| | F I L M - P H I L O S O P H Y | | | |
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| | | Journal : Salon : Portal | ||| | |
| ISSN 1466-4615 | | |
| || PO Box 26161, London SW8 4WD | | | |
| | http://www.film-philosophy.com | | | |
| | | | 2003.11.20 Film-Philosophy News | | | | | |
Badiou's Ethics and Subjectivity
Monday 15 December 2003
Sir John Cass Department of Art, Media and Design London Metropolitan University
Speakers to include:
Simon Critchley, Professor of Philosophy at the New School University, New York, and Professor of Philosophy at the University of Essex. Books include The Ethics of Deconstruction: Derrida and Levinas (1992), Very Little, Almost Nothing: Death, Philosophy, Literature (1997), and On Humour (2002).
Andrew Gibson, Professor of Modern Literature and Theory, Royal Holloway University of London. Books include Postmodernity, Ethics and the Novel: From Leavis to Levinas (1999), and Joyce's Revenge: History, Politics and Aesthetics in 'Ulysses' (2002).
Ray Brassier, Research Associate, Middlesex University. Translator of Badiou's St. Paul: The Foundation of Universalism (2003), and translated and edited (with Alberto Toscano) Badiou's Theoretical Writings (2003).
Adrian Kear, Principal Lecturer, Roehampton University of Surrey. Author of Psychoanalysis and Performance (2001) and Making Time: Theatre, Temporality and the Ethics of Performance (forthcoming).
Jason Barker, Author of Alain Badiou - A Critical Introduction (2002) and translator of Badiou's Abrégé de métapolitique (forthcoming).
Dominiek Hoens, Jan van Eyck Academy, Maastricht, Netherlands. Author of Lacan and Badiou on the subject (2003), and (with Ed Pluth) What if the Other is Stupid? (2003)
Nina Power, PhD candidate, Middlesex University. Translated and edited (with Alberto Toscano) Badiou's On Beckett (2003).
Please contact: Jon Baldwin [[log in to unmask]] or Nick Haeffner [[log in to unmask]] for further details and booking.
The Communications and Subjectivity Research Group, London Metropolitan University, 31 Jewry Street, London, EC3N 2EY
http://www.lgu.ac.uk/sjcda/department/badiou.html
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From: "Soenke Zehle" <[log in to unmask]> Subject: <nettime-ann> [pub] Framework for Change: Transforming Iraq's Media Landscape
To: [log in to unmask]
Message-ID: <[log in to unmask]> Content-Type: text/plain; charset=US-ASCII
Framework for Change: Transforming Iraq's Media Landscape (24 June 2003).
http://www.internews.fr/iraq_media_conference/framework.html
"The result of a consultative effort by more than 75 Iraqi, Arab, and Western media lawyers, media policy experts and journalists representing more than 15 countries who met in Athens, Greece in June 2003."
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From: Toby Miller <[log in to unmask]> Subject: Call for Papers
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Hi
This is a call for papers. I'm editing a new journal for Sage Publications, called Television & New Media. Its focus is textual analysis, political economy, cultural history, policy advocacy, and audience ethonography--a television studies/cultural studies/media studies approach to the subject. The first issue will be out in March 2000. Associate editors are Herman Gray, John Hartley, and Lynn Spigel.
The average issue of T&NM will include an 'In Focus' segment for papers that can loosely be grouped together, as well as two segments designed for a rapid response to new policy, textual, and other matters (an 'Editorial' and a 'Prime Time' section) where the editor and other scholars will engage with critical issues of the day. In addition, each issue will feature book reviews. The overall shape is:
a) Editorial
b) In Focus
c) Book Reviews
d) Prime Time
There will be some theme issues (the past, present, and future of studying TV; digitalisation; active audiences; cable and satellite issues; pedagogy; interdisciplinary matters; globalisation; race, gender, class, and nation).
We want papers in English, using Harvard-style reference, submitted with three hard copies and an IBM-compatible disk. No electronic submission, though email inquiries are welcome. For 'In Focus,' papers may be up to 8000 words. For 'Prime Time,' they should be no longer than 25000 words.
The address for submissions follows my signature.
Cheers
Toby
Toby Miller
Department of Cinema Studies
New York University
721 Broadway, Room 600
NY NY 10003
Email: <[log in to unmask]>
Ph: (212) 9981614
Fax: (212) 9954061
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From: Hill John <[log in to unmask]>
Subject: Irish Postgraduate Film Seminar MIME-Version: 1.0
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THE IRISH POST-GRADUATE FILM RESEARCH SEMINAR
CALL FOR PAPERS
The Irish Post-Graduate Film Research Seminar is a collaborative venture between Trinity College, Dublin and the Centre for Media Research at the University of Ulster.
The Seminar is aimed at post-graduates and recent graduates (up to two years) whose research has been in film studies. It is designed to provide a platform for the presentation of new research by film scholars in Irish third-level institutions and those working on Irish film topics in non-Irish universities and colleges. The seminar is intended to encourage the development and exchange of ideas, contribute to the training of students in research methods and the advancement of their academic profiles. The event is supported by the Irish Higher Education Authority as part of the North-South Programme for Collaborative Research
Following the first Seminar at Trinity College in 2003, the second Seminar will take place on the Portrush campus of the University of Ulster on April 29-30. Professor Meaghan Morris will deliver the keynote address. The Seminar will also be preceded by a one-day event on researching regional and national cinemas in association with the AHRB Centre for British Film and Television Studies.
Presentations are invited from (a) Irish post-graduate students working on film research projects; (b) post-graduate students working on Irish film projects in non-Irish universities; and (c) post-doctoral students who have completed their degree on an Irish film topic in the two years prior to the conference date.
Those wishing to make a presentation are invited to submit by 12 December 2003 an abstract of the topic on which they wish to speak plus a short CV and summary of their research. Those invited to present papers at the Seminar will be expected to submit their full paper (twenty minutes duration) by 1 March 2004. Due to HEA funding, it is anticipated that the best papers will be published. Post-graduate film research students who may not be making presentations are also encouraged to attend the event. There is no charge for attendance at the Seminar or the preceding one-day event .
To record your interest in the Seminar and to be included in future mailings, send your contact address, details of your academic institution, and an outline of your research topic, to
Dr Kevin Rockett, or Professor John Hill,
Film Studies, School of Media and Performing Arts,
School of Drama, University of Ulster,
Trinity College, Coleraine,
Dublin 2, Northern Ireland BT52 1SA
Ireland
Email: [log in to unmask] Email: <mailto:[log in to unmask]>[log in to unmask]
Tel: (01) 608 1437 Tel: 028 7032 4196
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From: Brian O'Neill <[log in to unmask]> Subject: Irish Communications Review
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Volume 9 of the Irish Communications Review is now online at www.icr.dit.ie.
This issue presents a series of papers originally presented at Digital Landscapes - a symposium hosted in 2001 by Dublin City University and Dublin Institute of Technology on the challenges of the digital media revolution and its consequences for Ireland's media and cultural industries.
Individual contributions include:
New Media as Social Facts: Researching as Shaping the Digital Landscape
James Cornford
'Live Life to the Power of PS2': Locating the digital games industry in the new media environment
Aphra Kerr
Re-imagined Commuinities?: Ireland, Europe and the Web as shifting sites of Television Discourse
Maeve Connolly
News Consumption in Ireland and the New European Union: Traditional Media vs the Internet
Susan O'Donnell
Online news and changing models of journalism
Brian Trench & Gary Quinn
Regulation of New Economy Markets - The case of Wired Residential Internet Service Provision
David Jacobsen & Tom Weymes
Consumption Convergence
Deirdre Hynes
Cultivating Habits of Meaning - Broadcasting, Participation and interculturalism
Gavin Titley
Irish Communications Review is published electronically by the School of Media, Dublin Institute of Technology and aims to provide a forum for research, analysis and discussion of all aspects of the Irish media environment.
Brian O'Neill
School of Media
Dublin Institute of Technology
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The fascinating and frank autobiography of the celebrated surrealist film director.
MY LAST SIGH
Luis Buñuel
Translated by Abigail Israel
University of Minnesota Press | 256 pages | 2003 ISBN 0-8166-4387-3 | paperback | $16.95
Luis Buñuel lived many lives-surrealist, Spanish Civil War propagandist, hedonist, friend of artists and poets, and filmmaker. With candor and wit, Buñuel offers his opinions on the literati and avant-garde members of his social circle, including Pablo Picasso, Jorge Luis Borges, Salvador Dalí, and Federico García Lorca. These colorful stories of his life reveal a man of stunning imagination and influence.
"May be quite simply the loveliest testament ever left by a film director."-New York Times Book Review
"One of the best books ever offered by a moviemaker. Buñuel is the proper human landmark for a moment when Europe met America and the schemes of religion, property, and progress were reassessed as dreams."-The New Republic
For more information, including the table of contents and Buñuel's filmography, visit the book's webpage:
http://www.upress.umn.edu/Books/B/bu%96uel_sigh.html
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From: "Lesley Farmer" <[log in to unmask]>
Academic Exchange Quarterly, an independent double-blind-peer-reviewed print journal, is soliciting articles for their upcoming issue, which has the theme “Media Literacy.”
Who Should Submit:
We encourage submissions from teacher-scholars at all levels and across disciplines who have incorporated media study or the teaching of media literacy into their classrooms.
Please identify your submission with keyword: MEDIA
Submission deadline:
Regular deadline: any time until the end of November 2003. All accepted submissions will be published in this Spring issue, March 2004. Short deadline: December 2003 and January 2004. All accepted submissions will be published in this Spring issue or in later issues.
Submission Procedure:
http://rapidintellect.com/AEQweb/rufen1.htm or
http://www.higher-ed.org/AEQ/rufen1.htm
For further details, please contact the issue’s feature editor Dr. Lesley Farmer ([log in to unmask]).
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From: catzas <[log in to unmask]>
Subject: Invisible Culture, Issue 6: please post
Invisible Culture, Issue 6: Please Post
(apologies for cross postings)
The editors of _Invisible Culture_ are pleased to announce the release of
ISSUE 6: VISUAL PUBLICS, VISIBLE PUBLICS
Edited by Catherine Zuromskis
Available online at
<http://www.rochester.edu/in_visible_culture/ivchome.html>
This issue of _Invisible Culture_ is a modest attempt to explore some of the many issues raised by the growing field of public sphere theory. Taking a cue from Michael Warner, the articles presented consider an understanding of publics as social, spatial, and ideological entities formed in discursive relation with a variety of cultural texts and practices, particularly, for the purposes of this issue, visual texts. In the essays included in this issue, publics are elaborated through discussions of art, mass media, notions of citizenship, history, and urban identity. Their authors show how the concept of public participation can be both hegemonic and resistant (and sometimes a combination of the two). And by drawing attention to such thorny issues as the often-indistinct distinction between public and private, the interdependence of public practice and urban history or identity, the sometimes-fleeting agency of the public citizen, and the difficulties in addressing a particular public, the essays in this issue endeavor to bring to life, and into view, the fragmentary, problematic nature of defining the public sphere.
The articles included in this issue are:
Appetite for Destruction: Public Iconography and the Artificial Ruins of SITE, Inc.
by Jessica Robey
All Together Now!
Publics and Participation in _American Idol_ by Simon Cowell
Canine Citizenship and the Intimate Public Sphere by Lisa Uddin
Picturing
Berlin: Piecing Together a Public Sphere by Sunil Manghani
Plurality in
Place: Activating Public Spheres and Public Spaces in Seattle by Shannon Mattern
Past issues of _Invisible Culture_ include: "Visual Culture and National Identity" (Issue 5) "To Incorporate Practice" (Issue 4) "Time and the Work" (Issue 3) "Interrogating Subcultures" (Issue 2), and "The Worlding of Cultural Studies" (Issue 1).
_Invisible Culture_ has been in operation since 1998, in association with the Visual and Cultural Studies Program at the University of Rochester. The present editors, Margot Bouman, Lucy Curzon, T'ai Smith, and Catherine Zuromskis, have revised the journal's original mission statement, with the goal of reaching a broader range of disciplines.
The journal is dedicated to explorations of the material and political dimensions of cultural practices: the means by which cultural objects and communities are produced, the historical contexts in which they emerge, and the regimes of knowledge or modes of social interaction to which they contribute.
As the title suggests, Invisible Culture problematizes the unquestioned alliance between culture and visibility, specifically visual culture and vision. Cultural practices and materials emerge not solely in the visible world, but also in the social, temporal, and theoretical relations that define the invisible. Our understanding of Cultural Studies, finally, maintains that culture is fugitive and is constantly renegotiated.
_Invisible Culture_ accepts book, film, media, and art review submissions of 600 to 800 words.
Catherine Zuromskis
Ph.D. Student
Program in Visual and Cultural Studies
University of Rochester
Rochester, NY 14627
(585)241-9667
[log in to unmask]
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From: "Ursula Biemann" <[log in to unmask]> Subject: <nettime-ann> [pub] video essay in the digital age To: [log in to unmask]
Message-ID: <[log in to unmask]> Content-Type: text/plain; charset=US-ASCII
book release
Stuff it: The Video Essay in the Digital Age edited by Ursula Biemann
for the Institute for Theory of Art and Design, Zurich ISBN 3-211-20318-4
With the entry of documentarisms into the arts, the video essay, as a visual reflection on reality, has gained much attention in recent art debates. Moreover, due to its subjective, dissociative, and highly self-reflexive characteristics, this video genre has become a preferred visual medium for theoretical considerations regarding the major shifts taking place in visual culture.
Stuff it maps a wide range of contemporary essayist video practice. Following the discussions on post-structuralist cinematographic experiments in the 80s, the publication seeks a deeper understanding of how essayism relates to the digital cultural developments today. On the one hand, the discursive and compressed video genre is presently situated in the context of new media, hypertext and digital image production. This raises the question of how these technologies emphasize or mutate the characteristics of the essay and potentially open up new possibilities for a critical engagement with them. On the other hand, the video essay faces an increasingly complex society. The great geographic and cultural diversity of recent video making
redirects the theoretical discussion from a eurocentric literary tradition towards a postcolonial cultural studies perspective where a new set of issues including diaspora, migration and the ambivalent experience of nation, borders and belonging are being addressed.
Stuff it is a profusely color illustrated collection of texts by video artists and cultural theorists who illuminate the video essay in its role as crossover and communicator between art, theory and critical practice in all its variations: from monologues of disembodyment to cartographies of the transitional, from the essay as organization of complex social shifts to transnational positionality and non-linear memory structures.
With contributions by Nora Alter, Ursula Biemann, Christa Bl=FCmlinger, Eric Cazdyn, Steve Fagin, J=F6rg Huber, Angela Melitopoulos/Maurizio Lazzarato, Walid Ra'ad, Steve Reinke, Hito Steyerl, Alan James Thomas, Tran T. Kim-Trang, Jan Verwoert, Rinaldo Walcott, Paul Willemsen, and a video archive.
The publication is in English and is a continuation of the Stuff it symposium, organized in collaboration with the Migros Museum Zurich in June 2002.
published by Edition Voldemeer Z=FCrich / Springer Wien New York, 2003 168 pages, color ill., (=3D T:G series, vol. 02), CHF 43.50 / EUR 27 ISBN 3-211-20318-4
--
Ursula Biemann
tel +41 1 461 20 84
http://www.geobodies.org
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From: Sally Munt <[log in to unmask]> Subject: MeCCSA conference V 2003
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The current list of accepted papers for the V annual conference of the Media, Communication and Cultural Studies Association (UK) is now available on the website, address below. We shall be posting the full programme in mid-November, so please check the website again then for up to date scheduling and conferences themes. So far we have around 80 scheduled papers, and six major plenary sessions with keynote speakers.
Get your tickets now!!
http://www.meccsa.org.uk/conference/papers.html
The page is linked to by the following pages:
http://www.meccsa.org.uk/conference/
http://www.meccsa.org.uk/conference/information.html http://www.meccsa.org.uk/conference/tickets.html
Sally R Munt
Head of Department
Media and Cultural Studies
248 Essex House
University of Sussex
Falmer
Brighton
East Sussex
BN1 9RQ
To leave messages use Media 01273 872574 Telephone 01273 678834
Fax 01273 678644
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From: Mick Broderick <[log in to unmask]> Subject: Call for Papers--International Documentary Conference MIME-Version: 1.0
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CALL FOR PAPERS: THE JOURNEY
Australian International Documentary Conference (AIDC) 2004 Fremantle, Western Australia: 26-28 February 2004.
The AIDC is one of the largest recurrent screen industry conferences in Australia averaging between 500 to 800 national and international delegates. It provides a market place for documentary product for national and international buyers and distributors, showcases the work of Australian and international documentary makers, and creates a forum to discuss content, craft, technology and future directions.
Conference theme: The Journey
AIDC 2004 will explore the theme of ‘The Journey'. For the documentary maker the theme is two-fold. From its humble beginnings documentary has evolved, incorporating new technologies, styles and mediums along the way. In addition, each documentary production is a journey for the individual filmmaker, learning more about its subject, contemporary theory, craft skills and marketplace demands.
In keeping with the AIDC National Executive’s commitment to integrate academic and industry practitioners, AIDC 2004 encourages the pre-conference Web publication of peer reviewed papers. Rather than formally presenting papers during conference sessions, panel participants will instead speak to the ideas and issues already raised in their uploaded Web papers.
Topics may include, but are not limited to:
• Refugee journeys and/or the diasporic experience • Documentary historiography: the journey of a genre/discipline • Documentary’s technological developments/determinism • Industry gate-keeping: governments, markets, audiences • Re-enactment and ‘historical’ documentary: performance and drama • Counter-practices of local consumption (festivals, niche programming) • Reality, surveillance and the new panopticon
Abstracts of not more than 300 words with a brief CV should be sent to Dr Mick Broderick, Murdoch University <[log in to unmask]>, no later than 30 November, 2003. Accepted, completed papers must be submitted by 7 February 2004.
Closing date for early bird registrations: 1 December 2003
Full details can be found at: < http://www.aidc.com.au/>
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From: Dr Stefan Szczelkun <[log in to unmask]> Subject: link suggestion
X-Scanner: exiscan for exim4 (http://duncanthrax.net/exiscan/) *1A968V-0006ec-00*URLGSJsem7I*
WEBSITE LAUNCH - PRESS RELEASE - PLEASE FORWARD
http://www.stefan-szczelkun.org.uk
Exploding Cinema 1991 - 1999: culture and democracy
This is a thesis about collective cultural practices in Britain from 1967 to 1999 with Exploding Cinema as its main case study. Anyone interested in artists collectives of any sort will find something useful here...
Suggests reflexive methods of creating knowledge of such phenomena.
Suggests a theoretical framework for legitimating such cultural work by critiquing Jurgen Habermas' Theory of Communicative Action with Foucault's writing.
Includes a wealth of details about Exploding Cinema, including a catalogue of films and filmmakers showing from 1992 - 1997 (those listed in the programmes at least!).
May be freely used for non-profit purposes by acknowledging use to author.
If anyone can give me references or links to other stuff written on artists collectives or related stuff I love to hear.
Stefan. September 2003
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The graduate students of the Department of German at Princeton University announce a graduate conference to be held on April 2-3, 2004. We invite abstracts from graduate students in German studies and other disciplines in the humanities.
MEDIA AND THE FUTURES OF GENRE:
The increased interest in media such as film, television, radio, and the World Wide Web has shifted the status of literature in our culture and compelled us to inscribe literary history within a more encompassing media-historical framework. To the extent that it remains a useful category, the notion of genre must now be re- considered in terms of its standing with regard to a wider range of media manifestations.
The relationship between genres and media can be approached in many ways. Theories of tragedy and other literary forms have been privileged sites for the formulation of aesthetic ideals, or for normative claims concerning the possibilities for works of art in a social context. Some, moreover, have theorized genres as set patterns of communication that structure the expectations of a readership. One can also trace within genre theory an increasing awareness of the historical nature of genres and how they merge in an all-encompassing encyclopedic work of art. How does media theory continue or discontinue these traditions? Conversely, does the emergence of new media force us to reconsider traditional strategies of defining genres with respect to form or content, for instance by exposing how media specificity has been implicit in conceptions of genre? We invite papers that discuss such issues in general theoretical terms or by means of close attention to specific works.
Topics can include:
- A new medium - a new aesthetic ideal?
- The concept of a medium
- Transpositions of genres in media
- Genre - gender - medium
- Genre hybridity - multimediality - intermediality - Theorizing new media - theorizing in new media - Manifestos for media
- Gesamtkunstwerk
- Reading media
- Genres/media as institutionalized orders of production and reception
Presentations will be 20 minutes in length. Please send 250-word abstracts by January 15th to [log in to unmask] Please copy the abstract in your e-mail message text and do not send it as an attachment. For additional information, please visit the German Department webpage at http://german.princeton.edu
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From: "Christian Fuchs" <[log in to unmask]>
CALL FOR PAPERS tripleC: E-Journal for Cognition, Communication, Co-operation (http://triplec.uti.at)
Papers dealing with topics in the fields of information and knowledge research, information society, communication studies, cultural studies, media studies, cybernetics and systems thinking, semiotics, philosophy of science, cognitive science, inter- and transdisciplinary studies, philosophy and sociology of knowledge, philosophy and sociology of technology, are welcome and can be submitted per e-mail to Christian Fuchs ([log in to unmask]), Managing Editor of tripleC.
tripleC is a transdisciplinary peer-reviewed journal.
Its aims are:
-to provide a forum to discuss the challenges humanity is facing today;
-to promote contributions within an emerging science of the information age *that helps shape technology for a sustainable global information society *dealing with cognition, communication and co-operation processes in human, artificial, and natural systems, *making use of cross-disciplinary methods bridging the gap between "hard" and "soft" science;
-to make available articles ranging from philosophy, through evolutionary systems thinking to information science, including physical info-dynamics through bio-information studies to information society research, from cognitive science through communication studies to inquiries into co-operation, from semiotics through the science of collective intelligence
to information technology research, and from science technology society to social technology and informatics.
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The Screen journal
is planning a
Michael Powell Special Issue
We are inviting articles on issues/ideas/themes relating to the work of Michael Powell for publication in a special issue in Winter 2004/05 to coincide with the centenary of his birth.
Please send submissions as soon as possible, and by 31st March 2004 at latest,to
Screen
'Michael Powell Centenary'
Gilmorehill Centre
Glasgow University
Glasgow
G12 8QQ
Scotland
------------------
caroline beven
screen
gilmorehill centre
glasgow university
glasgow g12 8qq
scotland
uk
tel: 0141 330 5035
fax: 0141 330 3515
email: [log in to unmask]
website: www.screen.arts.gla.ac.uk
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From: [log in to unmask]
Call for Papers
Fifth Annual Northeast Historic Film Summer Film Symposium
The Northeast Historic Film Summer Film Symposium is a multi-disciplinary symposium devoted to the history, theory, and preservation of moving images. Entering its fifth year, the Symposium is noted for bringing together archivists,
scholars, and artists in an intimate setting, Northeast Historic Film (NHF), located in Bucksport, Maine. The 2004 Symposium is planned for July 23-24.
Unlike most conferences, presenters have a full hour in which to deliver their paper and engage in discussion with their colleagues during the two-day
event. Typically, presentations have been 30 minutes, followed by 30 to 45 minutes of discussion. For the first four years, speakers have been invited to
participate in the NHF Summer Film Symposium. This year, in addition to invited
speakers, the Symposium is issuing a call for papers on the topic:
The Moving Image as Biography
Moving images create deliberate and unintentional biographies. Hollywood biopics (e.g., The Life of Emile Zola, Pride of the Yankees, A Beautiful Mind,
Frida) and documentary series such as A&E's Biography and American Masters are
among the popular approaches to biographical representation. This Symposium looks in a different direction. The relationship between biography and the moving
image is found in many kinds of noncommercial and amateur films; in some cases we might consider how a film itself has a "biography." We are beginning to
consider how these biographies help form conceptions of history and culture.
We invite papers and presentations from a wide range of disciplinary perspectives and approaches that explore and help to expand our understanding of the
moving image as biography. Potential paper topics may include but are not limited to the following:
§ The moving image as cultural biography § Cultural differences in the notions of privacy, family, and biography § Biopics as constructions of national identity § Home movies as collective or family biography § Uses of film and video for autobiographical works § Implications of new technologies in creating autobiography; ethics and rights
§ Archival footage in film & video biographies: Why are TV biographies so successful?
§ Finding and using personal films in public archives § Faux footage: Recreating "home movies" in TV documentaries and feature films
§ Diary films, home movies and the Avant-garde
Proposals are limited to 500 words and should clearly outline the major thesis and primary points of the presentation. Proposals must include descriptions
of audio-visual material that will be screened during the presentation, including the original and presentation medium, and the approximate length of
clips. Priority is given to those presentations that include archival clips; the
presenter is responsible for obtaining and organizing screened material. The Symposium takes place in Northeast Historic Film's Alamo Theatre, a cinema with
35mm film projectors as well as video and DVD projection. Use of PowerPoint is
discouraged.
Proposals should include a brief biographical sketch of the presenter including affiliation, rank (if appropriate), and relevant publications, exhibitions
or curatorial work and all contact information.
Decisions will be made by March 1, 2004. Submissions must be received by January 7, 2004, and should be sent to
Karan Sheldon
Northeast Historic Film
PO Box 900
Bucksport, Maine 04416
Email submissions are accepted as Word attachments sent to [log in to unmask]
with this subject line: SFF 2004 Proposal
NHF is among the leading regional moving image archives in North America, devoted to collecting, preserving, and making accessible moving images of northern New England. NHF is noted for its pioneering efforts to preserve home
movies and amateur film and video.
For more on the archives visit www.oldfilm.org, and to read about previous Summer Film Symposia visit
www.oldfilm.org/ed/Symp2003Access_Interpretation.htm
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From: "Mark Jancovich" <[log in to unmask]>
The new edition of Scope can be accessed for free via the link to the Institute at the bottom of this email.
*Articles*
Reading Ambiguity and Ambivalence: The Asymmetric Structure of Crouching Tiger, Hidden Dragon, By Felicia Chan
0.01cm: Affectivity and Urban Space in Chungking Express, By Wendy Gan Muhammad Ali, Jack Johnson, and the "Problem" of Interracial Relationships: A Re-view of Martin Ritt's The Great White Hope (1970), By Nicholas Naylor Kings of Infinite Space: Cult Television Characters and Narrative
Possibilities, By Roberta E. Pearson
*Book Reviews*
Animation: Genre and Authorship, By Paul Wells. A Review by Esme Davidson Aristotle's Poetics for Screenwriters: Storytelling Secrets from the Greatest Mind in Western Civilization, By Michael Tierno. A Review by Christopher S. Morrissey
Billy Wilder: American Film Realist, By Richard Armstrong. A Review by Rory Drummond
Blacks in the British Frame: The Black Experience in British Film and Television. By Stephen Bourne. A Review by Gerald R. Butters Jr. Bollywood Cinema: Temples of Desire. By Vijay Mishra. A Review by Arnab Das and Subrata sankar Bagchi
British Television Drama: Past, Present and Future, Edited by Jonathan Bignell, Stephen Lacey and Madeleine Macmurraugh-Kavanagh, and Freakshow: First Person Media and Factual Television, By Jon Dovey. A Review by Norma Coates
Comic Politics: Gender in Hollywood Comedy after the New Right. By Nicole Matthews. A Review by Kathrina Glitre
Costume and Cinema: Dress Codes in Popular Film. By Sarah Street. A Review by Rebecca Janicker
"Dear BBC": Children, Television Storytelling and the Public Sphere. By Máire Messenger Davies. A Review by Lincoln Geraghty Early American Cinema in Transition: Story, Style, and Filmmaking, 1907-1913. By Charlie Keil. A Review by David Mayer Encore Hollywood: Remaking French Cinema, By Lucy Mazdon, and European Cinema: An Introduction, By Jill Forbes and Sarah Street. A Review by Andrea Opitz
The End of Cinema As We Know It: American Film in the Nineties. Edited by Jon Lewis. A Review by Brendan Riley
Essential Brakhage: Selected Writings on Filmmaking. By Stan Brakhage. Edited by Bruce R. McPherson
Eyes Wide Shut. By Michel Chion. Translated by Trista Selous. A Review by Paul N. Reinsch
German National Cinema. By Sabine Hake. A Review by James M. Skidmo Hollywood, Hype and Audiences: Selling and Watching Popular Film in the 1990s. By Thomas Austin. A Review by Rayna Denison Introduction to Documentary, By Bill Nichols, and Autobiographical Documentary in America, By Jim Lane. A Review by Jamie Sexton Law and Film. Edited by Stefan Machura and Peter Robson. A Review by Shulamit Almog
New Hollywood Cinema: An Introduction. By Geoff King. A Review by Paul Grainge
Popular Cinema of the Third Reich. By Sabine Hake. A Review by Robert D. Levy Psychoanalysis and Cinema: The Play of Shadows. By Vicky Lebeau. A Review by Arnab Das and Subrata sankar Bagchi
Representing Black Britain: Black and Asian Images on Television. By Sarita Malik. A Review by Gerald R. Butters Jr Science Fiction Culture. By Camille Bacon-Smith. A Review by Lincoln Geraghty Screening Science: Contexts, Texts, and Science in Fifties Science Fiction Film. By Errol Vieth. A Review by Mark Bould The Second Century of Cinema: The Past and Future of the Moving Image. By Wheeler Winston Dixon. A Review by Richard L. Edwards Shakespeare in Space: Recent Shakespeare Productions on Screen. By Herbert R. Coursen. A Review by Rebecca Janicker The Sounds of Early Cinema. Edited by Richard Abel and Rick Altman. A Review by Jeff Smith
Spreading Misandry: The Teaching of Contempt for Men in Popular Culture. By Paul Nathanson and Katherine K. Young. A Review by Erica Arthur The Television Genre Book, Edited by Glen Creeber, and Action TV: Tough Guys, Smooth Operators and Foxy Chicks, Edited by Bill Osgerby and Anna Gough Gates. A Review by James Lyons
The Usual Suspects. By Ernest Larsen. A Review by Scott Ruston Vertigo. By Charles Barr. A Review by Jon Wisbey Voices From The Set: The Film Heritage Interviews. Edited by Tony Macklin and Nick Pici. A Review by Felicia Chan
The Wild West: The Mythical Cowboy and Social Theory. By Will Wright. A Review by Stephen McVeigh
Women in British Cinema: Mad, Bad and Dangerous to Know. By Sue Harper. A Review by Deneka C. MacDonald
*Film Reviews*
9'11"01 (September 11), A Review by Elizabeth Rosen About Schmidt, A Review by Brian Gibson
Bob le Flambeur, A Review by Ronald W. Wilson Donnie Darko, A Review by Ross Thompson
The Edgar G. Ulmer Collection, Volume One: The Strange Woman, Moon Over Harlem; Volume Two: Bluebeard, A Review Essay by Dana Anderson Gangs of New York, A Review by Leighton Grist Gohatto (Taboo), A Review by Kate Moran
K-PAX, A Review by Diane R. Wiener
The Lord of the Rings: The Two Towers, A Review by Alice Mills Morvern Callar, A Review by Jerome de Groot The Pianist, A Review by Michael Keating Possession, A Review by David Greven
Singin' in the Rain, A Review by Sunny Stalter Star Trek Nemesis, A Review by Lincoln Geraghty Vanilla Sky, A Review by Kevin Hunt
*Conference Reports*
Fangs for the Memories, "Blood, Text and Fears -- Reading Around Buffy the Vampire Slayer" Conference held at the University of East Anglia, UK, 19-20 October 2002, A Report by Beverley Jansen Flying High in the City of Angels, New Cities: New Media -- An Interdisciplinary Conference and Media Exhibition, University of Southern California, Los Angeles, January 17-19, 2003, A Report by Christina I. Wilson
History Now, Screen Conference, Gilmorehill Centre, The University of Glasgow, 28th-30th June 2002, A Report by Alastair Phillips New Technologies, New Media Forms and Approaches, and a Welcome Reflexivity, The Fourth Annual Media, Communications and Cultural Studies Association (MeCCSA) Conference, University of Reading, UK, 18-20 December 2002, A Report by Kate Egan
What about the Sports Celebrity? Sporting Icons: Celebrity, Media and Popular Culture, Leicester University, 7th February, 2003, A Report by Tom Gibbons
Mark
Prof. Mark Jancovich
Director of the Institute of Film Studies School of American and Canadian Studies
University of Nottingham
Nottingham
United Kingdom
Phone: 0115 951 4250
Fax: 0115 951 4270
Email: [log in to unmask]
Institute URL: http://www.nottingham.ac.uk/film
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Call for Papers
ITV Culture:
Fifty Years of Commercial Television
As ITV fast approaches its 50th anniversary in September 2005, it is facing an increasingly uncertain future. Once comprised of a consortium of regional programme companies, ITV looks set to become a centrally owned television monolith in a highly competitive and fragmented television market place. As ITV stands at the crossroads of such change, it is time for a measured assessment of its role and impact in British television, culture and society, from its early days of competition to its continued survival in a highly volatile media sector today. While ITV has often been overlooked in histories of public service broadcasting, this edited collection aims to bring together new scholarship to reassess the importance of ITV to the history of British broadcasting.
The Book:
We are inviting proposals for consideration on a range of subjects including programming, company or production histories, and the construction of audiences through programming and scheduling. We are particularly interested in articles that explore ITV's complex position between commercial and public service imperatives in relation to any of the above. It is anticipated that this volume will include up to 12-14, 5-7,000 word chapters, divided under three main thematic headings: 1. Programmes
2. Institutions, companies and producers 3. Audiences and contexts
A fuller list of the kinds of issues and topics of interest is detailed overleaf, and we welcome proposals on any other topic relating to the history of ITV. In addition, each of the three sections will be accompanied by an introductory chapter written by the editors, which will draw together the range of analysis and offer a useful overview of the debates.
Proposals/abstracts of between 200-300 words should be sent to the editors by 15 December 2003. Successful applicants will be required to provide their full papers by September 2004.
Proposals should be sent to:
Dr Catherine Johnson
Department of Media Arts
Royal Holloway
University of London
Egham
Surrey TW20 0EX
Tel: 01874 44 3471
e-mail: [log in to unmask]
Rob Turnock
Bournemouth Media School
Bournemouth University
Talbot Campus
Fern Barrow
Poole, Dorset BH12 5BB
Tel: 01202 59 5935
e-mail: [log in to unmask]
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