gmane.culture.studies.media

Re: Recommendations for Global Cinema (1900-1960) intro text!

Darryl Wiggers — 2013-06-17T11:07:43

From: "Ivan S. Eubanks, Ph. D." <ieubanks< at >bu.edu>

I'm not familiar with that textbook, but if it doesn't include Kalatozov's Cranes Are Flying (1957), then you should consider showing it.
Ivan S. Eubanks, Ph. D.
Lecturer
Curriculum Coordinator, CAS Writing Program
Boston University

------------------

From: Tzvi Tal <tzvital< at >mail.sapir.ac.il>

Try Google Scholar, Google books
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Re: Query: art in film (multiple responses)

Darryl Wiggers — 2013-06-17T11:06:26

From: Vivian Sobchack <sobchack< at >ucla.edu>

Look at Kubrick's A CLOCKWORK ORANGE where art abounds and also serves to commingle creative and destructive forces. (Long ago when I was just starting out, I wrote a piece on art in the film for Literature/Film Quarterly.)

Vivian Sobchack

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From: "Ivan S. Eubanks, Ph. D." <ieubanks< at >bu.edu>

The Peter Greenaway suggestions are spot on.  If memory serves correctly, he studied at the Royal Academy before moving to filmmaking.  The type of "mis-en-scene" as a cinematic rendition of "tableaux vivants" is present in all of his work, not just A Zed and Two Naughts.  His Belly of an Architect would be another example in which an artists (in this case an architect) is evoked explicitly.

Ivan S. Eubanks, Ph. D.
Lecturer
Curriculum Coordinator, CAS Writing Program
Boston University
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Re: Query: art in film (multiple responses)

Darryl Wiggers — 2013-06-17T00:08:35

From: Marcia Blackburn [mblackburn< at >stny.rr.com] 

The "Crows" dream in Kurosawa's DREAMS. Ward's WHAT DREAMS MAY COME, of course.

Marcia Blackburn
Art, Communications, and History, Philosophy, and Social Sciences Departments
SUNY Broome
Binghamton, NY 13902

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From: Ami Clarke [amiclarkeuk< at >yahoo.com] 

hi - the following is an extensive look at what you are asking for but on tv, by artists Sally O'Reilly and Colin Perry.

Do I Really Look Like That?
A montage of misrepresentations of art and artists on television (not film). Researched and edited by Colin Perry and Sally O'Reilly

https://vimeo.com/27085972

www.amiclarke.com
www.bannerrepeater.org

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From: Nicholas Loess [nicholasloess< at >gmail.com] 

The query is a bit misleading, but I think I get where you're going. Peter Greenaway's A Zed and Two Noughts incorporates the work of Vermeer not only into film's narrative component, but also its structural, incorporating impressionist ideals of symmetry and balance into the framing, background/foreground, and depth of field. I haven't seen it, but Greenaway's 2007 film "Nightwatching" is about the life of Rembrandt. Might be worth a look as well. definitely an intriguing film worthy of exploring the question of "art" in film. 

------------------

From: Jeffrey Masko [j.alan.masko< at >gmail.com] 

*Borom Sarret *by Ousmane Sembène comes immediately to mind. It uses
African folk art to comment on colonization, especially cultural
imperialism.

------------------

From: David Langston [David.Langston< at >mcla.edu] 

Peter Greenaway films:
  The Draughtsman's Contract
  The Cook, The Thief, His Wife and Her Lover
  Prospero's Books
  The Pillow Book

Greenaway has an expansive view of art (includes texts), but art is not
simply decorative.  The closing scene in The Cook uses food as art (the
corpse of the dead paramour) as the final touch.  I have not seen the 
Belly of an Architect in so long, I can't remember if that film also
follows 
PG's themes, but you might give it a try.

------------------

From: Konkle, Amanda S [amanda.konkle< at >uky.edu] 

Spike Lee's She's Gotta Have It uses modern art. 

Amanda


------------------

From: Eubanks, Ivan S [ieubanks< at >bu.edu] 

See Alexander Sokurov's Russian Ark, if you haven't already.

Ivan S. Eubanks, Ph. D.
Curriculum Coordinator
CAS Writing Program
Boston University

Editor, The Pushkin Review / Пушкинский вестник
http://www.pushkiniana.org

------------------

From: "Lubelski, Lance Ray" <lubelsk1< at >illinois.edu>

Hi, 

The Royal Tenenbaums 

Art School Confidential 

New York Stories 


All best, 
Lance Lubelski 
Univ. of Illinois 
 --

Recommendations for Global Cinema (1900-1960) intro text!

Darryl Wiggers — 2013-06-17T00:03:23

From:Frances Loden [frakoloden< at >gmail.com]

Dear Cinema Teaching Colleagues--

For my History of Global Cinema 1900-1960 course in the fall at Diablo
Valley College, I need a better textbook than the one I am using now.

I'm using *Traditions in World Cinema* (Linda Badley, R. Barton Palmer &
Steven Jay Schneider, eds.). There's nothing wrong with it, but it's much
more about cinema post-1960. I wonder if there's a film history dealing
more with the *pre-1960 era of global cinema*.

Recommendations are welcome!

Thank you,
Frako Loden

--

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Query: art in film

Bell-Metereau, Rebecca L — 2013-06-12T14:37:37

From: Michelle Repper [msrepper< at >email.wm.edu]

I need help finding films that use art as a mode of characterization. These
films can directly address the art or not (i.e. artworks are just hanging
on the wall in someone's bedroom). I'm looking specifically for modern art,
but any art will do.

Thanks so much!

With Respect,

Michelle Suzanne Repper


*Art & Art History/South Asian Studies Major*
*The College of William & Mary 2013*


*Check out the first and only art and art history *
*publication on the William & Mary campus:*

*SOLWatching, Genesis, Spring
2012<http://issuu.com/solwatching/docs/sol_watching_genesis>
*
*ACROPOLIS, Light, Fall
2012<http://issuu.com/acropolisarthistory/docs/acropolis_fall_online_issue-final>
*
*ACROPOLIS, Time, Spring
2013<http://issuu.com/acropolisarthistory/docs/acropolis_spring_2013_time>
*

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FYI: Education in the School of Dreams, by Jennifer Lynn Peterson

Bell-Metereau, Rebecca L — 2013-06-12T14:38:15

From: Emily Lawrence [emily.lawrence< at >dukeupress.edu]

Duke University Press is pleased to announce the publication of a new book
of interest to H-Film subscribers.

In *Education in the School of Dreams, *Jennifer Lynn Peterson offers new
insights into the aesthetic and commercial history of early cinema, through
innovative readings of travelogues and other nonfiction films exhibited in
the United States between 1907 and 1915.

For more information, please visit our website:
http://www.dukeupress.edu/Catalog/ViewProduct.php?productid=5563

--
Emily Estelle Lawrence
Books Marketing Publicity and Advertising Assistant
Duke University Press <http://www.dukeupress.edu>
(919) 687-3650

905 West Main Street
Suite 18B
Durham, NC 27701

Friend us on Facebook <http://www.facebook.com/DukeUniversityPress>
Follow us on Twitter <http://twitter.com/#%21/DUKEpress> and
Pinterest<http://pinterest.com/dukepress/>
Read our blog <http://dukeupress.typepad.com/> and
Tumblr<http://dukeupress.tumblr.com/>

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CFP: European Cinema after the Wall: Screening East-West Mobility

Bell-Metereau, Rebecca L — 2013-06-12T14:39:13

From: Leen Engelen [Leen.Engelen< at >soc.kuleuven.be]

CFP: "European Cinema after the Wall: Screening East-West Mobility"

Deadline for proposals: June 15, 2013

Papers on topics relating to themes of migration in contemporary European cinema, with a particular focus on the treatment of post-1989 labour migration in Central and East European cinemas (Hungary, Poland, Romania, ...) are welcome for an anthology under contract with Scarecrow. This is a replacement essay - hence the very short deadline.

Please submit proposals of 250-300 words, plus a short bio, to Leen Engelen (leen.engelen< at >soc.kuleuven.be<mailto:leen.engelen< at >soc.kuleuven.be>) and Kris Van Heuckelom (kris< at >vanheuckelom.be<mailto:kris< at >vanheuckelom.be>) by June 15th.  Articles must be completed by July 20th.

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FYI: Travel and Mobility, Film Symposium 25-27 July

Bell-Metereau, Rebecca L — 2013-06-12T14:14:49

From: karan [oldfilm< at >aol.com]

Visions of Travel and Mobility
14th Annual Northeast Historic Film Summer Symposium
July 25-27, 2013 Bucksport, Maine

REGISTER  http://oldfilm.org/content/-symposium

Thursday, July 25 evening
7 pm: Oliver Gaycken—O’Farrell Fellow Research Presentation

Friday, July 26
8:30-9:15—Coffee, pastries and registration

9:15-9:45—Introduction and announcements

9:45-10:30
Stan Midgley: Thousands of feet and thousands of miles
Trisha Lendo, UCLA Film and Television Archive, Los Angeles, CA

10:30-11:15
The Armchair Traveller: The Travelogues of Charles Joseph Chislett
Sue Howard,Yorkshire Film Archive/Northeast Film Archive, UK

11:15-12:00
Burton Holmes Travel Films
Ilona Auth, Selznick School of Film Preservation, Rochester, NY

12:00-1:00--LUNCH
1:00-1:45
Shooting the Sportsmen’s Paradise: The Role of Early Motion Pictures in the New
Brunswick Travel and Tourism Industry
Scott Preston, University of New Brunswick, Fredericton, NB

1:45-2:30
A Sporting Life — on Film: Hunting and Fishing in New England Shown at Boston’s
Sportsmen’s Show in 1905
Paul Spehr, Fairfield, PA

2:30-3:15
From the Town to the Country: Rituals of Working Class Associational Life and
Salford Lads Club Camp Films
Richard MacDonald, Goldsmiths, University of London, UK

Saturday, July 27
8:30-9:00—Coffee and pastries

9:00-9:45
Oregonian Harry Randall Spanish Civil War films
Kimberly Tarr, New York University, NY

9:45-10:30
To the Fair, To the Future: Travel & Film at the 1939-40 New York World’s Fair
Amanda Murray, Wicked Delicate Films, New York, NY

10:30-11:15
Engineering the Female Traveler: How to Pack a Suitcase and the Curious Case of the
Shell Oil’s ‘Carol Lane’
Melissa Dollman, Schlesinger Library, Harvard University, Cambridge, MA and
Devin Orgeron, North Carolina State University, Raleigh, NC

11:15-12:00
Travel and Mobility as Cultural Diplomacy: The USIA and Government Films Around
the World
Brian Real, University of Maryland, College Park, MD

12:00-1:00 LUNCH

1:00-1:45
Hell Bound Train
Brian Graney, Indiana University, Bloomington, IN

1:45-2:30
The Curious Case of the Hidden Images from Luxembourg’s National Home Movie
Archive: A Travelogue
Françoise Poos, Independent Curator, Luxembourg

2:30-3:15
Magic Mushroom Mountain Movie
John Klacsmann, Anthology Film Archives, New York City, NY

6:00pm
Symposium Banquet (not confirmed)

QUESTIONS TO:
Mark.Neumann< at >nau.edu
Mark Neumann
Professor
School of Communication
Northern Arizona University
Flagstaff, AZ 86011


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Reminder CFP - Domestic Imaginaries: Homes in Film, Literature and Popular Culture

Bell-Metereau, Rebecca L — 2013-06-12T14:09:22

From: Hollie Price [domesticimaginaries< at >gmail.com]

Dear all,Apologies for cross-posting. This is just a brief reminder about
the Domestic Imaginaries symposium which will take place at the University
of Nottingham on Tuesday 21st January 2014 — please send in your abstracts
and short films by August 1st 2013 (CFP follows below). We have also founded
the Domestic Imaginaries Network: a central hub for research relating to
homes in film, literature and popular culture. We welcome contributions —
including articles, film reviews, multimedia work, conference reports and
information regarding forthcoming events — for the network's blog, which
can be found here: domesticimaginaries.wordpress.com. For queries regarding
the symposium or contributing to the Domestic Imaginaries Network, please
get in touch with Bex Harper and Hollie Price at
domesticimaginaries< at >gmail.com.  Best Wishes,Bex and Hollie

*CALL FOR PAPERS*

*Domestic Imaginaries: Homes in Film, Literature and Popular Culture
Symposium*

*To be held at The University of Nottingham on Tuesday 21st January 2014*

Keynote Speakers:
Dr Tracey Potts (The University of Nottingham)
Dr James Mansell (The University of Nottingham)

Our ideas of domestic life are irrevocably connected to individual
identity, political situation, nostalgia and nationhood. From the living
room to the hallway to the vegetable patch, these domestic spaces can be
both comforting and constricting, homely and un-homely, visions of the past
and mirages of a planned, peaceful future. With such a multi-faceted
identity, the ways in which homes are imagined in film, literature and
popular culture presents a wonderfully rich field for study. Through the
distribution of these media, the home becomes part of a shared space.
Therefore, domesticity gains a whole new layering of values, such as
through the dissemination of ideas about national identity, socially
(un)accepted attitudes and the ideal home.

Over the past decade, the home has become an established field of academic
research, with the founding of the Centre for Studies of Home (Queen Mary,
University of London in partnership with the Geffrye Museum) and Histories
of Home SSN networks, among many more. In 2006, Charlotte Grant and Jeremy
Aynsley’s Imagined Interiors: Representing the Domestic Interior since the
Renaissance joined together a number of academics working to investigate
representations of home. However, since then, an increasing number of
scholars are using ground-breaking methodologies to address representations
of home life. In response to this growing interest in representations of
homes in fields including Design History, Material Culture, Film Studies,
Literature and Cultural Studies, this one-day interdisciplinary symposium
will explore innovative ways of researching representations of the home
across an international context and across media.

We invite papers and short films which might address — but are not limited
to — the following themes:

• Home and identity
• Comparative studies of home(s)
• Representations of transnational/diasporic homes
• Domestic spaces and power structures: gender/class/race/sexuality
• Interiors: furniture, décor, windows and doors
• Landscapes: gardens and allotments
• Characteristics of home (e.g. welcoming/restrictive/a site of abuse)
• Adaptation of homes and gardens from literature to screen
• Nostalgia/Heritage genres
• Post-conflict homes: rebuilding and reconstruction
• ‘Homes’ outside the house (e.g. asylums, hospitals, prisons, boarding
schools)
• Historical reception: popular culture of the home (e.g. home magazines)
• Methodologies of research

Proposals for papers should include the name, affiliation and email address
for all paper authors, as well as a brief (max. 250 words) abstract, paper
title and biographical note (max. 40 words).

Short film entries should be under 30 minutes in length and include an
email address and biographical note (max. 40 words). For more details,
please visit http://domesticimaginaries.wordpress.com/ or email with more
specific queries.

*Please send paper proposals or short film entries to Bex Harper and Hollie
Price at: domesticimaginaries< at >gmail.com by 1st August 2013.*

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CFP/CFA: Building Bridges conference on "Desire"

Bell-Metereau, Rebecca L — 2013-06-07T19:24:02

From: Bethany Henning [bnhenning< at >siu.edu]

16th Annual "Building Bridges"

Graduate Student Philosophy Conference

Southern Illinois University Carbondale

October 18 -19, 2013

Keynote Speaker: Dr. Cynthia Willett

Professor of Philosophy, Emory University, Atlanta , Georgia.



Deadline for submissions: September 7th, 2013



This fifteenth annual Building Bridges conference will be held at Southern
Illinois University Carbondale October 18th and 19th, 2013.



This year’s topic is the concept of “Desire” ̶̶ its nature, its work, and
its meaning. How do we navigate and negotiate our desire in spaces and
discourses where objectivity is privileged? How does desire come into play
with ideas of freedom and autonomy? Why has desire loomed so fearfully in
some mythologies? What is the role of *Eros* in the development of
community? The topic is to be construed broadly and we invite papers and
presentations from all areas of philosophy, as well as philosophically
interesting papers from other disciplines.



*Submission Guidelines:*

Papers should not exceed 3000 words and should be prepared for blind
review. Please do not include any personal information in the paper. On a
separate cover page include the following items:

The paper's title

The author's name

Institutional affiliation

E-mail address

Word count (3000 words maximum)

An abstract (150 words maximum)



E-mail a copy of your paper and your personal information, as attachments,
in MS Word format (.doc), (.docx) or in Adobe Portable Document Format
(PDF) to bnhenning< at >siu.edu. Please name the file of your paper with an
abbreviated paper title and title the file of your contact information with
your last name and first initial.



Abstracts without papers will be considered. Full papers are preferred.



*Conference Statement:*

The purpose of “Building Bridges” is to bring into dialogue diverse
elements not commonly associated. We seek interdisciplinary as well as
intra-disciplinary themes that address problems from multiple philosophical
standpoints, from different traditions, or in which two or more thinkers
not customarily brought into conversation are compared. Our goal is to
provide a pluralistic forum for constructive and critical communication
across boundaries. For more information visit our website:
http://philosophy.siuc.edu/Graduate/bridges.html

Bethany Henning

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CFP: 8th Association for Southeast Asian Cinemas Conference: “Codes, Kitsch, Camp: Genre in/and Southeast Asian Cinemas”

Bell-Metereau, Rebecca L — 2013-06-06T19:37:09

From: Jasmine Nadua Trice [jntrice< at >gmail.com]

CALL FOR PAPERS

8th Association for Southeast Asian Cinemas Conference:

“Codes, Kitsch, Camp: Genre in/and Southeast Asian Cinemas”

July 7 – 10, 2014, Thai Film Archive, Salaya, Thailand.

Issues of genre have had long-term and continuing importance for the film
studies field, but the concept has received little serious critical
attention in the specific context of Southeast Asian film.  The 8th
Association for Southeast Asian Cinemas conference will therefore be
interested in interrogating in the broadest terms the relevance and
usefulness of the concept for the analysis of Southeast Asian cinema.  We
seek proposals both for papers that address concepts of genre, in a
Southeast Asian context, from a theoretical perspective and for studies of
specific Southeast Asian genre trends with industrial and/or textual
emphases.  Some possible topics for papers along these lines include the
following (though the list is by no means intended as exhaustive):

-Relevance of “genre” for the Southeast Asian context (e.g., are
theorizations of genre based upon Hollywood examples still viable, or do
they need to be reworked or jettisoned altogether?)

-Redefining the concept of genre for a Southeast Asian context

-Transnational generic exchange or flow

-Reworking of global (Hollywood, Bollywood, the kungfu comedy, etc.) genres
in Southeast Asia

-Genre evolution

-Genre mixing

-Economics of genre in Southeast Asia (e.g., how genre bears upon
production, distribution, exhibition)

-Case studies of specific genres, genre trends, genre films in Southeast
Asia

-Genres specific to Southeast Asia

-Genre and nation

-Genre and issues of identity (gender, class, ethnicity)

-National or regional genre aesthetics

-Genre and censorship

We also welcome submissions for the open call. Please check our website
archives and conference programs for past paper topics as we are less
likely to accept topics that have been covered before:
http://seaconference.wordpress.com/

Abstract Submission Deadline: September 30, 2013

Please send an abstract (max. 300 words) and short bio (max. 100 words) to:
Sophia Siddique Harvey (soharvey< at >vassar.edu), Khoo Gaik Cheng (
gaik.khoo< at >gmail.com) and Katinka Van Heeren (cvanheeren< at >hotmail.com). We
are currently attempting to get funding for travel subsidies and
accommodations but cannot offer any as of yet.

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FYI: UMass Job Posting: Endowed Chair in the Study of Nonviolent Direct Action and Civil Resistance

Bell-Metereau, Rebecca L — 2013-06-06T19:34:40

From: Marty Norden [norden< at >comm.umass.edu]

Hello, everyone.  My university is currently seeking applicants for an
endowed professorship in the study of nonviolent direct action and
civil resistance.  Though it is not specifically a media studies
position, media scholars specializing in the areas described below are
quite welcome to apply.  If you have any questions about this
position, please direct them to Kelly Smiaroski at
ksmiaroski< at >provost.umass.edu.  Thanks so much.

--Marty Norden
--------------------------------------------------------------------------
  Martin F. Norden
  Professor and Associate Chair, Communication Dept.
  409 Machmer Hall                           norden(at)comm.umass.edu
  University of Massachusetts Amherst        fax: 413 545-6399
  Amherst, MA  01003   USA                   vox: 413 545-0598
                Home page: http://people.umass.edu/norden
--------------------------------------------------------------------------

Please distribute widely

ENDOWED CHAIR IN THE STUDY OF NONVIOLENT DIRECT ACTION AND CIVIL RESISTANCE

The University of Massachusetts Amherst invites applications and
nominations for a visionary scholar of distinction to serve as the
inaugural holder of the Endowed Chair in the Study of Nonviolent
Direct Action and Civil Resistance, a new faculty position focused on
the scientific study of nonviolent direct action and civil resistance.

Nonviolent direct action refers to strategies and activities designed
to achieve social and political change without the use of violence.
Examples of nonviolent direct action include collective organizing,
social movements, protests, sit-ins, vigils, consciousness raising,
and other forms of civil disobedience and nonviolent resistance.
Proponents of nonviolent direct action recognize the need for active
struggle to foster social and political change and use nonviolent
approaches as alternatives to passive acceptance of oppression and
inequality, or the use of violent confrontation, to achieve social and
political goals.  The activities of Mohandas K. Gandhi and Martin
Luther King, Jr. (and others like them) provide good examples of the
kinds of nonviolent direct action on which the chairholder should
focus his/her scientific work.

The chairholder will provide national/international leadership to the
study of this critical topic.  The chairholder may be from any
discipline, but her/his research methodology must be scientific and
focused on large-scale social phenomena.

The appointment will be at the full or associate professor level.  The
departmental home(s) of the appointee will be determined based on the
successful candidate's scholarly expertise.  The position will begin
as soon as a qualified candidate has been found.

The candidate is expected to become an integral member of the
Psychology of Peace and Violence Program at the University of
Massachusetts Amherst and should be interested in interdisciplinary
collaboration, scholarship, and training of graduate students on
issues involving peace, conflicts of interest, nonviolent direct
action, and civil resistance.  The Psychology of Peace and Violence
Program adds to scientific knowledge of how to resolve conflict
between groups, promotes reconciliation, and builds peace through
cooperation (www.umass.edu/peacepsychology).

Beyond her/his primary affiliation with the Psychology of Peace and
Violence Program, the chairholder will find many other supportive
colleagues here at the University of Massachusetts Amherst (UMass
Amherst) and within the wider region.  For example, at UMass Amherst,
the chairholder may affiliate with the Development and Peacebuilding
Program of the Political Economy Research Institute, the Social
Inequality and Justice Initiative of the Center for Public Policy and
Administration, the Institute for Holocaust, Genocide, and Memory
Studies, the Feinberg Papers Project, and/or the W.E.B. Du Bois Center
(It is a university-wide research center that is administratively
housed in the Du Bois Library and organized around our holding the Du
Bois Papers).

QUALIFICATIONS: a Ph.D. and a proven record as a scholar of the
scientific study of peace, non-violent direct action, and civil
resistance as well as exceptional promise to serve as a
national/international leader in advancing this study at UMass Amherst
and beyond are required; a proven record of inclusive and
multi-cultural skills in teaching, research, and/or service is
strongly preferred.

RANK AND SALARY: Commensurate with experience and qualifications.

NOMINATIONS AND APPLICATIONS: Review of applications will begin on
September 17, 2013 but the committee will continue to accept
applications until the position has been filled.  Applications
comprising a cover letter expressing interest and describing research
program, a vitae and a list of at least three references should be
sent to Kelly Smiaroski at ksmiaroski< at >provost.umass.edu or Kelly
Smiaroski, Office of the Provost, 373 Whitmore Administration
Building, University of Massachusetts, 181 President's Avenue,
Amherst, MA 01003-9313, USA.  Electronic submissions strongly preferred.

The University of Massachusetts Amherst is an Affirmative Action/Equal
Opportunity employer.  It is strongly committed to increasing the
diversity of faculty, students, and curriculum, and particularly
encourages applications from women and minorities.

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CFP: contemporary Australian cinema

Bell-Metereau, Rebecca L — 2013-06-05T19:58:44

From: Rebecca Prime [rlprime< at >gmail.com]

CFP: “Cinematic Homecomings: Exile and Return in Transnational Cinema”

 Deadline for submissions: July 1, 2013

Papers on topics relating to themes of post-exilic return and reverse migration in Australian cinema are welcome for anthology under contract with Continuum.  This is a replacement essay - hence the short deadline. For the purposes of this volume, exile will be defined broadly to include émigrés, expatriates, refugees, and internal exiles such as indigenous peoples.

Please submit proposals of 250-300 words, plus a short bio., to Rebecca Prime (prime< at >hood.edu) by July 1st.  Articles must be completed by Sept. 1st.

See below for a project description:
The history of cinema charts multiple histories of exile. From White Russians in 1920s Paris to the German émigrés in 1930s Hollywood to blacklisted Americans in 1950s Europe, these histories have had a profound impact on the evolution of cinematic narratives and aesthetics. But while the effect of exile and diaspora on film practice has been fruitfully explored from both historical and contemporary perspectives, as in Hamid Naficy’s Accented Cinema, the issues raised by return have yet to be fully considered.

This volume will contribute to broader debates concerning transnational cinema by addressing the questions raised by reverse migration and the return home in a variety of historical and national contexts, from postcolonialism to post-Communism.  By looking beyond exile, articles will query the possibilities of geographical and emotional return.  Is return located in the physical homeland, or rather in the acceptance of a hybrid identity that transcends national boundaries?  Also of interest are questions relating to production and reception/industry.  After years spent working in different modes of production, how do exiled filmmakers readapt to the industrial context of their home countries? Given the opportunity to once again address an audience of compatriots, what issues do they choose to prioritize in their films of return? How do their years of exile affect their domestic critical reception?

This volume seeks to investigate these and similar questions from a range of historical, methodological, and theoretical perspectives.  Possible topics may include, but are not limited to:

·           - Post-exilic artistic reinvention

·               -  The “homecoming” (i.e. reception) of films made in exile

·                - Case studies of individual productions

·           - Cinematic narratives of return

·               - The politics of exile and return

·               - The imagination of home and cinematic space

·               - The reintegration of exilic identity

·               - Theorizations of mobility


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CFP: Working in the British Film and Television Industries

Bell-Metereau, Rebecca L — 2013-06-03T21:25:31

From: Andrew Dawson [A.Dawson< at >greenwich.ac.uk]

Call for Papers: Working in the British Film and Television Industries

Dr. Sean Holmes (BrunelUniversity) and Dr. Andrew Dawson (University of Greenwich) are planning a session for the European Social Science History Conference in Vienna in April 2014 on working in the British film and television industries.  Our intention is that the papers presented at this session should form the basis for an edited collection, a follow-up toDawson and Holmes, eds., Working in the Global Film and Television Industries: Creativity, Systems, Space, Patronage (London: Bloomsbury Academic, 2012).

We would like this session to be a multidisciplinary in its orientation so we would encourage submissionsfrom film scholars, sociologists, economists, and anthropologists as well as social, economic and cultural historians.  Papers might focus on any aspect of production, post-production, distribution or exhibition and might engage with any or all of the following issues: the methodological questions that attach to studying workers in the film and television industries; gender and film and television production; creativity and collaborative practice in the film and television industries; technological change; trade unionism; and preserving the UK’s film and television heritage.

Please submit expressions of interest and a brief outline of your proposed paper to:

Sean.Holmes< at >brunel.ac.uk
A.Dawson< at >greenwich.ac.uk

The deadline for proposals is June 12, 2013

________________________________
University of Greenwich, a charity and company limited by guarantee,
registered in England (reg. no. 986729). Registered office:
Old Royal Naval College, Park Row, Greenwich, London SE10 9LS.

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CFP: US Intellectual History Conference

Bell-Metereau, Rebecca L — 2013-05-31T15:03:54

From: Allison Perlman [ajperlman< at >gmail.com]

Call for Papers
U.S Intellectual History Conference: Geographies of Ideas
Hosted at the University of California, Irvine
Irvine, CA
November 1-3, 2013

***Submission Deadline: June 15, 2013***

The Conference Committee of the Society for U.S. Intellectual History (S-USIH) invites individual paper and panel proposals for its fifth annual conference. S-USIH is thrilled to announce that David A. Hollinger, Preston Hotchkis Professor of American History at the University of California, Berkeley, will deliver the key note address.

We are also very pleased to announce this year's plenary sessions. The first plenary, Conservatism and Intellectual  History: Pasts and Futures, features Angus Burgin, Donald Critchlow, George Nash, Kevin Schultz, and Leah Wright. The second, The United States and the World: Intellectual Histories of American Foreign Relations, includes Elizabeth Borgwardt, Mary Dudziak, David Engerman, and Erez Manela. For more information about the plenary sessions, please visit the S-USIH website.

This year's conference theme is "Geographies of Ideas." This theme draws attention both to the importance of place in the forging of ideas and intellectual communities and the numerous border crossings--geographic, disciplinary, and theoretical--that are constitutive of developments within intellectual history. In addition, this theme underscores how ideas about spaces (local, regional, national, transnational, and global) have intersected with myriad intellectual questions and concerns. The committee invites participants to reflect on the multiple ways in which geographies, both real and imagined, have played a role in the study of intellectual history and in the course of U.S. history. Although proposals that relate to the theme are particularly welcome, the committee also welcomes submissions that are relevant to any aspect of the study of American thought.

Prospective participants are encouraged to submit full panel proposals to the conference committee. Panels should consist of four members: (1) either three academic papers and one chair/commentator or (2) four academic papers. Panel submissions must include an abstract for each presentation, a separate description of the panel itself, and one-page CVs for all participants that include the relevant means of contact. Abstracts for individual papers must be no longer than 250 words; panel abstracts must be no longer than 500 words.

Though preference will be given to pre-constituted panels, the conference committee also will accept individual paper submissions. Abstracts for individual papers must be no longer than 250 words. Submissions should also include a one-page CV that includes the relevant means of contact.

The committee also encourages the submission of roundtable panels (a series of ten-minute extemporaneous presentations on a topic followed by discussion among the panel and audience), discussion panels (in which the papers are circulated online in advance of the conference and the entire session is devoted to discussions of them), brownbags (one-hour long lunchtime presentations), "author meets critics" events, retrospectives on significant works or thinkers, interviews, or performances. Submissions for alternate-format sessions must include a description of the proposed format, along with one-page CVs of all participants that include the relevant means of contact.

In addition, please observe the following:

1. The committee is especially eager to ensure a diverse representation of scholars at the conference.

2. Individuals may participate in the conference in at most two capacities (paper presenter, panel respondent, roundtable participant, etc.). Participants may, for example, deliver a paper and be a panel respondent, but may not present two papers.

3. The committee will assume that submission to the conference is an indication that participants will be attending the entire conference. We will be unable to accommodate any scheduling requests.

4. All persons appearing on the program will be required to register for the conference and to become members of the S-USIH.

5. Deadline for submissions is June 15, 2013. All submissions must be emailed as attachments in MS Word or PDF documents.

Send all submissions to:
2013 Conference Committee
usih2013< at >gmail.com

Other inquiries may be directed to:
Allison Perlman
2013 Conference Committee Chair
aperlman< at >uci.edu



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Fwd: Thank you, from H-Net

Kenneth Nolley — 2013-05-29T22:31:28

From: H-Net Donations <donation< at >mail.h-net.msu.edu>

Dear H-Net Readers:

Our Spring 2013 fund campaign is drawing to a close this week.  On behalf
of H-Net's hundreds of editors, our governing board and officers, and our
host at the History Department at Michigan State University, I thank all of
the hundreds of donors who have joined in our effort to keep H-Net free,
growing, and useful for new generations of students and scholars.

We realize that times are difficult in academia and that gifts of any
amount are truly a sacrifice.  The support we receive from our readers is
all the more heartening and encouraging as we push our organization forward
into a new platform, new ideas, and new challenges.

If you have not yet had the opportunity to join in, please consider doing
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Gratefully,

Peter

Fwd: Aboagora 2013 - online registration open until 31 May

Kenneth Nolley — 2013-05-29T18:50:00

From: Hannu Salmi <hansalmi< at >utu.fi>

Just to remind you that online registration for Aboagora 2013 will close on
31th May, day after tomorrow.

Aboagora - Between Arts and Sciences
Turku, Finland, 13 - 15 August 2013

For full programme, online registration and conference tickets, please
visit www.aboagora.fi.


"The Human Machine"

Aboagora is an event that promotes dialogue between the arts, humanities
and sciences, and aims at challenging and breaking boundaries between arts
and the scholarly world. The programme consists of workshops, keynote
lectures and concerts. Aboagora is a joint effort by the Turku Music
Festival, the Department of Cultural History at the University of Turku and
the Donner Institute, Åbo Akademi University.

Aboagora 2013 discusses the complex relationships between man and machine.
The human being itself can be viewed as a corporeal machine, an assemblage
of forces, actions and mechanisms, from the optics of the eye to the
processes of cognition. It is also possible to interpret the machine as an
extension of human senses. The boundaries between man and machine can be
blurred by using technological devices as integral parts of the human body.

The theme 'The Human Machine' can also pay attention on all those practices
that create humanness in a machine: How we assume machines to feel and
think? What kind of personal qualities do they have? Machines have also
served as the vehicles of human creativity, as tools but also as the
expressions of abstract thoughts. Aboagora wishes to address this
fascinating area that has been a fertile ground for artistic and scientific
explorations during recent decades.

Keynote speakers include Bruce Sterling (Science Fiction Author, USA),
Kevin Warwick (Professor of Cybernetics, UK), Mia Consalvo (Research Chair
of Game Studies and Design, Canada), Timo Airaksinen (Philosopher, Finland).

Among the workshop members are Tuomas Lukka (Zenrobotics Corporation), Timo
Kaitaro (Philosophy & Neuropsychology), Kathleen Richardson (Social
Anthropology), Mika Pantzar (Consumer Research Centre), Alf Rehn (Chair of
Management and Organization), Jussi Parikka (Media Theory), John Armitage
(Media Arts), Samuli Torssonen (Film director), Veijo Hietala (Media
Studies), Mia Lövheim (Sociology of Religion), Susanna Paasonen (Media
Studies), Johanna Sumiala (Media Studies), André Jansson (Media &
Communication Studies), and Alice Della Penna (Biology).

The registration fee for the symposium is 45 € (for students and
post-graduate students 25 €). It includes participation for all keynote
lectures, admission to all workshops, three lunches and coffee/tea, and
conference reception.

WELCOME!

Contact:
Coordinator Asko Nivala
Cultural History, University of Turku
asko.nivala(at)utu.fi
phone +358 (0)2 333 6294

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Fwd: Cold War internationally

Kenneth Nolley — 2013-05-26T01:44:17

From: Victoria Pasley <vpasley< at >hotmail.com>

What about films set in Latin America during the Cold War showing the
result of US Cold War policies such as Battle of Chile (1976) .. in fact
the Third Cinema Movement is not only a reaction to colonialism but also to
the policies adopted by the US?
There are many more if this is of interest.

Victoria Pasley
vpasley< at >hotmail.com
Community College of Qatar
*****
From: Armida De La Garza <Armida.delagarza< at >xjtlu.edu.cn>

Hi, I'm not sure whether this is what you're looking for, but there was a
Mexican film made in 1942 entitled 'Soy Puro Mexicano' by Emilio Fernandez.
The plot summary here comes from Rotten tomatoes:

Filmmaker Emilio Fernandez' second directorial effort was the
thrill-a-minute Soy Puro Mexicano (I'm a Mexican Too) Pedro Armendariz
stars as a fugitive bandit chieftain whose long-dormant patriotism is
aroused when Mexico enters WWII. Hiding from the authorities in a fancy
hacienda, Armendariz discovers that the place is a beehive of Nazi
activities. Aligning himself with gorgeous Allied agent Raquel Rojas,
Armendariz decimates the bad guys, one by one. Errol Flynn had nothing on
this hero! Overlong and somewhat shabbily produced, Soy Puro Mexicano gets
by on its sheer energy. ~ Hal Erickson, Rovi

Hope it helps.
Best,
A

Armida de la Garza, BSc, MA (London), PhD (LSE), FHEA
Associate Professor in Communication and Media and Programme Director
Co-editor of the 'Transnational Cinemas Journal' (Intellect) and editor of
the 'Topics and Issues in National Cinemas' Book Series (Continuum)
Department of Languages and Culture Xian Jiaotong - Liverpool University
111 Renai Road, Room C465 Dushu Lake Higher Education Town Suzhou, Jiangsu,
China
215123

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Fwd: Cold War internationally

Kenneth Nolley — 2013-05-24T16:39:20

From: Jadzia Biskupska <jadwiga.biskupska< at >gmail.com>:

*Dlug/The Debt* (1999), a drama/thriller set during the Polish transition
to a capitalist economy.

*Czesc Tereska* (2001), about a couple of working class Polish girls
growing up in 1970s urban Poland.

I believe there is writing about both films and they portray a lot of
Polish society/politics while being interesting themselves.

*****

From: *Benita Blessing.* <benita.blessing< at >univie.ac.at>

Hi,
Although it is hard to not use *Goodbye Lenin* and *Lives of Others* for
the GDR, I would suggest looking at films from the East German production
company DEFA during the Cold War. So many of them are now on DVD with
subtitles, with the occasional fairy tale film (for which they were very
well known) dubbed (with the rationale that children would watch them and
thus not be able to read subtitles).

Since I write on East German children's films, I am partial to the fairy
tale films - but films like *Somewhere in Berlin* (1946) beside
Rossellini's *Germania anno zero* make a great introduction to how two
different societies viewed the responsibilities of Germany after the war.
Students have consistently been awed by both films.

The University of Massachusetts Amherst DEFA Film Library has a great
listing of films that are available and summaries -
https://defafilmlibrary.com/film-search-alpha

I would highlight films that dealt with the Holocaust (*Stars*), the
Science Fiction Series (*Eolomela*, *Silent Star*, *In the Dust of Stars*),
and the "banned" films that after 1989 were remastered (the series is
called "Wende Flicks," and includes most of the banned films and some of
the last films of the GDR - *The Architects* is particularly good, as is
*Born in '45.*

Also recently re-found and released is *Dove on the Roof*, one of the few
films from DEFA to be directed by a woman (Iris Gusner).

A lot of work is coming out on DEFA in English, but there was a 2008
on-line forum of using films to teach about the GDR on H-German which I
commented on -

http://www.h-net.org/~german/discuss/GDRfilm/TeachingGDR.htm

best, Benita Blessing
University of Vienna (Austria)

*****


From: *Erica Sheen* <erica.sheen< at >york.ac.uk>


Just to add: the obvious  French films would probably be Rivette's *Paris
nous appartient *(1961) and Godard's *Alphaville* (1965) .

Erica Sheen

*****


From: *Erica Sheen* <erica.sheen< at >york.ac.uk>
People interested in *The Lives of Others*  might like to note a new
collection published in about a week's time by Palgrave Macmillan:
The*Writer on Film: Screening Literary Authorship
*_, edited by Judith Buchanan.

This includes substantial essays on T*he Lives of Others, Diary of a
Country Priest, Letter from an* *Unknown Woman, Julia, My Brilliant Career,
Prospero's Books, Adaptation, Shakespeare in Love, Sylvia, Becoming Jane,
Atonement, Bright Star, Enid* and *Howl*.

http://us.macmillan.com/thewriteronfilm/JudithBuchanan

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Cold War internationally--multiple responses

Kenneth Nolley — 2013-05-23T19:33:34

From: Paul Schulte <dagda2< at >cox.net>

Another one to try is the very funny British film - The Mouse That Roared.

*****

From: *D. J. Wolpert* <djw88< at >cam.ac.uk>

Hi,
A couple come to mind:

Weg ohne Umkehr, Victor Vicas, West Germany 1953
Vstrecha na Elbe, Grigori Aleksandrov, USSR 1949
Der geteilte Himmel, Konrad Wolf, East Germany 1964

*****

From: *Michael Lima* <mlima6< at >cogeco.ca>

In case this has not been mentioned, two classic films made during the Cold
War era include: "Man of Marble" (Poland. 1976) and "Man of Iron" (Poland,
1981) -  both films directed by Andrzej Wajda.
Best,
Michael Lima.

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Fwd: Cold War internationally

Kenneth Nolley — 2013-05-23T17:13:36

From: Powell, Larson <powelllar< at >umkc.edu>

Second would be *Goodbye Lenin,

Please note that those two films -- *Lives* and *Goodbye* -- were made AFTER
the end of the Cold War, and show very much of a victor's (Western)
perspective on it.  They thus tend to repackage Cold War history in the
language
of mainstream cinema (good/bad, love stories, melodrama, etc.).

If you want something less commercial than those films, there are lots of
interesting East German (DEFA) films you could include.
Try "Divided Heaven" by Konrad Wolf, which is about the effects of the
Berlin Wall on divided Germany.
Not to mention many wonderful Polish, Czech and Yugoslav films.

Dr. Larson Powell
Associate Professor of German
Department of Foreign Languages and Literatures
Scofield Hall 206A
University of Missouri  Kansas City
5100 Rockhill Road
Kansas City, MO 64110
powelllar< at >umkc.edu

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