.:,
.', :. .
.. , ..' : ..
.. '. .. ,. ..: ..
.. .: .'.. ,. . ... 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
.. :.,.. '....
....:,. '. 2002.12.04 Film-Philosophy News
.' :. .
.,'









Call for Papers

Society for the Philosophical Study of the Contemporary Visual Arts (SPSCVA)

Panel session at the Eastern Division Meeting of the American
Philosophical Association (APA)

(Dec. 27-30, 2003, Washington, DC, Washington Hilton)

Open call for papers: Deadline March 15, 2003

Any previously unpublished paper on philosophy and the visual arts is
welcome. Papers on the philosophy of film or on a specific
philosophical issue in the work(s) of a particular filmmaker are
especially welcome.

Send electronic abstracts/proposals to: James Harold, Eastern
Division Meeting Program Chair, Mount Holyoke College
<mailto:[log in to unmask]>[log in to unmask]

For society information, visit <http://www.lhup.edu/~dshaw>www.lhup.edu/~dshaw



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From: Mark Jancovich <[log in to unmask]>

Scope's new texts are now online. They are free to all via the link
to the Institute of Film Studies below.

---------------------------------------- Articles

American Civil Religion, The Lost Cause, and D.W. Griffith: The Birth
of a Nation Revisited, By Kris Jozajtis.

Issues of Gender in Muscle Beach Party, By Joan Ormrod.

Ripped from Today's Headlines: The Outlaw Biker Movie Cycle, By Andrew Syder.

Shall We F***?: Notes on Parody in the Pink, By Julian Stringer.


---------------------------------------- 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 Citt 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

Htel 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 Unberhrbare, 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

Thanks.

Mark
--
Dr Mark Jancovich
Reader and Director
Institute of Film Studies
School of American and Canadian Studies
University of Nottingham
Nottingham, NG7 2RD
United Kingdom
Tel: 0115 951 4250
Fax: 0115 951 4270
email: [log in to unmask]
URL: http://www.nottingham.ac.uk/film


*Scope is now indexed in the MLA International Bibliography*



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From: Robin Curtis <[log in to unmask]>

Conference Announcement:
"Redesignations: Architectural and Cinematic Spacing"

On Friday January 17th and Saturday January 18th, 2003 in the Jewish Museum
Lindenstraþe 9-14
10969 Berlin

Participants:

Raymond Bellour (C.N.R.S. Paris) The Chamber Giuliana Bruno (Harvard
University) Atlas of Emotion: Journeys in Art,
Architecture, and Film
Christa Bl¸mlinger (UniversitÈ de Sorbonne 3, Paris) Virtualisierung des
filmischen Raums (zu Constanze Ruhm)
Beatriz Colomina (Princeton University) Enclosed by Images: The Eameses'
Multiscreen Architecture
Jan und Tim Edler (Realities: United, Berlin) Projekt Bix u.a. Relation,
Integration und Synthese von bewegtem Bild und Raum Thomas Elsaesser
(Universiteit van Amsterdam) City Synergies: Promoting
Planned Living in Films of the 1920s
Lorenz Engell (Bauhaus Universit”t Weimar) Die Jalousie Anne
Friedberg (University of California, Irvine) The Architecture of
Spectatorship
Mark Jancovich (University of Nottingham) A Progressive City and its
Cinemas: Technology, Modernity and the Spectacle of Abundance
Michaela Ott (Universit”t Stuttgart) Der unbestimmte Raum in
Philosophie
und Film
Peter Pakesch (Kunsthaus Graz)
Ludger Schwarte (Freie Universit”t Berlin) Das Licht als –ffentlicher
Raum - Die Laterna Magica und die Kinoarchitektur

Organized by:
Project B11 "The Act of Screening in the Space of the Cinema"
www.sfb-performativ.de/seiten/b11_engl.html

Led by Prof. Dr. Gertrud Koch, Freie Universit”t Berlin

Under the aegis of the Sonderforschungsbereich 447 "Kulturen des
Performativen" at the Freie Universit”t Berlin www.sfb-performativ.de

For further details contact
Robin Curtis [log in to unmask]
Marc Gl–de [log in to unmask]



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Marxism and Culture

Pluto Press

General Editors: Michael Wayne and Esther Leslie

This new series aims to revive, renew and develop Marxism as an
emancipatory tool for analysing media and cultural practices within
capitalism and class society. The series seeks to attract proposals
from writers who are able to demonstrate the explanatory power of
Marxism to the many students and interested readers presently
ill-served by the available literature, subjected as they are to
travestied or reductive accounts. The focus is on both contemporary
popular culture and the high and avant garde art of the past, brought
into connection with a range of pressing issues, such as
globalisation, ecology and nature, science, the family, identity,
migration and asylum, war, inequality and oppression. Developments in
new technologies, their relation to capital and the contradictory
role of the intelligentsia within media and culture institutions
represent other significant strands. The interplay of social
relations with forms of identity - ethnic, gendered and sexual - may
be addressed. We are also keen to consider proposals that address
metatheoretical work on the history of Marxist cultural theory, its
methodologies and various currents, as well as assessments of
Marxism's relevance to 21st century cultural conditions and contexts.
Marxist accounts of rival theoretical outlooks are also welcome. We
are confident that there are audiences for studies that emphasise the
role of class division and class struggle and invite your proposals.

Email

[log in to unmask]      [log in to unmask]



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From: "Michael Tapper" <[log in to unmask]> To:
<[log in to unmask]>
Subject: Film International
Date: Tue, 3 Dec 2002 23:03:21 +0100
X-Priority: 3

Dear colleagues,

On Tag Gallagher's recommendation I have listed you in the link
library of my web site at <http://www.filmint.nu>www.filmint.nu. My
site the net edition of Swedish cinema journal FilmhŠftet, to become
the all-English Film International in 2003. More information below.
Please, feel free to put a link to us at your site.


About Film International?
Bimonthly journal Film International was founded in Sweden 1973 as
FilmhŠftet and is partly financed by funding from the Swedish
National Council for Cultural Affairs. The namechange is due to the
introduction of an English edition in 2003. But already now you can
find us at the web site <http://www.filmint.nu/>www.filmint.nu. We
aim not to be just a scholarly journal, but a new breed of film
magazine, mixing established academic film scholars (and other
scholars) with renowned film journalists, trying to reach a wider
circle of readers.

We recruit contributors from all over the world. Among the
internationally most well-known are Charles Barr, John Baxter, Paul
Buhle, Stanley Cavell, Kathleen M Coleman, John R Cook, Nicholas J
Cull, David Bordwell, Arthur M Eckstein, Tag Gallagher, Barry K
Grant, Jan-Christopher Horak, I Q Hunter, Marian Keane, Jon Lewis,
Richard Lippe, Patrick McGilligan, Xavier Mendik, Toby Miller, Robert
Murphy, Dana Polan, William Rothman, Linda Williams, Robin Wood,
Rochelle Wright...

The main focus is on longer essays with in-depth-analysis and
interviews. However, there is also an extensive review section on
books, DVDs and films at the cinema. Michael Tapper, editor-in-chief
Film International/FilmhŠftet (member of SCS) Lilla Fiskaregatan 10
SE-222 22 Lund
Sweden
tel/fax: +46-(0)46-137914
mobile: +46-(0)709-821495



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From: MEUSY Jean-Jacques <[log in to unmask]>

International Conference in Sorbonne :
Colloque international en Sorbonne :
" CinemaScope, its origins and its legacy" ´ Le CinÈmaScope, ses
origines et son hÈritage ª December 13 and 14, 2002
13 et 14 dÈcembre 2002
17, rue de la Sorbonne, 75005 Paris
Louis Liard Amphitheatre


ORIGINES ET DEVELOPPEMENT DU CINEMASCOPE

Le Guet Tully FranÁoise (Chercheur ý l'Observatoire de la CÙte
d'Azur, Nice) : Henri ChrÈtien , des Ètoiles au CinÈmaScope. Meusy
Jean-Jacques (Directeur de Recherche au CNRS, UMR 8533, Paris) :
L'histoire franÁaise du CinÈmascope.
Belton John (Professor at the Rutgers University, New Brunswick, USA)
: Chretien, Fox, and Franco-American Relation. Bossenko ValÈry
(Archiviste au Gosfilmofond, Russie): Le CinÈmaScope en URSS : les
dÈbuts.

REGARDS SUR LA TECHNIQUE ET LA PERCEPTION DU RELIEF

Bullier Jean (Directeur du Centre de Recherche Cerveau et Cognition,
UniversitÈ Paul Sabatier, Toulouse) : Vision centrale, vision
pÈriphÈrique.
Rousseau Olivier (Enseignant en Lettres modernes - Communication ý
l'UniversitÈ Paris XII - Val-de-Marne): Les procÈdÈs concurrentiels
du CinÈmaScope en France.
Sabater Jacques (Professeur ý l'Ecole supÈrieur d'Optique, Orsay) :
L'optique de l'Hypergonar d'Henri ChrÈtien. Guellerin Christian
(Directeur de la photogr aphie et enseignant) : Historique et
technique des procÈdÈs Scope et dÈrivÈs. Jullier Laurent (MaÓtre de
confÈrences, FacultÈ des Lettres de Lille): La complÈmentaritÈ
CinÈmaScope - son multipistes. Martin Pascal (Professeur d'optique
appliquÈe au cinÈma ý l'Ecole nationale supÈrieure Louis LumiËre,
Seine-Saint-Denis) : Le flou-net de profondeur en CinÈmaScope.

ESTHETIQUE DU CINEMASCOPE

Liguoro Francesca (FacultÈ des Lettres de l'Institut Universitaire
Suor Orsola Benincasa, Naples; Italie) et D'Oriano Giustina (FacultÈ
des Lettres de l'Institut Universitaire Suor Orsola Benincasa,
Naples, Italie) : Les frontiËres de la vision. Le CinÈmascope entre
reprÈsentation et regard du spectateur.
Arnaud Diane (ChargÈe de cours ý l'UniversitÈ Paris III) : Nouvelle
occupation de l'espace. Le CinÈmaScope, support d'une esthÈtique de
l'enfermement.
Sainati Augusto (Enseignant ý l'Istituto Universitario Suor Orsola,
Udine, Italie) : De la subjectivation de l'image. Marie Michel
(Professeur ý l'IRCAV, UniversitÈ Paris III) et Cerisuelo Marc (CNRS
- UniversitÈ Paris III) : Le CinÈmaScope et la Nouvelle Vague
Arnoldy Edouard (Assistant ý l'UniversitÈ de LiËge, Belgique) : Du
mouvement et de la mise en cadre des " spectacles filmÈs " et des
comÈdies musicales.

CINEMASCOPE, CRISES ET INNOVATIONS

Kitsopanidou Kira (ChargÈe de cours ý l'UniversitÈ Paris III) : Les
annÈes 50 et la crise du cinÈma amÈricain : la stratÈgie d'innovation
technologique de la Fox et le " pari CinÈmaScope ". Braun
Hans-Joachim (Professor at the Universit”t der Bundeswehr Hambourg) :
Failed and Succesfull Innovations : The case of CinemaScope.

HERITAGE ET PROSPECTIVE

Peseux ValÈrie (Docteur en Histoire des techniques, Conservatoire
national des Arts et mÈtiers) : Le mythe du cinÈma total. Leblanc
GÈrard (Professeur ý l'ENS Louis LumiËre, Seine-Saint-Denis) : Les
Ècrans variables.
Jaulmes Philippe (Architecte-cinÈaste, Montpellier) : L'Ècran
hÈmisphÈrique. VÈronneau Pierre (Conservateur et Historien,
CinÈmathËque quÈbÈcoise) : Imax : un hÈritier du CinÈmaScope ?

For any information : [log in to unmask]



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From: Pip Chodorov <[log in to unmask]>
Subject: Experimental? It's not my type!

Dear FrameWorkers and other influential friends,

The French experimental film community has grouped together and
written a manifesto (you know how much the French love
manifestos...), in order to support our common cause. Though it is a
general call to recognize experimental film as an art form, and to
protect it from being the victim of fashionability and taken over by
institutions, the main goal of it is to change a few outdated rules
in the French administration involved with supporting film, in order
to make it easier for public funding bodies to accept our activities
and our work, and so they understand how little help there is for
producing these kinds of films.

Some of these points are: to allow filmmakers grant proposals for
projects that have no script or dialogue list; a call for a committee
that is competent to read and understand such projects; to make it
easier for a project to receive a grant when there is no commercial
producer attached; to allow distribution cooperatives access to the
kinds of assistance that commercial distributors benefit from;
likewise for non-profit screening venues; to make it easier for
arthouse cinemas to rent films from non-commercial distributors, etc.

I know most of you are probably thinking that we should consider
ourselves lucky that these kinds of grants exist at all. Yes they do
exist here, but they are for the most part stuck in a 60-year old
logic of promoting industrial narrative cinema. The French National
Cinema Center (CNC) prides itself as promoting French film culture,
while the decisions it makes are based more on receiving a tax on box
office, that it does not get from the likes of us and our activities.

Over the years, we have built a grassroots network, but now that the
underground is experiencing stronger visibility, we realize the
fragility of our economy and ecology.

Many of these points are also valid in other countries. We are asking
as many people as possible to read the manifesto on line, and to show
solidarity with us by adding their signature to our list.

The English version (pared down to the main points) is here:

http://www.cineastes.net/manifesto.html

To sign, send your name, activity, group and location to
<[log in to unmask]>.

Thanks in advance for all your efforts. Soon we will group together
and make a worldwide manifesto.

Pip Chodorov



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>Subject: CFP: Almost Shakespeare: Appropriations in Film & TV
>(4/1/03; collection)

>Call For Papers
>
>We are soliciting submissions for an upcoming collection of essays
entitled
>Almost Shakespeare: Appropriations of Shakespeare in Film and
>Telelvision to be published by McFarland.
>
>The volume will address the appropriation of Shakespearean
>narratives, thematics, imagery, and characterizations in
>non-Shakespearean cinema and television. For example, the essays may
>observe the dialogue between the Shakespearean source and the
>cinematic context or examine the intersection
of
>high and low art forms. The submissions should not concentrate on films
of
>Shakespearean plays, but instead on those works that are based on or
borrow
>from Shakespeare.
>
>Submissions should be made to
>Dr. James Keller and Dr. Leslie Stratyner Division of Humanities, W-1634
>Mississippi University for Women
>Columbus, MS 39701
>Email submissions also welcome:
>[log in to unmask] or [log in to unmask]
>
>Essays should be documented in MLA style and should be no longer
>than 5000 words. The works that are accepted must be submitted on
>diskette in Word
or
>Wordperfect format. Deadline for completed manuscripts is April 1, 2003
>
>=============================================== From the Literary
>Calls for Papers Mailing List
>[log in to unmask]
>Full Information at
>http://www.english.upenn.edu/CFP/
>or write Erika Lin: [log in to unmask]



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From: Debbie Cock <[log in to unmask]> Subject: journal of
visual culture - new December issue! MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 8bit

Please find below contents listing for the December issue of journal
of visual culture. For more information on the journal or to sign up
for our free contents alerting service, please visit:
http://www.sagepub.co.uk/journals/Details/j0376.html

Volume 1 Number 3 December 2002

ARTICLES
Martin Jay
Cultural relativism and the visual turn

R.L. Rutsky
Pop-up theory: distraction and consumption in the age of meta-information

Alexander García Düttmann
Surfaces: the painting of Antoni Tàpies

Emanuela Guano
Ruining the President's spectacle: theatricality and telepolitics in
the Buenos Aires public sphere

Susan Buck-Morss
Globalization, cosmopolitanism, politics, and the citizen

The Florida Research Ensemble (FRE)
MIAMI MIAUTRE: mapping the virtual city (a preview)

Sean Cubitt
Visual and audiovisual: from image to moving image

EVENTS
Julian Henriques
Thinking without Trace

Lynn Turner
Lift Off: 'il n'y a pas de deux hors-texte'

Jean-Paul Martinon
Capturing the Present?

Anna Winestein
In Museums We Trust

BOOKS
Miguel Tamen, Friends of Interpretable Objects Reviewed by Aura Satz

Mark C. Taylor, The Moment of Complexity: Emerging Network Culture
Reviewed by Charlie Gere

INDEX TO VOLUME 1



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keyframe.org has been updated:

Margarete V–hringer / Birk Weiberg
Interview with Lev Manovich
New media theorist and artist Lev Manovich, author of The Language of
New Media, talks about his Soft Cinema project, aesthetics of the
database and the influence computers on cinema.
<http://keyframe.org/int/manovich>


Birk Weiberg
Beyond Interactive Cinema (updated version) Interactivity has long
been seen as a logical development driven by new technologies and the
demand for realism. But how can interactivity change traditional
cinema? <http://keyframe.org/txt/interact>



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From: "geert lovink" <[log in to unmask]>
Subject: eyebeam online forum

From: "Beth R." <[log in to unmask]>

EYE TO EYE

The artists and technologists at Eyebeam have begun their fifth
annual online discussion forum, and if preceding years are any
indication, you really ought to strap on a crash helmet and dive in.
The topic this time is "THE RESTRUCTURED SCREEN: Conversations on the
New Moving Image," and they'll be featuring new works weekly from
artists who'll be creating pieces
in tandem with what's happening in the discussions. The forum will
continue until December 13. Go to--www.eyebeam.org/restructuredscreen

so--everyone--pass this around to your friends and colleagues and please post.

THE {RE}STRUCTURED SCREEN Online Forum:
Nov.11 - Dec.13, 2002
www.eyebeam.org/restructuredscreen.org

The five week online forum (www.eyebeam.org/restructuredscreen) is an
interdisciplinary dialogue exploring the language, narrative
structues, unique environments, and politics of the new moving image.
Topics to be explored include: immersive screen based environments in
public spaces and art works; concepts of looping, sampling and
multi-formatting that have affected narrative structure; expanded
media access that has widened film distribution and global activism;
and new forms of interactive interface composition, special effects
compositing, and 3D computer graphics that have forever modified the
contemporary lexicon and changed current aesthetics.

Forum participants include:
Jeremy Blake, Anthony Bregman, Brian Drolet, Steve Hamilton, Chrissie
Iles, Mary Lucier, Craig Kalpakjian, Jeff Kleiser, Peter Lunenfeld,
Pat O'Neill, John Pilson, Matthew Ritchie, Alex Rivera, Benjamin
Weil, Grahame Weinbren and others.

Artistic Interventions in the forum website by: Entropy8zuper!, Jesse
Gilbert & Carol Kim, Fakeshop, Yucef Merhi, Marina Zurkow.

Essays by:
Norman Klein, Marc Lafia, Geert Lovink, Lev Manovich.

Interviews with:
Eija-Liisa Ahtila, Harun Farocki, Scott Ross, Tom Tykwer

Technical Support: Scharff Weisberg

Media Sponsors: Artnet and Artkrush



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From: Andrea Buddensieg <[log in to unmask]> Subject: ZKM/Exhibition

ZKM | Zentrum f¸r Kunst und Medientechnologie Karlsruhe ZKM | Center
for Art and Media Karlsruhe 2002-11-11, press-mail 66

E x h i b i t i o n
FUTURE CINEMA
The Cinematic Imaginary after Film
Curated by Jeffrey Shaw and Peter Weibel November 16, 2002 ñ March 30, 2003

Press Conference: Thursday, November 14, 2002, 11 a.m.,
ZKM-Medientheater Exhibition Opening: Friday, November 15, 2002, 7
p.m., ZKM-Foyer

The conditions of cinematographic art have changed radically over the
past years. On the verge of a material revolution new possibilities
of camera and production techniques have emerged that also allow new
modes of narration and image languages. FUTURE CINEMA is the first
major international exhibition of current art practice in the domain
of video, film, computer and web based installations that embody and
anticipate new cinematic techniques and modes of expression. No
commercial or industrial working teams ý la Hollywood will be
presented, but the individual efforts of artists who overcome or
undermine the global standards of the cinema industry.

The exhibition will premier numerous works, some specially
commissioned for this exhibition, and a few actually produced at the
ZKM | Institute for Visual Media. A strong curatorial emphasis will
be on installations that diverge from the conventional on the wall
mounted and projected screen format and which explore more immersive
and technologically innovative environments such as multi-screen,
panoramic, dome projection, shared multi-user, and on-line
configurations. Another central focus will be on works that explore
creative approaches to the design of interactive non-linear narrative
content. The exhibition gives an overview of creative possibilities
in these areas of cinematographic research ñ a laboratory where
scientists and artists can meet and a window into the future.

Further information on the exhibtion: http://www.zkm.de/futurecinema

The exhibition will be accompanied by a catalog in English by The MIT
Press, Cambridge, MA.

- - --
Dr. Andrea Buddensieg

÷ffentlichkeitsarbeit, Leitung
Head of Public Relations

ZKM /////// / |< ||| | Zentrum f¸r Kunst und Medientechnologie Lorenzstr. 19
D-76135 Karlsruhe
Tel +49-(0)721-8100-1201
Fax +49-(0)721-8100-1139
Email [log in to unmask]
www.zkm.de



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From: Christina McPhee <[log in to unmask]> Subject:
-empyre-Avatar Manifestos with Gregory Little

Virtual Construction, part 2 on -empyre-

=empyre- is pleased to announce that Gregory Little joins our ongoing
November dialogue today as host for the topic "Virtual Construction"

Many thanks to Joseph Nechtaval for his insights into 'viractuality'
during the first part of November.

Please join us as Gregory introduces "Avatar Manifestos".

- - ---> 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.

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

Warm regards

Christina
- - --
Christina McPhee
<http://www.christinamcphee.net>
<http://www.naxsmash.net>



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MONSTROSITY

EQUINOXES 2003


Brown University's Department of French Studies Announces Its
Eleventh Annual Equinoxes Graduate Student Conference


March 14-15, 2003

Brown University


Equinoxes 2003 will address questions raised in French and
francophone literature, film, and art regarding monstrosity and
monsters. What are the functions of monsters in literary and artistic
works? Why do we introduce monsters in the literary space? What do
they tell us about who we are? What is the specificity of the
literary and artistic discourse on monsters? Can literature be
monstrous?


We welcome proposals - in French or in English - treating all
periods, genres and places that discuss these or related issues.
Panels may include but are not limited to:


1) Monsters and Representation of Reality

Through traditional oppositions (nature/culture,
natural/supernatural, beauty/beast, good/evil)


2) Monsters and Technology

Man as father of the monster, Monstrous machines & loss of control,
Medicine and the human body (prosthesis)


3) Monstrosity and Humanity

The monstrous as indicator of humanity (limits, coexistence,
interdependence), Monstrosity as social, cultural, political alterity


4) Monster as Public Enemy

Moral monstrosity and human destruction (cruelty, torture, genocide),
Punishment of the monstrous, Comic/tragic representations of
monstrosity (correction/purge of the social body)


5) Reproduction of the Monster

Monstrous heredity


6) Woman as Monster

Representations of women in the dialectic threat/fascination for male order


7) Monster/Sexuality

"Sexual deviance"


8) Monster and Creation

The monstrous writer/artist, Monstrous texts


9) Specificities and variants of discourse on the Monster

Normative and monstrous (taxonomy, categorization of the Monster),
Relation between scientific and literary discourses, Artistic
representations of the Monster, The Monster today (representations in
the media)


Reading time will be limited to 20 minutes. Please submit a one-page
abstract, a title, and your contact information by January 20, 2003
to [log in to unmask] or to the following address:


Katharine Harrington, Equinoxes 2003 Department of French Studies

Box 1961 Brown University Providence, RI 02912


For additional information, contact [log in to unmask] For a
general overview of Equinoxes Graduate Student Conferences, you may
access the conference website at:
http://www.brown.edu/Departments/French/Frenchpage/Equinox_2003/index.html




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Subject: Narratology beyond Literary Criticism To: [log in to unmask]
From: [log in to unmask]
Date: Fri, 22 Nov 2002 11:58:30 +0000
Status: U

Dear editor,

would you kindly announce the following conference:

Narratology beyond Literary Criticism.
Second International Colloquium of the Narratology Research Group at
Hamburg University
Hamburg, 21 and 22 November 2003

For further information and a call for papers see:
http://www.narrport.uni-hamburg.de

or:
http://www.narratology.net

With kind regards, Tom Kindt



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From: "Palestine Video Festival" <[log in to unmask]> Subject: [pivf.org]
2002 Palestine International Video Festival

Hello,

The "2002 Palestine International Video Festival" is a new video
festival to take place in the West Bank during the winter of 2002.
The festival will showcase an international collection of
contemporary video art, installations, and documentaries. During the
festival, the works will be installed in various independent
galleries, screened on local television stations, and made
permanently available in a public archive at Birzeit University.

The festival is an attempt to breach the cultural and intellectual
isolation of the Palestinian people brought about by the ongoing
Israeli occupation of the West Bank and the Gaza Strip. Issues
ranging from immigration and exile, the practice of everyday life,
and the aftermath of September 11th will be explored by the
festival's diverse participants. The festival was conceived by Emily
Jacir (UNDP/TOKTEN), and is co-organized by John Menick. It will
hopefully mark the beginning of an ongoing dialog between the
international cultural community and the residents of Palestine.

For more information please visit our website:

http://www.pivf.org/

All our best,
Emily Jacir and John Menick

-----------
2002 Palestine International Video Festival November - December 2002

http://www.pivf.org
[log in to unmask]



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From: Lev Manovich <[log in to unmask]> Subject: Lev Manovich
| SOFT CINEMA | Exhibition Schedule

Lev Manovich | SOFT CINEMA | Exhibition Schedule

URL: www.manovich.net/softcinema
Information: [log in to unmask]


Soft Cinema (2002) was commissioned and produced by ZKM | Center for
Art and Media in Karlsruhe for the exhibition FUTURE CINEMA. The
Cinematic Imaginary after Film (November 16, 2002 - March 30, 2003).
Lev Manovich - with Andreas Kratky, DJ Spooky, Christine Bokelmann,
Anne Pascual and Marcus Hauer / Schoenerwissen, Olia Lialina, Ruth
Lorenz / maaskant, Jason Danziger / think/build group, Andreas
Angelidakis, Gloria Sutton, Rachel Stevens, Francesca Ferguson,
Rachel Beth Egenhoefer, Ted Apel.

Soft Cinema (installation version) will be shown at ZKM as a part of
Future Cinema exhibition. Soft Cinema (screen version) will be shown
in other venues along with the earlier projects Little Movies
(1994-1997) and Anna and Andy (2000). Conceived for the Web in 1994,
Little Movies is a eulogy to the earliest form of digital cinema ã
QuickTime. Anna and Andy is a „streaming novel¾ which uses Tolstoy's
Anna Karenina as a script that drives a computer-generated
re-creation of Warhol's Screen Tests.

Soft Cinema Book (limited edition) will be available at ICA and ZKM bookstores.


November 2002 Exhibition Schedule:

Future Cinema | ZKM (Center for Art and Media), Karlsruhe, Germany 15
November 2002 to 23 March 2003 | opening: November 15, 7pm Soft
Cinema (installation version)

Lev Manovich: Adventures In Digital Cinema | ICA London Exhibition at
Institute of Contemporary Arts (ICA) November 7- 30, 2002
Soft cinema + Anna and Andy + Little Movies Lecture: Nov. 19

e-magic v.0.1 | Thessaloniki, Greece
November 12-14, 2002
Soft Cinema + Anna and Andy + Little Movies

Video Biennial | The Digitalartlab, Holon, Israel November 20-26, 2002
Soft cinema + Anna and Andy


Coming up:

Soft Cinema at Transmediale 03 exhibition, Berlin (honorary mention
in Image category)
February 2003



SOFT CINEMA

How to represent the subjective experience of living in a global
information society? If daily interaction with volumes of data and
numerous messages is part of our new „data-subjectivity,¾ how can we
visualize this subjectivity in new ways using new media?

Soft(ware) Cinema investigates a few approaches toward answering
these questions. Fictional stories excerpted from a collection
entitled GUI (Global User Interface) are presented as a series of
short movies. While the voice over which narrates the stories was
edited before hand, everything else is constructed by the software in
real time, including what appears on the screen, where, and in which
sequence. The decisions are based partly on a system of rules, and
are partly random. In other words, Soft Cinema can be thought of as a
semi-automatic VJ (Video Jockey) ãor more precisely, a FJ (Film
Jockey).

Using Graphical User Interface, financial TV programs and Piet
Mondrian as templates, Soft Cinema breaks the screen into several
frames. The videos that appear within these frames are derived from a
large database. Each video clip in the database follows Dogma 95
rules: it was shot in continuous takes without edits using a
hand-held camera. Most of the clips have been recorded by the author
while in Berlin, Tokyo, Riga, and other locations between 1999 and
2002; a few clips are simulated (i.e. a still image was animated to
look like a video shot on location).

www.manovich.net/softcinema/



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The Spectacle of the Real: From Hollywood to 'Reality' TV and Beyond

Brunel University 25-26 January 2003


Conference Fees

£95 for both days (students £65)

£50 for one day (students £35)

Payments can be made by cheque payable to Brunel University, sent to:
Rachel Russell, Performing Arts Office, Gaskell Building, Brunel
University, Cleveland Road, Uxbridge, UB8 3PH. Or by credit
card/phone: 01895 274000, ask for Rachel Russell or Sue Ramus.

For further details, contact conference organizer: Geoff King, Film
and TV Studies, Brunel University, [log in to unmask]

Programme

SATURDAY 25 January

Registration/coffee, 9-10

Keynote, 10 -11

Douglas Kellner, UCLA, '9-11, Terror War and Media Spectacle: Welcome
to the New Orwellian World'

Coffee

Session 1: Spectacle, Ideology, Catastrophe 11.30 -1.15

Eugene Arva, University of Miami, 'Life as Show Time: Aesthetic
Images and Ideological Spectacles'

Lee Rodney, Goldsmiths, London, 'Real-time, Catastrophe, Spectacle:
Reality as Fantasy in Live Media'

Geoff King, Brunel University, '"Just Like a Movie?": 9-11 and
Hollywood Spectacle'

Dean Lockwood, University of Lincoln, 'Teratology of the Spectacle'

Lunch, 1.15 -2.15

Session 2: Reality/TV, 2.15-4.00

Christine Fanthome, 'The Unrealities of Reality TV'

Amy West, University of Aukland, 'The Low-Tech Reality Effect and
'Visual Ordinariness'

Misha Kavka, University of Aukland, 'Reality Matters; or, How I
Learned to love Reality TV'

Annette Hill, University of Westminster, 'Real TV; Audience Resonses
to Factual Entertainment'

Tea/coffee

Session 3: Reality TV/Documentary, 4.30-6.00

Strand 1

Deborah Jermyn, Southampton Institute,'"It's the most dramatic thing
you can have": CCTV and the spectacle of actuality in television
crime appeal programming'

Leon Hunt, Brunel University, 'Hell-in-a-Cell and Other Stories:
Violence and Authenticity in 'Hardcore' Wrestling'

Bernadette Flynn, Griffith University, Brisbane, 'Docobriocalage in
the age of simulation'

Strand 2

Tanya Horeck, Anglia Polytechnic University,'Public Rape: Raw Deal: A
Question of Consent'

Frances Bonner, University of Queensland, '"Looking Inside": Showing
Operations on Medical Television'

Karen Scott, National Museum of Photography, Film & Television,
Bradford,'The Spectacle of "the Past": Contemporary documentary and
the role of new technology'

Drinks/Food

SUNDAY 26 January

Coffee, 9-9.30

Session 4, 9.30-11.00

Strand 1: Emotions/Trauma

Michele Aaron, Brunel University, Spectacles of Death and the
complicitous spectator (title tbc)

Kathy Smith, London Metropolitan University, 'Reframing Fantasy:
September 11 and the Global Audience'

Pat Cook, Brunel University, 'Watching Telly: Emotion Studies and the
Question of Moral Responsibility'

Strand 2

Hilary Harris, Griffith University, Brisbane, 'Military
Humanitarianism: To spectacularize the military but not to militarise
the spectacle'

Jon Kraszewski, Indiana University, 'Narratives and Spectacles of
Race on MTV's Reality Show "The Real World"'

Julia Hallam, University of Liverpool, 'Split screen spectacles:
engaging viewers in the multi-channel TV landscape'

Coffee

Session 5: Film, 11.30-1.15

Michele Pierson, University of Queensland, 'A Production Designer's
Cinema: Authenticity and Allusion in Historical-Fantasy Film'

Lisa Purse, University of Reading, 'The New Spatial Dynamics of the
Bullet-Time Effect'

Pat Brereton, Dublin City Universtiy, 'Representations of Historical,
Ecological and Future Disasters - A case study of Spielberg's use of
SFX'

Taek-Gwang Lee, University of Sheffield, 'The Logic of Computer-Generated Film'

Lunch, 1.15-2.15

Session 6: Film/Animation, 2.15-4.00

Strand 1

Julian Petley, Brunel, 'Real Life Death'

Peg Aloi, Emerson College, 'Beyond the Blair Witch: A New Horror Aesthetic?'

Mike Wayne, Brunel, 'Spectacles of Reification: Possession, Ghosts
and Value Theory

Tanya Krzywinska, Brunel University, 'The Enigma of the Real:
Authentic Sex in Contemporary "Legitimate" Cinema'

Strand 2

Seth Giddings, University of West of England, '"They must be
simulated": Animation as Spectacular Realism'

Paul Ward, Brunel University, '"I was dreaming I was awake, but then
I woke up and found myself asleep": Dreaming, Spectacle and Reality
in Richard Linklater's Waking Life'

Martin Flanagan, Bolton Institute, 'Toy Stories: Technology, Space
and Realism in Pixar Films'

Session 7, 4.30-6pm

Closing keynote and plenary discussion

Jay David Bolter, Georgia Institute of Technology, 'New Media and the
Remediation of Spectacle'



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