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.
-1- Film reviews : soumettez vos critiques de films...
-2- Sound and the moving image : voice music, effects
-3- Filmed Lives
-4- "Freaks" in Comparative Male Cinematic Portraiture
-6- Western Films : The Silent Era
-8- Nature and Environment in the American Westerns
-10- The Depression Era Western
- 11 - Turnerian and post-turnerian formulations of the West
- 12 - "Part of Popular Culture": Exploring the Sitcosmos of Seinfeld
- 13 - DOGME 95: Anti-Hollywood or Anti-Film?
- 14 - Cinema and "Americanization" in the Early Studio Period
- 15 - "Farewell my concubine"
-17- Representing Women in Motion
-18- Teaching Film Studies in High School
-19- Historical Tragedy in 20th Literature and Film
-20- Film Adaptations on a Slant
-22- The American West in Film&Television : the Great Plains States
-23- Discontinuity and the Cinema
-1- Film reviews
Scope, a fully refereed on-line journal of film studies edited by staff and postgraduate students within the Institute of Film Studies at the University of Nottingham, is looking for film reviews of about 1000/1500 words to be included in forthcoming issues.
As you can see from our website (www.nottingham.ac.uk/film/journal), Scope aims at providing a forum for discussion of all aspects relating to Film Studies and we welcome a wide range of critical approaches and methodologies.
Please send an introductory e-mail indicating the film(s) you would like to review and/or your areas of interest and expertise to Luca
Prono, film review editor, aaxlp@brn9.reg.nottingham.ac.uk
-2- "Sound and the moving image : voice, music, effects"
A three year international research and development project, which will produce a comprehensive text on the use and history of music, voice and sound in film, TV, multi-media etc has recently commenced.
This is an alert call for all persons with an interest in suggesting topic areas, who might be interested in writing on specific subjects, and/or who have a strong research and/or practice based interest in this field. You are invited to email the soundmovingimage@netscape.net site to register your interests.
It is expected over 300 contributors will be involved in this project worldwide and be drawn from a wide variety of subject specialisms relating to music, technology,multi-media, film, TV and broadcasting, and so on.
Anyone with an interest in the subject can leave their contact mail/numbers and a list of their specialisms at this site address.
The General Editor
"Sound and the Moving Image: Voice, Music, Effects"
(Continuum)
soundmovingimage@netscape.net
- 3 - Filmed Lives
The session is pre-approved for inclusion at NEMLA 2002 in Toronto. Please send proposals in the body of an e-mail message to ammurphy@canuck.com. All submissions will be acknowledged
Biopics are emerging as an exciting subgenre in film, with filmmakers producing more and more filmed lives each year. As the popular culture and academic interest in all things biographical increases exponentially, the film industry recognizes the potential of filming lives. While there are many examples of biopics, historically these have been isolated incidents in the overall development of movies. However, the last decade has seen a marked increase in lives on film, to the point that three of five actors nominated for Academy Awards in 2001 were nominated for their roles as biographical characters. Javier Bardem (Before Night Falls), Ed Harris (Pollock), and Geoffrey Rush (Quills) all played artists (two writers and a painter) in skillfully made films which granted centrality to the work which makes Arenas, Pollock, and de Sade characters of interest to audiences. This session hopes to attract papers which focus on literary lives (such as Wilde, Total Eclipse, and Mrs. Parker and the Vicious Circle), painters' lives (such as Artemisia, Carrington, and Vincent and Theo), political lives (such as Nixon, Ghandi, and Kundun), royal lives (such as Nicholas and Alexandra, The Last Emperor and Mrs. Brown) , and even film-directors' lives (such as Gods and Monsters and Ed Wood). The session might also include papers which discuss the broader theoretical issues of filming lives in general, or those which consider women's or men's lives, queer lives, sports lives, or musicians' lives. Although almost a decade behind the academy in its realization that individual lives are worthy of study, the motion picture industry is playing a generally high quality game of catch-up. The academy now has to keep up by studying filmed lives as well as print lives.
A. Mary Murphy, Session Chair
- 4 - " Freaks" in Comparative Male Cinematic Portraiture
Chair:: William Alejandro Martin
Type of Session: Traditional Panel (3-4 participants)
Listing:: Comparative Film as Text for Male Portraiture.
One sentence description: The parade of male heterosexual freaks which have come to the fore in many contemporary Western films is a motley crew unified in their search for male identity through obscene fixations with ontological objects that substitute for real emotional exchange or, actual dialogue about what forces shape and control the way males produce, as well as, document what male portraiture is.
Rationale:
The ideological potentiality inscribed in the cinema of, among others, Godard, Lynch, Tarskotsky, the Coen Brothers and Cronenberg, has already been examined by critics as varied as Frederic Jameson, Gilles Deleuze, Joan Copjec, David Leverenz, Linda Williams, Slavoj Zizek, Theresa Mulvey, and Lawrence Grossberg. What has been of less importance in contemporary cinema dialogue is hypothesizing about the importance of what might be categorized as the parade of male heterosexual freaks standing at the core of films such as Fight Club, American Beauty and Snatch which personify the dysfunctional symptomology of contemporary male representation. A conundrum of male personae unified by virtue of their despairing pursuit for an identity that has been erased, that has, for one reason or another, become impossible.
Of interest to this panel are investigations of male portraiture which empathize obscene male fixations with ontological objects which substitute for genuine emotional exchange. And how prejudicial meta-dialogues shaping and controlling Nationalistic mythologies effect what constitutes male portraiture as such. Papers dealing with the cultural approaches of critics such as Mark Kingwell, Judith Butler, Gilles Deleuze (& Felix Guattari), Theresa de Laurentis, Elizabeth Grosz, Peter Murphy, Slavoj Zizek, Pierre Bourdieu and David Leverenz are especially welcome.
Contact information: William Alejandro Martin
Office Address: Dept of English, McMaster University (CNH 320)1280 Main Street West, Hamilton, Ontario, Canada - L8S 4L9 Academic Affiliation: McMaster University, Hamilton, Canada.
Phone: (905) - 525 - 6739
E-Mail: martinwa@mcmaster.ca, grammar23@hotmail.com
FAX: (905) - 777 - 8316
William Alejandro Martin
Doctoral Candidate, Dept. of English
McMaster University
905 - 525 - 9140 ex. 24491
Vice President, McMaster Un. Graduate Student Assn.
grammar23@hotmail.com
- 5 - Golden Age Hollywood: Studio Diretcors and the Necessity for Sub-text
This panel seeks to explore studio directors of the 1930s - 1950s, and discuss films made for and released by studios that employ a blatent subtext not necessarily regonized at the time of release, but which appears quite obvious upon renewed scrutiny.
Possible abstracts or papers might explore the work of:
George Cukor
Wiliam Wyler
Elia Kazan
Orson Welles
Alfred Hitchcock
Billy Wilder
Joseph L. Mankiewicz
Please send papers or abstracts to:
Scott F. Stoddart
Executive Director, NEMLA
PMB 544
331 West 331 Street
New York, NY 10019
- 6 - Western Film: The Silent Era
Film and History Conference on the American Wests in Film, TV, and History
Kansas City Marriott, Kansas City, MO
November, 2002
http://www.filmandhistory.org
Please join the Film & History Journal for its annual conference in Kansas City and consider giving a presentation on Western Film: The Silent Era, an area rich with insights and illumination.
Here are some suggestions to consider:
--Birth of a genre
--Edwin S. Porter
--Broncho Billy Anderson
--Hollywood and Westerns
--D. W. Griffith
--Thomas H. Ince
--The films of William S. Hart
--The films of Tom Mix
--The silent Westerns hero, villain, heroine
--The films of John Ford
--James Cruze and The Covered Wagon
--Landscape images in the silent Western
--The films of Ken Maynard, Harry Carey, Buck Jones
--Zane Grey and the silent Western
--Costumes and the silent Western
The 2002 meeting of the Film and History Society will be at the Kansas City Marriott, Country Club Plaza, next door to the Kansas City Arts Institute. Special events are planned for the meeting. For details about the meeting, the site, and travel, see the web site at http://www.filmandhistory.org.
Deadline for proposals is 15 August 2002.
Please send or e-mail a 150-200 word proposal and a brief biographical note by AUGUST 15 to:
Dr. Mike Schoenecke
English Department, Box 43091
Texas Tech University
Lubbock, TX 79409-3091
(806) 742-1617
FAX: (806) 742-0989
mailto:MKSchoene@aol.com
- 7 - Cold War Westerns
Film and history Conference: The American West(s) in Film, TV, and History Kansas City Marrriott (Country Club Plaza), Kansas City, MO
This national conference is sponsored by The Film and History League. Please see the Film and History website for details on registration and special events including the keynote speaker, John Cawelti, author of The Six-Gun Mystique.
November 7-10, 2002
www.filmandhistory.org
We are interested in receiving proposals for papers which examine any aspect of the Cold War's influence on Hollywood Westerns.
These suggestions are only for consideration. Please feel free to develop your own perspectives:
- The influence of the Cold War on John Ford's horse soldier films (Fort Apache, Rio Grande, She Wore a Wellow Ribbon)
- The changing concept of the western hero.
- The hero as a professional (The Wild Bunch, The Professionals, etc.).
- The hero as cold warrior (John Wayne, Clint Eastwood, etc.).
- The politics of Viva Zapata, etc.
Please send a brief (150-250 word) abstract (email preferred) with short bio to
Philip J. Landon
128B Westerly Rd.
Plymouth, MA 02360
Phone: 508-746-7703
E-mail: PJLandon@earthlink.net
SUBMISSION DEADLINE: August 15, 2002
- 8 - Nature and the Environment in the American West(s):
The "Natural" World in Film and Television Representations of "the West."
The first "westerns" were filmed in the East and then (Eureka!) moviemakers discovered California.
This area explores not only the use of Western landscape (Monument Valley, etc.), but also the "role" of nature in film and television "westerns," as well as those strange-looking "boulders" of sound stage creation.
From silent film to talkies, from the representations of the "west" of the American colonialists to the "west" of Silicon Valley, the natural world provides an environment for cinema narrative, often with a "speaking role."
The natural environment of the American West(s) in film and television can be examined through many lenses. I hope you will join me for this opportunity to examine the importance of the natural world in "Western" film.
Some sample films:
Giant
The Grapes of Wrath
The Plow That Broke the Plains and The River
A River Runs Through It
Shane
Twister
Please send a brief (150-200 word) abstract and a short bio to:
Deborah Carmichael
Oklahoma State University
Department of English
205 Morrill Hall
Stillwater OK 74078
Phone/fax 405-372-1883 or email at debcar6569@aol.com
SUBMISSION DEADLINE: August 15, 2002
This national conference, "The American West(s) in Film, Television, and History," sponsored by The Film and History League, will be held at the Kansas City Marriott-Country Club Plaza from November 7-10, 2002. See the Film & History website for details on registration and special events including the keynote speaker, John Cawelti, the author of a "pioneering" book, The Six-Gun Mystique.
Go to www.filmandhistory.org for complete information about the conference, hotel accommodations, special events, etc.
See you there at the Gateway to the West!
- 9 - Samurai Gunslingers: The Western and the Samurai/Martial Arts Film.
Please join the Film & History Journal for its annual conference in Kansas City Missouri and consider giving a paper on the cross fertilization of the Western and the Martial Arts film genres.
Consider the sword duel near the beginning of _Seven Samurai_. The aesthetic of the quick-draw and precision shooting roughly correlate to iaido and kyudo, and as we see in westerns and martial arts movies require the same dedication and practice to master. Since many Westerns and martial arts films were made during the same period papers might also consider the ways in which the shootouts model and reflect sword duals in such films as:
The Good, the Bad, and the Ugly,
The Quick and the Dead,
Once Upon a Time in the West,
The Shootist,
The Man Who Shot Liberty Valance
High Noon
... or any other film which heightens the experience of the shoot-out as an end in itself.
Further paper possibilities might include but are not limited to
the artistic impact on current film of the ways in which the two genres have come together
the cowboy/samurai/warrior monk as embodiments of their cultures and/or a warrior archetype
women warriors in either genre. The Quick and the Dead or Crouching Tiger, Hidden Dragon might be interesting here.
the supernatural as narrative element
Send 250 word proposals by 15 August, 2002 to: Cher Holt-Fortin holtfort@oswego.edu
Film & History Conference on the American West in Film, TV, and History Kansas City Marriott, Kansas City, MO November, 2002
http://www.filmandhistory.org/
The 2002 meeting of the Film & History Society will be at the Kansas City Margot, Country Club Plaza, next door to the Kansas City Arts Institute. Special events are planned for the meeting. For details about the meeting, the site, and travel, see the web site at <http://www.filmandhistory.org/>
- 10 - The Depression Era Western (1930-1939)
Film & History Conference on the American Wests in Film, TV, and History Kansas City Marriot, Kansas City, MO November 7-10 , 2002 <www.filmandhistory.org>
Please join the Film & History Journal for its annual conference in Kansas City and consider giving a presentation on The Depression Era Western (1930-1969), an area rich with insights and illumination.
Here are some sugggestions to consider:
-- The portrayal of the West in the Great Depression
-- Cormac McCarthy's "All the Pretty Horses" and Billy Bob Thornton's
Film Adaptation
-- The early films of John Wayne
-- The figure of the Singing Cowboy
-- The Films of John Ford
-- The Western Serials of Republic Pictures
-- The Matinee Cowboy
-- The Films of Gene Autrey
-- The Films of Roy Rogers
-- John Ford's "Stagecoach"
-- The Portrayal of the American Indian in the 1930s
-- William Wellman's "The Ox-Bow Incident"
-- The Westerns of Howard Hawks
The 2002 meeting of the Film & History Society will be held 7-10 November, 2002, at the Kansas City Marriot, Country Club Plaza, next door to the Kansas Ciy Arts Institute. Special events are planned for the meeting. For details about the meeting, the site, and travel, see the web site at
<www.filmandhistory.org> The Deadline for proposals is 15 August, 2002.
>
Please send or e-mail a 150-200 word paper proposal and a brief biographical note by AUGUST 15 to:
> >
James Yates
Department of English
Box 242
Northwestern Oklahoma State University
Alva, OK 73717
(580) 327- 8469
FAX: (580) 327- 8514
<jnyates@nwosu.edu>
- 11 - Turnerian and post-turnerian formulations of the West
Conference: The American West(s) in Film, Television, and History
Location: Kansas City, Missouri
Dates: November 7-10, 2002
Deadline for proposals: August 15, 2002
The Film and History League is dedicated to the study of how films and television portray history, how film and television can be used to teach history, and how media shape historical consciousness. The Film and History League will hold its Second National Conference on November 7-10, 2002 in Kansas City, MO, an historic Gateway City of the American West. The theme of the conference is "The American West(s) in Film, Television, and History." The 2002 meeting will be held at the Kansas City Marriott Country Club Hotel. For details about the meeting, the site, and travel, see the web site at http://www.filmandhistory.org/
Among the topic areas for which individual papers and panels are encouraged is "Turnerian And Post-Turnerian Formulations Of The West" i.e., how films and television programs have portrayed Western and frontier history, and how those portrayals have shaped our perception and understanding of the place of the West in the American consciousness, and the West's impact on America's development. Among the films and television programs suggestive of this area are: Stagecoach, Legends of the Fall, Dances With Wolves, Cheyenne Autumn, My Darling Clementine, Last of the Mohicans, Butch Cassidy and the Sundance Kid, Little Big Man, Who Shot Liberty Valance, The Unforgiven, Bonanza, etc.
Interested faculty, graduate students and independent scholars are invited to submit proposals for individual papers or entire panels by August 15, 2002. Paper and panel topics that deal with minority, gender, and ethnic topics are especially welcomed.
Guidelines for Submitting:
For individual papers please mail, fax, or e-mail (preferred) a 250-word proposal, a brief biographical note, and a brief bibliography for the paper.
For panels please mail, fax, or e-mail (preferred) a proposal with the session's title, the titles of each paper or presentation, a brief (100-word) description of each paper/presentation, each author/presenter's name and affiliation plus a brief biographical note.
Mail, fax, or e-mail (preferred) by August 15, 2002 to:
Joseph P. McKerns
School of Journalism and Communication
Ohio State University
3016 Derby Hall
154 N. Oval Mall
Columbus, OH 43210
fax (614) 292-2055
e-mail: mckerns.1@osu.edu
CFP #2
CFP- THE AMERICAN WEST AS METAPHORConference: The American West(s) in Film, Television, and History
Location: Kansas City, Missouri
Dates: November 7-10, 2002
Deadline for proposals: August 15, 2002
The Film and History League is dedicated to the study of how films and television portray history, how film and television can be used to teach history, and how media shape historical consciousness. The Film and History League will hold its Second National Conference on November 7-10, 2002 in Kansas City, MO, an historic Gateway City of the American West. The theme of the conference is "The American West(s) in Film, Television, and History." The 2002 meeting will be held at the Kansas City Marriott Country Club Hotel. For details about the meeting, the site, and travel, see the web site at http://www.filmandhistory.org/
Among the topic areas for which individual papers and panels are encouraged is "The American West As Metaphor," i.e., how films and television programs have used history as a metaphor for portraying contemporary events and situations. For example, the television series "M*A*S*H*" has been described as a program about the Vietnam War set in the context of the Korean War. Among other films and television programs that are suggestive are: High Noon (McCarthyism); The Alamo (The Cold War); They Died With Their Boots On (World War II); and The Wild Bunch, Butch Cassidy and the Sundance Kid, Little Big Man (1960s), Who Shot Liberty Valance, The Unforgiven, Gunsmoke, etc.
Interested faculty, graduate students and independent scholars are invited to submit proposals for individual papers or entire panels by August 15, 2002. Paper and panel topics that explore any aspect of how films and television employed events and situation in the history of the American West as a metaphor are encouraged. Papers and panels that deal with minority, gender, and ethnic topics are especially welcomed.
Guidelines for Submitting:
For individual papers please mail, fax, or e-mail (preferred) a 250-word proposal, a brief biographical note, and a brief bibliography for the paper.
For panels please mail, fax, or e-mail (preferred) a proposal with the session's title, the titles of each paper or presentation, a brief (100-word) description of each paper/presentation, each author/presenter's name and affiliation plus a brief biographical note.
Mail, fax, or e-mail (preferred) by August 15, 2002 to:
Joseph P. McKerns
School of Journalism and Communication
Ohio State University
3016 Derby Hall
154 N. Oval Mall
Columbus, OH 43210
fax (614) 292-2055
e-mail: mckerns.1@osu.edu
- 12 - "Part of Popular Culture": Exploring the Sitcosmos of Seinfeld
Edited by David Lavery and Sara Lewis Dunne
Proposals are sought from potential contributors to a collection of essays on the television series Seinfeld (1990-1998), recently named the best television show of all time by TV Guide. Four years after Seinfeld ended its run, there is still only one critical book on the series, Seinfeld and Philosophy (Open Court Press).
Proposals on all sorts of subjects will be considered, but here are a few possibilities:
acting | allusions | ancillary texts | character studies of major and minor characters | Jerry Seinfeld | Larry David | directors | fan fiction | gender | genre | humor | individual episodes | intertextuality | language | location and meaning | music | postmodernism and Seinfeld | self-referentiality | episode structure | subtexts | audience studies | Seinfeld from a cultural studies perspective | Seinfeld from a feminist perspective | Seinfeld from a narratological perspective | Seinfeld from a reader/viewer response perspective | Seinfeld from a semiotic perspective | Seinfeld and the sitcom tradition | Seinfeld and NBC | Seinfeld on the Internet | Seinfeld and contemporary television | the title sequence | Seinfeld's writers | Seinfeld's directors | Seinfeld and political correctness |Seinfeld in syndication | the body on Seinfeld | sex and Seinfeld | the language of Seinfeld | Seinfeld and New York | Seinfeld as a subversive text
A website for the book will be maintained at this address:
http://www.mtsu.edu/~dlavery/Seinfeld/Index.htm
This collection will be aimed at an educated but not highly-specialized audience. The essays chosen for the volume will be scholarly but not obscure, knowledgeable but not erudite. A publisher will be sought among both mainstream and university presses.
ASAP, but by no later than the end of July, please send either your completed essay or a 500-750 word synopsis of the essay you would like to contribute as an e-mail attachment (in Word or as a Rich Text File) to dlavery@mtsu.edu. Be sure to include with your proposal a brief bio of yourself. If your essay is chosen for final consideration, you will have until the end of October 2002 to complete it.
David Lavery is professor of English at Middle Tennessee State University, where he teaches courses on science fiction, modern poetry, popular culture, and film. He is the author/editor/co-editor of Late for the Sky: The Mentality of the Space Age (1992), Full of Secrets: Critical Approaches to Twin Peaks (1994), 'Deny All Knowledge': Reading The X-Files (1996), Fighting the Forces: What's at Stake in Buffy the Vampire Slayer (2002), Teleparody: Predicting/Preventing the TV Discourse of Tomorrow (2002), This Thing of Ours: Investigating The Sopranos (2002), and Re-weaving the Rainbow: The Thought of Owen Barfield (forthcoming). He co-edits the online journal Slayage: The Online International Journal of Buffy Studies and is the series editor of Television Studies for Wallflower Press in London. To learn more about him, visit his home page at http://www.mtsu.edu/~dlavery/.
Sara Lewis Dunne is associate professor of English at Middle Tennessee State University, where she teaches courses on comedy, food and literature, and popular culture. She is the co-editor of the journal Studies in Popular Culture.
- 13 - DOGME 95: Anti-Hollywood or Anti-Film?
Proposals are now being accepted for this panel at the Northeast Modern Language Association (NEMLA) convention, which will be held in Boston, March 6-9, 2003 (nb: this is a month earlier than usual).
In March 1995, a group of directors, led by Lars von Trier and Thomas Vinterberg, formed Dogme 95 with the intent of providing an alternative to commercial film, with its overabundance of special effects and manipulative musical scores. Their manifesto includes a set of rules for film directors, called The Vow of Chastity. These rules mostly cover issues of filming, such as: shooting must be done on location, without created or artificially introduced props and sets; sound may not be produced apart from the images; cameras must be hand-held; no special lighting may be used; and no optical work or filters may be used. In addition, genre films are not acceptable, the director may not be credited, and specifying a temporal or geographic setting is expressly forbidden.
Proposals addressing an overview of the Dogme movement, its influences and its effects are welcome. In addition, the 25 Dogme films, the directors and those directors' other films all provide a wealth of opportunities for papers focusing on one particular film or for comparative studies, from a variety of perspectives.
Please send one page proposals to Elizabeth Lindsay (email: elindsay@umassd.edu or fax: 508.999.9240) by September 15, 2001.
- 14 - Cinema and "Americanization" in the Early Studio Period
I am seeking papers for a 2003 SCS conference panel on relationships between features/shorts/serials, produced by the majors or independents, and governmental, civic, historical, or cultural organizations promoting -- or potentially contesting -- "Americanization" initiatives during the teens and 1920s. Papers might address texts, stars, genres, publicity/marketing, production or distribution strategies, reception and audienceship; exhibition practices in small towns or urban centers; links between cinema and public art or modes of civic performance during the first decades of the century, including
historical pageantry, expositions, and fairs.
Email queries welcome: hkenaga@memphis.edu
By 8/15/02, send one-page abstract and brief c.v. to H. Kenaga, Dept. of Communication, 143 Theatre/Comm Bldg., Univ. of Memphis, Memphis, TN 38152; or to FAX 901 678-4331; or to email address above.
- 15 - "Farewell my concubine"
A Multi-layered Anthology about Zhang Yimou's film, "Farewell My Concubine"
Either English or Chinese Editions
Deadline: 01 Sept 2002
Send to:
bfu@edgewood.eduyachen_chen@yahoo.com
132-06 Nimitz Dr., West Lafayette, IN47906, USA
- 16 - Masculinities in Film
Panel proposal for NEMLA 2003:
Masculinities in Film: Masques of Blood and Violence
Whether it's Rocky yelling, "Cut me!" or William Wallace yelling, "Freedom!" as he's disemboweled at the end of Braveheart, one constant running throughout much mainstream Hollywood cinema are representations of "heroic" masculinity that involve remarkable sadomasochistic undercurrents. Whether such representations are expressed as violence towards self or other, since the demise of the production code in the 1960s, the rivers of blood have only run deeper. This panel invites papers and critical approaches that consider the various public, mythic, and filmic impulses that continue to drive this phenomenon across a host of postmodern film genres.
Submitted by:
Anthony Hughes, Ph.D.
Associate Professor, English Director, Film Studies Program
Hilbert College, Hamburg, NY
hughes@hilbert.edu
- 17 - Representing Women in Motion : interdisciplinary
Women in Motion: An Interdisciplinary Conference,
Mount Allison University
Sackville, New Brunswick, CANADA
May 23-25, 2003
International travel and urban 'flânerie', and in certain traditions, all forms of geographic movement, have long been represented as 'uniquely masculine privilege(s) [or burden(s)]' (Jacqui Smyth 1995). One need only consider the nineteenth-century trope of woman as (stationary) flower and man as (mobile) bee, or the classical pairing of Ulysses and Penelope, to realize that masculine models of movement have, in the past, opposed feminine models of stasis. There are significant exceptions to such models of feminine immobility, as represented, for example, by the female pilgrim, the female migrant, the woman accompanying her traveling husband, father or son and the abandoned or "fallen" woman.
The Mount Allison University faculties of Arts and Social Sciences invite participation in an interdisciplinary conference investigating cultural representation of women in motion and the material outcomes of models of feminine mobility and immobility.
We encourage submission of papers that deal with the following issues and questions:
What are the notable exceptions to the literary or cultural conventions of female immobility through the centuries and across cultures?
How do representations of mobile women differ from those of more stationary women? From those of mobile men?
What issues, questions or meanings are evoked when women move in contexts in which movement is understood to be 'a uniquely masculine privilege [or burden]'?
Are certain kinds of spaces appropriated by women in motion?
What connections persist between particular literary or cultural representations of mobile or immobile women and historical and contemporary barriers to women's mobility?
Can we detect any change in the representation of women in discussions of pilgrimage, exile, migrancy/migration and cosmopolitanism?
A selection of guiding quotes:
"Throughout the 18th-Century, European society remains extremely wary of those who wander, and in particular, of women who wander. Wandering is sanctioned as vagrancy a crime punishable by flogging. If prostitution is not at that time a crime in itself, it is likened to vagrancy. That is to say how much feminine movement is deemed socially and morally suspect. For an honest woman remains in the home (of the father or husband). If absolutely necessary, she may enter into the home of the person to whom the father delegates his authority." --Françoise du Sorbier (1991) on Daniel Defoe's wandering heroines (our translation).
"In 19th-Century Europe, feminine 'flânerie' in public spaces is seen as being "very contrary to the true nature of women women are naturally unadventurous and conservative" Bénédicte Monicat (1996) on the perception of women in public spaces (our translation).
"In part the notion of a flâneuse is impossible precisely because of the one-way-ness and the directionality of the gaze. Flâneurs observed others; they were not observed themselves. And for reasons which link together the debate on perspective and spatial organization of painting, and most women's exclusion from the public sphere, the modern gaze belonged (belongs?) to men". - Doreen Massey (1994) discussing Janet Wolff's "Invisable Flâneuse".
"[U]nless economical necessity forces [the woman subject] to leave the home on a daily basis, she is likely to be restrained in her mobility -- a transcultural, class- and gender-specific practice that for centuries has not only made traveling quasi impossible for women, but has also compelled every 'traveling' female creature to become a stranger to her own family, society and gender." (Trinh T. Minh-ha, "Other than myself/ my other self", in _Travellers' tales: narratives of home and displacement_, ed. by George Robertson et al., Routledge, 1994.)
Mount Allison University <http://www.mta.ca/> is located near the Nova Scotia border of New Brunswick, 30 minutes from the Moncton airport and 2 hours from the Halifax airport. Information on accommodation and registration will be available in early 2003. Our conference is scheduled May 23-25, 2003 for the convenience of those who may also wish to attend the Congress of Learned Societies in Halifax, May 28-June 5, 2003.
Proposals in English or in French are invited for papers (20 minutes reading time) or panels (two or three papers). Proposals (300-500 words) should be sent by email or paper by November 30, 2002. Email submissions should be sent within the body of an email letter: NO ATTACHMENTS, PLEASE.
Mail two copies of paper submissions to:
Dr. Karin Schwerdtner
Dept. of Modern Languages and Literatures
Mount Allison University
49A York Street
Sackville, NB, CANADA
E4L 1C7
Send electronic submissions to both:
kschwerdtner@mta.ca
kbamford@mta.ca
- 18 - Teaching Film Studies in High Schools
For the Society for Cinema Studies Conference in March 6-9, 2003 in Minneapolis, MN. This panel will explore various models for integrating film studies into the high school curriculum. Issues may include: designing stand-alone film studies classes; integrating film studies into established courses; navigating the high-school accreditation process and state college boards; institutional efforts (e.g. AFI, BFI, AMPAS) to construct film curricula. I would like submissions by August 15th, in order submit the entire panel by the conference deadline of September.
Contact Tom Kemper at tomaskemper@aol.com or Crossroads School, 1714 21st Street, Santa Monica, CA, 90404; (310) 829-7391, ext. 255; fax: (310) 828-1196.
- 19 - Ways of Reckoning: Historical Tragedy in Twentieth-Century Literature and Film
A proposed panel for the American Comparative Literature Association's 2003 conference, in San Marcos, CA, near San Diego, invites abstracts for 20-minute presentations on narratives of historical tragedy in the 20th century. In German literary and cultural studies, the term Vergangenheitsbewltigung designates efforts to understand or reckon with a troubled national past or a specific trouble within the past (in this terminological context, of course, almost always the Holocaust). While the Nazi genocide, like all historical tragedies, has its own host of cultural and national specificities, this panel will consider the possibility that certain aspects of attempts to come to terms with historical tragedy are generalizable, visible in multiple contexts. How have writers, filmmakers, and literary and cultural theorists engaged this question? Is there a palpable effort to locate blame, or should such narratives merely ponder immeasurable loss? Are there affinities between twentieth-century avatars of such narratives and accounts of earlier traumas? Will any effort at articulating a general theory of narratives of historical tragedy inevitably reduce, perhaps violently, the subjects of its study?
Just a few examples: Coetzee or Gordimer; Grass, Mann, Spielberg, Klueger, or innumerable others on the Nazi genocide; Irving, O'Brien and Apocalypse Now on Vietnam; Ibuse, Duras, Hersey on the atomic bomb; Allende on political horrors; theoreticians of ethics, like Levinas, and how and whether such theory is suited to historical questions; claims that Holocaust memory has been instrumentalized to various ends; Horkheimer, Adorno, and Marcuse on the possibilities for post-Nazi aesthetics; and the problem of slavery in the works of Morrison, Umar bin Hassan and others are all fair game.
Comparative as well as interdisciplinary approaches are especially welcome but not required. Please send abstracts of around 250 words by 20 September to:
Geoffrey Baker
Dept. of Comparative Literature
Rutgers University
131 George Street
New Brunswick, NJ 08901-1414
USA
or via e-mail (either as attachment or in body of mail) at gabaker73@yahoo.com
- 20 - Film Adaptations on a Slant
Call for Abstracts: 2003 NEMLA Convention
Boston/Cambridge, MA, April 6-9, 2003
Julio CortE1zar once said about Michelangelo Antonioni's Blow Up, an adaptation of Cort E1zar's short story "Blow-Up," "I left Antonioni absolutely free to depart from my story and follow his own ghosts; and in search for them, he met with some of mine." In the spirit of Cort E1zar's remarks, this session proposes to explore film texts that complicate simple evaluations of film adaptations as "true" to their literary predecessors. Even in the intensely visual culture we live in, to a surprising extent academic criticism still privileges written texts over film adaptations. The session thus proposes to articulate alternative models for discussing film adaptations that expand our ideas about the relationship between visual and written texts. The panel will focus on adaptations of literature that transpose the plot, theme, tone, and/or ideology of the written text in ways that resonate with but don't simply or directly re-present the work of literature they respond to. Examples of "slant adaptations" might be Apocalypse Now as an adaptation of Heart of Darkness, My Own Private Idaho as an adaptation of Henry IV, O Brother, Where Art Thou as a retelling of The Odyssey, or Gods and Monsters as a revision of Mary Shelley's Frankenstein. These films, like the ones the session will address, profoundly echo their literary predecessors while invoking a diverse set of contexts, techniques, and themes.
Inquiries and 1-page abstracts should be sent (via e-mail or snail mail) by September 15th to:
Julie Grossman
Associate Professor/Associate Chair
Department of English
Le Moyne College
1419 Salt Springs Road
Syracuse, NY 13214-1399
E-mail grossmjj@lemoyne.edu
Tel. 315-445-4390
- 21 - Atom Egoyan
Scholarly, yet accessible essays on the film, television, operatic, and installation work of Atom Egoyan are solicited for an edited collection.
The deadline is August 30, 2002. Please direct inquiries to:
Dr. Monique Tschofen
Department of English / Joint Graduate Programme in Communications and Culture
Ryerson University
350 Victoria Street
Toronto, Ontario
Canada M5B 2K3
mtschofe@ryerson.ca
1-416-979-5000-1-6137
- 22 - The American West in Films and Television : the Great Plains States
Kansas City, Missouri, November 7-10, 2002 at KC Marriott, adjacent the Country Club Plaza
Deadline: August 15, 2002
The film & History Conference on "The West in Film and TV" seeks papers and panels on topics related to the plains states. We plam to create a number of outstanding panels. Consider the following possible topic areas:
SOME POSSIBLE TOPICS
Hopalong Cassidy TV shows, Gene Autry, Roy Rogers, Annie Oakley, Lone Ranger, Wild Bill Hickok, Adventures of Kit Carson, the Cisco Kid, Gunsmoke, Wyatt Earp, My Darling Clementine (1946), Shane (1953), High Noon (1952), Death Valley Days (1955), Cheyenne (1955), Gunfight at O.K. Corral (1957), Last Train from Gun Hill (1958), The Man who shot Liberty Valance (1962), Cat Ballou (1965), Butch Cassidy & the Sundance Kid (1969), Have Gun, Will Travel, Bonanza, The Big Valley, The High Chaparral, The Rifleman, The Virginian, Dr. Quinn, Medicine Woman, Dances with Wolves (1990), Wild Wild West, Little House on the Prairie, Pony Express, Wagon Train, Buffalo Bill, Jesse James, Billy the Kid, Will Rogers, John Wayne, John Brown and many more.
The above topics are suggestions. Papers can focus on directors, actors, geographic places, the Plains Indians, comparative studies of classic novels and films, myth in film, symbols, and critical studies.
Deadline: August 15, 2002
HOW TO SUBMIT;
Submit Individual proposals with a title and abstract of 50 words.
Submit panels identifying each participant, titles, names of panelists, addresses, e-mail addresses, and a brief overview abstract of the panel to:
Frank Chorba
Washburn University
Mass Media Department
Topeka, KS 66621
785-231-1010 x1805
zzchor@washburn.edu
MORE INFORMATION AND OTHER TOPIC AREAS (www,filmandhistory.org)
The conference will be held in Kansas City from November 7-10, 2002 at the Kansas City Marriott several blocks from the beautiful Country Club Plaza area and near the Nelson Art Galley and Westport clubs and galleries.
For More Information including other topoc areas, contact the website:
(www.filmandhistory.org). Other topics for the conference, as well as a host of other information regarding the event, is available on the Film & History web site.
- 23 - Discontinuity and the Cinema
This panel will explore breaks/gaps/pauses as a strategy for entering into film history, theory and performance. Papers should begin with a detail involving a so-called error in continuity and mobilize such a "glitch" as a generator for discussion. How to re-imagine film studies through such breaks in the film's frame? Possible topics: narrative discontinuity (i.e. melodrama), theories of the avant-garde, interventions in film history methodology, breaks in editing/sound, problems of suture/identification, ambiguities in gender and performance (i.e. Orlando).
Send one-page proposals and short biographical statement by 08/15/02 to :
Dr. Dina Smith: "dmsmith@uky.edu"
Department of English
University of Kentucky
1215 Patterson Office Tower
Lexington, KY 40506