdown of the clearly defined spaces that culture was once thought to inhabit.
Papers that deal with (or challenge) the connections between visual culture and globalization made above, or which examine the relationship between visual culture and globalization in other ways, are welcome. Send proposals (up to 500 words in length) by September 15, 1999, to:
Imre Szeman
Department of English
McMaster University
1280 Main Street W., CNH-321
Hamilton, ON L8S 4L9
Canada
Ph: (905) 525-9140 ext. 24491
Fax: (905) 777-8316
E-mail: [log in to unmask]
Scholars interested in submitting a proposal to this session are urged to contact me to express their (preliminary) interest well in advance of the deadline.
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Centre for Research into Film at the University of Newcastle upon Tyne, UK
New Seminar Series 1999-2002: Masculinities and Cultural Change in Europe
This series of seminars will open with a one-day conference on Thursday 11 November 1999.
10.00 Phil Powrie: Introduction.
10.30 Keith Reader (Newcastle): 'Masculinities in Bresson'
11.30 Elizabeth Ezra (Stirling): 'The Case of the Severed Head: Absent Fathers in Feuillade's Les Vampires'
14.00 Jose Arroyo (Warwick): 'New Macho/Queer Nation: An exploration of the intersection of sexual and national identity through Javier Bardem's star persona'
15.00 Chris Perriam (Newcastle) 'Looks and the De(con)struction of Identity in Amena'bar's Abre los ojos'
There will be no charge for attendance. The venue will be posted at a later date. Please consult our website for details of future papers.
Phil Powrie
Professor of French Cultural Studies
Head of the School of Modern Languages
Director of the Centre for Research into Film University of Newcastle upon Tyne NE1 7RU Tel: 0191 222 7492
Fax: 0191 222 5442
School webpage: http://www.ncl.ac.uk/sml Centre webpage: http://www.ncl.ac.uk/crif
[SEE http://www.ncl.ac.uk/crif/seminars.htm FOR DETAILS OF THE ONE-DAY CONFERENCE ON MASCULINITIES & CULTURAL CHANGE IN EUROPE]
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Interdisciplinary Studies: In the Middle, Across, or in Between?
Annual Meeting of the American Comparative Literature Association
Yale University, February 25-27, 2000
http://www.yale.edu/complit/acla2000.htm
-------------------
Comparative Literature has increasingly been offering an intellectual and institutional space where students and scholars can feel free to explore the possibilities--and limits--of interdisciplinary work. The organizing committee of the 2000 ACLA Conference seeks proposals dealing with specific manifestations of this particular development and with their theoretical basis.
We are especially interested in topics with a broad historical and geographical emphasis and extend a particular invitation to scholars studying connections between literary studies and the social and natural sciences, including, in no particular order, physics, economics, politics, law, anthropology, medicine, history, linguistics, philosophy, psychology, and sociology. Proposals focusing on cross-fertilization with archeology, music, and the visual arts (including architecture, film, cartoons, and comic strips) are also welcome.
See http://www.yale.edu/complit/acla2000.htm for further details, including a list of suggested topics and a regularly updated list of seminar proposals for which contributions are being solicited.
We expect that the majority of sessions will take the form of 12-person seminars, meeting two hours a day for the three mornings of the conference, with four papers presented each day. There will also be a number of 8-person seminars, meeting two hours a day for the two afternoons of the conference. Each participant will have the opportunity to take full part in one seminar and then float freely among individual sessions in other seminars.
We invite proposals for either an individual paper or a fully or partially formed seminar. You can join with a number of other people to present a fully-formed seminar; alternatively, you can propose a topic you would like to see, with one or more abstracts already attached to it, and the conference committee will try to fill out the seminar as appropriate. (Should this prove impossible, the committee will make every effort to find other seminar homes for the submitted abstracts.)
If you have a seminar topic for which you wish to solicit contributions directly, you may do so by forwarding your solicitation to the secretariat of the ACLA at [log in to unmask] Your solicitation will then be posted on the conference web site (http://www.yale.edu/complit/acla2000.htm). Be sure to give a deadline that will give persons whose proposals you will not be able to accommodate ample time to submit their proposal independently to the Program Committee.
If you wish to submit a paper to one of the seminars advertised on the conference web site, send it to the organizer(s) of the seminar by the deadline they have listed. If they are unable to accommodate your paper, they will inform you so that you can still submit it independently to the Program Committee by the September 30, 1999 deadline.
DEADLINE FOR THE RECEPTION of seminar and independent paper proposals by the Program Committee at Yale University: SEPTEMBER 30, 1999
One-page abstracts for individual paper proposals must include NAME, DEPARTMENTAL AND INSTITUTIONAL AFFILIATION, POSTAL ADDRESS, and E-MAIL ADDRESS; seminar proposals must include one-page abstracts for each presenter, as well as names, departmental and institutional affiliations, postal addresses, and e-mail addresses of ALL participants.
Proposals MUST be sent via SURFACE or AIR MAIL to:
ACLA 2000 Program Committee
Department of Comparative Literature
Yale University
P.O. Box 208299
USA - New Haven, CT 06520-8299
Street address (for private companies such as FEDEX or UPS): ACLA 2000 Program Committee
Department of Comparative Literature
Yale University
344 College Street
105 Connecticut Hall
USA - New Haven, CT 06511
IMPORTANT: DO NOT SEND INDIVIDUAL PROPOSALS OR FINALIZED SEMINAR PROPOSALS TO THE ACLA. The Yale Program Committee will be making all decisions concerning proposals.
DO NOT SEND SUBMISSIONS ELECTRONICALLY, ONLY SEND HARD COPIES.
THANK YOU.
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The Velvet Light Trap, no. 46, Fall 2000: Call for Papers
Religion and the Media
>From televangelism to _Touched by an Angel_, from the Production Code to
representations of the occult, religious imagery, ideas, and experience have appeared in and around film and television throughout the histories of both media. Contemporary industrial and cultural shifts, particularly those surrounding globalization, niche marketing, postcoloniality, and fundamentalism, have made the relationship between religion and the media all the more visible, while controversies over representations and their spiritual or moral influence remain as persistent as ever. While film and television texts provide ample opportunity for the analysis of religion and the media, so too do the industrial arrangements, social contexts, and audience experiences surrounding these texts. Given this variety of potential perspectives, _The Velvet Light Trap_ invites papers that contribute to film and television studies by exploring the relationship between religion and the media.
Possible topics for this issue may include, but are not limited to:
* Representations of Religious Figures or Icons (e.g., prophets, angels, demons)
* The Occult (e.g., magic, astrology)
* Cults
* Millenialism
* Atheism
* Gender, Race, Ethnicity and/or Postcolonial Identity and Religion * Transnational/Global Media and Religion * Conflation of Religion and Ethnicity
* Religion and Genre (e.g., horror, Biblical epics, science fiction) * Music and Religion (e.g., gospel music, church-derived music tracks) * Documentary and TV Journalism
* Religion and New Technologies (e.g., cyber-religion) * Religion and Star Identity
* Fanaticism and Fandom
* Religion and Youth Culture
* Religious-based Controversies over Media (e.g., issues of censorship, the Production Code, protests by subaltern groups, Religious Right campaigns) * Religious Institutions as Sites of Media Exhibition * Religious Production Practices (e.g., religious activist media, televangelism)
* Religion-based Networks/Channels
* Targeting Religion-affiliated Audiences * Religious Press Coverage of Film and Television * Religious Education and Media Pedagogy
Papers should be between 5,000 and 6,500 words (20-25 pages double-spaced), in MLA style with a cover page including the writer's name and contact information. Please send four copies of the paper in a format suitable to be sent to a reader anonymously. All submissions will be refereed by the journal's Editorial Advisory Board. For information or questions, contact Elana Levine (608-286-1528, [log in to unmask]) or Christopher Sieving (608-256-3740, [log in to unmask]). Submissions are due September 15, 1999, and should be sent to:
_The Velvet Light Trap_
University of Wisconsin-Madison
Department of Communication Arts
821 University Avenue
Madison, Wisconsin USA 53706-1497
_The Velvet Light Trap_ is an academic, peer-reviewed journal of film and television studies. The journal is published bi-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 as Michael Curtin, Manthia Diawara, Alexander Doty, Cynthia Fuchs, Herman Gray, Lynne Joyrich, Barbara Klinger, Charles Musser, Chon Noriega, Lynn Spigel & Chris Straayer. --------------------------------------------------------
Madhavi Mallapragada
Editorial Board,
The Velvet Light Trap.
[log in to unmask]
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STRATEGIES:
JOURNAL OF THEORY, CULTURE & POLITICS
Volume 12, Number 1, May 1999
Popular/Theory
Editorial Note 5
Popular/Theory 7
R. L. Rutsky
Spinography: From Tom Edison's Lightbulb to Walter benjamin's Alarm Clock 13
Craig Saper
All the Stupid 'Sex Stuff,' or Fun with Feminism at the End of the Millennium 25
Marilyn Manners
There's Always Room for Cello: Irony and the Logics of Alt.Rock 35
Kevin J. H. Dettmar
Godzilla in the Details
Joyce E. Boss 45
The Clique of Spike-heeled Shoes: Language, Fashion and Identity in the Texts of tatiana de la tierra and Alice Kaplan 51
Kirsten Hill
The Scene of Truth in The X-Files 61
R. L. Rutsky
The Tension of Forces: Television, History, Brazil 71
James Wiltgen
Notes on Contributors 109
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