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Dear colleagues
Apologies for cross-posting. The extended deadline for the call for papers for the Partners in Suspense: Bernard Herrmann and Alfred Hitchcock conference taking place in York in March is rapidly approaching on the 1st of February. We welcome any submissions on topics relating to the work of the films of Herrmann and Hitchcock, issues relating to film music and sound, and relationships between filmmakers and composers.
Partners in Suspense: Bernard Herrmann and Alfred Hitchcock: 24th, 25th, 26th March 2011
Due to a number of enquiries, we have extended the deadline for the call for papers until the 1st of February. In particular, we are seeking proposals for papers and workshops on the following topics relating to film music and composing for film:
• Recording film music as a technical and practical process
• Reading strategies for film music
• Collaboration between filmmakers and composers
• Narrative uses of music
• Relationships between music and narrative
• Interactions between music and screen performance
• And any other theoretical or analytical approaches to film music and sound
We welcome proposals for papers, pre-constituted panels, or workshops that apply practical responses to the issues addressed by the conference. Potential contributors are invited to submit a 300 word abstract and short bio to [log in to unmask] by 1 February 2011. Panel proposals should include a 300 word summary of the panel in addition to abstracts and bios. Workshop proposals require a 500 word summary, an outline of the session’s goals, and bios for all participants. Acceptance notices will be returned by 10 February 2011. Selected papers will be published in an edited collection.
Call for papers:
"Hitchcock and Herrmann shared a dark, tragic sense of life, a brooding view of human relationships, and a compulsion to explore aesthetically the private world of the romantic fantasy.” Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock
One of the most famous, tempestuous and productive creative relationships in Hollywood, Bernard Herrmann and Alfred Hitchcock collaborated on some of cinema’s most memorable films, sequences and musical motifs. To coincide with Herrmann’s centenary in 2011, this three-day conference seeks to explore the relationship between Herrmann and Hitchcock and aims to bring together practitioners and academics working on a range of theoretical, analytical and historical perspectives.
Analyses of film have long favoured the visual frame over the aural or musical text, rather than considering the film text as a whole. The conference will seek to address this problematic area of film theory and analysis as well as research on the working partnership between Hitchcock and Herrmann, engaging with new work on the relationship between sound and vision, theories of film music and broader implications of the legacies of both Hitchcock and Herrmann. Papers are also invited that examine Herrmann’s broader catalogue of film music beyond the works with Hitchcock, from Citizen Kane to Taxi Driver, as well as those that consider theoretical perspectives on film music, authorship and the nature of collaboration between composers and filmmakers.
Keynote Speakers:
• Professor Charles Barr (University College Dublin)
• Professor Richard Allen (New York University)
• Professor Emeritus Neil Sinyard (University of Hull)
• Professor Jack Sullivan (Rider University)
• Professor David Cooper (University of Leeds)
• Dr Kevin Donnelly (University of Southampton)
Special events:
Filmmaker Mark Herman (Brassed Off, Boy in the Striped Pyjamas) will participate in a Q&A exploring his work with renowned film composers, including Trevor Jones and James Horner.
The Tippett Quartet, as part of their HerrmannFest 2011, will perform selections of Herrmann’s film music, and new works inspired by Herrmann’s work on Hitchcock’s films. The Quartet will also perform a new score for Hitchcock’s The Lodger.
Possible themes include (but not limited to):
• The working relationship between Herrmann and Hitchcock
• Legacies of the Hitchcock-Herrmann collaboration
• Herrmann’s work with other filmmakers
• Performing Herrmann’s concert music
• Theoretical approaches to film music composition
• Recording film music as a technical and practical process
• Reading strategies for film music
• The relationship between sound and vision
• Considerations of authorship
• Collaboration between filmmakers and composers
• Narrative uses of music
• Relationships between music and narrative
• Interactions between music and screen performance
• Any other relevant theoretical or practical perspective
Please address any general queries to Vanessa Simmons ([log in to unmask]) or visit our website www.yorksj.ac.uk/partnersinsuspense
Dr. Steve Rawle
Lecturer in Film Studies
Faculty of Arts
York St John University
Lord Mayor's Walk
York
Y031 7EX
Tel: 01904 876584
www.yorksj.ac.uk/partnersinsuspense