APPELS
A COMMUNICATION
Voilà quelques appels à communication. Ils sont en anglais pour la bonne raison qu'ils proviennent d'universités anglo-saxonnes. Si vous maîtrisez la langue et que l'inspiration vous saisit, c'est à vous de jouer.
Re-Imagining James Agee (1/28/07; ALA, 5/24/07-5/27/07)
American Art and Cinema of the Late 1960s and 1970s (1/22/07; 4/27/07-4/28/07)
John Huston Centenary Essays (1/30/07; collection)
Von Trier's Manderlay and Modern Society (Netherlands)
British Cinema in the 1970s (UK) (2/1/07; 7/4/07-7/5/07)
Rape in Art Cinema (3/1/07; collection)
Edited Volume on Filmic Representations of Dracula (1/15/07; collection)
Cine-Excess: An international Conference on Global Cult Film Traditions (UK) (1/15/07; 5/3/07-5/5/07)
Kubrick Collection (no deadline; collection)
Film Reviews (ongoing; journal issue)
Literature/Film Quarterly (ongoing; journal)
Re-Imagining James Agee
The James Agee Society invites proposals for papers for a special session at the American Literature Association conference in Boston (May 24-27, 2006).
We are especially interested in presentations that engage the recent publications of Agee's manuscripts (including the University of Tennessee Press' James Agee Rediscovered), as well as papers that address Agee's poetry, film criticism, screenplays, and journalism. Papers on Agee's place in the American canon and problems of gender and race in his work are also welcome.
Please send a brief abstract of presentation by January 28 to
J.A. Crank
University of North Carolina, Chapel Hill
jacrank@gmail.com
Documentation, Demonstration, Dematerialization: American Art and Cinema of the Late 1960s and 1970s
Keynote address by J. Hoberman, cultural critic & author
April 27-28, 2007 (rescheduled from November 2006)
University of California, Berkeley
The late 1960s and 1970s mark a period of dramatic change in the visual culture of the United States, from avant-garde art and filmmaking practices to documentary, Hollywood cinema, and the dissemination of video. This is, after all, the period when:
* Modernist painting gives way to pop, minimalism, and the language-, photography-, process-, and performance-based activities of conceptual art
* Anthology Film Archives opens in New York City, aiming to preserve and exhibit the classics of independent film production, which had so recently flourished as underground or New American cinema
* Documentary filmmakers extend the interests of 1960s direct cinema and cinema verite, incorporating interviews and archival footage into their explorations of history, both personal and public
* The Hollywood Production Code falls amid a massive industry reorganization which fosters both the art-cinema aspirations of the early 1970s (the so-called ãHollywood Renaissanceä or ãNew Hollywoodä) and the emergence of high-concept, blockbuster filmmaking by mid-decade (the ãNew Hollywoodä or ãNew New Hollywoodä)
* The availability of the Sony Portapak carries video beyond the horizons of broadcast television and into the hands of individuals and artists
What is more, these historic transformations in American art and cinema occur within the context of considerable cultural and political upheaval in the United States, from the rise (and fall) of the New Left, political assassinations, and the war in Vietnam to Watergate, recession, and the Iranian hostage crisis; from environmental movements, oil crises, and the disasters at Love Canal and Three Mile Island to rising immigration and divorce rates; from Civil Rights and the Indian Self-Determination Act to Roe vs. Wade and feminism, Stonewall and gay rights.
And while much of this history is well known, and perhaps even well studied within independent academic disciplines, the concurrent emergence and potential cross-fertilization of these aesthetic practices is too often overlooked. ãDocumentation, Demonstration, Dematerializationä aims to correct this oversight with an interdisciplinary, intermedia exploration of each of these developments and their mutual influences and consequences, including their ramifications for our own sociopolitical moment. Indeed, the title of our conference itself points to possible points of intersection, bringing together a variety of ãdocumentaryä impulses (site / non-site art, photography, structural reduction, archival footage, graphic sex and violence, etc.) which aim less at evidentiary ãfactsä than at the complex modes of demonstration (what is seen and unseen) and dematerialization (what is material and immaterial) that also already pervade both the dominant and countercultural forces of this period.
Potential paper topics for the conference include:
* The specific histories, philosophies, works, or practices of any of the aforementioned shifts in American visual culture during the late 1960s and 1970s
* Significant antecedents or successors to these changes, as well as their aesthetic and / or political consequences for their own time and our own
* Correspondences among a variety of cultural spheres (high art, avant-garde filmmaking, exploitation cinema, Hollywood, etc.)
* The relationship between these spheres and the sociohistorical moment of their production
* Popular criticism or theory of the late 1960s and 1970s (phenomenology, Marshall McLuhan, feminist film theory, auteur theory) which may have influenced that eraâs art and cinematic practice.
We welcome submissions from graduate students, faculty members, and independent scholars in disciplines including but not limited to film, new media, and visual studies; art history and practice; theater and performance studies; cultural studies; and rhetoric.
Please send abstracts of no more than 500 words, along with a brief biographical sketch, to arust@berkeley.edu by Monday, January 22, 2007.
Organized by the Graduate Film Working Group at UC Berkeley, ãDocumentation, Demonstration, Dematerializationä is generously supported by the Doreen B. Townsend Center for the Humanities and the Consortium for the Arts at UC Berkeley, as well as by the Film Studies Program and the Department of Rhetoric.
John Huston Centenary Essays (1/30/07; collection)
Arising from a recent successful conference in Galway Ireland dealing with the life and work of John Huston, several publishers have expressed an interested in publishing a new collection of essays on this most talented of American film writers, directors and actors. In finalising our proposal, the editor would like to add to the core of papers delivered at the conference and invite submissions on topics relating to Huston. These might include: studies of one or a number of his adaptations; his career as an actor; representations of race or gender in his work; his place within the Hollywood 'system', etc.We are particularly interested in expanding the list of films under discussion (we have a heavy emphasis on Key Largo, Moby Dick, The Dead).
Please only submit an abstract of approx 500 words at this stage.
Contributors should address all inquiries, proposals and submissions to:
Tony Tracy
Associate Director, Huston School of Film and Digital Media, National
Univeristy of Ireland, Galway
tony.tracy@nuigalway.ie
Von Trier's Manderlay and Modern Society (Netherlands)
Manderlying: Lie and/of Liberty in Modern Society as argued in Lars von Trier's Manderlay
Radboud University Nijmegen (The Netherlands) 10-11 October 2007
Manderlay (2005) is the second film of Lars von Trier's 'America Trilogy', offering a picture of American society during the Depression of thethirties. More generally, it offers a reflection on the modern and free society. Dogville, the trilogy's first film (2004), focussed on the violence of the 'gift' as haunting a community based on the modern idea of freedom.
Manderlay stages a similar violence, but focuses on the problem of truth and lie in modern society. It is the story of a community of black people in the South who, 70 years after the abolition of slavery, are still the slaves of a white family. At the end, however, it is revealed that 70 years ago, they have freely chosen to remain slaves and that the freedom eventually regained brings the disaster they had always feared.
The movie brings back one of the darkest sides of western history: whilst creating a free society, a large part of the 'New World'' declared slavery to be one of its constitutive elements. Manderlay is von Trier's way to deal with that traumatic side of modern freedom's legacy. The conference intends to explore two basic questions raised by this movie:
1. Not unlike socio-political catastrophes as the 'Gulag' and 'Auschwitz', this trauma raises the question how to incorporate and 'accept the unacceptable' into our memory, into the making of modernity's tradition.
2. And what to think if freedom as such is based on a lie urging us to act as if we are slaves. What if this very lie is the basic condition of the way we, moderns, deal with freedom's truth?
The conference intends to approach these questions - as well as this film - from many different theoretical schemes. The intention is not only to use the film as an illustration of these theories, but to allow the movie to affect the theory concerned.
The conference will take place at the Radboud University Nijmegen (The Netherlands) on 10 and 11 October 2007. It is is an initiative of the Heyendaal Institute of the Radboud University in collaboration with the Jan van Eyck Circle for Lacanian Ideology Critique, Maastricht (The Netherlands).
If interested in presenting a paper, please send an abstract, before 20 February 2007, to both Marc De Kesel (M.deKesel@hin.ru.nl) and Dominiek Hoens (dominiek.hoens@telenet.be).
British Cinema in the 1970s (UK) (2/1/07; 7/4/07-7/5/07)
Update: Please note the change of conference dates:
The 'Don't Look Now?' British Cinema in the 1970s Conference, to be hosted by the University of Exeter, will now take place on Wednesday 4 July and Thursday 5 July 2007 (NOT on Friday 6 July) at the Phoenix Arts Centre, Exeter, UK.
See http://www.sall.ex.ac.uk/conferences/dont-look-now.html
Papers are invited on (but are by no means limited to) the following topics:
# British film production, distribution and exhibition in the 1970s
# British film funding
# British Government film policy
# British cinema audiences in the 1970s
# British art cinema
# British popular cinema
# Unmade British films
# Relationships between British film and British television
# British cinema and globalization
# British dialogues with Hollywood and Europe
# Transnationalism
# Multiculturalism
# Representations of Britain on film in the 1970s
# The employment of locations
# Constructions of space and place
# The countryside and the city
# National and/or regional identity
# Heritage and cultural traditions
# British stars
# Genre
Proposals for panels are especially welcome
Please submit a 300 word abstract by 1st February 2007 to
Dr Paul Newland
Department of English
University of Exeter
The Bill Douglas Centre for the History of Cinema and Popular Culture
Prince of Wales Road
Exeter
EX4 4PX
Or email a word document to P.Newland@ex.ac.uk
Rape in Art Cinema (3/1/07; collection)
Deadline for proposals: March 1st, 2007
In her 2001 book Watching Rape, Sarah Projansky, argues that rape is "a key force throughout the history of film," and that "one cannot fully understand cinema itself without addressing rape and its representation=94 (26). Despite new theoretical explorations and increasingly graphic depictions of rape onscreen, however, rape has remained under explored in Film Studies. The few book-length studies that exist focus on rape revenge films and Hollywood. This collection seeks to redress that balance by looking at the representation of rape in international art cinema. How does rape function narratively and stylistically within this "high culture" context? What does its prevalence reveal about cultural practices? How do these representations intersect with pop culture representations? How does the theme of rape play out in the work of different national cinemas privileged auteurs?
Papers can focus on rape and sexual violence within the mode of art cinema; across national cinemas; in a director's oeuvre; in a specific film or group of films. Innovative, theoretically sophisticated explorations from a range of perspectives and disciplines are sought.
Please send proposals to drussell@uwo.ca by March1st, 2007
Proposals should include:
- Provisional title,
- 500-word abstract
- Provisional bibliography
- Short bio.
Accepted contributions (7,000 words) will be due in May 2007 for publication in late 2007/early 2008.
Edited Volume on Filmic Representations of Dracula (1/15/07; collection)
Call for Book Chapters:
Our (Un)Invited Guest(s):
Documenting Dracula and Global Identities in Film (Working Title)
Editors:
Caroline Joan (Kay) Picart
Department of English
Florida State University
John Edgar Browning
First-Year Writing Program
Southern Methodist University
Guest Introduction: David J. Skal
Call for Submissions: A proposed collection on filmic representations of Dracula that transcend genre and identity
Submission Deadline: January 15, 2007
This collection of essays seeks to investigate and explore the impulse by which global communities continue to reinvent Dracula in film, whether in an attempt to confront oppression or repression, or to embody social ills and taboos. Thus, theoretical analyses of the transnational generation of Dracula's cinematic offspring are highly sought. Contributions to this collection of essays should examine Dracula films and the ways in which Dracula's movement across borders of nationality, sexuality, ethnicity, gender, and film genre since the 1920s has engendered conflicting conceptualizations about the formation of the "other," identity, and ideology that oscillate between conservative and liberal spheres of normalcy. While this collection is concerned with the complex web of interrelationships between the historical, cultural, and literary counterparts that make up the conventional body of cinematic work from mainstream studios like Universal, Metro, Hammer, Columbia, AIP, equally important is the significantly larger, yet predominantly under-appreciated body of cinematic work that has poured out of other global markets. We are searching for essays that address these concerns by using single-film or period-based analysis.
With the focus of this collection targeting Dracula and Dracula-type characters in films from not only the United States and England but from other global markets, this collection welcomes submissions that seek to ground Dracula depictions and experiences within a larger political, historical and cultural framework, seeking to identify how different ethnic groups represent themselves and their distinct movements across borders in the Dracula cinema myth. Chapters may focus on isolating new, developing tendencies toward transnational modes of cultural production, or may instead excavate and trace past tendencies from older depictions.
We seek perspectives engaged in the fields of literature, media studies, cultural studies, history, anthropology, philosophy, psychology, sociology, health, medicine, criminology, and theology. As payment, each contributor will receive 1 copy of the completed book.
Please submit your manuscript electronically as an email attachment to:
John Edgar Browning
Adjunct Lecturer of English
First-year Writing Program
Southern Methodist University
E-Mail: jbrowning@smu.edu
or
Dr. Caroline Joan (Kay) Picart
Associate Professor of English
Courtesy Associate Professor of Law
Florida State University
E-Mail: kpicart@english.fsu.edu
MANUSCRIPTS should be prepared in accordance with the 15th edition of the Chicago Manual of Style. Double-space all manuscripts, including references, notes, abstracts, quotations, and tables. The title page should include all authors' names, affiliations, and highest professional degrees, the corresponding author's address and telephone number, and a brief biographical statement. The title page should be followed by an abstract of 100 to 150 words. Tables and references should follow CM style and be double-spaced throughout. Ordinarily, manuscripts will not exceed 30 pages (double-spaced), including tables, figures and references. Authors of accepted manuscripts may be asked to supply camera-ready figures.
Please note that submission of a manuscript implies commitment to publish with the essay collection. Authors submitting manuscripts should not simultaneously submit them to another journal, nor should manuscripts have been published elsewhere in substantially similar form or with substantially similar content. Authors in doubt about what constitutes prior publication may consult with the editor.
Cine-Excess: An international Conference on Global Cult Film Traditions (UK)
Organised by the Cult Film Archive at Brunel University and Sci-Fi-London Film Festival
Apollo West End Cinema, Lower Regents Street, London, UK.
Over the last decade there has been an explosion of critical interest around the global traditions, traits and themes of cult film. Whether defined by horror, kung-fu, sci-fi, sexploitation, blaxploitation, kitsch musical or 'weird world cinema', cult film has moved from the margins to the mainstream of critical respectability.
The cult film has generated several significant academic collections, book series and monographs as well as international audience studies projects and dedicated research organisations devoted to the study of the world's unruliest images. To celebrate the launch of the world's first MA programme in Cult Film and TV, the Cult Film Archive at Brunel University and SCI-FI-LONDON Film Festival will be hosting an international conference re-evaluating some of the biggest trends, icons, auteurs and periods of global cult film production. Presented across a number of key strands, the conference will supplement discussion papers and plenary sessions with screenings and talks by leading cult filmmakers.
Proposals are welcomed on, but not limited to, the following topics and areas:
-Cult Auteurs, Cult Mavericks: New readings of leading cult filmmakers
-Cult Icons: New readings of leading cult icons and performers
-Taking Trash Seriously: Conceptualising cult through film/cultural/media theory
-Cult across Categories: Overlaps between cult film and other visual/electronic/web-based media
-Cult consumers: New readings in fandom and cult audience research
-Distributing Excess: Production, distribution and exhibition strategies in cult cinema
-Exploitation: No Place for a Woman? Case-Studies of female cult/icons and auteurs
-Cult Contexts: National/international reception studies of cult and marginal film trends
Transnational Cult Perspectives - Issues of national identity, taste and region
-Underground American Auteurs: From 'classic' to contemporary cult
-Queer Cults - Sexual identities in marginal and mainstream cult cinema
-Cruel Britannia: The lost continent of British trash cinema
-Porno Chic, Porno Shlock: Traditions of the cult erotic image
-Fear Today, Horror Tomorrow: Cult remakes and contemporary fears
-Continental Cults: New Readings of European trash cinema
-Beyond Asia Extreme: Rethinking Cult Asian Cinema
-Art-House or Atrocity: Style and aesthetics in the cult film
-Cult Case-Studies: Production and institutional studies of cult studios
We welcome individual submissions, panels and roundtable proposals. Please send a 300 word abstract and a short (one page) C.V. by 15th January 2007, to:
Xavier Mendik
Director of the Cult Film Archive
Convenor of the MA in Cult Film and TV
Brunel University
Uxbridge
Middlesex
UB8 3PH
UK
xavier.mendik@brunel.ac.uk <mailto:xavier.mendik@brunel.ac.uk>
www.brunel.ac.uk/cult <http://www.brunel.ac.uk/cult>
The Cine-Excess Cult Conference forms part of the 2007 Sci-Fi-London Film Festival (2nd-6th May 2007)
For further information on the 2007 Sci-Fi London Film Festival, see the website:
www.sci-fi-london.com <file://www.sci-fi-london.com/>
Kubrick Collection (no deadline; collection)
We are updating our call for papers for a collection of essays (to be published by McFarland and Company ) which will address the work of Stanley Kubrick from a variety of new and fresh perspectives. In general, we are particularly interested in essays that synthesize analyses of several Kubrick films as they relate to a particular topic, rather than single film studies. We particularly encourage original, groundbreaking analysis and discussions of overlooked aspects of Kubrick's work.
Preference will be given to essays that are already completed or nearing completion.
Chapters will include, but are not limited to the following subjects:
*Kubrick as newsreel filmmaker (e.g., DAY OF THE FIGHT, THE SEAFARERS, and FLYING PADRE).
*Kubrick and genre
*Kubrick and gender
*Kubrick and politics
*Kubrick and technology
*Kubrick's unfinished projects
*Kubrick's reputation as a filmmaker
*Kubrick's relationship to the other arts (painting, music, etc.)
*We'd be particularly interested in less often analyzed films of Kubrick's, especially Fear and Desire.
Contributors should address all inquiries, proposals and submissions to:
John Springer
Dept. of English
100 North University Drive
University of Central Oklahoma
Edmond, OK 73034-5209
jpspringer@ucok.edu
Film Reviews (ongoing; journal issue)
Identity Theory (IdentityTheory.com), a literary/cultural web journal, is developing a film section and is now seeking reviewers to cover theatrical releases and new DVDs. IDT also plans to include reviews of older titles, as long as some context (historical or genre-related) is provided and the overdone classics are avoided. Reviews of older films newly appearing on DVD, as well as literary-related films and rediscovered classics, are highly desired. Send a pitch of your idea, your resume, and a writing sample to Matthew Sorrento at film@identitytheory.com.
Literature/Film Quarterly (ongoing; journal)
Literature/Film Quarterly, the longest-standing publication devoted to adaptation studies, is soliciting essays on any topic related to film adaptations. Topics include, but are not limited to, Explorations of the wide-ranging intertextuality of literature and film; Locating specific texts and adaptations of them within their own cultural moment; Analysis of why, how, and to what effect particular texts are adapted, made new, or remade; Analysis of the intersection, inter-illumination, and collision of different media. Articles on individual movies, on different cinematic adaptations of a single literary work, on a director's style of adaptation, on the "cinematic" qualities of authors or works, on the reciprocal influences between film and literature, on authors' attitudes toward film and film adaptations, on the role of the screenwriter, and on teaching of film; Interviews with directors, screenwriters, literary figures; Reviews of current film adaptations of literary works; Reviews of books concerning film and the relationship between film and literature; and Responses to any of the articles and reviews.
Articles should ordinarily be limited to 3,500 words; reviews to 1,500. The new MLA style must be followed for documenting sources and listing them in Works Cited. If possible, supply stills or frame enlargements of the films discussed. Enclose two printed copies of the manuscript, an additional copy on a CD (with manuscript saved as text file in one of these versions: Microsoft Word 98 or 2000), and a self-addressed, stamped envelope. Send manuscripts to the editor, Literature/Film Quarterly, Salisbury University, Salisbury, Maryland 21801-6860. Email any questions or concerns to litfilmquart@salisbury.edu.
