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.
The Documentary Tradition: WW II--Germany (7/20/06; Film & History, 11/8/06-11/12/06)
Horror Films (2/27/06; RMMLA, 10/12/06/-10/14/06)
The City in Documentary (7/20/06; Film & History, 11/8/06-11/12/06)
Living at the Outskirts: Cinema and East European Countries (3/5/06; MLA'06)
Cine-Lit VI: An Intl. Conf. on Hispanic Film and Fiction (12/1/06; 2/21/07-2/24/07)
Fantasy Fiction into Film (5/15/06; collection)
Film and History: Women's Studies Area (8/15/06; Film & History, 11/8/06-11/12/06)
Mockumentaries (7/30/06; Film & History, 11/8/06-11/12/06)
Narrative and the Moving Image (5/15/06; journal issue)
Turkish Cinema Anthology (5/1/06; collection)
Film Genre and Criticism (3/31/06; MMLA, 11/9/06-11/12/06)
The Post-Romance in Contemporary Film (5/15/06; collection)
Brokeback Mountain (3/31/06; collection)
The Konigsberg Review: Woody Allen (4/1/06; journal issue)
Another Slapstick Symposium (Belgium) (3/30/06; 5/13/06-5/14/06)
Divorce in Film (ASAP; collection)
The Documentary Tradition (8/15/06; 11/8/06-11/12/06)
Literature/Film Quarterly (ongoing; journal)The Documentary Tradition: WW II--Germany (7/20/06; Film & History, 11/8/06-11/12/06)
2006 Film and History League Conference
"The Documentary Tradition"
AREA: World War II: Germany
CHAIR: James J. Ward
At this month's Berlin Film Festival, a 2 ½-hour semi-documentary on the bombing of Dresden in February 1945-at 10 million euros, the most expensive film ever made for German television-has occasioned considerable comment. Together with last year's _Sophie Scholl: Die Letzten Tagen_ (just released in the US) and 2004's _Der Untergang_ (_Downfall_ in US release)-both Oscar nominees for best foreign film-these German films have blurred the line between fiction and fact, at least in regard to the Second World War.
For the November 8-12 Film & History conference on "The Documentary Tradition" at the Dolce Conference Center in Dallas, Texas, papers are invited in the "World War II: Germany" area. Possible topics include, but are not limited to: German/Nazi documentary film dealing with the war, the home front, countries under German occupation/control, anti-partisan warfare, the Axis alliance and war effort, "total war" (as proclaimed by Goebbels in February 1943), the development of _Wunder_- and _Vergeltungswaffen_, and the pursuit of the _Endsieg_ in 1945. Post-1945 (West and East) German documentary films and television programs dealing with the war are also appropriate, as are post-1989 German film and television productions on World War II, the German defeat, occupation and division, and the "memory" of the war. Recent scholarly and media controversies in Germany arising from the Second World War-e.g., the "Crimes of the Wehrmacht" exhibition (1995-99) and the debate over the _Bombenkrieg_ inspired in part by the publication of Joerg Friedrich's _Der Brand_ in 2002-suggest other possible topics and approaches.
"World War II--Germany" is conceived as generous and expansive. Questions about the suitability of topics may be directed to me. Proposals for individual papers, complete panels, and any other issues should be e-mailed to me at jjward@cedarcrest.edu. Please include a brief description or abstract of the paper being proposed and a summary cv. The deadline for proposals is July 20, 2006.
Complete information on the 2006 Film and History Conference may be found at
http://filmandhistory.org.
James J. Ward
Professor of History
Director, Honors Program
Cedar Crest College
100 College Drive
Allentown, PA 18104-6196 USA
tel 610 437 4471 x 3402
fax 610 606 4614
jjward@cedarcrest.edu
Horror Films (2/27/06; RMMLA, 10/12/06/-10/14/06)
I would like to propose a special session on horror films for this year's Rocky Mountain Modern Language Association convention. Although my particular interest is in the development of the slasher formula in the age of neoconservativism (the Reagan years to present), all theoretical approaches to the horror film genre are welcome.
Paper proposals based on a 250-word abstract must be submitted by February 27th, 2006, preferably as an attachment in MS Word. Please send submissions to Tony Perrello at tperrello@csustan.edu. This year's convention will be held at the DoubleTree Resort Hotel at Reid Park in Tucson, Arizona from October 12-14, 2006. Please consult the conference website at http://rmmla.wsu.edu/ for more information.
The City in Documentary (7/20/06; Film & History, 11/8/06-11/12/06)
THE CITY Area
2006 Film & History Conference
"The Documentary Tradition"
8-12 November, 2006
Dolce Conference Center - Dallas, TX
www.filmandhistory.org
Deadline: July 20, 2006
The cityscape has always featured prominently in fiction films. How has the city and the urban experience been interpreted in documentaries, docudramas, and propaganda films? The Film & History League calls for papers examining the role of the city in documentary and its many permutations as well as the role of the documentary in our understanding of the city. We invite submissions that explore the examination and portrayal of urban subjects in the documentary. The Film & History conference is particularly interested in how documentaries reflect or influence history and current political discourse as well as how our understanding of urban history has been shaped by documentaries.
Send your proposal (200 to 400 words) to Dr. Laura Wittern-Keller, Film & History Conference Area Chair, Department of History, University of North Carolina Wilmington, 601 S. College Road, Wilmington, NC 28403-5957. Email to WitternKellerL@uncw.edu. Panel proposals, for up to four presenters, are also welcome. The panel proposal should include a title and abstract with each individual submitting a separate paper proposal. Deadline: July 20, 2006.
This Area, comprising multiple panels, is a part of the Film and History League's "The Documentary Tradition" conference for 2006. See the Film & History web site (www.filmandhistory.org) for details about the upcoming meetings and about other areas of scholarship. Guest artists: D.A. Pennebaker and Chris Hegedus.
Living at the Outskirts: Cinema and East European Countries (3/5/06; MLA'06)
Proposals are invited for a special session organized by the Romanian Studies Association of America at this year's MLA convention: "Living at the Outskirts -- Cinema and East European Countries." Film and the Politics of the Great Divide, the East European as Other, visual narrative of integration/disintegration, and the cinematic screen as a divide and/or anchorage.
Please e-mail 300 words abstracts with a short bio to catalina@purdue.edu by March 5.
Cine-Lit VI: An Intl. Conf. on Hispanic Film and Fiction (12/1/06; 2/21/07-2/24/07)
Organized by Portland State University, Oregon State University, and Northwest Film Center/Portland International Film Festival
You are invited to submit an abstract of a paper on any aspect of the relationship between Hispanic literature and film. Please provide three
copies of a 300-word abstract along with one 3 x 5 card listing the following: Title of paper, your name, academic affiliation, address, and telephone and FAX numbers.
DEADLINE: December 1, 2006.
Cine-Lit VI will be organized around the following sessions: Women Cineastes, Cinema and Theatre, Cinema and Ideologies, Cinematographic Adaptations, Marginalized Voices in Cinema, New Films and Directors, Hispanic Cinema in the U.S., and Hispanic Cinema in the Classroom.
A committee will consider requests for the formation of special sessions dealing with a specific author/work, director/film, or other pertinent topics examining the connection between the visual and written image. They should be submitted as soon as possible. Reading time of papers will be limited to 15 minutes.
A selection of papers read at the conference will be published in Cine-Lit VI:
Essays on Hispanic Film and Fiction.
Please send submissions or inquiries to:
Oscar Fernández Guy H. Wood
Foreign Languages & Literatures Foreign Languages & Literatures
Portland State University Oregon State University
451-Q Neuberger Hall 210 Kidder Hall
Portland, OR 97207 Corvallis, OR 97331
Fax: 503-725-5276 Fax: 541-737-3563
Phone: 503-725-5224 Phone: 541-737-3936
E-mail: osf@pdx.edu E-mail: gwood@orst.edu
Web Page: www.fll.pdx.edu/html/Languages/spanish/html/Cinelit/cinelit.htm
Fantasy Fiction into Film (5/15/06; collection)
We are soliciting manuscripts and proposals for an edited collection tentatively entitled Fantasy Fiction into Film. The intellectual lynchpin of this volume is the transition from text to the screen. The essays should focus on the transformation of novel/short story/etc. into film, the deletions, additions, and revisions from written to cinematic narrative. We encourage essays on Peter Jackson's Lord of the Rings series, as well as The Chronicles of Narnia and Harry Potter. The list of applicable movies, however, could also include Charlie and the Chocolate Factory, The Polar Express, The Wizard of Oz, Mary Poppins, The Witches, Ella Enchanted, Finding Neverland, Nanny McPhee etc.
We invite proposals, but we will be unable to make a final decision until we have seen a complete draft. Submissions should be documented in MLA style and should be formatted in Word. Please do not use an auto-numbering system for the endnotes in the final copy. The essays should not exceed twenty pages. Those submissions that are accepted must be submitted on diskette and must be accompanied by a permission letter the details of which will be stipulated at the time of acceptance. Deadline for submission of completed drafts is May 15 2006.
We encourage E-mail submissions which can be sent to one or both of the following addresses: lstratyn@muw.edu or jrk@muw.edu
Other submissions and inquiries may be made to
Dr. Leslie Stratyner or Dr. James Keller
1100 College St., W-1634
Dept. of Languages, Literature, and Philosophy
Mississippi Univ. for Women
Columbus, MS 39705
Phone:(662) 329-7386
Fax: (662) 329-7387
Film and History: Women's Studies Area (8/15/06; Film & History, 11/8/06-11/12/06)
2006 Film & History Conference
Women & The Documentary Tradition
Nov. 8-12, 2006
Dolce Conference Center * Dallas, TX
The Encyclopedia of the Documentary Film asserts that documentary films come from "every region of the world," crossing cultural, sociopolitical, and gender boundaries. "Varying in style, technique, editing, story-telling, narration, and intent, it is a medium that records the cross-section of human experience, from monumental conflict to simple lives lived day to day. It documents the events, pressures, and institutions of modern society, records traditional cultural practices, cultural changes, and captures the natural and animal world in all their complexity" (2005). The Women's Studies Area of the Film & History League's Conference invites proposals for individual papers, panels, and/or roundtable discussions which highlight the documentary tradition as it has explored and exposed women's issues, women as subject, or women as filmmakers. Topics may include, but are not limited to the following areas within the realm of women's studies:
* Women and ethnography, sociology, ethnicity
* Gender in nonfiction film
* Educational and industrial films
* Government sponsorship and political or social ideology
* Religion and spirituality
* National documentary film theories and schools
* Historical eras and coverage of historical events affecting women
* Popular culture, concert films, music videos, sports, and leisure
* Technique, technology, and cyberspace
* Documentary auteurs
* Women filmmakers
The Film and History League conference details can be found at www.filmandhistory.org. The meeting will run from 8-12 November, 2006 in the Dolce Conference Center near the DFW airport. A spectrum of other areas will evolve on the web site over time.
Submit proposals via USPS or email attachments (preferred) to: Pat Tyrer English & Modern Languages West Texas A&M University, Box 60908 Canyon, TX 79016-0001 ptyrer@mail.wtamu.edu
Deadline for proposals: 15 August 2006
Mockumentaries (7/30/06; Film & History, 11/8/06-11/12/06)
In an entertainment era overwhelmed by 'reality' shows, the parody and satire of the mockumentary, or 'fictional documentary', take on even greater appeal. From the BBC's 1957 April Fool's broadcast of Panorama's 'Swiss Spaghetti Harvest' to the genre's latest addition, To Kill a Mockumentary (2006), mockumentaries have critiqued, lampooned, and had a good, hard laugh at everything from the taken-for-granted of everyday life to our most cherished cultural icons. This call for papers seeks submissions of work from a wide range of orientations, exploring the contexts, uses, and impacts of this fictional documentary tradition that traces its roots back to the radio broadcast of H.G. Wells War of the Worlds.
Possible topics for consideration include, but are not limited to:
* The works of particular mockumentary filmmakers, or the role of the mockumentary in a filmmaker's career, such as Rob Reiner (This is Spinal Tap), Christopher Guest (Waiting for Guffman, Best in Show, A Mighty Wind), Woody Allen (Husbands and Wives, Zelig, Sweet and Lowdow).
* In-depth analysis of particular films (Drop Dead Gorgeous, Bob Roberts, The Rutles, The Blair Witch Project, Children of the Revolution, The Proverb, etc.).
* An analysis of the use of various techniques and strategies across the genre, including the blending of actual documentary with fictitious footage (First People on the Moon, 2005; Fandom: A True Film, 2004).
* A cultural analysis of the mockumentaries arising from a particular historical moment.
The Film & History League will be holding its biannual conference on "The Documentary Tradition" during November 8-12, 2006, near Dallas, TX. Full details on the location, featured speakers, registration procedures, and additional area topics can be found on the web site at www.filmandhistory.org. Proposals for either individual papers or complete panels (3-4 papers) are welcomed, and submissions may be made in either electronic (no attachments, please) or hard copy format. Please send panel proposals and/or 300-word paper abstracts no later than July 30, 2006, to:
Chair for Mockumentary Area
Prof. Cynthia Miller
Institute for Interdisciplinary Studies
Emerson College
120 Boylston St., Rm. 515
Boston, MA 02116
email: cynthia_miller@emerson.edu or cymiller@tiac.net
Narrative and the Moving Image (5/15/06; journal issue)
The online journal REFRACTORY is seeking contributions regarding narrative in relation to audiovisual media (cinema, television and new media). We invite a variety of approaches and topics, but are particularly interested in essays that explore new areas and objects of narrative study, or offer new perspectives on existing debates.
For example, certain theorists have suggested that narrative is increasingly displaced in the age of digital media, or that narrative’s claim on early cinema has been overstated. These debates intertwine with arguments regarding the depletion of narrative’s influence within postmodern image culture. How do these arguments relate to what may appear to be, from some perspectives, the strange perseverance of narrative in contemporary culture? How is narrative reframed within that culture, and how do shifts in our conception of narrative alter our understanding of existing debates and texts?
The potential scope of analysis is very broad: published essays may offer close analysis of individual works, for example, or address wider theoretical or historical questions.
Possible areas for consideration:
o Narrative aesthetics.
o Time and narrative.
o Space and narrative.
o Narrative and modernity/postmodernity.
o Memory/history and narrative.
o Narrative and early cinema.
o Narrative and digital media/computer games.
o Television narratives.
o Narrative and the DVD format.
o Literary adaptation and narrative.
o Revisiting narrative theory.
Please submit completed articles of 3,000-7,000 words to the guest editor Allan Cameron (a.cameron5_at_pgrad.unimelb.edu.au) electronically as a rich text format document (hard copies will not be returned) by May 15 2006. For style details, please consult the journal website. Refractory is a fully refereed journal. All submissions will be anonymously peer reviewed before acceptance.
Allan Cameron
Cinema Studies Department
The School of Art History, Cinema, Classics and Archaeology
The University of Melbourne
Victoria 3010 Australia
Refractory website:
http://www.ahcca.unimelb.edu.au/refractory/
Turkish Cinema Anthology (5/1/06; collection)
With the recent international success of such films as Head-On, Distant, and The Waiting Room has come a renewed interest in Turkish Cinema.
We are seeking proposals (or completed essays) for an edited collection examining the aesthetics, forms, representations, pleasures, ethics, politics, culture, history, ethnicity, race, sexuality, and gender of Turkish cinema from its beginning to the present. We are requesting contributions that will investigate Turkish national, transnational, and diasporic images as well as images of Turkey and the various peoples within Turkey from the outside and inside. Essays should be of interest to a scholarly audience, but suitable for graduate and undergraduate students in Turkish Studies, Film Studies, and Comparative Studies.
Topics might include, but are not limited to:
Reconsidering Outside Views of Turkey (Midnight Express, Ararat, Lawrence of Arabia, etc.) Early filmmaking and the fall of the Ottoman Empire The Theater and Films of Muhsin Ertugrul Yesil Cinema (Green Cinema) and the Turkish Studio System “Confection” Cinema The Turkish Star System Turkish History through Film Islam in Turkey through Film Auteurs (Guney, Goren, Ozgenturk, etc.) Studies of Specific Films (Girl with the Red Scarf, The Horse, Yol, The Waiting Room etc.) New Turkish Filmmakers (Demirkubuz, Ceylan, Zaim, Kaftan, Ustaoglu, etc.) The Turkish Diaspora (Germany, Italy, Cyprus, United States) Transnational Turkish Film Genre in Turkish Film Children and Family in Turkish Film Turkish Animation and Other Media Gender and Sexuality in Turkish Films Contemporary Popular Film Gay/Lesbian/Bisexual/Transgendered/Queer/Questioning issues in Turkish Cinema / Questions of Ethnicity and Nation Turkish Film Festivals
Please send proposals (300-500 words) or completed essays (4500-7500 words) with a brief CV by 1 May 2006. Print and email submissions are welcome.
Brian Bergen-Aurand
Department of English (M/C 162)
2026 University Hall
University of Illinois at Chicago
Chicago, IL 60607-7120
Email: turkishcinema@imaginaryyear.com
Website: www.imaginaryyear.com/turkishcinema
Brian K. Bergen-Aurand, PhD
Department of English (M/C 162)
University Hall
601 S. Morgan St.
University of Illinois at Chicago
Chicago, IL 60607-7120
USA
Film Genre and Criticism (3/31/06; MMLA, 11/9/06-11/12/06)
This panel will consider film's capacity to revisit and revise genre in a critical fashion. How do genre forms and conventions inhibit or enhance a film's critical potential? What does a film gain by combining and redefining genres and subgenres? Abstracts for this panel should explore the interconnections between film genre and criticism through analyses that perform critical redefinitions themselves.
Some possible topics to consider include:
-the connections between genre formations and questions of nationality, culture, class, race, and gender
-the relative capacity for cultural transformation through "high culture" genres and "low culture" genres
-the criticism implicit within and about certain genres
-the critical function of synthesizing or questioning genres
-the ways in which film adapts and reconstructs genre from literary works
-filmmakers who have defined or revitalized genres: Akira Kurosawa, James Whale, Fritz Lang, etc.
-filmmakers who have redefined or challenged genre work: François Truffaut, Jean-Luc Godard, Alfred Hitchcock, Federico Fellini, etc.
-filmmakers who have combined disparate genres within their work: the Coen brothers, Pedro Almodovar, Quentin Tarantino, etc.
Please send 150-300 word abstracts to Greg Wright at wrightg2@msu.edu, or mail to:
Greg Wright
English Department, 201 Morrill Hall=20
Michigan State University, East Lansing, MI 48826.=20
E-mail submissions are preferred.
The deadline for abstracts is March 31, 2006.
The M/MLA conference will be held November 9-12, 2006, in Chicago, IL, at the Palmer House Hilton. Please visit the M/MLA website (http://www.uiowa.edu/~mmla/) for more information about the 2006 conference.
The Post-Romance in Contemporary Film (5/15/06; collection)
CFP: A Cinema of Love. A Cinema of Hate. The Post-Romance in Contemporary Film.
Editors: Antje Ascheid (University of Georgia) and Nina Martin (Emory University)
This anthology seeks to explore the recent emergence of the “post-romance” in international art cinema, which represents issues of dating, love, sex and romance, along with modern urbanity, “singularization” and isolation in a fundamentally pessimistic or at least highly skeptical fashion. The concerns of contemporary plays and novels chronicling the collapse of the family, the breakdown of marriages and the atomized loneliness of modern existence (Franzen, Houellebecq, etc.) are matched here with the re-emerging traditions of art cinema in independent film. As early as 1998, LA Times critic Kenneth Turan pointed to a new trend towards immorality and nihilistic darkness in independent cinema, diagnosing in films like Happiness (Solondz, 1998) or Your Friends and Neighbors (La Bute, 1998) an inappropriate “lust for the grim.” Like-minded critics suggested the emergence of a “new cinema of hate.” Since then, there has been a marked increase in this generic development identifiable in art films across an international spectrum. This volume proposes to investigate the phenomenon of the “post-romance” as a counterpoint to popular romance narratives prominent in heritage cinema and the romantic comedy in a global context.
Possible paper topics could include, but are not limited to, recent films by Lars van Trier, Todd Solondz, Catherine Breillat, Olivier Assayas, François Ozon, Neil LaBute, Mike Nichols, Michael Haneke, Oskar Roehler, Andreas Dresen, Roger Avery, Nicole Holofcener, Wong Kar-Wei, Coline Serreau and many others.
Proposals of 300-500 words should be submitted by May 15, 2006.
Electronic submission should go to:
Antje Ascheid
Assistant Professor of Film Studies
Fine Arts Building
University of Georgia
Athens, GA 30602
ascheid@uga.edu
Brokeback Mountain (3/31/06; collection)
Call for Papers:
For a collection of essays and reflections on the Annie Proulx story and/or
the Ang Lee film.
Please send 300-500 word abstracts (or questions) to:
William Handley <handley@usc.edu>
or Jesse Matz <matzj@kenyon.edu>
Deadline: March 31, 2006
The Konigsberg Review: Woody Allen (4/1/06; journal issue)
The Konigsberg Review, in conjunction with the Woody Studies Program and the Department of History at the University of Arkansas, is now accepting interdisciplinary article submissions for publication in July 2006. The purpose of The Konigsberg Review is to provide a forum for debate, discussion, and critical theory related to the films of Woody Allen. It will also examine the film, writing, and philosophy influential to and derivative of that work. (Articles examining influences and derivatives, even those not specifically tailoring their theses to incorporate Allen, are accepted and, in fact, encouraged.) The Review’s first volume will be an online journal intended to foster this critical discourse, and thus scholarly work from the fields of history, literary theory, film theory, sociology, drama, linguistics, philosophy, musicology, theology, or any other discipline with a relevant voice is encouraged. PhDs, advanced graduate students, and independent scholars are welcome to submit.
Chicago Manual of Style formatting is preferred, but MLA will be accepted. Submissions should be at least 4,000 words in length, and will be accepted until 1 April 2006.
Email submission as an attachment in Microsoft Word format to: woody@uark.edu, or mail to:
Woody Studies Program
Department of History
University of Arkansas
Old Main 416
Fayetteville, AR 72701
(If using traditional mail, please enclose a copy of the paper on a 3 1/2 inch floppy disk.) If you would like further information on The Konigsberg Review or the Woody Studies Program at the University of Arkansas, please send an email to: woody@uark.edu.
The Konigsberg Review
www.konigsbergreview.com
ISSN 1557-3613
Another Slapstick Symposium (Belgium) (3/30/06; 5/13/06-5/14/06)
A film conference on American slapstick comedy in the silent era, 13th-14th May, 2006 organized by BLASA (Belgium Luxembourg American Studies Association) and VDFC (Flemish Council for Film Culture)
To be held at the Cinémathèque Royale, Brussels, Belgium
Another Slapstick Symposium sets out to revisit and rethink some of the themes and ideas of the original "Slapstick Symposium" organized by Eileen Bowser at the Museum of Modern Art in 1985. The conference will focus on four broad contexts:
1) slapstick comedy and early film style
2) studios and audiences
3) comedy stars/acting
4) mechanics of the gag and the culture of modernity
Confirmed keynote speakers include: Jennifer Bean (University of Washington), Tom Gunning (University of Chicago), Barry Salt (London Film School), Charles Wolfe (UC Santa Barbara).
Abstracts for presentations (of no more than thirty minutes) should be submitted by email to Tom Paulus at tom.paulus@ua.ac.be
Deadline for submissions: 30th March 2006.
Conference organizer: Tom Paulus (for BLASA) (tom.paulus@ua.ac.be or tompaulus@telenet.be)
Divorce in Film (ASAP; collection)
We are editing a book entitled After Intimacy: The Culture of Divorce in the West since 1789, contracted for publication in 2006 and consisting of a collection of commissioned essays from scholars in the US and the UK, ranging across European and American literature and culture.
To complete the collection, we are seeking a chapter on divorce in film of about 8,000 words to be submitted by 1 April 2006. The focus of the chapter might be Hollywood cinema, or European cinema, or the cinema of one European country, and might range across different periods or focus on contemporary developments. Anyone interested in joining this project is invited to contact us with a brief proposal by email to k.leydecker@kent.ac.uk as soon as possible.
Dr Karl Leydecker
Head of School
School of European Culture and Languages
University of Kent at Canterbury
Dr Nicholas White
Fellow in French and
Director of Studies in Modern and Medieval Languages
Emmanuel College
Cambridge University
The Documentary Tradition (8/15/06; 11/8/06-11/12/06)
The Film and History League
CALL FOR PAPERS: Conference on THE DOCUMENTARY TRADITION
November 8-12, 2006
Dolce Conference Center
Dallas, Texas
How do motion pictures represent "the real," "the actual," "the true"? For over a century, documentary films, newsreels, and other non-fiction broadcast media have attempted to portray the "reel" truth -- to educate, inform, and perhaps, entertain. As historical moments unfold and media technologies evolve, the questions of "whose truth," "which truth," and "how much truth," become even more complex. "The Documentary Tradition" encourages exploration of these and other facets of documentary films and the individuals who create them, as they attempt to reflect and influence history.
Possible topics include, but are not limited to:
* Documentaries.
* Archival films
* Newsreels
* "Reality" programming
* Cinema verite
* Mockumentaries
* Public service film and video
* Historical films
* Ethnographic film and visual sociology
* Educational films
* Documentary schools and theories
* Documentaries and digital culture
* Travelogues, travel films, nature films
Abstracts should be submitted to the appropriate Area Chair by 8/15/06. For an evolving list of Area Chairs, or for further information and updates, please visit http://www.filmandhistory.org. We are still in search of Area Chairs. (See web site for categories.)
Peter C. Rollins
Editor-in-Chief
Film & History: An Interdisciplinary Journal of Film and TV Studies
www.filmandhistory.org
RollinsPC@aol.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.
