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F I L M - P H I L O S O P H Y
Journal | Salon | Portal
PO Box 26161, London SW8 4WD
http://www.film-philosophy.com
News (9 Dec 2000)
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Reply to: "Dr Rob Fisher" <[log in to unmask]>
2nd Global Conference
Perspectives on Evil and Human Wickedness
(please cross post where appropriate)
Friday 16th March - Wednesday 21st March 2001
Charles University
Prague
CALL FOR PAPERS
This inter-disciplinary and multi-disciplinary conference seeks to explore
and engage in issues surrounding evil and human wickedness. Perspectives are
sought from those engaged in the fields of anthropology, criminology,
cultural studies, literature, philosophy, psychology, sociology, and
theology. Perspectives are sought from those engaged in the caring
professions, the media, prison services, politics, psychiatry and other
work-related areas.
Papers, short papers, and workshops are invited on issues related to any of
the following themes;
ï the nature of evil and human wickedness
ï the sources of evil and human wickedness
ï moral intuitions about dreadful crimes
ï psychopathic behaviour - mad or bad?
ï choice, responsibility, and diminished responsibility
ï social and cultural reactions to evil and human wickedness
ï the portrayal of evil and human wickedness in the media and
popular
culture
ï suffering in literature and film
ï individual acts of evil, group violence, holocaust and genocide
ï obligations of bystanders
ï the search for meaning and sense in evil and human wickedness
ï the nature and tasks of theodicy
ï religious understandings of evil and human wickedness
ï postmodern approaches to evil and human wickedness
ï ecocriticism, evil and suffering
The conference is part of a larger series of on-going conferences, run under
the general banner ëAt the Interfaceí. It aims to bring together people from
different areas and interests to share ideas and explore various discussions
which are innovative and exciting.
Following the first ëPerspectives on Evil and Human Wickednessí conference,
an e-mail discussion group was created, and the launch of a new e-journal
supporting the work and research of the conference series will occur in
February 2001.
Papers will be considered on any related theme. 300 word abstracts should be
submitted by 15th January 2001. Full draft papers should be submitted by
19th February 2001. Papers accepted for the first conference are being
published in two themed volumes; papers accepted for this conference will
also be published in themed volumes.
For further details and information, please contact:
Dr Rob Fisher
[log in to unmask]
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Reply to: Nigel Alderman <[log in to unmask]>
CALL FOR ESSAYS ON THE ARCADES PROJECT
The Yale Journal of Criticism intends to publish a cluster of four to five
critical essays on the recent translation of Walter Benjamin's The Arcades
Project. As well as analysis of the book as a whole we welcome work that
considers the impact of the new translation on Benjamin studies and on
cultural criticism more generally -- how and to what extent existing
interpretations of Benjamin now come to require revision. The deadline for
consideration is May 1, 2001. Please send articles to The Yale Journal of
Criticism, The Whitney Humanities Center, P.O. Box 208298, New Haven, CT
06520. For further details contact [log in to unmask] or
[log in to unmask]
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Reply to: [log in to unmask]
EXHIBITION UNDER CONSTRUCTION: After Arcades
EXHIBITION UNDER CONSTRUCTION seeks to distractedly put on view--through
unique methods of display--a flash of ideas inspired by Benjamin's <The
Arcades Project>. We invite previously unpublished works that delve into
the peripheral, the sensual, the historical, the distracted, and the
everyday. The editors of this proposed volume are working under the premise
that the traditional or standard academic volume of 15-20pg. prose essays is
no longer solely capable of containing (or putting on view) works produced
after the
radical epistemological break that is Benjamin's <Arcades>. Instead, this
anthology will serve as a forum/gallery for experimental works incorporating
a wide variety of forms--from the feuilleton, photo-montage, trash,
historical essay, single sentence, ficto-criticism, postscript and archival
collage to the annotated bibliography, dream inscription, documentary poem,
"empire vignette", and ethnography of distraction. Nervous, performative,
sentient, visual, transient, poetic and overdetermined works are
particularly welcome.
Potential contributors are asked to examine the editors' two previously
co-edited volumes--these suggest the range and poetics of submissions
presently sought: <Performing Hybridity>, May Joseph and Jennifer Natalya
Fink, editors, (University of Minnesota Press, 1999); and <Visit Teepee
Town: Native Writings after the Detours>, Diane Glancy and Mark Nowak,
editors, (Coffee House Press, 1999). Other possible prototype collections
include <Encyclopedia Acephalica>, Georges Bataille et al (Atlas Press
Reprint, London, 1995); back issues of the
journal <Xcp: Cross-Cultural Poetics> (http://bfn.org/~xcp); POL(E)TICS:
documenta X-the book (Cantz Press); Anyone Series (MIT Press); Zone Books;
<Refusal of the Shadow: Surrealism and the Caribbean>, Translated by Michael
Richardson and Krzysztof Fijalkowski (Verso, 1996);<Mimesis and Alterity>,
Michael Taussig (Routledge, 1993); etc.
Submissions for <EXHIBITION UNDER CONSTRUCTION> should be sent to both
editors, at the addresses below, by September 1, 2001. Please include
current c.v., e-mail address, and SASE with your submission. Send work to:
Mark Nowak, editor
<_Xcp: Cross-Cultural Poetics_>
601 25th Avenue South
Minneapolis, MN. 55454
May Joseph
Associate Professor, Global Studies
Department of Social Science
Pratt Institute
200 Willoughby Avenue
Brooklyn, N.Y. 11205
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From: "Michele Aaron" <[log in to unmask]>
Subject: Text to Screen | Screen to Text (2/1/01; journal)
EnterText: An interactive interdisciplinary e-journal for cultural and
historical studies and creative work
http://www.brunel.ac.uk/faculty/arts/EnterText
Call for Papers for Spring 2001 EnterText: TEXT TO SCREEN | SCREEN TO TEXT
>From the dramatisations of classic fiction or the novelisations of
blockbuster movies, to the cinematic style of modernist writing or the
cinephilia of contemporary novelists, the interface between the written and
the visual text has rarely been so busy or such a broad focus of critical
interest. Submissions which address the relationship between film or
television and the literary or historical text are now invited for issue 2
of this referreed journal. Creative work on this theme is also welcome.
Deadline 1 February 2001.
For more information and notes for contributers visit the website
http://www.brunel.ac.uk/faculty/arts/EnterText
or contact the editors: [log in to unmask]
EnterText does what few paper journals do: bring together scholarly writings
in diverse disciplines, together with cross-disciplinary and
interdisciplinary pieces, usually on a themed topic. It also, unusually,
includes creative works. Its aim is to foster dialogue and enable
collaborations across traditional disciplinary boundaries. Integral to the
journal is discussion and interaction, and a forum has been created for
posting comments and conducting debate on the issues raised in both the
scholarly and creative pieces in the journal. In specified sections
respondents can enter their own text. It is therefore a site for continuing
discourse.
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MUSIC/IMAGE in FILM & MEDIA
CALL FOR PAPERS & CALL FOR WORKS COMBINING MUSIC and IMAGE
CONFERENCE
Cliché or Emerging Language
Music and images are constantly put together in movies, television, music
videos, CD Roms, computer games, and websites. Increasingly over the last
forty or fifty years we have been inundated with these combinations. Without
watching we can listen to television and from the music know what is on the
screen. We hear music and know what scene it would fit. Have our
imaginations
become so corrupted by the bombardment that only cliched music and cliched
images are possible any more?
This conference explores and analyzes the relationship between music and
images in a variety of audiovisual products with the participation of
academics and the composers, artists, filmmakers, animators, psychologists,
computer specialists and industry representatives who present these products
to the public.
Participants include outstanding figures such as musicologist and conductor
Gillian Anderson (Nosferatu & Carmen); Disney Legend and Director USC Film
Scoring Program Buddy Baker ("The Fox and the Hound"); music editor and
author Roy Prendergast ("Film Music: A Negected Art," "Shakepeare in Love");
Web Designer and CEO Hillman Curtis (Hillman Curtis Designs); Commercial
composer/producer Lyle Greenfield (Bang Music, NYC); Painter and scenery
designer Lidia Bagnoli (Academy of Fine Arts, Milan); Associate Director
Music Technology Program at NYU, composer and author, Robert Rowe
("Interactive Music Systems"); Professor of Film Studies, Univ of
Washington,
Claudia Gorbman ("Unheard Melodies: Narrative Film Music").
Abstracts or synopses of papers should be submitted to Dr. Ron Sadoff,
[log in to unmask] chair of the program committee, by no later than Dec. 15,
2000.
This conference will run in conjunction with an Intensive Film scoring
Workshop with Buddy Baker on June 4-8, 2001. For more information go to
http://www.nyu.edu/education/music/mfilm/baker.html
On the evening of June 8th, for no additional charge, ASCAP (The American
Society of Composers, Authors, and Publishers) will sponsor a presentation
of
a major film composer in an expose of his/her work.
Call for Music/Image Submissions
Works combining music and image will be considered for inclusion in a public
concert on Saturday night of the conference. Music videos, multimedia works,
installations, and other intersections of music and image are welcome. The
University is home to many outstanding musicians and a wide array of
technology; final selection will depend on the availability of the resources
necessary to perform the work.
Conference fee for June (8) 9,10,11 - - - - - - - - - - - - - - - - - - - -
-
$195
Conference fee plus auditing the 5-day Buddy Baker workshop
(June 4-11 & 9-11) - - - - - $395
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Here are the ASCAP offerings - they really came through in a big way:
- June 6th, 2001 - Wednesday Afternoon at 3:00 - NYU Frederick Loewe Theatre
- ASCAP Presents... The Business Aspects of Film Scoring, featuring a high
profile film composer and business executive discussing the business behind
the art.
- June 8th, 2001 - Friday Evening at 8:00 - NYU Frederick Loewe Theatre
- ASCAP Presents... The Art of Film Scoring, featuring a high profile film
composer discussing the scores from several of his works.
- PLAYBACK: Article on BAKER WORKSHOP at NYU
This will appear in the January or later "Playback" Magazine.
- 2 Scholarships for the Baker Workshop
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Dr. Ronald H. Sadoff
New York University
Dept. of Music & Performing Arts Professions
Director: Piano Studies / Film Music
35 West 4th St - 682-B-1
NY, NY 10012
212-998-5779
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From: Tom Benson [[log in to unmask]]
CFP: The Review of Communication
Call for manuscripts and book reviewers
The Review of Communication is a new, on-line, refereed journal of
the National Communication Association. We plan to publish
-- Book reviews
-- Essay reviews
-- Reviews of literature in all fields of communication
-- Research essays on knowledge production and publication in communication
Our aim is to produce a high quality refereed journal that is
accessible, diverse, comprehensive, and authoritative.
The Review of Communication reviews books in all fields of human
communication, including scholarly books and some textbooks and
appropriate trade books. We are currently commissioning book reviews;
a list of books for which we are seeking reviewers may be found at
the journal's web site. Prospective authors of reviews of literature
and research essays are invited to contact the editor with brief
proposals. We plan to publish our first issue early in 2001 and we
are now reviewing manuscripts.
The journal makes use of the Rapid Review on-line peer review system
developed by Cadmus Corporation--the same company that prints the NCA
paper journals.
For more information on the journal, its policies, and editorial
board, please visit the journal's editorial web site, which is linked
to the editor's home page at http://www.personal.psu.edu/t3b
Tom Benson
Editor, The Review of Communication
<[log in to unmask]>
Tom BensonEdwin Erle Sparks Professor of RhetoricDepartment of Speech
CommunicationPenn State University227 Sparks BuildingUniversity Park,
PA 16802phone:814-238-5277 (home); 814-865-4201
(office)mailto:[log in to unmask]http://www.personal.psu.edu/t3b
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Reply to: Kathryn H Fuller <[log in to unmask]>
Call for papers: a special issue on "Spectatorship in Popular Film and
Television" in The Journal of Popular Film and Television.
Audiences, reception studies, fan culture -- these topics claim an
increasingly prominent aspect of film and television studies. How do
social and cultural factors influence the ways in which viewers (past and
present) understand what they see on the screen? The JPFT seeks essays for
a theme issue on spectatorship in film and television. Topics may include,
but are not limited to, the following:
*Who have been the audiences for film and television in general, or for
certain genres? Have audiences changed significantly over time? If so,
how? If not, why?
*How have viewers created meanings from the movies and programs they have
seen? How are various audience interpretations in conflict or in
agreement?
*How is the practice of moviegoing or television watching different for
various audiences? How have these customs changed over time, and what are
the historical, social and/or behavioral implications of these
alternatives?
*How have film exhibitors, television programmers and producers attempted to
shape and influence the composition and reaction of their audiences? What
socio-cultural, aesthetic, technological and business strategies have they
employed? When have particular strategies been successful or unsuccessful
and why?
How have fans actively shaped their interests in film and television
programs, characters and stars through publications, conventions, and
behavior at cult film performances or through other means?
We welcome a wide variety of approaches to spectatorship -- historical
frameworks, ethnography, reception studies drawing on psychological, film
and literary theory, and media influence studies using a sociological or
communication studies perspective.
Submissions should be no longer than 20 pages and should conform to the
MLA style. Send three hard copies (with self-addressed, stamped envelope
if return is desired) no later than 31 January 2001 to:
Kathryn H. Fuller-Seeley, History Department, PO Box 2001, Virginia
Commonwealth University, Richmond VA 23284-2001. Do not submit computer
diskettes at this time, and no faxed or emailed submissions, please.
Address all inquiries to Professor Fuller-Seeley at the above address, or
<[log in to unmask]>
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Reply to: "Roger Starling" <[log in to unmask]>
Inventions of Death: Literature,
Philosophy, Psychoanalysis
A two-day conference at the
University of Warwick
8-9 June 2001
Plenary Addresses by
Elisabeth Bronfen, University of Zurich
Simon Critchley, University of Essex
and
Jonathan Dollimore, University of York
Recent developments within philosophy, psychoanalysis, and literary studies
have focused on the question of finitude both as an object of
interdisciplinary inquiry and as the ground of culture in general. The aim
of this conference is to provide a forum for both postgraduates and
established scholars from a number of disciplinary perspectives to share
their research on a topic that, more than any other, provokes, challenges,
and questions the limits of our powers of invention. Topics to be addressed
may include, but are by no means limited to:
--philosophies of death: Derrida and Levinas
--theories of mourning and bereavement
--death and gender
--spectres, encrypted phantoms, and trans-
generational hauntings
--death, the gothic, and the sublime
--the death-drive and the uncanny
--representations of death or dying in
literature, film, and the visual arts
--anatomies, effigies, and ruins
--death and the experience of the ethical
--rhetorics of the funereal
--death and embodiment
250-300 word abstracts by 15 January 2001 to:
Roger Starling
Department of English and Comparative
Literary Studies
Humanities Building
University of Warwick
Coventry CV4 7AL
e-mail: [log in to unmask]
(024) 7657 2572 ext. 28167
[Editor's note: I suggested he show Sokurov's _The Second Circle_ on one of
the days, and he asked if I knew if anyone would like to talk about the
film (or perhaps _Mother and Son_) -- so do contact Roger if any of you are
interested.]
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Reply to: "Andrew Mousley" <[log in to unmask]>
Post-Theory: Politics, Economics and Culture
September 6-8, 2001
De Montfort University, Leicester
This conference aims to examine the rise of theory, its connections with
'traditional criticism', its relationship with wider social and economic
developments, its current status and how it may develop in the future.
Topics could include: The Contexts of Theory; Theory and its Others;
Humanism; Canon; Ethics; Class; History; Literature and Politics.
Key Speakers: Christopher Norris; Pam Morris; Patricia Waugh; Peter
Widdowson; Nick Cohen; Jessica Maynard, Gary Day, Andy Mousley.
For further information, contact: [log in to unmask]
Abstracts, of no more than 200 words (deadline 31 July, 2001), should be
sent to: [log in to unmask]
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CALL FOR PAPERS/CONFERENCE ANNOUNCEMENT
Hollywood & its Discontents:
Subverting the Hollywood System 1930-70
An international conference
May 12-14, 2001
The University of Arizona
A conference considering the broad range of alternatives to
Hollywood cinema, and the mavericks, independents, and rebels
within the studio system. We are seeking papers on American and
International films, filmmakers, and institutions working in
dialectical opposition to classical Hollywood or formulating
alternatives to standard studio practice.
Abstracts are being accepted, with a target length of 250-500
words and a deadline of February 15, 2001. Remit abstracts to
Noah Lopez via e-mail at [log in to unmask], or by fax at
520-621-3269.
Website -- http://w3.arizona.edu/~uaextend/discontents
We are especially interested in papers that address the following
topics:
Renegade Directors (Welles, Fuller, Ray, Cassavetes, etc.)
Race Films
Avant-Garde Cinema
Women Directors (Lupino, Arzner, etc.)
Alternative Circuits of Distribution & Exhibition (drive-ins,
roadshow, cinema societies, etc.)
Shock Film (Castle, H.G. Lewis, Wood, etc.)
Art House Cinema
New Wave/Neorealism
World Melodrama (India, Mexico, Philippines, etc.)
Immigrant Invasion (Lang, Siodmak, Ophuls, Losey, etc.)
Non-Narrative Cinema/Documentary Cinema
Studio Failures
Rebellious Stars
Poverty Row
Pre-1960 Porn
Blacklisted Artists
Serials and Shorts
Influence of Theater (Odets, Brecht, Mercury Theater, etc.)
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From: "wings of desire" <[log in to unmask]>
To: <Undisclosed-Recipient:;>
Subject: Ingmar Bergman
Date: Fri, 24 Nov 2000 18:09:08 +0100
Organization: [log in to unmask]
MIME-Version: 1.0
X-Priority: 3
Hello all,
sorry for this unexpected and perhaps unwanted promotional message but...
.... for all the ones of you who are interested in INGMAR BERGMAN, there
is now a mailing list (the first and only one, as long as we know) to
discuss the films and art of the great Swedish director.
To subscribe, just send a blank message to (case sensitive):
[log in to unmask]
Or you can also do it directly pointing your browser here:
http://www.egroups.com/subscribe/BERGMAN
Please forward this message to everyone you think might be interested.
Thanks for your kind attention.
David
moderator Bergman-list.
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A project of The Art Association of Australia & New Zealand (NSW Chapter)
with support from The College of Fine Arts University of New South Wales,
Newcastle University, The University of Technology Sydney,
The Art Gallery of New South Wales, The Power Institute of Art and Visual
Culture University of Sydney
CONDUCTING BODIES:
Affect, Sensation & Memory
a juried conference exploring new thinking on affect, sensation
and bodily memory in relation to art and art history
The Art Gallery of New South Wales, Sydney
20th to 22nd July, 2001
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Invited speakers include
Leo Bersani
Emeritus Professor, University of California Berkeley
books include "The Freudian body: psychoanalysis and art", "The culture
of redemption", and in collaboration with Ulysse Dutoit,
"Arts of impoverishment: Beckett, Rothko, Resnais", and "Caravaggio's
secrets"
Ernst Van Alphen
Professor, University of Leiden
books include "Caught By History: Holocaust Effects in Contemporary Art,
Literature and Theory" and "Francis Bacon and the Loss of Self"
Georges Didi-Huberman
Ecole des Hautes Etudes (Sciences Sociales) Paris
books include "'Fra Angelico: Dissemblance and Figuration'"
Doris Salcedo
artist, Colombia
Mieke Bal
Professor of Theory of Literature, University of Amsterdam
books include "The mottled screen: reading Proust visually",
"Narratology :
introduction to the theory of narrative",
and "Quoting Caravaggio: contemporary art, preposterous history"
Geoff Batchen
Associate Professor, Art History & Theory, University of New Mexico
books include "Burning With Desire: The Conception of Photography"
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Call for Papers
This conference is organised into six sessions over two days. Each
session is devised and constructed by a chair and will consist of either
3 x 20 minute papers or 2 x 30 minute papers with a respondent or
summation by the chair. Keynote speakers will be invited outside this
format. This international call for papers will be assessed by members
of a steering committee or invited experts as appropriate. Sessions are:
THEORIES OF AFFECT
Chaired by Suzannah Biernoff, Chelsea College of Art and Design/Susan
Best, University of Technology Sydney [log in to unmask]
This session will address the ways in which theories of affect (for
example, those of philosophers such as Gilles Deleuze or psychologists
such as Silvan Tomkins) have been taken up within the discipline of art
history and theory. Art historical applications of such theories include
work on medieval understandings of the affective image and on the
operations of digital media.
GLOBAL POLITICS AND BODILY MEMORY
Chaired by Jill Bennett, School of Art History and Theory, The
University of New South Wales [log in to unmask]
This session will consider artists' approaches to the subject of 'bodily
memory' (various forms of sensory and emotional memory; also
post-traumatic memory) against the backdrop of global politics and world
events. How, for example, is bodily memory conveyed in relation to
events such as the Holocaust, the Stolen Generations or war - or in
relation to phenomena such as racism? What do aesthetic languages of
bodily memory add to our understanding of these events and experiences?
MOVING ART
Chaired by Susan Best, University of Technology Sydney
[log in to unmask]
In his recent catalogue essay for Force Fields: Phases of the Kinetic,
Guy Brett urges us to reconsider kinetic art and the neglected 'language
of move ment' and to reevaluate their importance in the history of
twentieth-century art. Kinetic art, usually reduced to a brief art
historical footnote, is given much more expansive definition in this
exhibition. Repositioning this strand of twentieth-century art practice
may also help us to address more contemporary concerns about the nature
of aesthetic engagement, and theentailment of affect, sensation,
proprioception, and embodiment in thatengagement. Papers for this
session should address such questions and/or the 'language of movement'
and its legacy in contemporary art practice.
WITHOUT AFFECT: MINIMALISM, POP AND AFTER
Chaired by Keith Broadfoot, Department of Art History and Theory, The
University of Sydney
[log in to unmask]
The moment of Pop and Minimalism is often understood to be a moment of
"affectlessness" in art. How might we re-examine this understanding
today? Also, how might we re-examine the legacy of Pop and Minimalism in
relation to the question of the work of art and its affect?
MEMORY AND THE EPIGRAM
Chaired by Charles Green, School of Art History and Theory, The
University of New South Wales [log in to unmask]
This session looks at theories of memory that detach its contents from
simple allegorical organization and registration: in other words, the
session looks at models and formulae for discursive memory organization
such as Walter Benjamin's epigrammatic late projects, Robert Smithson's
entropic essays, and Aby Warburg's pathos formula. The potential
dimensions of Warburg's iconological reformulation of affective cultural
memory andBenjamin's Arcades project, for example, are only now becoming
clear. But what do they, or other similar, often obscure projects,
reveal about affect and culture?
OBJECTS THAT TRIGGER MEMORY RETRIEVAL
Chaired by Anthony Bond, Art Gallery of New South Wales
[log in to unmask]
This session will consider the work of artists who make use of objects
and materials that trigger powerful affective responses and specific
cultural memories as for example Doris Salcedo's use of the shoes of the
victims of.political violence in Colombia. There will also be discussion
of cross over between artistic practice and medicine where objects are
used to stimulate brain function in Alzheimer's patients, long term work
on cultural memory through the work of the mass observation archive with
particular reference to photographic evidence and specific case studies
of objects as mnemonic devices in art making.
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Deadlines
Expressions of interest/short abstract: January 31, 2001
Final papers submitted: March 31, 2001
------------------------------------------------------------------------
Submissions to be sent to:
Anthony Bond, Committee Chair
Conducting Bodies Conference
Art Gallery of New South Wales
Art Gallery Road, Sydney NSW 2000, Australia
or by email to session chairs
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