CFP: Gender Research Conference: Deadline: 2/11/11

25 01 2011

CSUF Gender Research Conference

CALL FOR ABSTRACTS/PROPOSALS

Thursday, April 7, 2011

California State University Fullerton

Fullerton, California

The Women Studies Program at California State University Fullerton invites abstracts/proposals or papers, panels, workshops or poster presentation from scholars and students in all disciplines and interdisciplinary areas for a one-day conference on all themes and topics focusing on the study of women and gender.  This conference will create a lively forum for the exchange of ideas, including but not limited to: the meaning of difference, queer identities, media and technology, politics and social discourse, performance, literature and visual art.  We welcome submissions from presenters in all fields.

A 150-word abstract/proposal should be submitted by Friday, February 11 to Donna Nicol at dnicol@fullerton.edu. Proposals must include the participant’s institutional affiliation, mailing address, telephone and fax number and email address.  The abstract/proposal must indicate whether the presentation is an individual paper or complete panel presentation.  Student presenters must be sponsored by a faculty member and must attach a letter of recommendation (on university letterhead) outlining the merits of the work for inclusion in the conference proceedings.

Accepted proposals will be notified by March 4, 2011.  For more information, contact Dr. Donna Nicol at 657-278-4260 or by email at dnicol@fullerton.edu.

This event is sponsored by the CSUF Women Studies Program and

the Women Studies Student Association (WGSSA).

http://hss.fullerton.edu/womens/





CFP: Undergraduate Film & Television Conference

3 12 2010

Call for Papers

Deadline for proposals: Midnight of Monday, January 31, 2011 via email

The Fifth Annual
Notre Dame Undergraduate Film & Television Conference*
at the University of Notre Dame
April 1-2, 2011

The Notre Dame Undergraduate Film & Television Conference offers undergraduate students the opportunity to present papers representing their best work in film and media studies. Students will deliver papers on any aspect of film and media history, criticism, or theory. Papers will be given in twent
y-minute slots (up to a 10-page doubled spaced paper presented at normal talking speed with a few visual aids).

Students who wish to participate in the conference must submit a completed
paper proposal form. The submission form can be found http://ftt.nd.edu/events/UndergraduateFilmTelevisionConference_000.shtml.

A panel comprised of Notre Dame faculty from the Department of Film, Television, and Theatre will select the best 30 papers from among the proposals received.

All selected conference participants must agree to attend both days of the
conference.

Note: This is not an undergraduate film festival but an academic conference. Do not send student films. Student films may, of course, form part of a paper presentation but will not be screened outside the twenty-minute time allocation.

Deadline for proposals: Midnight of Monday, January 31, 2011 via email addressed to Magnan-Park.1@nd.edu with “ND Undergrad Conf 2011” in the subject heading.

For more information, contact:
Dr. Aaron Magnan-Park
Magnan-Park.1@nd.edu
574-631-8806.

* Formerly the Midwest Undergraduate Film & Television Conference





CFP: 21st International Screen Studies Conference

28 10 2010

Call for Papers: 21st International Screen Studies Conference, 1-3 July 2011, University of Glasgow, Scotland

The 21st conference is organised by Screen journal and will be programmed by Screen editors Sarah Street and Tim Bergfelder.

We invite papers on any topic in screen studies, i.e. cinema, television and digital media. Submissions for pre-formed three-person panels will be considered but not prioritised.

Repositioning Screen History will be the subject of the plenaries and will form a strand running throughout the conference.

25 years after the ‘historical turn’ in film studies, we want to explore what new approaches and theoretical models for the study of screen history have been emerging over the past decades, and how changing environments and contexts have altered fields of study.

To this end we encourage submissions addressing the following questions and issues:

  • Rethinking the Canon (directors, genres, movements, institutions, periodisations)
  • New sources for new histories
  • Issues of preservation and restoration
  • Archival theories and practices
  • The impact of digital technologies
  • Decentring European Cinema and Television in the context of global media (cross-cultural influences, cooperation, distribution, reception, the impact of migration)
  • Film History, Pedagogy, and Disciplinary Identity

Please submit your proposal using the attached template to screen@arts.gla.ac.uk, marking the email subject box ‘Conference 2011’, to arrive no later than Friday 7 January 2011.

For updates, please visit http://www.gla.ac.uk/services/screen/conference2011





CFP: Hidden Cinema of the Southwest and Mexico (deadline: November 15, 2010)

2 09 2010

CALL FOR PAPERS

Hidden Cinema of the Southwest and Mexico

February 26th, 2011

University of Arizona

Center for Creative Photography

Hidden Cinema of the Southwest and Mexico is a one-day symposium focusing on how and why amateur, industrial, educational, and independent filmmakers have represented the American Southwest and Mexico. We wish to help cultivate a more comprehensive understanding of the Southwest’s and Mexico’s cinematic past by showcasing and analyzing the ways the region has been imagined in hidden and lesser-known films produced by non-Hollywood and amateur filmmakers during the last century. We seek proposals that offer historical, critical, and global interpretations that illuminate the region’s hidden cinematic history. We define ‘hidden cinema” broadly but priority will be given to proposals that steer clear of widely distributed or well-remembered Hollywood films. We ask that presenters accepted to the program will be able to provide visual components (moving images and/or photographs) to illustrate their paper presentations.

We encourage scholars, archivists, filmmakers and students to submit proposals about hidden cinema in the Southwest, Mexico, or the Borderlands. Pleas email your 250 to 300-word description of your proposed presentation, a brief description of the materials you wish to exhibit at the symposium and a short biography to submit@hiddencinema.org<mailto:submit@hiddencinema.org>

by November 15, 2010. Symposium presentations will be 30-45 minutes in length.

The symposium will be held at the Center for Creative Photography in Tucson, Arizona, in the heart of the Southwest and less than 100 miles from the U.S-Mexico border. The internationally-known Center for Creative Photography is an archive and research center that retains the archives of Ansel Adams, Edward Weston, Garry Winogrand, Harry Callahan, and other great 20th century photographers– over fifty archives in all.

Hidden Cinema: Southwest and Mexico is a collaboration between the University of Arizona Department of English<http://english.arizona.edu>, the Center for Creative Photography <http://www.creativephotography.org>, Northern Arizona University’s School of Communication <http://www.nau.edu/sbs/communication> and Cinema and Visual Culture Studies program <http://www.cal.nau.edu/>, and Northern Arizona University Special Collections at Cline Library<http://library.nau.edu/speccoll/speccollection.html>.

Symposium organizers are: Dr. Jennifer Jenkins, associate professor of English at the University of Arizona, Dr. Janna Jones, associate professor of Communication and Director of Cinema and Visual Culture Studies at Northern Arizona University and Dr. Mark Neumann, professor and Director of the School of Communication at Northern Arizona University.





CFP: Howard Hawks: New Perspectives (deadline: December 1, 2010)

27 08 2010

Howard Hawks: New Perspectives
Call for Papers (Edited Collection)
Deadline for proposals: 1 December, 2010

Although Hawks is often acknowledged as the director of some of Hollywood‚s most critically acclaimed and enduringly popular films, he also seems something of a marginalised figure. He may be listed as one of the important auteurs in American cinema, but he hasn’t received the same kind of scrutiny as figures such as Welles, Hitchcock, Ford, or Wilder. While each of these figures has attracted a substantial number of critical and biographical studies, the first major biography of Hawks (by Todd McCarthy) didn‚t appear until 1997.

One possible explanation for this is that Hawks‚s films don‚t seem to have a distinctively identifiable style and appear to lack the requisite directorial “signature” of the auteur. Or, as Manny Farber put it, his films “are as different as they’re similar.” Another explanation is that Hawks‚s films don’t appear to present the same kind of difficulty or complexity found in the work of other auteurs: he is often described as a “storyteller” whose films have been seen as straightforward and simply-told stories. (As early as 1928, a French review of Hawks’s A Girl in Every Port was already speaking of his “simplifying style”.) It is also the case that accounts of the films often fall back on received ideas or taken-for-granted categories such as the “Hawksian woman” or the male group. In other words Hawks seems to be a known entity whose work causes few problems of interpretation. This is further compounded by the lack of any clear relationship of narrative theme to visual style, with some of his most distinctive features being concerned more with performance, dialogue, and verbal delivery. Stylistically, it is instructive to note Hawks’s fascination with jazz and his own use of improvisational techniques in both rehearsal and shooting, techniques that might suggest a very different notion of his filmmaking method and style. Given that one of Hawks’s recurrent themes is precisely the refusal of simple categorisations, there is a need to return to his work and question the ways in which his themes and styles have been pigeonholed.
For this collection of essays we are therefore looking for work contributing to new and original perspectives on Hawks. It is anticipated that the collection would be grouped around the following suggested areas, although other approaches that have not been predicted here would also be very welcome.

    Hawks’s silent films
    Hawks and visual/aural style
    Hawks and music
    Hawks’s “failures and marginal works” (Robin Wood)
    Hawks’s generic promiscuity
    Interrogating “Hawksian”
    Hawks’s contractural career
    Hawks and the studios
    Reassessing “the Hawksian woman”
    Hawks as collaborative auteur
    Hawks’s literary collaborations
    Hawks as improviser
    Hawks and adaptation

Schedule
1 December, 2010: Deadline for proposals (max 250 words + working title)
1 February, 2011: Contributors to be advised of decision
1 March, 2011: Book proposal to be sent to publishers
1 September, 2012: Completed articles (6000-8000 words) due for submission
1 February, 2013: Authors to be advised of any requested editorial revisions
1 July, 2013: Revised articles due for return
1 September, 2013: Manuscript to be sent to publisher

Please send an abstract (maximum 250 words) together with a working title to the following by 1 December, 2010:
Dr Ian Brookes
Department of Culture, Film and Media
School of Modern Languages and Cultures
University of Nottingham
University Park
Nottingham NG7 2RD
UK





CFP: MOVIES, MOVES AND MUSIC: The Sonic World of Dance Films (deadline: August 15, 2010)

3 08 2010

CALL FOR PAPERS

GENRE, MUSIC AND SOUND SERIES: VOLUME 6
MOVIES, MOVES AND MUSIC: The Sonic World of Dance Films
Edited by Dr Pauline Manley and Dr Mark Evans
Published by Equinox, London

About the Volume

Over the last 40 years, while the musical film has faded from its
historical high-point to a more isolated and quirky phenomenon, the dance
film has displayed refulgent growth and surprising resilience. A phenomena
of modern movie-making, the dance film has spawned profitable global
enterprises (Billy Elliot), has fashioned youthful angst as sociological
voice (Saturday Night Fever, Footloose and Dirty Dancing) and acted as a
marker of post-modern ironic camp (Strictly Ballroom). This modern genre
has influenced cinema as a whole in the ways bodies are made dimensional,
in the way rhythm and energy are communicated, and in the filmic capacity
to create narrative worlds without words.

Emerging as a distinct (sub) genre in the 1970s, dance film has been
crafting its own meta-narrative and aesthetic paradigms that, nonetheless,
display extraordinary variety. Ranging from the experimental, ‘you are
there’ sonic explorations of Robert Altman’s The Company and the brutal
energy of David La Chappelle’s Rize to the lighter ‘backstage musical’ form
displayed in Centre Stage and Save the Last Dance, this genre has garnered
both commercial and artistic success.

Meanwhile, Bollywood has become a juggernaut, creating transportable memory
for diasporic Indian communities across the world. This is an entire
industry based on the ‘dance number’, where films are pitched around the
choreography, where the actors are not expected to sing, but they must dance.

This series of essays will investigate the relationship between movement
and sound as it is revealed, manipulated and crafted in the dance film
genre. It will consider the role of all aspects of sound in the dance film,
including the dancer generated sounds inherent in Tap, Flamenco, Irish
Dance and Krumping. Drawing on significant post-War dance films from around
world, this volume will finally address this mainstream genre, where image
and sound meet in a crucial symbiosis.

Requirements:

Please send a 250 word abstract to the e-mail address listed below.
Abstracts would be due by August 15 2010.  Final articles would be due mid
January 2011.

This volume will focus on the feature dance film rather music video or
musicals. We are especially interested in avant-garde, hip hop, Bollywood
and commercial ‘backstage’ dance films, but articles which fall outside
these categories are also encouraged.

Finalised articles should be between 6000-8000 words.

Please note that acceptance of the proposal does not guarantee publication
and all chapters will be subject to normal processes of peer review. Please
send proposals and further enquiries to

Dr Pauline Manley
<mailto:pauline.manley@mq.edu.au>pauline.manley@mq.edu.au





CFP: Horror Ad Nauseum: The Changing Face of Horror (deadline: 6/30/10)

16 06 2010

*Call for Papers: Horror Ad Nauseum *

Volume 6.2 of Cinephile, the Film Journal of the University of British Columbia

Deadline for Abstracts: 30 June 2010

Deadline for draft submissions 30 July 2010.

The horror genre continues to regenerate itself ad nauseum. On one hand, the genre may be liberating itself from the weight of many formulaic straight-to-video films that have tainted its image over the past two decades, re-imagining itself through the quintessential films that defined horror cinema in the 1970s and 80s. On the other hand, the genre has perhaps reached a moment of hyper-intertextualization to the point where it has literally mined itself dry of new ideas.

The fall issue of Cinephile looks to examine these issues and beyond, with an eye towards the past in order to understand where the horror genre may be headed in the near future. The issue aims to focus on two key aspects of contemporary horror’s relation to its immediate past. First, does the appropriation of international horror cinema by Hollywood and its many remakes suggest a perverse turn in the globalization of the genre? How do remakes embrace, reject or negotiate the cultural elements of the original for Western and global audiences? Secondly, what is the state of horror’s power to shock? How has the virtual domination of computer-generated effects affected the horror industry, on both aesthetic and technical perspectives? Do digital effects add to the genre’s visceral impact, or instead detract from the sense of plasticity that made the genre infamous in the 1970s and 80s?

Submissions should have a focus beyond a mere genre study, with focus on either horror’s special effects (and their fan cultures, technical aesthetics, and controversial aspects), the (un)changing representation of gender and character archetypes, or cultural influences and appropriations of modern day horror (or even historical aspects such as the Westernization of international horror cinema on VHS, where great effort was taken to conceal all foreign aspects, compared to modern day practices).

We accept submissions from both faculty and graduate students.

Abstracts should be 300 words and include a short bibliography and biographical note. Papers should be approximately 1500-3000 words, formatted in MLA, and submitted with a works cited and brief biography. Submissions and inquiries should be directed to: submissions@cinephile.ca

Cinephile is the University of British Columbia=92s film journal, published with the support of the Centre for Cinema Studies. Since its inception in 2005, Cinephile has been steadily broadening its readership and increasing its academic influence, featuring original essays by such noted scholars as Slavoj Zizek, Barry Keith Grant, Murray Pomerance, Jay Beck, and K.J. Donnelly. In 2009, the journal adopted a rigorous blind peer-review process, and moved to biannual publication, available online and in print via subscription. For more information, please visit cinephile.ca