.:,
.', :. .
.. , ..' : ..
.. '. .. ,. ..: ..
.. .: .'.. ,. . ... F I L M - P H I L O S O P H Y
. ' ...,... . . .:. . .
. .. . : ... .'.. ..,.. ISSN 1466-4615
. ., . . :... . . '.. Journal : Salon : Portal
. .'. , : ..... . PO Box 26161, London SW8 4WD
. .:..'...,. . http://www.film-philosophy.com
.. :.,.. '....
....:,. '. 2002.11.06 Film-Philosophy News
.' :. .
.,'
Call for Papers: 2003 American Studies Association Annual Meeting
16-19 October 2003
Hartford, Connecticut
Viewer Discretion Advised: Violence and Belonging on US Television
Abstracts invited for a talk and/or online session investigating the
ASA's general conference theme, "Violence and Belonging," in popular
television and video in the US. Contributions may address a wide
range of topics including, but not limited to, suggested, threatened,
or perpetrated violence and televisual representations of race,
class, sexuality, ethnicity, or nationality; representations of
violent sex, S/M, sex clubs, or strip shows; bloody bodies and news
or documentary coverage of medical procedures; belonging and
exclusion with respect to genre, advertising, station or network
affiliation, and/or community standards; blurrings of fiction and
non-fiction in made-for-television movies about infamous crimes;
fantasies of domestic bliss and spectacles of domestic violence on
reality, news, court TV, or trash talk shows; non-normative
reproduction, genocide, and stylized violence against marked or
marginalized bodies or species on science fiction; special coverage
of political activism, community protests, or rioting with respect to
disenfranchisement; special reports and live local, national, or
cable news coverage of purported terrorists, snipers,
border-crossers, criminals-on-the-run, and/or other "undesirable
elements"; sitcoms and laughable urban crime; US nationalisms and
violent sunderings of margins and centers on public television. I
welcome a broad range of disciplinary perspectives and methodological
paradigms dealing with any aspect of television and video. Send
500-word abstracts and one-page cvs electronically to Nancy San
MartÌn at [log in to unmask] by 7 January 2003.
All conference participants must register for the ASA's annual
meeting and be members of the ASA or of an affiliated international
American Studies Association.
Please distribute widely.
=====
Nancy San MartÌn
[log in to unmask]
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Dear professors, friends, and filmmakers,
We at Transparency International are proud to announce the 2nd
International Anti-Corruption Film Festival, "Film for Transparency:
Exposing Corruption". This festival is scheduled to run as part of
the 11th International Anti-Corruption Conference in May, 2003 in
Seoul, South Korea.
In addition to feature-length films, this film festival will showcase
a number of documentary and student films from around the world on
the subjects of transparency, governance, whistle-blowing, and
corruption.
Film is an important medium for stimulating debate and action, and
Transparency International would like to invite filmmakers from
around the world to contribute to the fight for transparency in
governance and against corruption. By offering them a forum for their
work, we hope to encourage filmmakers to address the various themes
that surround this issue, including bribery, abuse of public trust,
access to information, and transparency in governance. We also hope
to encourage filmmakers who are just starting their careers to add
their voices to the ranks of those who work against corruption.
Attached you will find our Call for Submissions for the Film
Festival; we would like to ask for your assistance in helping us to
spread the word about our festival. Please, if you know of any
filmmakers who are addressing these themes in their work, encourage
them to contact us and submit their films.
The inaugural festival, held in October 2001 in Prague, the Czech
Republic, was a tremendous success, and with your help we can make
Seoul a big hit as well.
For more information, please visit our website at
<http://www.transparency.org/film/index.html>http://www.transparency.org/film/index.html
or contact Mr. Adam Bradley at
Adam Bradley
Film Festival Coordinator
Transparency International
Otto-Suhr-Allee 97/99, D-10585 Berlin, Germany Email: [log in to unmask]
Mobile: +420 776 814 691
We thank you for your time and for your help.
Sincerely yours,
Adam Bradley
Film Festival Coordinator, Transparency International
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*Scope is now indexed in the MLA International Bibliography*
Also its new book and film reviews and conference reports are now available.
Book Reviews
Consuming Audiences?: Production and Reception in Media Research,
Edited by Ingunn Hagen and Janet Wasko, A Review by Cynthia Baron
Film Parody, By Dan Harries and Hitchcock: Suspense, Humour and Tone,
By Susan Smith, A Review by Martin Flanagan
The Film Studies Dictionary, By Steven Blandford, Barry Keith Grant &
Jim Hillier, A Review by Karen Boyle
Framing the South: Hollywood, Television, and Race During the Civil
Rights Struggle, By Allison Graham, A Review by Sharon Monteith
Irish Film: The Emergence of a Contemporary Cinema, By Martin
McLoone, A Review by Sarah Neely
Media and Everyday Life in Modern Society, By Shaun Moores, A Review
by Stephen Harper
Narrative and Genre: Key Concepts in Media Studies, By Nick Lacey, A
Review by Laurie E. Harnick
Postmodern Media Culture, By Jonathan Bignell, A Review by William Cummings
Pulp Fiction, By Dana Polan, A Review by Karen Boyle
Rome Open City (Roma Cittý Aperta), By David Forgacs and Rossellini:
Magician of the Real, Edited by David Forgacs, Sarah Lutton and
Geoffrey Nowell-Smith, A Review by Luca Prono
Film Reviews
Ali, A Review by Champa Patel
Amores Perros, A Review by Michael Keating
British Avant-Garde Film in the Twenties/ British Avant-Garde Film in
the Thirties, A Review Essay by Martin Stollery
Bully, A Review by Deborah Shaller
The Gleaners and I, A Review by Kimberly Lamm
The Lord of the Rings: The Fellowship of the Ring, A Review by Alice Mills
Hollywood Ending, A Review by Fritz Esker
HÙtel Terminus, A Review by Anna Norris
Legally Blonde, A Review by Sue Lewak
Memento, A Review by Jerome de Groot
Spider-Man, A Review by Will Brooker
Star Wars Episode II: Attack of the Clones, A Review by Philip Anthony Pirrello
State and Main, A Review by Damon Miller
Die Unber¸hrbare, A Review by Lisa Rull
Zoolander, A Review by Christine Haase
Conference Reports
Motorbikes, Penis Pics and the Grateful Dead: Film Studies Meets Pop
Culture in Albuquerque, The 23rd Annual Conference of the
Southwest/Texas Popular Culture Association/American Culture
Association. February 13-17, 2002, Albuquerque, New Mexico, A Report
by Sarah H. S. Graham
To Theorise Beyond Theory, "WHAT'S LEFT OF THEORY?": The Cultural
Studies Association of Australia Conference at the University of
Tasmania, A Report by C. Jason Lee
Visualizing Rhetoric and Rhetoricizing the Visual: The Visual
Rhetoric Conference, 2001, Indiana University-Bloomington, A Report
by Courtney Bailey
http://www.nottingham.ac.uk/film
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THE WICKER MAN: RITUALS, READINGS AND REACTIONS An Interdisciplinary Conference
University of Glasgow Crichton Campus, Dumfries, 14th-15th July 2003
CALL FOR PAPERS (apologies for cross-posting)
The first international conference on the film THE WICKER MAN (1973)
will be held at the University of Glasgow Crichton Campus, Dumfries,
on the 14th and 15th of July 2003.
Robin Hardy's film THE WICKER MAN (1973), which was written by
Anthony Shaffer and stars Edward Woodward, Christopher Lee and Britt
Ekland, continues to have audiences, critics and theorists intrigued.
Although set on a fictional Scottish island, the majority of THE
WICKER MAN was filmed on location in Dumfries and Galloway, in South
West Scotland.
The University of Glasgow Crichton Campus is situated some 85 miles
south of Glasgow, in the town of Dumfries. It is therefore in the
unique position of being able to host an academic conference on THE
WICKER MAN in the very region in which much of this cult British film
was shot. Moreover, this conference will coincide with the 30th
anniversary year of the film's release.
In accordance with the cross-disciplinary ethos of the Crichton
Campus degree structure, and the multi-faceted nature of the film
itself, the conference will embrace a variety of disciplines. We
therefore invite participants to submit papers of relevance to THE
WICKER MAN on subjects including:
Anthropology
Archaeology
Cultural Studies
Ethnology (Folklore)
Film Practice
Film Studies
Identity
Local History
Political Theory
Tourism
Submissions on other themes are of course most welcome. Furthermore
although primarily an academic conference, speakers will also include
participants in the original film.
The keynote address is to be delivered by Robin Hardy, the director
of THE WICKER MAN. Other participants include Dr. Tanya Krzywinska
(Brunel University) broadcaster Jonny Murray, and filmmaker Professor
Rex Pyke of the University of Glasgow.
The University of Glasgow Crichton Campus press is keen to publish a
selection of conference papers in book format.
Please send abstracts (400 words maximum) to Dr Benjamin Franks, by
Monday 24th March 2003:
Dr Benjamin Franks
University of Glasgow
Rutherford-McCowan Building
Crichton Campus
DUMFRIES
DG1 4ZL
Tel: (01387) 702055
Email: [log in to unmask]
The Wicker Man conference website: www.the-wicker-man.co.uk
University of Glasgow Crichton Campus website: www.cc.gla.ac.uk Maps
of Dumfries and the Crichton Campus:
http://www.cc.gla.ac.uk/layer1/mapnotes1.htm
FURTHER INFORMATION
The cost, inclusive of two lunches, teas/coffees will be £110 (£65
for students). Day fees will be £60 (£40 for students)
Accommodation can be booked on-line through the Dumfries and Galloway
Tourist Board website: http://www.visit-dumfries-and-galloway.co.uk/
Dumfries and Galloway Tourist Board, 64 Whitesands, Dumfries, DG1
2RS. Tel: (01387) 245550
If you require any assistance with accommodation or would like a copy
of the region's accommodation brochure please contact Catherine Rae
(address below).
On the evening of Sunday 13th July conference delegates may attend a
screening of THE WICKER MAN at the Robert Burns Centre Film Theatre
in Dumfries. This cinema will be running a themed film season in
tandem with the conference. The conference will also be taking place
in the same week as the Wickerman festival, which is held in the
nearby village of Dundrennan.
BOOKING FORM
THE WICKER MAN: RITUALS, READINGS AND REACTIONS 14th - 15th July 2003
Name
Address
postcode
Tel No. Fax No.
Email _____________________________
Institution Occupation
Conference fee (14th & 15th July): £110
Student fee (14th & 15th July): £ 65
Day fee: £60 for Monday 14th July
or Tuesday 15th July
Student day fee : £40 for Monday 14th July or
Tuesday 15th July
TOTAL enclosed: £ ...........
Cheques should be made payable to "The University of Glasgow"
Credit Card payment (Visa and Mastercard only)
Card Number _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Expiry Date _ _ / _ _
Please let us know of any dietary or other requirements.
Please return the Booking Form before May 14, 2003 to: Margaret
Hollinger, Browne House,
University of Glasgow Crichton Campus,
DUMFRIES DG1 4ZL.
Email: [log in to unmask]
Tel: (01387) 702273
Late applications may be subject to a £20 surcharge
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From: Joseph Anderson <[log in to unmask]>
Dear Friends of The Journal of Moving Image Studies:
We have had two excellent issues of the journal thus far, and the
response has been very enthusiastic. Everyone associated with the
journal has received highly complimentary feedback from colleagues in
a broad variety of disciplines. To date we have published pieces of
high quality, and we are in the process of preparing our Fall/Winter
issue.
We invite you to contribute.
The Journal of Moving Image Studies is the only journal to regularly
publish works in cognitive theories of visual media, and exists as an
important alternative voice in film studies and the broader study of
mass media. We need your participation to continue the journal's
standard of excellence and to build toward eventual print publication.
So let us hear from you.
Contact Stuart Minnis ([log in to unmask]) or Ben Meade
([log in to unmask]) to submit an article or to discuss the possibility
of future submission.
Thank you.
Stuart Minnis, Editor
The Journal of Moving Image Studies
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From: "Senses of Cinema" <[log in to unmask]> To:
"Film-Philosophy" <[log in to unmask]> Subject: Cinema and
the Female Star
Date: Fri, 1 Nov 2002 15:33:39 +1100
X-Priority: 3
Cinema and the Female Star
As part of its continuing spotlight on women and cinema, Senses of
Cinema pays tribute in the next issue to the female actor.
The screen goddess has been interpreted as a metaphor for the allure
and power of cinema itself. As Barthes wrote of Garbo: "[she] still
belongs to that moment in cinema when capturing the human face still
plunged audiences into the deepest ecstasy . when the face
represented a kind of absolute state of the flesh ."
Throughout the history of cinema, the female star has functioned not
only as an image of perfection but also as a powerful affective
force. This symposium celebrates both the glamour and beauty of the
screen goddess and the performative impact of the female actor.
Whether it is a specific vocal intonation, a certain physical,
psychological or political disposition, or a combination of these,
the female actor has the power to give expression to our dreams,
desires, and fears.
Contributions, of at least a paragraph, are sought that reflect on a
specific female actor and pay tribute to her particular appeal. Any
style is acceptable, from personal appreciations to academic analyses.
For ideas, here is a far from exhaustive list of notable female
actors: Jeanne Balibar, Louise Brooks, Maggie Cheung, Claudette
Colbert, Catherine Deneuve, Jane Fonda, Janet Gaynor, Isabelle
Huppert, Anna Karina, Diane Keaton, Gong Li, Brigitte Lin, Gina
Lollobrigida, Bernadette Lafont, Sophia Loren, Anna Magnani, Jayne
Mansfield, Anita Mui, Gena Rowlands, Lingyu Ruan, Tura Satana, Monica
Vitti, Faye Wong, Michelle Yeoh
Deadline for entries is November 15th and should be sent to
[log in to unmask] Don't hesitate to contact us if you have
any queries.
Regards,
Rose Capp & Fiona A. Villella
Co-editors
Special Women's Double Issue
Senses of Cinema http://www.sensesofcinema.com
General Editor - Fiona A Villella [log in to unmask] Web
Designer - Chris Howard [log in to unmask]
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From: [log in to unmask]
OPHULS CONFERENCE NEWSFLASH!
* We are honored to be able to present the first American *
* screening of the archivally restored German version of *
* LOLA MONTES. The restorers of the film, Stefan Droessler, * *
Director of the Munich Film Museum, and Martina Mueller, * * author
of a new book on the film (Cologne 2002), will *
* introduce the screening. Filmed in Eastmancolor and *
* Cinemascope, with four-track sound, and shot simultaneously * * in
three language versions (French, German and English), * * LOLA MONTES
(1955) is one of the masterpieces of twentieth- * * century
filmmaking. This print includes previously *
* unreleased footage! *
# Conference participants include Ophuls biographer Helmut Asper
# and many important European and American film critics and theorists.
To submit a paper proposal or learn more about the conference, visit
our website:
http://www.u.arizona.edu/~swhite/ophulsconference
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From: Christina McPhee <[log in to unmask]> Subject: November
on -empyre-
- - -empyre- takes pleasure in introducing our next guests and theme--
November 2002 - Virtual Construction
Please join us for a wide ranging discussion on the possibilities of
virtual construction as viral and pandemic with Joseph Nechvatal,
electronic media animator/painter/philosopher; and, later in the
month, as identity and network with Gregory Little, an electronic
media artist whose art engages issues of avatar and immersion.
Transmedia artist and philospher Joseph Nechvatal engages
"viractuality" (occasions where the virtual and the actual merge),
and tests the grounds for a technological and erotic aesthetic of
virtuality. Electronic media artist, writer and editor Gregory Little
explores constructions of identity in networked virtual environments
as an artistic medium, while focusing on issues related to consensual
identity, avatars (avatara), being inside-out, abjection, hierarchies
and the "Body w/o Organs", and the post-human.
Viractualism with Joseph Nechvatal November 1-15 & Avatar Manifesos
with Gregory Little November 15 -30
join us at --empyre forum-- <http://www.subtle.net/empyre>
- - ---> Dr. Joseph Nechvatal has worked with ubiquitous electronic
visual information and computer-robotics since 1986. Dr. Nechvatal
earned his Ph.D. in the philosophy of art and new technology with The
Centre for Advanced Inquiry in the Interactive Arts (CAiiA) . He
served as Parisian editor for rhizome between 1996-2001 and now
writes regularly for The THING , NY ARTS and Zing. He presently
teaches Theories of Virtual Reality at the School of Visual Arts in
New York City. His computer-robotic assisted paintings and computer
animations are shown regularly in galleries and museums throughout
the world. From 1991-3 he worked as artist-in-resident at the Louis
Pasteur Atelier and the Saline Royale / Ledoux Foundation's computer
lab in Arbois, France on 'The Computer Virus Project': an experiment
with computer viruses as a creative stratagem. Dr. Nechvatal has
exhibited his work widely in Europe and the United States, both in
private and public venues. He is collected by the Los Angeles County
Museum, the Moderna Musset in Stockholm, Sweden and the Israel Museum
in Jerusalem. Dr. Nechvatal's work was included in Documenta 8>. He
is a founder of the Tellus Audio Art Project
(http://www.harvestworks.org/tellus/tellus.html) and served as
conference coordinator for the 1st International CAiiA Research
Conference entitled "CONSCIOUSNESS REFRAMED: Art and Consciousness in
the Post-Biological Era" (5 & 6 July 1997); an international
conference which looked at new developments in art, science,
technology and consciousness which was held at the Centre for
Advanced Inquiry in the Interactive Arts, University of Wales
College, Newport, UK. (http://www.caiia-star.net/)
<http://www.nechvatal.net>
<http://www.eyewithwings.net/nechvatal/algorithic.html>
<http://www.eyewithwings.net/nechvatal/ideals.htm>
- - ---> Gregory Little is an electronic media artist working with
philosophical and theoretical issues related to the technologies of
immersive virtual reality, netart, and avatars; specifically with
respect to issues of identity, embodiment, and human sentience. He is
currently Visiting Assistant Professor of Digital Art at Bowling
Green State University, USA; and an associate editor for Intelligent
Agent.
- - --watch for more on Greg Little at mid-November----
Avatar Manifesto: http://art.bgsu.edu/~glittle/ava_text_1.html
Projects: http://art.bgsu.edu/~glittle/menu_1.html Presence and the
AE: http://art.bgsu.edu/~glittle/presence/index.html
Christina McPhee
<http://www.christinamcphee.net>
<www.naxsmash.net>
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From: Steven Ball <[log in to unmask]> Subject: The British
Artists' Film and Video Study Collection MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit
The British Artists' Film and Video Study Collection at Central Saint
Martins College of Art and Design (London Institute) is a resource
for researchers interested in artists' work that encompasses film,
video and related moving-image media. The collection includes over
1,500 videotape copies of British artists' films and videos from the
1920s to the present, paper documentation and ephemera covering more
than 600 artists. There are also uncatalogued collections of flyers,
programme notes, still images and posters relating to screenings and
exhibition from 1966 to the present. (Volunteers to help with
cataloguing are always welcome!).
The Collection's online resources include a comprehensive database of
artists' film and video (currently being prepared for the web by the
Performing Arts Data Service), specially curated online exhibitions,
a chronology of British artists' film and video, and a list of the
Collection's tape holdings.
More detail can be accessed at <http://www.bftv.ac.uk/avantgarde>.
The British Artists' Film and Video Study Collection is part of the
AHRB Centre for British Film and Television Studies, a national five
year academic research programme. Collaborating partners include
Central Saint Martins, Birkbeck (University of London), University of
Ulster, Sheffield Hallam University, the British Film Institute and
others. The Central St Martins aspect of the research, which
concentrates on the history of experimental film and video in
Britain, is led by Malcolm Le Grice and David Curtis.
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From: Robert Lort <[log in to unmask]> Subject: azimute
Hello,
A brief announcement to let you know that Azimute has just published
online a new literature piece, "Digital Abyss" by Adrian Gargett.
http://home.pacific.net.au/~robertl/azimute.html
This text combines Deleuze and Guattari's philosophy with an analysis
of the "Matrix" film.
Azimute is an online publisher dedicated to publishing theoretical
texts concerned with Deleuze and Guattari and related aspects of
their work.
Regards
Robert Lort
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From: "Heide Fehrenbach" <[log in to unmask]>
GERMAN STUDIES ASSOCIATION
Twenty-Seventh Annual Conference
CALL FOR PAPERS
The German Studies Association (GSA) will hold its twenty-seventh
annual conference in New Orleans, LA 18-21 September 2003.
The program committee cordially invites proposals on any aspect of
German Studies, including history, Germanistik, film, political
science, sociology, philosophy, and the arts. Proposals for entire
sessions and for interdisciplinary presentations are encouraged.
The deadline for proposals is 15 February 2003; early submissions are welcome.
For more information and application materials, visit the GSA website
<http://g-s-a.org>, or contact Dr. Richard Rundell, Languages &
Linguistics MSC 3L, New Mexico State University, Las Cruces, NM
88003-8001, fax 505-646-7876, e-mail <[log in to unmask]>.
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Subject: New book announcement - Sensuous Theory and Multisensory
Media, by Laura U. Marks MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit
TOUCH: Sensuous Theory and Multisensory Media Laura U. Marks
University of Minnesota Press | 280 pages | 61 halftones, 4 line
drawings | 2002
ISBN 0-8166-3888-8 | hardcover | $54.95
ISBN 0-8166-3889-6 | paperback | $19.95
Proposes a revolutionary approach to the interpretation of art, film,
and the digital.
In Touch, Laura U. Marks develops a critical approach more tactile
than visual, an intensely physical and sensuous engagement with works
of media art that enriches our understanding and experience of these
works and of art itself.
For more information, visit the book's webpage:
http://www.upress.umn.edu/Books/M/marks_touch.html
Sign up to receive news on the latest releases from University of
Minnesota Press:
http://www.upress.umn.edu/eform.html
Stacy Zellmann
Direct Marketing Coordinator
University of Minnesota Press
111 Third Avenue South, Suite 290
Minneapolis, MN 55401-2520
612-627-1934
http://www.upress.umn.edu
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From: Vladimir Padunov <[log in to unmask]>
Russian Film Symposium 2002.
http://www.rusfilm.pitt.edu/
Global Amnesia 3. Central Asian Cinema and Film Genres.
Central to the final part of the series Global Amnesia is the
appropriation by a new generation of Central Asian filmmakers of
Western (and Eastern) genres: film noir, the road film, the samurai
film and the spaghetti Western, the magic journey. Some critics argue
that mastery of the film industry's dominant genres is proof that
recent Central Asian films are directed primarily at an international
audience, not a domestic one, either regional or national. Others
claim, citing the same visual texts and textual evidence, that recent
Central Asian films present one of the clearest demonstrations of the
ability of the local to integrate into and transform the global. The
four films in the series-three Kazakh and one Tadjik (all 1991-2001)
-acknowledge and celebrate a film genre not traditional to the
region, while at the same time transforming that genre with its
innovative-that is, non-Western-tropes, editing rhythm, and cultural
references.
Saturday 16 November - Sunday, 8 December 2002, two screenings each
(Saturdays at 7:30 and Sundays at 5:00). All films with English
subtitles
_____________________________________________ Vladimir Padunov
Department of Slavic Languages and Literatures 1433 Cathedral of
Learning voice: 1-412-624-5713
University of Pittsburgh FAX: 1-412-624-9714
Pittsburgh, PA 15260 [log in to unmask]
Russian Film Symposium http://www.rusfilm.pitt.edu
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Issue 22, Special Women's Issue, of
SENSES OF CINEMA
is now online at
http://www.sensesofcinema.com
Spotlights include:
Australian women
Wanda, Barbara Steele, Baise-moi
Special Dossier: Zoë Lund
Asia Argento, Márta Mészáros
Experimental - Menkes, Thornton, Deren
María Luisa Bemberg, Loretta Todd, Ann Hui, Amy Heckerling Iranian
women, Swiss women
Max Ophüls
Doris Wishman and the scream in cinema
Female glamour and star power
Plus:
GREAT DIRECTORS - Armstrong, Campion, Raynal and others TOP 5s of
Women-directed films / BOOK REVIEWS / FESTIVAL REPORTS / CTEQ
ANNOTATIONS / and much more!
Senses of Cinema http://www.sensesofcinema.com
General Editor - Fiona A Villella [log in to unmask]
Special Dossiers Editor - Adrian Martin [log in to unmask]
Great Directors Editor - Michelle Carey [log in to unmask]
Web Designers - Chris Howard [log in to unmask] and
Albert Fung [log in to unmask]
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From: Catherine Lupton <[log in to unmask]>
Subject: (Fwd) Chris Marker website is up Comments: To:
[log in to unmask], [log in to unmask] To:
[log in to unmask]
I'm delighted to announce that the website for the Chris Marker
conference and screening programme is up and accessible at
http://www.roehampton.ac.uk/chrismarker
Please check the site for updates on the conference programme.
I look forward to seeing you all on November 16 and 17 at the ICA
Best wishes
Catherine Lupton
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From: "Lacy Landrum" <[log in to unmask]>
For those scholars who secretly purchase the TV Guide and tape
television shows that aren’t mentioned in the faculty lounge, this is
the conference for which you’ve been waiting. Proposals for papers
and panels on the intersection of television and popular culture are
welcome in areas such as the following:
--New channels, new genres (e.g. Sopranos, Trading Spaces)
--Innovations in serial narrative (e.g. 24, Boomtown) --Influx of
“reality” TV: ESPN even has one now… --Nostalgia for old values
expressed in new shows --Reinscription or reversal of gender roles:
(e.g. Buffy, CSI) --Ideology represented in dramas (e.g. The West
Wing) --Economics of commercials: Sprint cellular and popular culture
--Ethics and anatomy of news media: channels as 24-hour news sources
--Rerun extravaganza
--Any other intersections of television and popular culture
Southwest-Texas PCA/ACA Regional Meeting: 24th Annual Conference
February 12-15, 2003 in Albuquerque, NM
Host Hotels: Albuquerque Hilton and Fairfield Inn by Marriott
Deadline for Paper and Panel Proposals: December 1, 2002
Please submit a proposal (250 words maximum) or inquiries to: Lacy Landrum
Oklahoma State University
Department of English
Morrill 205, Stillwater, OK 74078
[log in to unmask]
[log in to unmask]
For general information and online conference and hotel registration,
go to the SW/Texas PCA/ACA website: http://www.swtexaspca.org
The PCA’s mission is "to promote an innovative and nontraditional
academic movement in Humanities and Social Sciences, to provide an
outlet for scholars, writers, and others interested in the popular
culture, to share ideas in a professional atmosphere, and to have
papers presented at meetings."
Membership in the PCA/ACA is required for participation.
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Envelope-to: [log in to unmask]
From: "Senses of Cinema" <[log in to unmask]> To:
"Film-Philosophy" <[log in to unmask]> Subject: CTEQ
Annotations - Call for Contributions Date: Thu, 10 Oct 2002 11:18:56
+1000
X-Priority: 3
INTRO
The Melbourne Cinémathèque plays a vital role in local film culture
by screening important films from film history that otherwise would
not be theatrically screened before an audience.
In order to provide a critical context for these screenings,
"annotations" on films have traditionally been published in one form
or another. Since April 2000, "CTEQ Annotations on Film" have been
published electronically in Senses of Cinema and in hard copy for
those without Internet access. The purpose of these annotations is to
further appreciation of a film by highlighting details of its
history, providing a "reading" of its aesthetic and so on.
INVITE
Senses of Cinema and CTEQ Annotations on Film invite writers to
contribute notes on the films listed below.
Articles should follow the guidelines set out by Senses of Cinema and
should be 800-1000 words in length.
We ask that you reply to this invitation with an expression of
interest in a film that you would like to write on as soon as
possible. Email Adrian Danks at [log in to unmask] We will
then match up writers with specific films (as there may be several
people interested in one film).
Annotations on the following films will be published in the next
issue of Senses of Cinema. The deadline for written material is
October 31st.
The Great Gabbo (James Cruze, 1929)
The Merry Widow (Erich von Stroheim, 1925) Ciclon (Santiago Alvarez, 1963)
79 Springs of Ho Chi Minh (Santiago Alvarez, 1969) Black Girl
(Ousmane Sembene, 1966)
Guelwaar (Ousmane Sembene, 1993)
Bezhin Meadow ('Sergei Eisenstein', 1937/1968) Ballad of A Soldier
(Grigori Chukrai, 1959) Closely Observed Trains (Jiri Menzel, 1966)
An Essay In Pornography (Christopher Cary, 1973) The Set (Frank
Brittain, 1970)
Australia with Love (Stig Bjorkman, 1969)
Regards,
Fiona
For Senses of Cinema and CTEQ Annotations on Film
__________________________________________
Senses of Cinema http://www.sensesofcinema.com
Fiona A Villella - editor [log in to unmask]
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Cybersalon Discussion - Lev Manovich
Tue 19 Nov, 8.30pm
£8, £7, Concs. £6 ICA Members
Theatre
part of whatdoyouwanttodowithit? - the ICA Digital Festival
Lev Manovich, digital artist, author and Associate Professor at the
Visual Arts Department, University of California, will give a talk on
'Meaningful Beauty: Data Visualisation in New Media Culture'. Lev's
keynote address examines the aesthetics and practice of new media
culture and launches Cybersalon Process, Cybersalon's forthcoming
digital practioners forum. To be followed by a panel discussion with
experienced digital arts practioners who explore the implications of
Lev's keynote address.
Cybersalon will also present two of its recently completed projects:
iSideshow - a site specific digital circus developed for and
performed at the Big Chill festival in Eastnor Castle this August;
and the Cyber Theatre Laboratory - an experimental theatre project
bringing together writers, directors and actors from the Y Touring
theatre company with Cybersalon digital artists to explore the
potential and impact of new technologies on writing and performing
youth oriented theatre.
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From: joke brouwer <[log in to unmask]>
Subject: master classes Interfacing Realities
Interfacing Realities is a Culture 2000 project initiated by V2_ and
realised in collaboration with EncArt. EncArt (European Network for
Cyber Arts) is a longterm collaboration between the ZKM in Karlsruhe,
Ars Electronica in Linz, C3 in Budapest and V2_ in Rotterdam that
started in 1997. Interfacing Realities covers a series of four
masterclasses that focus on new concepts for information management
in general, and the usage and creation of databases and archives in
contemporary art practices in particular.
http://www.v2.nl/Projects/interfacing_realities
=====================
Master class with Lev Manovich
C3, Budapest, 22 November - 26 November 2002 METADATING THE IMAGE
=====================
MASTER CLASS with Lev Manovich
C3, Budapest, 22 November - 26 November 2002
METADATING THE IMAGE
Human cultures have developed rich and precise systems to describe
oral and written communication: phonetics, syntax, semantics,
pragmatics, narrative theory, rhetoric, and so on. Dictionaries and
thesauruses help us to create new texts while the search engines and
the ever present "findä" command on our desktops help us to locate
the particular texts already created, or their parts.
Paradoxically, while the role of visual communication has
dramatically increased over the last two centuries, no similar
descriptive systems were developed for images ™ at least not on the
same scale. So while the number of different types of images we
routinely create today is extremely large, if not infinite (and it
has become ever larger after computer tools made possible to more
easily combine photographs, graphics and text, and to apply
operations previously reserved for each of this separate medium to
all the other media ™ blurring text, etc.), the systems we have to
describe these images are very poor. For instance, stock photography
collections divide millions of images into a couple of dozen
categories, at best, with names such as "joy" "business," and"
achievement"; professional designers typically use even more limited
range of categories to describe their projects ( "clean,"
"futuristic," "corporate," "conservative," etc.)
As computerization dramatically increases the amount of media data
that can be stored, accessed and manipulated, we are gradually
shifting towards more structured ways to organize and describe this
data. For example, we are moving from HTML to XML (and next to
Semantic Web); from MPEG-2 to MPEG-7; from "flat" lens-based images
to "layered" image composites and discrete 3D computer generated
spaces. In all these cases the shift is from a "low-level" metadata
(the fonts on the Web page, the resolution and compression settings
of a moving image) to a "high-level" metadata that describes the
structure of a media composition or even its semantics.
What about images? Computerization creates a promise (which maybe
only an illusion) that images that traditionally resisted the human
attempts to describe them with precision ™ will be finally conquered.
After all, we now easily find out that a particular digital image
contains so many pixels and so many colors; we can also easily store
all kinds of metadata along with the image; and we can tease out some
indications of image structure and semantics (for instance, we can
find all edges in a bit-mapped image.) Yet visual search engines that
can deal with the queries such as "find all images which have a
picture of " or "find all images similar in composition to this one"
are still in their infancy. Similarly, the metadata provided by a
image database software I use to organize my digital photos tells me
all kinds of technical details such as what aperture my digital
camera used to snap this or that image ™ but nothing about the image
content. In short, while computerization made the image acquisition,
storage, manipulation, and transmission much more efficient than
before, it did not help us so far to deal with one of its side
effects ™ how to more efficiently describe and access the vast
quantities of digital image being generated by digital cameras and
scanners, by the endless "digital archives" and "digital libraries"
projects around the world, by the sensors and the museumsä
The theoretical part of the Master class will develop in more detail
the paradigm sketched here. We will discuss the key modern attempts
(in cinema, graphic design, art history, psychology, and other
fields) to make images into a language ™ i.e., to develop formal
techniques to describe images and to predict their effects on the
viewer. Against this background, we will look at the history, the
present research and the emerging trends in computer research which
pursue the similar project: visual search engines, the new hybrid
forms of cinema which combine cinematography with a more structured
way to represent space borrowed from 3D computer graphics, the state
of the art in computer vision applications, and so on. We will also
look at the works of a few new media artists that engage with the
politics and poetics of image metadata (Joachim Sauter, George
Legrady, and others).
Finally, we will also engage with some larger questions about the
functioning of images in a global information society. For example,
is it true that we live in a predominantly visual culture, or does
computerization in fact downplays the role of an image in favor of
other representations such as text and 3D space? Will our visual
culture be still dominated by photographic-like images in the twenty
first century, or will other kinds of images eventually take their
place? While computers allow us to manipulate old media in new ways,
creating new hybrids and new forms, do they also enable any
completely new and unprecedented types of visual representations?
The practical projects developed during the Master class can pursue
one of two directions. A project can present an analysis of some
existing (and socially important) system for cataloging and
describing images and their contents ™ for instance, the categories
used by stock media collections, the categories used to classify
facial expressions of human emotions in computer research, the
categories used by graphic designers to talk about the styles of Web
design. If possible, these projects should address the following two
questions: (1) are there any conceptual shifts which can be observed
in the logic of image description systems as they become implemented
in a computer, thus turning into software? (2) What are the
relationships between image description systems and the descriptions
used by software for other type of media?
Alternatively, a participant can develop a conceptual proposal for a
software interface to record, describe, access, or manipulate images
in a new way. While new media artists have extensively critiqued
existing software interfaces in general and developed many particular
alternatives, surprisingly little energy has been spend so far
thinking on how we interface to images. And yet the computerization
of visual culture opens all kinds of interesting possibilities
waiting to be explored. For instance, if it already possible to
record and store practically unlimited number of still and moving
images of one's existence, what kind of interface can we use to
organize and navigate these images? Or, given that we now can use
database software to classify, link, and retrieve images and image
sequences along with other media, how can a database structure be
used to represent the life of a modern city, the history of a place,
etc. In other words, behind the difficult problem of visual metadata
that has become more pressing in computer age than ever before, there
is also an exiting promise ™ the promise to represent reality and
human experience in new ways.
The projects created during the class will be featured on a Master
class Web site and will be published in a new book by V2 (Rotterdam).
Therefore, regardless of whether a participant chooses to pursue
analytical or practical project, the final files should be ready to
be put on the Web and to be published in the book. Therefore the
project should be presented as a single panel (similar in style to
architectural proposals), available in Web-ready and print-ready
versions (for instance, an HTML file and an Illustrator file).
date: 22 - 26 November 2002 location: C3, Budapest, Hungary
participants: 10 (a maximum of 6 students) costs: 200 euro, students
100 euro (traveling and lodging must also be payed by the
participants)
Subscribe as soon as possible by using the webpages:
http://www.v2.nl/Projects/interfacing_realities
Application
The fee for the 5-days workshop is 200 Euro (for students 100 Euro).
The deadline for the application is 13 November 2002.
Please, fill in the application form:
+ Name, Address, E-Mail, Telephone:
+ Student: yes/no
+ Profession: / Subject of Study:
+ Curriculum Vitae:
+ Motivation (short text why you want to participate):
To be sent to:
ZKM - Institute for Visual Media
Postfach 6909
D-76049 Karlsruhe
E-Mail: [log in to unmask]
Fax: 0049-(0)721-8100 1509
Tel: 0049-(0)721-8100 1500
========================
More information: <http://www.v2.nl/Projects/interfacing_realities>
Boudewijn Ridder
V2_Organisatie --- Eendrachtsstraat 10 --- 3012 XL Rotterdam ---
010-2067272 [log in to unmask] --- http://www.v2.nl
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