For some strange reason the text of the previous email was illegible.
I am sending the call for papers again, see below.
please check these websites in case of any problems:
http://www.film-philosophy.com/announcements/index.php
http://www.aah.org.uk/conference/2008session01.php
Association of Art Historians Annual Conference:
LOCATION: the Museum, the Academy and the Studio
34th AAH Annual Conference
Tate Britain, Tate Modern, and Chelsea College or Art & Design, London,
2 - 4 April 2008
http://aah.org.uk/conference/index.php
Academic Sessions: London 2008
Call for Papers for the Panel:
The Museum Unbound: Works of Art and Film
Session Convenors:
Mark Broughton, Department of Film, Theatre and Television, University of Reading, [log in to unmask]
Katerina Loukopoulou, School of Art History, Film and Visual Media, Birkbeck College, University of London, [log in to unmask]
Since the early days of photography, one of its main applications has been the creative reproduction and dissemination of artworks. Film has similarly reproduced artworks on a representational level, but the mobile camera has enabled a more dynamic relationship with the spatial context and structure of the artwork: tracking shots, pans, tilts, rolls and zooms have been employed to move around the artwork in situ, as well as to enter its representational field; it is thus not only the artwork that has been reproduced and disseminated, but also the gaze of a mobile spectator.
This dynamism has also been utilised to extend art movements. For example, Le Ballet Mécanique (1924) adapted the fractured and multi-faceted images of cubism to the moving image. The reproducibility of celluloid and the internationalism of film meant that Léger’s film carried cubism beyond France some time before his artworks were exhibited abroad.
Film’s central role in the democratisation of the fine arts intensified in the decades after the Second World War, when films about art and artists proliferated across Europe, the USA, India, China and Japan. Caroline Jones has emphasised the significance of arts documentaries for the construction of the post-war American artist in Machine in the Studio (1996). In Britain, David Curtis (2007) has discussed the long history of artists’ films, while John Wyver (2007) has shown that films on art have often been in the vanguard of the documentary form. These writers have unearthed new material that can direct future research.
Proposals are invited for papers that examine how the moving image has been used to extend artworks and art movements beyond their physical and geographical confines, from the emergence of cinema to the present. The session will focus on television programmes as well as films. The groundbreaking role of the arts documentary in connecting museums and art historiography will be a particular interest.
Please complete a Paper Proposal Form by 16 NOVEMBER 2007 and return it to the session convenor(s) if you want to propose a paper for this session.
You can download the Form from this link:
http://www.aah.org.uk/conference/2008session01.php
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