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FILM-PHILOSOPHY  May 2013

FILM-PHILOSOPHY May 2013

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Subject:

Conference: The Body in Eastern European and Russian Cinema

From:

Matilda Mroz <[log in to unmask]>

Reply-To:

Film-Philosophy <[log in to unmask]>

Date:

Mon, 27 May 2013 12:01:07 +0100

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Apologies for cross-posting. 

There are only a few places left for The Body in Eastern European and Russian Cinema, a conference hosted by the University of Greenwich, 21-22 June 2013. Registration will close on the 7th of June. 

Please register via Eventbrite: http://beerc.eventbrite.co.uk/. Program available here: http://www.academia.edu/3478094/Program_The_Body_in_Eastern_European_and_Russian_Cinema

Keynote presentations:

Nebojsa Jovanovic, Department of Gender Studies, Central European University: Contesting the cinematic "totalitarian body": A case of Yugoslav cinema in socialism

Elzbieta Ostrowska, University of Alberta, Canada: Unruly Female Bodies in Polish Communist Cinema

Emma Widdis, Department of Slavonic Studies, University of Cambridge: Silence, Sensation and the New Soviet Self in Early Sound Cinema

Panels: 

Deleuzian Bodies

Renata Sukaityte, Faculty of Communication, Vilnius University, Lithuania: Non-functional bodies and the mise-en-scene of desire in Kristina Buozyte’s films Collectress and Vanishing Waves

Elzbieta Buslowska, University of the Arts, London: ‘Give me a body then’ - Bela Tarr’s world of non-Human becoming

Calum Watt, Film Studies, King’s College London: Bela Tarr’s disastrous bodies

Star Bodies

Andrea Virginas, Sapientia Hungarian University of Transylvania, Romania: Female stars, men’s films? Romanian films from the 2000s

Paulina Kwiatkowska, Institute of Polish Culture, University of Warsaw, Poland: Actress, figure and character - Lucynna Winnicka in Jerzy Kawalerowicz’s and Grzegorz Krolikiewicz’s films

Body, Affect, Senses

Malgorzata Bugaj, University of Edinburgh: Exploration of the body in Gyorgy Palfi’s Taxidermia

Agnes Petho, Sapientia Hungarian University of Transylvania, Romania: The ‘chemistry’ of art(ifice) and life: embodied paintings in East European cinema

Olena Dmytryk, Faculty of Geography, University of Cambridge:Haptic heteronormativity? Embodiment in Soviet cinema of the 1960s-1970s

Nicholas Reyland, Music and Film Studies, Keele University: From rupture to rapture: Kieslowski’s musical bodies

Bodies at the end of Communism

Izabela Kalinowska-Blackwood, Stony Brook University: Striptease and the end of Communism

Mari Laaniste, Estonian Literary Museum and Academy of Arts: A shape of one’s own: the identity issues reflected in Priit Parn’s drawn bodies

Paulina Gorlewska, Institute of Audiovisual Arts, Jagiellonian University in Krakow, Poland: The rotten relic: Stalin’s bodily presence on the screen

Embodying the Czechoslovak New Wave

Anna Koch, University of Oxford: The face of the body in Jan Nemec

Grazyna Swietochowska, Culture Studies Department, University of Gdansk, Poland: The everyday body and the ceremonial body in the Czechoslovak New Wave

Susanne Sklepek-Hatton, Department of History, University of Nottingham: Decomposing/negating the public female body: analyzing Chytilova’s Daisies (1966) and Panelstory (1979)

Body and Female Agency

Alissa Timoshkina, Film Studies, King’s College London: ‘I am an Ox, I am a Horse, I am a Woman, I am a Man’: Female body and Soviet history in The Commissar

Elma Porobic, Faculty of Philosophy, University of Zagreb, Croatia:Bodies that speak: finding voice in Begic’s Snow and Zbanic’s Grbavica

Anna Batori, University of Glasgow: The representation of female bodies in Mungiu’s 4 months, 3 weeks, 2 days    

Soviet Bodies

Zoe Aiano, Institute of Social and Cultural Anthropology, Freie Universitat in Berlin, Germany: The Body Politic and the Body Electric: Man and the Machine in the work of Dziga Vertov

Andrea Matosevic, Centre for Cultural and Historical Research of Socialism, Juraj Dobrila University of Pula, Croatia: From enthusiasm to oblivion: imagining shock workers through documentary and feature movies

Srdan Atanasovski, Institute of Musicology SASA, Beograd, Serbia, and Ana Petrov, The Archives of Serbia: The body, land, and sound of Socialist Yugoslavia: voluntary youth labour actions on the screen
  
War Bodies

Ira Osterberg, University of Helsinki, Finland: The War Veteran genre and the body of the hero in Aleksei Balabanov’s Brother (Brat, 1997) 

Alisa Voznaya, University of Oxford, and Olesya Khromeychuk, University of Cambridge: The female body in ‘male wars’: representation of Ukrainian and Chechen women in the context of war

Vulnerable Bodies in Contemporary Film

Lorant Stohr, University of Theatre and Film Art, Budapest, Hungary: Conflicting forces: bodies in Kornél Mundruczó's films 

Hajnal Kiraly, Centre for Comparative Studies, University of Lisbon, Portugal: Leave to live: Bodies as ‘spaces-in-between’ in contemporary Hungarian and Romanian cinema

Ilona Hongisto, Department of Media Studies, University of Turku, Finland: Vulnerable bodies, consolidating frames: documentary cinema on North Eastern Europe 1990-2010

Bodies and National Trajectories

Marija Katalanic, Institute for Historic Cultural Research, Humboldt University, Berlin: Looking at the female body in Croatian film as an attempt to understand Croatia’s view on nationhood

Adriana Stefanel, University of Bucharest, and Andreea Toma, University of Bucharest, Romania: The female body in Romanian cinema: a longitudinal analysis

Metin Cavus, Yildiz Technical University, Istanbul, Turkey: The struggling post-Communist body as a primary site of conflict 

Conference themes:  

In recent decades, much attention has been paid to theories revolving around the body, the senses, and affect in cultural studies in general, and film studies in particular. After what Brian Massumi has referred to as the ‘waning of grand narratives’, and the loss of confidence in previously established categories of inquiry, there has been a growing feeling in media and film theory that the body and the senses are central to an understanding of our culture. Ideas around the body, affect and sensation do not, however, provide theorists with a new stability; rather, these aspects are configured as fluctuating entities and unfinished projects.

While much research has been conducted within film studies into the representation of the body in Western European cinema, much less attention has been paid to bodies, affects and sensations in Eastern European and Russian film. Eastern European and Russian cinema provides exceptionally fertile ground for research into the body, due to its preoccupation with topics such as war trauma, the Holocaust, migration, exploitation, sex work, rape, abortion, memory, as well as the ideal Soviet bodies propagated under the regions’ Communist regimes and the dissident bodies and affects that challenged them. The purpose of this conference is to showcase and exchange views on the role of body, the senses and affect in Eastern European and Russian cinema, both in its specificity and in its similarity to the types of bodies and affects found in other international film cultures.

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