Universities are no longer what they were in that brief interregnum between 1948 and 1978, they are just the institutional articulation of the dominant ideology...In contemporary terms all we need to do is look at The Sunday Times 'Rich List' to recogonise the pornography of market forces. We have a government, initiated by Thatcher/Blair that believes art, medicine, education etc. etc. can benefit from "Private, Public Partnerships". Capitalism never makes a partnership with the public it only seeks to rule and absorb. If anyone out there has come across something called 'KTP' this is what this is all about.
The difference between us and the victorians is that the rich back then built public parks, endowed universities and art institutions now they just see how many Ferraris they can buy.
As Usual Michael Channon is spot on. The crime being commited against London Met and the crimes that the management that London Met carried out were all in response to market forces.
Oh dear, oh dear, what have we done?
Peace
Alan
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From: Film-Philosophy [[log in to unmask]] on behalf of FILM-PHILOSOPHY automatic digest system [[log in to unmask]]
Sent: 09 May 2011 00:00
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Subject: FILM-PHILOSOPHY Digest - 6 May 2011 to 8 May 2011 (#2011-66)
There are 6 messages totaling 539 lines in this issue.
Topics of the week:
1. Routledge visit to the University of St Andrews
2. Nihilism, plus Schopenhauer, Hitchcock
3. Call for Papers Journa of Screenwriting 3.2
4. Capturing Process? Inaugural Event of practice.research.unit, Kingston
University, London, June 29, 2011
5. Malick Book
6. Crimes Against Humanities
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Date: Fri, 6 May 2011 13:29:12 +0000
From: Alexander Marlow-Mann <[log in to unmask]>
Subject: Routledge visit to the University of St Andrews
Natalie Foster (senior editor at Routledge publishing) and Zoe Sternberg (journals editor at Routledge publishing) will visit the Centre for Film Studies at the University of St Andrews to meet with staff and postgraduates, to discuss the current state of film studies publishing and to answer questions about the publishing process.
The event will take place on Tue 10th May 15:00 to 16:00 in The Boardroom, 99 North Street, St Andrews.
For information on this and our other events, please visit:
http://www.st-andrews.ac.uk/filmstudies/events.php?eventid=128
Dr. Alex Marlow-Mann
Research Co-ordinator
Centre for Film Studies
University of St. Andrews
99 North Street
St. Andrews
Fife
KY16 9AD
Scotland
UK
Tel: +44 (0) 1334 467 474
The University of St Andrews is a charity registered in Scotland, No SC013532.
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Date: Fri, 6 May 2011 19:32:42 +0100
From: Ken Mogg <[log in to unmask]>
Subject: Re: Nihilism, plus Schopenhauer, Hitchcock
Thanks to John M for this:
>Your posting also brings to mind two things for me:
>First, I think of nihilism and pessimism as independent of one another. Nihilists can be optimistic (see my book Laughing at Nothing) or pessimistic, or probably any number of other things.
Yes. I wanted, though, to introduce a certain paradox. Friedrich Schlegel (contemporary of Kant and Schopenhauer) saw 'that the world in its essence is paradoxical and that an ambivalent attitude alone can grasp its contradictory totality' (Rene Welleck, 'A History of Modern Criticism', Vol. 2). Call it Romantic Irony. Somewhere today I read that the scientific/philosophic outlook still has trouble with accepting paradox, and that the arts/literary mind has less trouble with it. I don't know if that's actually true, but anyway I was talking of such things as Hitchcock's films, which I see as SIMULTANEOUSLY pessimistic and anti-pessimistic. (Note for Dan S: the latter is not exactly passive.)
>Second, Schopenhauer is one of those authors who tries (and fails) to overcome nihilism. In The World as Will and Representation he sometimes gets a bit overenthusiastic about his ability to see through the "veils" that separate him from the thing-in-itself. When he is more sober, however, he admits that he is always separated from awareness of the primal will by his inner time-consciousness.
Indeed, and I was aware of what you say, John. But again I was drawing a parallel with Hitchcock (who once said, 'A film should be stronger than reason ... Descartes can go boil his head'). To me, Hitchcock's films seem to offer an encounter with the life/death force itself (or what Leonard in NORTH BY NORTHWEST calls 'ceiling and possibilities unlimited') before settling for limited gains and modest optimism, which adds up to 'anti-pessimism' based on 'pure film' and love. (The message at the end of the Nietzsche-referencing ROPE is the distinctly non-Nietzschean question, 'Did you think you were God?' Hitchcock was content that a director of a fiction film 'PLAY at being God' by juxtaposing all manner of emotions and povs, as the Hitchcock-Truffaut interview specifies.)
So when Dan S says, 'Passive '[non-Nietzschean] nihilism shrinks from the chaos of existence and joins Schopenhauer in the search for resignation and acceptance', I am troubled. For one thing, there was more to Schopenhauer's ethics and aesthetics - both - than mere quietism. Also, Hitchcock's VERTIGO implies nothing less than our condition consisting of both (unknowable) Will and (mere) Representation - note Schopenhauer's pertinent terms - without resorting to notions mentioned by Dan S like Eternal Recurrence and the Overman ('the ridiculous figure of the Superman' as John Gray calls it!). Or, the ridiculousness is IMPLICIT, given that Scottie may indeed fancy himself the Superman, and that the figure of 'Madeleine'/Carlotta does raise questions of Eternal Recurrence! On the other hand, I will grant that Nietzsche's view of things is floated by VERTIGO in a way less shrill and full-on-denunciatory than in ROPE, an advance in Hitchcock's art.
- Ken M
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Date: Sat, 7 May 2011 09:29:21 +0100
From: Jill Nelmes <[log in to unmask]>
Subject: Call for Papers Journa of Screenwriting 3.2
Journal of Screenwriting Call for Papers - 3. 2
We invite researchers, educators and practitioners to contribute to Issue 3.2 of the Journal of Screenwriting, a newly established peer-reviewed journal which focuses on this important aspect of moving image pre-production and conceptualisation. Contributions are sought on the history, theory and practice of screenwriting and related topics, covering a wide range of practices from film and television to animation, new media and computer games.
The Journal of Screenwriting brings together research and reflection on pedagogy, professionalism and practice in an area which has been somewhat overlooked in academic discourse. New work has conventionally been scattered throughout journals devoted to specific aspects of media theory or practice, and this is the first academic journal to bring together serious screenwriting-related work under one title. The Journal is international in scope, and seeks wide-ranging work which is critical, rigorous and original in its contribution to this developing area of study. We expect to include work which employs a diverse range of methodological approaches, including textual analysis, production analysis, practice as research and historical investigation.
Topics may include (but are not limited to):
• Screenplay text analysis
• Studies of individual practitioners, including screenwriters
• Story and narrative analysis
• Methodologies and theories appropriate for research and study in this field
• Industrial structures, institutions and practices in relation to screenwriting
• Gender and race issues
• Genre studies
• Comparative study between nations or regions, cultures and industries
• Creativity and screen idea development
• Conventions, norms and craft
• Screen-reading and the reception of the screen idea
• The history of screenwriting
• Cognitivism, psychology and psychoanalysis in relation to screenwriting
• National and international contexts
We also welcome articles suggesting new approaches to the study of screenwriting and new approaches to the teaching of screenwriting.
Articles should be between 4000 and 8000 words in length.
Articles, to include a 200 word abstract, should be sent by Monday 19th September 2011 to the Principal Editor, Jill Nelmes ([log in to unmask]), and to the Co-Editor, Jule Selbo ([log in to unmask]). Please contact either Jill or Jule regarding any queries about suitability of subject or other requirements.
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Date: Sat, 7 May 2011 10:47:18 +0100
From: "Mullarkey, John" <[log in to unmask]>
Subject: Capturing Process? Inaugural Event of practice.research.unit, Kingston University, London, June 29, 2011
Capturing Process?
A One Day Symposium on Practice Research within the Creative Arts
Keynote Address: Professor Robin Nelson (Central School of Speech and Drama)
Reg Bailey Building RB7
Kingston University, London
June 29 2011
Penrhyn Road
Kingston upon Thames
Surrey KT1 2EE
The inaugural event of Kingston University's practice.research.unit aims to raise what has been, perhaps, the most challenging question of recent work within the creative arts (especially film, drama, dance, and music): if process is a unifying and consolidating element between practice and non-practice research, between work and reflection, between analysis, reflection and work, then how do we capture it to then share it with examiners, researchers and collaborators?
Keynote Address: Robin Nelson
Session 1: Capturing Process?
Session 2: Defining Practice: Rehearsing Applied Strategies
Round Table: Reflections on 'Capturing' a Dynamic Process
PhD Show: including students from film, dance, drama, and music
practice.research.unit launch and wine reception
Full programme coming
£5 waged / £2 unwaged / KU members free
To register: https://ebiz.kingston-university.com/webStore/courses/coursedetails.asp?CourseDateID=738&CourseID=342
For further information please contact Professor John Mullarkey ([log in to unmask]) or Dr Helen Minors ([log in to unmask])
Website:
http://www.practiceresearchunit.co.uk/
'Capturing Process' event registration page:
https://ebiz.kingston-university.com/webStore/courses/coursedetails.asp?CourseDateID=738&CourseID=342
Facebook event page:
http://www.facebook.com/event.php?eid=118337788248915
Professor John Mullarkey, MA, PhD
Film and Television Studies
School of Performance and Screen Studies
Faculty of Arts and Social Sciences
Kingston University, London
Room MB333
Penryhn Road
Kingston upon Thames
Surrey KT1 2EE
England, UK
020 841 77427
[log in to unmask]
Executive Member, London Graduate School
Chair, Society for European Philosophy
Executive Editor, Film-Philosophy
http://kingston.academia.edu/JohnMullarkey
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Date: Sat, 7 May 2011 12:31:56 -0600
From: Thomas Deane Tucker <[log in to unmask]>
Subject: Malick Book
Colleagues—Please allow me to do a little self promotion and alert you to a new book on Terrence Malick that will be of interest to film philosophers. It is titled Terrence Malick: Film and Philosophy, published by Continuum and edited by Stuart Kendall and myself. It includes chapters written by several film-philosophy salon members. It is only being published in hardback for its first run (a bit costly, I know), but should be out in paperback within the end of the year. Here is a link to the book on Continuum’s website: Terrence Malick<http://www.continuumbooks.com/books/detail.aspx?BookId=157668&SubjectId=952&Subject2Id=1391>
Thomas Deane Tucker
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Date: Sun, 8 May 2011 16:49:28 +0100
From: Michael Chanan <[log in to unmask]>
Subject: Crimes Against Humanities
London Metropolitan University: Crimes against Humanities
Jane Skerrit writes that "Once again, London Metropolitan is making
inglorious history, with a combination of farcical incompetence and
ruthless manipulation. There will be hundreds of redundancies across the
university and the dispersal of teams skilled in their delivery of
humanities and arts subjects." at http://bit.ly/kOjGOW
Michael Chanan
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End of FILM-PHILOSOPHY Digest - 6 May 2011 to 8 May 2011 (#2011-66)
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