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F I L M - P H I L O S O P H Y
Internet Salon (ISSN 1466-4615)
PO Box 26161, London SW8 4WD
http://www.film-philosophy.com
News | October 2000 (b)
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From: [log in to unmask]
Call for Papers
Visual Communication is a new interdisciplinary journal being launched in
February 2002 to provide an international forum for the growing body of
work in visual communication. The journal will be edited by Theo van
Leeuwen, Cardiff University, UK, Carey Jewitt, Institute of Education, UK
and Ron Scollon, Georgetown University, USA.
Visual Communication's definition of the visual will be broad and
include: still and moving images, graphic design, visual phenomena such as
fashion, professional vision, posture and interaction, the built and
landscaped environment and the role of the visual in relation to language,
music, sound and action.
The journal will be interdisciplinary bringing together articles from a
range of disciplines, including: anthropology, communication studies,
discourse studies and semiotics, media and cultural studies, sociology,
disciplines dealing with history, theory and practice of visual design.
Details are available on our website:
http://www.sagepub.co.uk/journals/details/j0359.html
For further information about contributing or subscribing to this new
journal please contact:
Jane Makoff, Sage Publications, 6 Bonhill Street, London, EC2A 4PU
Tel: +44 (0)20 7374 0645
Fax: +44 (0)20 7374 8741
Email: [log in to unmask]
_____________________________________________
_____________________________________________
From: "shannon o'neill" <[log in to unmask]>
To: [log in to unmask]
Subject: audiovision
Message-Id: <[log in to unmask]>
At the 'Film/Sound/Music' forum at Electrofringe last Sunday,
it was agreed that there is a need for greater understanding
between audio and visual artists.
For example, lip service is often paid to the importance
of sound in film, but in (industry) practice, sound tends
to find itself at the bottom of the hierarchy. The same is
often true of other audiovisual art forms, resulting in their
failure to reach their potential.
The 'audiovision' email discussion list has been created
in an effort to help redress this balance.
Transcending scopocentrism, audiovision is a forum for
Australian film/installation/multimedia/music/sound/video
practitioners to discuss progressive approaches to their
crafts.
It is hoped that the list will lead to greater understanding
between Australian audio and visual artists, creating a
supportive community. Interested persons from outside
of Australia are also welcome.
To subscribe, send an email to:
[log in to unmask]
or visit:
http://www.egroups.com/group/audiovision
Please forward this announcement to anyone who
may be interested.
Regards
Shannon O'Neill
_____________________________________________
_____________________________________________
Reply to: <[log in to unmask]>
Call for Papers
Travelling Concepts: Meaning, Frame, Metaphor
The Amsterdam School for Cultural Analysis (ASCA)
University of Amsterdam
7, 8, 9 March, 2001
Over the past year, graduate students and postdoctoral scholars in the ASCA
seminar group have discussed the concepts of meaning, frame and metaphor
based on the work of Mieke Bal, Derrida, W.J.T. Mitchell, Judith Butler, de
Man, Bryson, Culler, Lakoff and Johnson, and others. More specifically, the
seminar focused on ways in which meaning, frame and metaphor have travelled
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 usages need to be unpacked and evaluated. The validity and usage of
concepts is then subject to debate which proceeds by referring back to the
traditions and schools from which these concepts emerged and forward to
their relevance for cultural analysis. And because concepts travel, the
Amsterdam School emphasizes the methodological implications of the
interdisciplinary study of culture.
ASCA is now inviting submissions on how meaning, frame and metaphor have
travelled, as concepts, between disciplines, schools, historical periods and
academic communities, as well as how they can 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,
7,8,9 March, 2001.
Proposals, in English, should be no more than 250 words in length. In order
to be considered, submissions must reach the following address by November
15, 2000. Final papers should not exceed 4000 words and must arrive at ASCA
by January 15, 2001. For more information, consult the ASCA web site at
http://www.hum.uva.nl/~asca.
ASCA
t.a.v. Joyce Goggin
Spuistraat 210
1012 VT Amsterdam
The Netherlands
email: [log in to unmask]
Fax: 020-525 3052
_____________________________________________
_____________________________________________
transmediale.01 - interational media art festival berlin
DIY [ do it yourself ! ]
4 - 11 February 2001
CALL FOR ENTRIES
The transmediale will award three prices in 2001 - each worth DM 10.000 -
in the following categories:
Interactive, Video and Artistic Software.
The transmediale.01 invites entrants to submit artistic projects developed
in or after 1998.
Interactive installations are invited in the INTERACTIVE section together
with virtual environments, CD-ROMs, DVDs, Internet, performance projects
etc. in which visitors or users are not simply "interpassive" but are
encouraged to respond and act in a creative manner.
The VIDEO section covers linear, time-based presentations searching for new
aesthetic forms of expression. These can be on DVD, various video formats
or film (up to 35 mm).
The as yet barely defined ARTISTIC SOFTWARE section incorporates projects
in which algorithmic computer software is not merely a functional
instrument, but is itself an aesthetic and creative form of expression of
artistic activity.
Please notice that the award competition will concentrate on artistic
projects which are concerned with the DIY development and construction of
creative tools and are designed to pass on creative media competence.
Please download the entry form (pdf) at our website http://
www.transmediale.de
The closing date for entries is 31 October 2000 (postmark).
It is urgently requested that entries should arrive prior to that date,
however.
The transmediale - international media art festival berlin - will be held
from 4 to 11 February 2001 in the Podewil - Center for Contemporary Arts -
in Berlin and at other venues. The transmediale is a platform for artistic
and critical reflection on the role of digital technologies in present-day
society. The festival provides a forum for communication between artists,
those working in the media and a wide range of experts and offers a
stimulating environment for the presentation of major new digital culture
projects.
Hosted by Berliner Kulturveranstaltungs-GmbH
Supported by Hauptstadtkulturfond, Berlin Senate, European Commission -
Media II and Sponsors
Special thanks to: Contrib.Net
transmediale
Klosterstr. 68 - 70 10179 Berlin GERMANY
Tel. ++49 30 / 2472 1907 Fax ++49 30 / 2472 1909
[log in to unmask] www.transmediale.de
_____________________________________________
_____________________________________________
Press Release:
Proboscis announces the launch of www.diffusion.org.uk,
a new online publishing imprint.
DIFFUSION is a new publishing imprint from Proboscis which aims to
utilise the specific advantages of digital media to create a new means
of combining critical thinking and creativity.
10 texts have been commissioned on the intersections between live or
performance art and film, video and new media technologies. Over the
years the boundaries between these practices have become blurred as
artists, thinkers, writers and film and video makers have collaborated
and drifted across modes of practice. DIFFUSION critically explores this
cross-fertilisation and at the same time re-presents these ideas as
creative practices.
The selection of contributors for this first series is an eclectic and
disparate cross-section comprising architects and filmmakers,
philosophers and poets - all are artists in one way or another, all have
an intimate relationship to performance in their work.
DIFFUSION has two formats: the first is the FREE downloadable ebooks -
designed to be printed out and made into books by the readers. The books
are saved as Adobe PDF files: users can download the free Adobe Acrobat
Reader to view the files from www.adobe.com.
The second format is ‘performative’ - interactive online versions to be
released individually throughout the autumn of 2000. These are also
explorations - of the potential for exploiting the range of tools new
media possesses to rethink what it means to create a critical space
online.
TITLES IN THE PERFORMANCE NOTATIONS SERIES:
Rob Gawthrop One
Marcelyn Gow SPeeLINE electronic spatial envelopes
Marina Grzinic Hybrid Spaces & Forms in Contemporary Art
Kevin Henderson Between the Eyes Evil Shaved
Vit Hopley & Yve Lomax Real Time
Katharine Meynell The Island Bell
johnny de philo [Sue Golding] Nomadic Codes: skin, taste, burn
Declan Sheehan Toxin: Truth, Multimedia & Conceptual Art
Monica Ross & Anne Tallentire The Fact of the Matter
Aaron Williamson Phantom Shifts: Performance Notations
Conceived by Giles Lane
Series edited by Giles Lane & Catherine Williams
Print Design by Paul Farrington & Nima Falatoori
Interaction Design by Noel Douglas
a full press release in Adobe PDF is downloadable from:
http://www.crd.rca.ac.uk/diffusion/DiffusionPR.pdf
Proboscis
2 Ormonde Mansions, 100A Southampton Row, London WC1B 4BJ
Tel: 07711 069 569 | Fax: 020 7430 1147 | Email: [log in to unmask]
http://www.proboscis.org.uk | http://www.diffusion.org.uk
_____________________________________________
_____________________________________________
From: Simon Tarr <[log in to unmask]>
Subject: Attention hand-processors!!!!!
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Call for Submissions
The Journal of Film and Video: Multimedia Edition, 2001
The Journal of Film and Video seeks both media art and media reviews for the
next multimedia edition, for release in late 2001.
The 2001 Multimedia Edition will focus on the art of handcrafted films.
Submissions may include, but are not limited by, the following attributes:
hand processing, tinting, toning, reticulating, painting, scratching, or
other forms of physical, chemical, or physio-chemical manipulation performed
by the artist. With regard to content, submissions may be from any genre or
genres, category or categories, or length.
The deadline for media submissions is February 1, 2001. Media submissions
must be sent in a preview format of VHS-NTSC.
The Journal of Film and Video is a refereed publication. Media submissions
will be prescreened and selected by a Review Board, and reviewers will
respond to the selected films. Written reviews are welcome in advance of the
Board's decision, either as a writing sample or as a suggestion of work to
review. For more information about the Journal of Film and Video, please go
to http://ufva.org/journal.html
Artists and reviewers must be members of the University Film and Video
Association in order for films to participate. The UFVA is an international
association of imagemakers, artists, teachers, students, archivists,
distributors, college departments, libraries and manufacturers that provides
opportunities to discuss and share ideas with colleagues, evaluate creative
work and monitor the developments in film/video technology, education,
scholarship and artistic pursuits. For membership information, please go to
http://www.ufva.org
Submissions and inquiries should be seat to Simon Tarr, 115 Carnegie
Building, University Park, PA 16802, [log in to unmask]
--
Simon Tarr
Penn State, College of Communications
email: [log in to unmask] web: www.berserker-rage.com
115 Carnegie Building
University Park, PA 16802
voice: 814-865-0935 fax: 401-735-5553
_____________________________________________
_____________________________________________
From: Chris Kennedy <[log in to unmask]>
Subject: Lux: A Decade of Artists' Film and Video
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YYZ Books and Pleasure Dome are pleased to announce the publication of
Lux: A Decade of Artists' Film and Video
Edited by Steve Reinke and Tom Taylor
Encounter the most innovative and vital in recent Canadian and
international experimental film and video with Lux: A Decade of Artists'
Film and Video. Using the exhibition history of the Toronto screening group
Pleasure Dome as a starting point to survey the work of independent film
and videomakers during the 1990s, Lux delves into the work of these
experimental artists with unprecedented depth and insight. The result is an
anthology that provides an extensive overview of the period and also zooms
in on the specific themes, oeuvres, styles and individual works that
characterize the decade.
Lux: A Decade of Artists' Film and Video offers a panoply of points of
view, with contributions from over 40 programmers, critics, curators and
artists. With critical and theoretical essays, artists' texts, video and
film scripts, notes and still sequences, this collection bristles with
insight and revelation, offering strategies for engaging with experimental
film and video on numerous levels.
Richly illustrated and with essays and artist projects by such noted
contributors as Laura U. Marks, Janine Marchessault, George Kuchar, Peggy
Ahwesh, Cameron Bailey, Elisabeth Subrin, Colin Campbell, Barbara
Sternberg, Mike Hoolboom, Lisa Steele and Kim Tomczak, Sally Berger, Wrik
Mead, Catherine Russell, Jan Peacock and many others. Lux is a landmark
work, sure to be a primary resource on Canadian and international artist
film and video of the 1990s.
"...books like this one are important for maintaining a critical discussion
around these often marginalised works...an essential text in anyone's
consideration of the media landscape."
Chris Kennedy - Liaison of Independent Filmmakers of Toronto Newsletter
________________________________________________________________________________
Order your copy of LUX now!
Special price of only $20.00 plus $4.00 shipping ($8.00 for USA).
Please return this form WITH your enclosed cheque or money order of $24.00
(in Canada) payable to: ARTISTS FILM EXHIBITION GROUP
6 Alcina Avenue,
Toronto, Ontario,
CANADA M6G 2E8
SEND MY LUX to: ______________________________________
ADDRESS:_______________________________________________
CODE & EMAIL:_____________________________________________
http://www.pdome.org
>
-----------
Distribution
V tape
401 Richmond St. W., Suite 452
Toronto, ON M5V 3A8
ph: 416.351.1317
fax 416.351.1509
www.vtape.org
_____________________________________________
_____________________________________________
REPEAT ANNOUNCEMENT:
The Journal of Popular Film and Television announces again a special Summer,
2002, issue entitled FANTASTIC VOYAGES: HORROR, FANTASY, AND
SCIENCE-FICTION/SPECULATIVE CINEMA.
A wide net is being cast regarding subject matter and critical approaches for
this issue.
Due date for submissions is l September 200l. Papers should be no longer than
20 pages, references included, MLA format. Disk, preferably PC, together with
2 hard copies, double spaced, would be appreciated. SASE if return desired.
Authors should also indicate whether a submission can be considered for a
general JPFT issue, if it cannot be published in the special FANTASTIC
VOYAGES issue.
Please send submissions, questions, et cetera, to Harvey Roy Greenberg, MD,
320 West 86th Street, 3A, New York City, NY l0024-3l39. Inquiries also to 2l2
595 5220, or [log in to unmask]
PLEASE DO NOT SUBMIT PAPERS BY E MAIL.
_____________________________________________
_____________________________________________
KATHRYN BIGELOW -
HOLLYWOOD TRANSGRESSOR
edited by Deborah Jermyn and Sean Redmond, Southampton Institute, UK
Call for Abstracts
This edited collection of original essays on Kathryn Bigelow and her films
will be the first extended academic study to focus solely on the work of
one of Hollywood's most significant female players. Well known in popular
terms yet still relatively unexplored in the academic field, soundbites
about women and guns and speculation about the role of ex-husband James
Cameron in her career have often helped obscure rather than elucidate an
understanding of her work. Though issues of authorship will inevitably be
analysed here, this book is not a simple auteur study. Rather Bigelow can
be seen to provide a point of intersection into a whole range of issues at
the forefront of contemporary Film Studies and the transformation of
Hollywood into a post-classical cinema machine. Her place within New
Hollywood stands out as a filmmaker who blurs and confuses genre
conventions (Point Break, (1991)); reinscribes gender identities (Blue
Steel (1990), The Loveless (1983)); produces a breathless 'cinema of
attractions' (Strange Days (1995), Point Break (1991)); offers an
anti-authority liberalism and who is widely written about as a particular
type of radical, feminised/feminine auteur (with a wide and passionate fan
base). As a woman not just working within but helping to define the action
movie through her use of technical innovation and spectacle, she is a
central figure in the cinema of the last decade. In recent years the
box-office failure of Strange Days and friction with Luc Besson over
Company of Angels/Joan of Arc have interrupted her career but the
forthcoming release of The Weight of Water (2000/1) will provide a new
chapter in her oeuvre. This book will bring together a series of essays
examining all these films, organised around three key themes: Film
Representation; Film Stylistics; and Film Institution.
Submissions and Deadline
Interested scholars should submit extracts of 300 - 500 words no later than
December 15 along with a condensed CV to:
Deborah Jermyn and Sean Redmond, Dept. of Film Studies, Faculty of Media,
Arts & Society, Southampton Institute, East Park Terrace, Southampton, SO14
0YN, U.K.
Further enquiries to [log in to unmask] and
[log in to unmask]
_____________________________________________
_____________________________________________
Reply to: Geoff King <[log in to unmask]>
ScreenPlay:
cinema/videogames/interfaces
Call for Papers
This edited collection, due to be published in September 2001, aims to
explore different aspects of the relationship between video games and
cinema. It will consist of approximately 12 articles of about 6,000 words
each, plus an introduction and glossary written by the editors. The editors
will contribute one article each to the collection.
The opening sequence of Toy Story 2 purports to be located inside the
PlayStation game based on the film. The Matrix presents a world in which
everyday ‘reality’ turns out to be a computer- generated illusion, a
fantastic game-like world in which the right programme can turn anyone into
an action superhero. Top-selling games include titles based on blockbuster
movies: blockbuster movies take on some of the characteristics of games.
Influences run in both directions. Lara Croft, iconic digital heroine of the
top selling Tomb Raider series, is about to feature in a Hollywood
blockbuster: will the real life version live up to the spectacular
dimensions of the original? A new Star Wars film immediately generates a
clutch of new games, as do many children’s films and horror movies, titles
in development including Buffy the Vampire Slayer, The Evil Dead and The
Blair Witch Project.
What happens in the interface between big-screen and games console or PC? Is
there a merging of languages (vocabularies, strategies, genres) as games
influence movies and movies influence games? What is the impact on films?
Are some really becoming increasingly like games, as some commentators
suggest? And what about games? To what extent do they draw on the
characteristics of Hollywood movies, beyond the realm of just the direct
spin-off title? Or have these convergences been overstated? To what extent
do films and computer or video games offer their own distinct approaches and
pleasures?
Games often depend on recognized film genres, milieu and stars for branding
and marketing. Some aspire to a film-like quality of graphics and action. As
such, computer or video games might appear simply to be extensions of the
big screen product. But games also offer different experiences, especially
in the realm of their much-touted ‘interactivity’. To what extent can the
tools of film analysis be applied to games? What particular pleasures (and
frustrations) do computer games elicit? How do these compare with films? Do
games depart from the narrative forms used in cinema? How might the
interactive nature of games impact on factors such as the gendering of
on-screen avatars? What issues of production design mark games off from the
cinema?
What are the driving forces behind the interface between cinema and
computer-game screens? To what extent is it driven by business strategies to
maximize profits within integrated media corporations? Is it a product of a
new generation weaned on digital media? What are the implications of
interactive gaming strategies for the future of cinema? How might the
‘emotion’ chip of PlayStation 2, and other developments, make gaming a more
distinct experience? How do games designers deal with the capacity
limitations and other parameters of existing formats; how might these effect
the degree to which games can offer cinematic qualities?
These and other related issues will be explored in ScreenPlay, a collection
of essays exploring the relationships between contemporary cinema and
computer games.
Suggested subjects include:
Relations/similarities/differences between films and games generally, or in
specific case-studies of individual titles/genres
Issues relating to particular forms/aesthetics (e.g. use of narrative,
special effects, music, point-of-view/third-person perspectives, etc.)
Particular game/movie genres
Viewers vs. users, etc.
Industrial factors, corporate connections, etc
Potential for closer integration, future hybrid forms, ‘interactive cinema’,
etc.
Articles should between 2000 to 5000 words in length, following MLA
guidelines. The deadline for final articles is May 30th 2001. A contract to
publish this collection has been obtained from Wallflower Press, London.
Please send a 250 word proposal to the editors by 1 December 2000:
[log in to unmask]
[log in to unmask]
Brunel University
Film and TV Studies
Lecture Centre
Uxbridge
Middlesex
UB8 3PH
_____________________________________________
_____________________________________________
From: Michael Maziere <[log in to unmask]>
Subject: Distribution Network Event at the Lux, London
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Lux Centre, 2-4 Hoxton Sq, London, N1 6NU
DNET: RELEASE 2
Dates: 19th-21st October
Place: Lux Centre, London
Aimed at curators, programmers, broadcasters and educationalists Dnet is a
three day event showcasing new UK artists' film, video and digital arts.
Dnet offers the opportunity to see previews of brand new work and hear
artists talk about their work as well as meet organisations involved in the
commissioning, production, touring and exhibition of artists' moving image
work in the UK.
Dnet includes work from the following organisations: Picture This Moving
Image, Film and Video Umbrella, Cinenova, Catalyst Arts, Arts Council of
England, Glasgow Media Access Centre, DA2, South West Media Development
Agency and the Lux Centre
Dnet includes
- Previews of new single screen work including work by John Smith, Ian
Bourn, Tony Hill, Meloni Poole, Steve Hawley, Clio Barnard, Anna Thew,
Cordelia Swann, Ann Course, Alnoor Dewshi, John Wood & Paul Harrison, David
Leister,
Pervais Khan, Lis Rhodes, Nick Collins, Michael Maziere, William English,
Ian Helliwell, Barbara Meter, Peter Collis, Nicky Hamlyn, Michael
Curran, Alia Syed, Kayla Parker, Stuart Hilton, Guy Sherwin, Sandra Lahire
- Previews of new installation work from Tim Macmillan, Tony Sinden, Mark
Lewis,
Alan Currall, George Barber, Monika Oeschler, Sarah Miles
- ACE New Media A rare opportunity to engage with a selection of on/off line
work funded through the New Media Projects Fund, established since 1997 by
the Arts Council England.
- Artist presentations including Jo Ann Kaplan, Roz Mortimer, Matt Hulse,
Sarah Pucill, Tim Macmillan, Tony Sinden and Alan Currall.
- Preview of new Animate! channel4/ACE commissions including work by Simon
Pummell, Jo Ann Kaplan, Matt Hulse, Paul Bush, Andrew Kotting, Phil Mulloy
- new work from women's distributor, Cinenova
- Presentation of new experimental work from Scotland presented by Glasgow
Media Access Centre
- Moving Image Online/ Interactive TV seminar including presentations by
Radio Qualia, DA2, ProteinTV and Artsonline.
- Presentation of new work from Northern Ireland by Belfast based arts
collective, Catalyst Arts
- Previews of new exhibition programmes including:
Walking 1 to 10 - including new work by Cerith Wyn Evans, Gavin Turk,
Fiona Banner, Sarah Miles, Mark Aerial Waller and more curated by Guy Mannes
Abbott and Celine Condorelli
Garden Pieces a new exhibition programme including work by Kenneth Anger,
John Smith and Ian Bourn and Stan Brakhage curated by Peter Todd
- taster of a major new international touring exhibition, Shoot Shoot Shoot
looking at the birth of the British Avant Garde film movement and the early
years of the London Filmmakers Coop, which will include a large expanded
cinema section. curated by Mark Webber
All screens and events will take place in the Lux Cinema and Lux Gallery and
will be FREE and open to all. There will also be a videotheque in the Lux
Gallery where a large selection of the work can be independently viewed.
Also a number of the works will be streamed on the internet by Radio Qualia
during the event.
If you are interested in attending please register as soon as possible as
places will be limited. we will then send you a full schedule and you can
book tickets in advance to avoid disappointment.
Name:
Organisation:
Post:
Address:
Telephone:
Email:
Dates Attending:
Please send registration to [log in to unmask]
DNET is produced by the Lux Centre in collaboration with the Arts Council of
England
Related Artists' Film and Video Events in London in October
National Film Theatre (box office 020 7928 3232)
Margaret Tait. Retrospective of late Scottish experimental filmmaker - one
of the UK's most unique and individual film artists. Throughout October.
Tate Modern (box office 0207887 8888)
Artist Presentations
Saturday 7 October Isaac Julian
Saturday 14 October Michael Curran presented by Film and Video Umbrella
Performing Bodies
Four evenings of film and video screenings exploring the way artists have
used the body as subject and object. Monday 2 October Body Politic
(including Riefenstahl, Acconci and Stubbs)
Monday 9 October Masquerade (including Schlemmer and Michael Clark)
Monday 16 October Empire of the senses (including Maya Deren, Rosas and
Smith/Stewart)
Monday 23 October Ecstatic Repetition (including Yoko Ono, DV8 and Martin
Arnold)
Barbican (box office 020 7638 8891)
Saturday 21 October Animated Conversation with Paul Bush, Ruth Lingford,
Petra Freeman and Simon Pummell
Apologies for any cross postings.
Michael Maziere
Director
Lux Centre
2-4 Hoxton Square
London N1 6NU
Tel: 44 (0)207 684 2800
Mob: 44 (0)7771 963 064
Fax: 44(0)207 684 1111
e-mail: [log in to unmask]
http://www.lux.org.uk
_____________________________________________
_____________________________________________
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