For the American Dream after 1970, HEaven's Gate, the Godfather trilogy and the first five films of Terry Malick.
Steve Elworth
Sent from my iPhone
On Jan 5, 2013, at 2:21 PM, FILM-PHILOSOPHY automatic digest system <[log in to unmask]> wrote:
> There are 8 messages totaling 752 lines in this issue.
>
> Topics in this special issue:
>
> 1. The American Dream as illusion in Film (5)
> 2. CFP: Rethinking Intermediality in the Digital Age
> 3. Reminder CFP: Texture in Film [Deadline: January 11th 2013]
> 4. Cinema: Journal of Philosophy and the Moving Image issue 3 available
>
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> ----------------------------------------------------------------------
>
> Date: Wed, 2 Jan 2013 15:11:45 +0000
> From: Reina-Marie Loader <[log in to unmask]>
> Subject: The American Dream as illusion in Film
>
> Dear Colleagues (apologies for cross-posting)
>
> I was wondering if the list can suggest some reading on the way in which US films seek to redefine the American Dream as an illusion since the 70s.
>
> It would be much appreciated.
>
> Many thanks and kindest regards
> Reina
>
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>
> ------------------------------
>
> Date: Wed, 2 Jan 2013 15:52:29 +0000
> From: "Shaw, Dan" <[log in to unmask]>
> Subject: Re: The American Dream as illusion in Film
>
> To my mind, Reina, one of the best sources on the topic is Robin Wood's updated book Hollywood from Vietnam to Reagan...and Beyond (2003, Columbia University Press), a stunning analysis of the American Democracy as Ideology.
>
> As to the specific American Dream of success as upward class mobility and the notion that anyone can become president (the myth of Abe Lincoln), I will be interested in the other recommendations from our list.
>
> Fascinating topic...
>
>
> Professor Daniel Shaw
> Department of Communication and Philosophy
> Lock Haven University (570) 484-2052
> Managing Editor, Film and Philosophy
>
> "It wasn't the airplanes...it was Beauty killed the Beast."
>
> King Kong
>
> ________________________________________
> From: Film-Philosophy [[log in to unmask]] on behalf of Reina-Marie Loader [[log in to unmask]]
> Sent: Wednesday, January 02, 2013 10:11 AM
> To: [log in to unmask]
> Subject: [FILM-PHILOSOPHY] The American Dream as illusion in Film
>
> Dear Colleagues (apologies for cross-posting)
>
> I was wondering if the list can suggest some reading on the way in which US films seek to redefine the American Dream as an illusion since the 70s.
>
> It would be much appreciated.
>
> Many thanks and kindest regards
> Reina
>
> --
> To manage your subscription or unsubscribe from the Film-Philosophy list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> --
> Film-Philosophy Journal: http://www.film-philosophy.com/
> Film-Philosophy Conference 2013 (Amsterdam 10-12 July): http://www.film-philosophy.com/conference/
> --
>
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> To manage your subscription or unsubscribe from the Film-Philosophy list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
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> Film-Philosophy Conference 2013 (Amsterdam 10-12 July): http://www.film-philosophy.com/conference/
> --
>
> ------------------------------
>
> Date: Wed, 2 Jan 2013 09:46:24 -0600
> From: Dirk Matthews <[log in to unmask]>
> Subject: Re: The American Dream as illusion in Film
>
> Here are a few off the top of my head:
>
> Blue Velvet
> Revolution Road
> Roger and Me
>
> Best,
> Dirk
>
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> --
>
> ------------------------------
>
> Date: Thu, 3 Jan 2013 05:24:34 +1100
> From: Russell Manning <[log in to unmask]>
> Subject: Re: The American Dream as illusion in Film
>
> Some aphorisms acutely appropriate in Jean Baudrillard's America
>
>
>
>>
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>> To manage your subscription or unsubscribe from the Film-Philosophy list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
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> --
>
> ------------------------------
>
> Date: Wed, 2 Jan 2013 19:48:03 -0000
> From: Ange Webb <[log in to unmask]>
> Subject: Re: The American Dream as illusion in Film
>
> Mendes 'American Beauty' leapt into my mind with its haunting music.
> Conventional images of Middle American beauty{ or 'Dream'} are turned upside
> down to produce a different reality. I was mesmerised by the lush red images
> throughout the film. Best, Ange.
>
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>
> ------------------------------
>
> Date: Thu, 3 Jan 2013 18:17:13 +0200
> From: Ágnes Pethő <[log in to unmask]>
> Subject: CFP: Rethinking Intermediality in the Digital Age
>
> Dear List Members! For everybody researching questions related to
> intermediality, here is a new call you might be interested in:
>
> CALL FOR PAPERS
> *
> RETHINKING INTERMEDIALITY IN THE DIGITAL AGE*
>
> *International Conference: 24-26 October, 2013, Cluj-Napoca, Romania,
> Sapientia University*
> deadline for applications: 20 May, 2013.
>
> In the past decades "intermediality" has proved to be one of the most
> productive terms in the domain of humanities. Although the ideas regarding
> media connections may be traced back to the poetics of the Romantics or
> even further back in time, it was the accelerated multiplication of media
> themselves becoming our daily experience in the second half of the
> twentieth century that propelled the term to a wide attention in a great
> number of fields (communication and cultural studies, philosophy, theories
> of literature and music, art history, cinema studies, etc.) where it
> generated an impressive number of analyses and theoretical discussions.
> "Intermediality is in" („Intermedialität ist in"), declared one of its
> pioneering theorists, Joachim Paech, at the end of the 1990s. However, we
> may also note, that since then other theoretical approaches introduced even
> newer perspectives that have not only revitalized the study of media
> phenomena in general but have specifically targeted the emerging new
> problematics raised by the new electronic media. Facing the challenge of
> the daily experiences of the digital age, discussions of media differences
> or ‘dialogues' highlighting the ‘inter,' the ‘gap,' the ‘in-between,' the
> ‘incommensurability' between media are currently being replaced by
> discourses of the ‘enter' or ‘immersion,' and the ‘network logic' of a
> ‘convergence culture' in which we have a "free flow of content over
> different media platforms" (Henry Jenkins). At the same time the turn
> towards the corporeality of perception in all aspects of communication has
> also shifted the attention from the ‘interaction of media' towards the
> ‘interaction with media,' from the idea of ‘media borders' towards the
> analysis of the blurring of perception between media and reality, of humans
> and machines - media being perceived more and more not as a form of
> representation but as an environment and as a means to ‘augment' reality.
> Nowadays media continuously mutate, relocate and expand, while connections
> between ‘old' and ‘new' media are being established with incredible
> fluidity. Accordingly, we may ask: what are the new perspectives for
> intermedial research in the digital age? While media are continuously
> changing and expanding, how can we relocate the "in-between"? If we
> consider ‘intermediality' first and foremost ‒ as suggested by Jürgen E.
> Müller ‒ as a "research concept" (Suchbegriff), how can this concept be
> effectively applied to the media we see around us today? And if we believe
> that the "ecosystem" of contemporary media can be understood not as a
> unified digital environment that nullifies differences, but as a thriving
> and highly diversified, "multisensory milieu" (Jacques Rancière) that poses
> new challenges both for the consumer/producer and the theorist, how can we
> address these challenges? How do media differences persist and how do these
> differences still matter despite voices advocating the so called
> "post-medium condition"?
> As the former Nordic Society for Intermedial Studies launches its own
> expanded, international format (International Society for Intermedial
> Studies/ISIS), we think it is timely to address once more the major issues
> for which this society exists, and to invite participants to examine new
> forms of ‘intermedialities.' In doing so participants may address a broad
> range of questions relating to ‘old media' and ‘new media,' and their
> possible interactions, focusing on the wide array of intermedia phenomena
> and new type of relationships that new media have produced, but also on how
> pre-digital media relations can be re-evaluated, and how historical
> paradigms of intermediality may already be distinguishable viewed from the
> standpoint of the contemporary media landscape.
>
> *Proposals may address (but are not limited to) the following questions
> either from a theoretical point of view or through concrete analyses:*
>
> - Media on the move? Media relations produced by expansions and
> relocations of media (e.g. "the virtual life of film," the expansions of
> the "photographic" and of the "cinematic" over other media, e-literature,
> etc.), the emergence of mobile screens, the fact that media use is more and
> more related to moving in the literal sense of the word: mobility and
> navigation.
>
>
> - Relocating the ‘in-between': intermediality, inter-sensuality,
> multimodality and interactivity, assessing the contribution of cognitive
> theories (and neuroscience), phenomenology and post-phenomenology to the
> study of understanding interactions of media and interactions with multiple
> media.
>
>
> - Performing in (new) intermedial spaces: intermedial performance in art
> and society. Being ‘in touch' with reality - being ‘in touch with media:'
> researching new (trans)media practices.
>
>
> - Intermediality and new forms of digital storytelling: new perspectives
> in transmedial narratology, new media and narratology (e.g. narrativity and
> e-platforms, games versus "old" media etc.), the aesthetics of the
> intermedia flow, of complex, network narratives generated by the
> experiences of the new media age.
>
>
> - Modelling and mapping intermedialities: historical paradigms of
> intermedial relations (pre-modern, modern, post-modern intermediality); the
> aesthetics and ‘politics' of intermediality before and after the digital
> age; historical research on intermediality related to media migration,
> cultural heritage and changing relationships between production,
> distribution, and perception.
>
> *Confirmed keynote speakers:*
>
> - *HENRY JENKINS*, University of Southern California (USA), author of
> Convergence Culture: where Old and New Media Collide (2007), currently
> co-authoring a book on "spreadable media."
>
>
> - *JOACHIM PAECH*, University of Konstanz (Germany), author of Menschen
> im Kino. Film und Literatur erzählen (2000), Literatur und Film (1997),
> PASSION oder Die EinBILDungen des Jean-Luc Godard (1989), as well as
> several seminal articles on the theory of intermediality in film,
> literature, and new media.
>
>
> - *MARIE-LAURE RYAN*, independent scholar, Colorado (USA), co-editor of
> Intermediality and Storytelling (2010), author of Avatars of Story
> (Electronic Mediations) (2006), Narrative across Media: The Languages of
> Storytelling (2004), Narrative as Virtual Reality. Immersion and
> Interactivity in Literature and Electronic Media (2001), etc.
>
>
> Deadline for the submission of proposals: *20 May 2013.*
> We will notify you about the acceptance of your proposals by: 1 June 2013.
>
> *Submission of proposals:* please complete the submission form that you can
> download from the conference website:
> http://film.sapientia.ro/en/conferences/rethinking-intermediality-in-the-digital-ageand
> send it as an attachment to the following address:
> [log in to unmask]
>
> More information at:
> http://film.sapientia.ro/en/conferences/rethinking-intermediality-in-the-digital-age
>
> I have attached the pdf form of the full CFP together with the submission
> form so that you can save it from here.
>
> Best regards to everybody, and looking forward to an exciting conference!
> Feel free to circulate this call!
>
> A happy new year!
> ...
>
> Dr. ÁGNES PETHŐ, Head of Department
> Sapientia University, Cluj-Napoca, Romania
> Department of Film, Photography, and Media,
> http://film.sapientia.ro/en
> Executive editor: Acta Universitatis Sapientiae: Film & Media Studies
> http://www.acta.sapientia.ro/acta-film/film-main.htm
>
> --
> To manage your subscription or unsubscribe from the Film-Philosophy list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> --
> Film-Philosophy Journal: http://www.film-philosophy.com/
> Film-Philosophy Conference 2013 (Amsterdam 10-12 July): http://www.film-philosophy.com/conference/
> --
>
> ------------------------------
>
> Date: Thu, 3 Jan 2013 17:00:33 +0000
> From: Lucy Fife Donaldson <[log in to unmask]>
> Subject: Reminder CFP: Texture in Film [Deadline: January 11th 2013]
>
> Apologies for cross-posting. Please forward to your networks, especially those in other arts and humanities disciplines who might be interested in this.
> Many thanks, Lucy.
>
> CFP: Texture in Film
>
>
> 9th March 2013, Centre for Film Studies, University of St Andrews. Deadline for Proposals: 11th January 2013.
>
>
> Texture is more commonly discussed in relation to visual art and design, music and literature than film. In these other disciplines, texture may refer to the tactile quality of a surface, the way a surface is changed by light, paint or other materials, the composition of fabric or narrative (as in the root of the word, to make/weave), the pattern of sound (rhythm and register) and the ‘concrete’ properties of language (metre, diction, syntax). Texture also has an important sensory dimension: it expresses the feel of an object, surface or material, and thus offers a way of acknowledging the importance of decisions around formal properties to our responsiveness to film, and to its patterns, to its overall shape. Considering texture in relation to film involves attention to the fine detail of a film’s realization, and offers the potential to enrich discussions of form and sensation in film. This symposium will seek to explore ways in which thinking about texture can reinvigorate discussion of film form across a variety of cinematic contexts, as well as research practices (such as archival or practice-based approaches); with particular emphasis on approaches drawn from understandings of texture originating in study of visual art, music and literature.
>
>
> This one-day symposium seeks to provide a forum for interdisciplinary approaches to the close analysis of film, inviting papers which explore any aspect of texture in film. Proposals are invited for 20 minute papers, which should be illustrated with detail from films. Alternative presentations, such as workshops, will also be considered. In order to encourage discussion the day will run with no parallel panels.
>
> In addition, as a forthcoming issue of 'Movie: A Journal of Film Criticism' http://www2.warwick.ac.uk/fac/arts/film/movie/ will hope to include a special dossier on the subject of Texture, presenters will be invited to propose full-length articles based on their papers for inclusion (subject to Peer-Review).
>
>
> Please send your 250 word proposal, plus a short biography to Dr Lucy Fife Donaldson [log in to unmask] by 11th January 2013. http://www.st-andrews.ac.uk/filmstudies/events.php?eventid=178
>
> --
> To manage your subscription or unsubscribe from the Film-Philosophy list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
> --
> Film-Philosophy Journal: http://www.film-philosophy.com/
> Film-Philosophy Conference 2013 (Amsterdam 10-12 July): http://www.film-philosophy.com/conference/
> --
>
> ------------------------------
>
> Date: Sat, 5 Jan 2013 19:21:20 +0000
> From: Patricia Castello Branco <[log in to unmask]>
> Subject: Cinema: Journal of Philosophy and the Moving Image issue 3 available
>
> *Please circulate widely. Apologies for cross-posting
>
> Dear colleagues,
>
> We are pleased to announce that the third issue of *Cinema: Journal of
> Philosophy and the Moving Image* is now available online for free download
> at http://cjpmi.ifl.pt
>
> *Issue 3 (December 2012)*
>
> EDITORIAL: CINEMA, THE BODY AND EMBODIMENT
> Patrícia Silveirinha Castello Branco
>
> Articles
> FLESHING OUT THE IMAGE: PHENOMENOLOGY, PEDAGOGY, AND DEREK JARMAN’S BLUE
> Vivian Sobchack
>
> SEDUCTION INCARNATE: PRE-PRODUCTION CODE HOLLYWOOD AND POSSESSIVE
> SPECTATORSHIP
> Ana Salzberg
>
> A PHENOMENOLOGY OF RECIPROCAL SENSATIONIN THE MOVING BODY EXPERIENCE OF
> MOBILE PHONE FILMS
> Gavin Wilson
>
> CINEMA OF THE BODY:THE POLITICS OF PERFORMATIVITY IN LARS VON TRIER’S
> DOGVILLE AND YORGOS LANTHIMO’S DOGTOOTH
> Angelos Koutsourakis
>
> THE BODY OF IL DUCE: THE MYTH OF THE POLITICAL PHYSICALITY OF MUSSOLINI IN
> MARCO BELLOCCHIO’S VINCERE
> Marco Luceri
>
> EIJA-LIISA AHTILA: THE PALPABLE EVENT, 124-154
> Andrew Conio
>
> UPSIDE-DOWN CINEMA: (DIS)SIMULATION OF THE BODY IN THE FILM EXPERIENCE,
> 155-182
> Adriano D’Aloia
>
> EMBODYING MOVIES: EMBODIED SIMULATION AND FILM STUDIES
> Vittorio Gallese and Michele Guerra
>
> EXISTENTIAL FEELINGS: HOW CINEMA MAKES US FEEL ALIVE, 211-228
> Dina Mendonça
>
> THE BODY AS INTERFACE: AMBIVALENT TACTILITY IN EXPANDED RUBE CINEMA, 229-253
> Seung-hoon Gong
>
> Interview
> A PROPOS D’IMAGES (A SUIVRE): ENTRETIEN AVEC MARIE-JOSE MONDZAIN [FR.],
> 254-271
> Conducted by Vanessa Brito
>
> Conference Reports
> CONFERENCE ROUND-UP SUMMER 2012:POWERS OF THE FALSE (INSTITUT FRANÇAIS,
> LONDON, 18-19 MAY), SCSMI CONFERENCE (SARAH LAWRENCE COLLEGE/NYU, NEW YORK,
> 13-16 JUN.), FILM-GAME-EMOTION-BRAIN (UNIVERSITY OF AMSTERDAM, 14-21 JUL.),
> AND FILM-PHILOSOPHY CONFERENCE (QUEEN MARY – UNIVERSITY OF LONDON/ KING’S
> COLLEGE LONDON/KINGSTON UNIVERSITY, 12-14 SEPT.), 272-283
> William Brown
>
> Special Section
> CÍRCULOS E POÉTICAS EM FILMES LITERÁRIOS DE FERNANDO LOPES, 284-300
> Eduardo Paz Barroso
>
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> To manage your subscription or unsubscribe from the Film-Philosophy list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
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> Film-Philosophy Journal: http://www.film-philosophy.com/
> Film-Philosophy Conference 2013 (Amsterdam 10-12 July): http://www.film-philosophy.com/conference/
> --
>
> ------------------------------
>
> End of FILM-PHILOSOPHY Digest - 30 Dec 2012 to 5 Jan 2013 - Special issue (#2013-1)
> ***********************************************************************************
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