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***English version below***

Appel à propositions de textes
Kinephanos : Revue d’études des médias et de culture populaire
Au-delà de Netflix – Penser la diversité des pratiques et plateformes de télévision en ligne
Sous la direction de Audrey Bélanger & Stéfany Boisvert

Nous sommes à la recherche d’auteurs pour le prochain numéro de Kinephanos qui traite des services de télévision par contournement (over-the-top televisionI) et les plateformes de visonnement en ligne autre que Netflix. Il s’agit d’un numéro multi-disciplinaire, donc nous sommes intéressés par des articles traitant de plusieurs facettes concernant les plateformes de visionnement en ligne (les émissions produites, les stratégies de distribution, les aspects économiques, les catalogues, leur productions maisons, leur cote d’écoute, etc.).

Vous trouverez tous les détails concernant l’appel à propositions de textes dans le document ci-joint ou au
https://www.kinephanos.ca/2018/au-dela-de-netflix-penser-la-diversite-des-pratiques-et-plateformes-de-television-en-ligne-beyond-netflix-studying-the-diversity-of-practices-and-platforms-in-the-era-of-over-the-top-television/.

Nous attendons vos propositions de 500 mots au plus tard le 28 février 2019 au belanger.audrey@uqam.ca et boisvert.stefany@uqam.ca.

Prenez note que la revue Kinephanos accepte les texte en français et en anglais!

Au plaisir de lire vos propositions.

_____

Call for papers
Kinephanos : Journal of media studies and popular culture
Beyond Netflix – Studying the diversity of practices and platforms in the era of over-the-top television
Edited by Audrey Bélanger & Stéfany Boisvert

We are seeking contributions for an upcoming issue of Kinephanos that focuses on over-the-top TV services and streaming platforms other than Netflix. This issue of Kinephanos is multi-disciplinary, and therefore open to articles on any aspect of streaming platforms (their production or distribution strategies, their economics, their catalog, their in-house productions, their audiences, etc.).

There is more information in the attached document or access the website: https://www.kinephanos.ca/2018/au-dela-de-netflix-penser-la-diversite-des-pratiques-et-plateformes-de-television-en-ligne-beyond-netflix-studying-the-diversity-of-practices-and-platforms-in-the-era-of-over-the-top-television/.

If you are interested, please send a 500-word proposal before February 28th 2019 to belanger.audrey@uqam.ca and boisvert.stefany@uqam.ca.

Articles can be in French or in English!

 

CFP: Screening #TimesUp: Exploring Rape Culture in Hollywood Film

Editors: Dr. Lisa Funnell (University of Oklahoma) and Dr. Ralph Beliveau (University of Oklahoma)

Beginning in 2017, the #MeToo movement drew attention to the sexual assault, coercion, and harassment experienced by many individuals and especially women working in Hollywood. Over the last two years, actors have come forward to speak about their experiences, condemning the industry for silencing victims while safeguarding predators. This conversation about sexual conduct and safe working spaces has extended into other fields/industries via the #TimesUp movement as greater awareness is being raised about abuse of power and the victimization of employees. While Hollywood is serving as a microcosm for broader social discussions about sexual assault, coercion, and harassment in the workplace, less attention is being directed towards film content—i.e. the products being produced by said industry. As a global cinema, Hollywood creates some of the most profitable films that are widely screened not only in the United States but also across the world. Culture binds individuals and institutions together, shapes public consciousness, and sends powerful messages about what is to be considered appropriate conduct. Over the last 100 years, Hollywood has played a key role shaping social ideas associated with gender, sex, and power.

A consideration of sexual violence in Hollywood film—be it real, threatened, or suggested—is the focus of this anthology. Sexual assault, coercion, and harassment are so pervasive in Hollywood narratives that they often go unnoticed. For instance, rape revenge is not only an exploitation subgenre but also a storyline featured in horror, thriller, road, and criminalist films. The threat of sexual assault is used as a trope to convey the vulnerability of even the strongest and most muscular female heroes in action films while the depiction of sexual harassment and aggression in relation to class differences and workplaces is a frequent narrative element. Moreover, sexual harassment is often depicted as romantic when a rejected “suitor” continues to pursue/stalk their target. Sexual coercion plays a central role in spy films as agents manipulate, intoxicate, and/or force their informants/targets to have sex with them sometimes secretly filming the encounter. And in some cases, filmmakers with a known history of sexual violence continue to work in the industry and produce films that relay troubling messages about appropriate sexual conduct. These films, tropes, and practices work to normalize and naturalize aspects of rape culture oftentimes at the expense of marginal/minority groups.

We are calling for papers exploring any facet of sexual assault, coercion, and harassment in Hollywood film. Some topics include but are not limited to:

  • tropes of sexual violence in specific genres (e.g. rape revenge, action, rom-coms, etc.)
  • historical considerations of sexuality and rape (e.g. classical Hollywood, new Hollywood, etc.)
  • filmmakers who employ excessive/frequent images of sexual violence
  • shifting representations of sexual harassment
  • affirmative consent in film
  • narratives in which rape is justified (e.g. prisoner on prisoner)
  • romanticizing of inappropriate sexual contact (e.g. with minors)
  • myth of the artistic genius
  • rape jokes/gags in film
  • sexual violence against marginal/minority groups (based on race, sexual orientation, class, ability, gender expression, etc.)

Please submit a 250 word abstract along with a brief author bio to Lisa Funnell (lisa.m.funnell@gmail.com) by April 30. Please direct any questions to this email as well.

 

CineAction

Call for Submissions: Issue 100 – History of the Cinema

This issue explores the significance of the history of the cinema to its identity as an art form and entertainment and an interpretation of the past.

Spike Lee’s BlacKkKlansman integrates film history into the film with references to Birth of A Nation and Gone With the Windto speak of racism in the Hollywood cinema as well as contemporary racism in America. In doing so, he acknowledges the relevance of the medium’s past to the present and into the future. Like Martin Scorsese, Nicolas Winding Refn, Jean Luc Godard and others active in the preservation and promotion of film history, Lee reflects on film history and the shaping of an historical consciousness.

We welcome papers that address film history in the context of an individual film(s), a cinematic movement or a specific director or actor.

Florence Jacobowitz: fjacob@yorku.ca
Richard Lippe: rlippe@yorku.ca

Deadline: February 15, 2019
 
For contributor’s guidelines, see cineaction.ca
 

Convegno annuale / Annual Conference / Congrès annuel
Orvieto 2019

Call for Papers (Session)
Italian Cinema in the Era of #MeToo

“One of the first women to accuse Harvey Weinstein of sexual assault was Italian actress Asia Argento. Hailed in the U.S. for speaking out, she was attacked in her native country by commentators, both male and female.” (NPR Jan. 18, 2018)

According to Tania Modleski, “male power is…consolidated through cycles of crisis and resolution, whereby men ultimately deal with the threat of female power by incorporating it” (O’Rawe 2014, 7). While there is a certain (lamentable) universality to the forms taken by this kind of masculinist incorporation or recuperation of the feminine, on the one hand, or its oppression or negation, on the other, the situation in the Italian cultural context is arguably even more acute than elsewhere. As Stephen Gundle observes, despite changing conceptions of national identity, “feminine beauty has long been associated with Italy, and…‘feminine beauty came to enjoy a near-monopoly of representational functions, symbolic purposes and popular manifestations’” (ibid., 2).

Beginning in 2017, in the wake of the Harvey Weinstein scandal (which Italian actor Asia Argento was amongst the first to break), the ‘#MeToo’ movement emerged in the U.S., quickly spreading around the world. This panel proposes to explore the state of Italian cinema in the era of ‘#MeToo’—whether in terms of style and/or production, reception and/or spectatorship, star studies and/or celebrity culture, cultural vs. film narratives, feminist-psychoanalytic and/or ideological critiques, representation of gender, post-representational approaches, (i.e. affect theory, posthumanist approaches), or other possible topics or approaches. The panel focus is not limited to contemporary Italian film, and historically informed comparisons of older and more recent films are encouraged.

References
Catherine O’Rawe, Stars and Masculinities in Contemporary Italian Cinema, New York, NY: Palgrave Macmillan, 2014.

Please, submit your proposal to Russell Kilbourn, English and Film Studies, Wilfrid Laurier University, rkilbourn@wlu.ca, by February 28, 2019.


CAIS Conference 2019 / ACEI Conférence 2019: http://www.canadiansocietyforitalianstudies.camp7.org/Conference-2019

 

***La version française suit ci-dessous***

CALL FOR PAPER PROPOSALS FOR FSAC 2019

The Annual Conference of the Film Studies Association of Canada
June 4 – June 6, 2019
University of British Columbia

Held in conjunction with the Congress of the Humanities and Social Sciences

Congress 2019 Theme: “Circles of Conversation”

Martin Walsh Memorial Lecture: Mary Ann Doane (Class of 1937 Professor of Film and Media,UC Berkeley)

Gerard Pratley Award: Nikola Stepić (PhD student in Humanities, Concordia University “French Connections: Gay Male Pornography as Virtual Tourism”)

FSAC is now seeking proposals for the 2019 conference in Vancouver, British Columbia (traditional, ancestral, and unceded territories of the xʷməθkʷəy̓əm [Musqueam], Sḵwx̱wú7mesh [Squamish], and sə̓ lílwətaʔɬ [Tsleil-Waututh] First Nations), June 4 – 6, 2019. We welcome proposals for:
  • Individual presentations
  • Pre-constituted panels
  • Workshops or round-tables
  • Screenings, exhibitions and other events—on topics related to the Congress theme, or on any other film or media studies topic.

Proposal Submission Deadline: January 15, 2019

Please note that proposals will be only be considered from applicants who are paid up members of the association. Memberships may be obtained/renewed here: http://www.filmstudies.ca/membership

Submit proposals by email to:conference2019@filmstudies.ca

Proposal format:
  • In an email, include applicant name, affiliation, short bio (50 words or less), and paper title
  • Attach a 500 word abstract (with title) and 3-5 bibliographic references. Abstracts will be blind- reviewed; please do not include name or affiliation in the attachment.

Pre-constituted panels should be submitted by the proposed panel chair, and include individual proposals (in the format above) with the title of the proposed panel indicated on each abstract.

Workshop and Roundtable proposals should include the following information:
  • Chair’s name, rank/status, institutional affiliation and email address
  • Title of workshop or roundtable
  • Abstract describing the theme/issue to be considered (350-500 words)
  • List of participants including name, rank/status, institutional affiliation, and email
  • Description of their contribution
  • Four relevant keywords
  • 4-6 bibliographic references

* You should plan to participate in a maximum of two forums, neither of which may be the same in kind. For example, you may propose and deliver a paper and submit a workshop proposal, but you may not submit two individual paper proposals (whether single or co-authored).

Additional information and instructions:
  • Presentations may be in either English or French.
  • Individual presentations are to be no longer than 20 minutes (including clips).
  • The length of presentations on panels, workshops, and/or round-tables may vary depending on the specific constitution of the session.
  • All proposals will be adjudicated by the Programming Committee.
  • All papers presented at the FSAC Conference must be original works. Proposals for previously presented papers will not be accepted.
Graduate Student Funding
Partial financial compensation for student members’ travel to attend the annual general meeting may be provided by the Association. For more details and the application form, visit http://www.filmstudies.ca/category/grad-students

Audio-Visual Needs
All conference presentation rooms will have video/data projectors, screens, basic sound systems, and connections for laptop computers.

Conference Organizing Committee
Program Chair: Peter Lester (President, FSAC)
Department of Communication, Popular Culture, and Film, Brock University
Office phone: (905) 688-5550 x3822
plester@brocku.ca

Local Arrangements Coordinator: Christine Evans
Department of Theatre and Film, University of British Columbia
Office phone: (604) 822-3707
christine.evans@ubc.ca


APPEL À COMMUNICATIONS POUR LE CONGRÈS DE L’ACÉC 2019

Colloque annuelle de l’Association Canadienne d’Études Cinématographiques
4 – 6 juin 2019
Université 
de la Colombie-Britannique
 
 Tenu dans le cadre du Congrès des sciences humaines
 
Le thème du congrès 2019: « Cercles de conversation »
 
Conférence commémorative Martin Walsh : Mary Ann Doane (Class of 1937 Professor of Film and Media, UC Berkeley)
 
Conférence de prix Gerald Pratley : Nikola Stepić (Doctorant, Humanities, Université Concordia – “French Connections: Gay Male Pornography as Virtual Tourism”)
 
L’ACÉC sollicite des propositions de communication pour son colloque annuel qui se tiendra du 4 au 6 juin 2019 à Vancouver, Columbie-Britannique (les territoires traditionnels, ancestraux et non cédés du peuple xʷməθkʷəy̓əm [Musqueam], Sḵwx̱wú7mesh [Squamish] et sə̓lílwətaʔɬ [Tsleil-Waututh].) Nous accueillons des propositions: 
  • de communication individuelle
  • de panel préconstitué
  • d’atelier ou de table ronde
  •  de projection, d’exposition ou de tout autre événement portant sur des sujets liés au thème du colloque ou sur tout autre sujet lié aux études cinématographiques ou médiatiques 
 Date limite pour soumettre les propositions : 15 janvier 2019
 
Veuillez prendre note que vous devez être membre de l’Association au moment de la soumission de votre proposition – autrement, votre proposition ne sera pas considérée.  Vous pouvez vous inscrire ou renouveler votre inscription ici : http://www.filmstudies.ca/membership?lang=fr
 
Envoyez vos propositions à : conference2019@filmstudies.ca
 
Format des propositions : 
  • Dans un message électronique, indiquez votre nom, votre affiliation, une courte notice bio-bibliographique (50 mots ou moins) et le titre de votre communication.
  • En pièce jointe, attachez votre proposition de communication (500 mots) ainsi que votre titre et 3-5 références bibliographiques. Puisque les propositions seront évaluées à l’aveugle, prière de ne pas inclure votre nom ni votre affiliation dans la pièce jointe. 

Pour les panels préconstitués : les propositions seront soumises par le responsable du panel et doivent inclure toutes les propositions individuelles (suivant le format ci-dessous). Vous devez inclure le titre du panel sur chacun des résumés. 

 Les propositions de tables ronde et d’atelier doivent inclure les informations suivantes :
  • Nom du responsable de panel, poste/statut, affiliation et adresse courriel
  • Titre de l’atelier ou de la table ronde
  • Résumé décrivant le thème/sujet qui sera abordé (350-500 mots)
  • Liste des participant.e.s incluant leur nom, poste/statut, affiliation, et courriel
  • Descriptions des contributions des participant.e.s
  • Quatre mots clés
  • 4-6 références bibliographiques

 * Veuillez noter que vous ne pouvez participer qu’à deux événements du colloque. Ces événements ne doivent pas être de même nature. Par exemple, vous pouvez proposer une communication et un atelier, mais vous ne pouvez pas proposer deux communications (que vous soyez auteur.e unique ou co-auteur.e).

Informations et instructions supplémentaires :
  • Les présentations peuvent être en français ou en anglais.
  • Les communications individuelles ne doivent pas dépasser 20 minutes (incluant la présentation d’extraits).
  • La durée d’un panel, d’un atelier ou d’une table ronde peut varier selon leur organisation.
  • Toutes les propositions de communication seront évaluées par le comité organisateur du colloque.
  • Toutes les communications présentées à la conférence annuelle de l’ACÉC doivent être originales. Elles ne doivent être pas avoir été publiées ni présentées ailleurs. Les propositions de communications antérieures ne seront pas acceptées.
Financement étudiant
L’Association sera en mesure de fournir des compensations financières partielles pour le déplacement des membres étudiant.e.s qui seront présent.e.s à l’assemblée générale annuelle. Visitez notre site pour plus de détails et pour accéder au formulaire d’application : http://www.filmstudies.ca/category/grad-students.     
 
Matériel audiovisuel
Toutes les salles de conférence du colloque seront équipées de projecteurs numériques, d’écrans, de systèmes de son, et des connexions pour les ordinateurs portables. 
 
Comité d’organisation du colloque
Président du programme : Peter Lester (Président, ACÉC)
Department of Communication, Popular Culture and Film, Brock University
Téléphone: (905) 688-5550 x3822
 
Coordonnatrice locale : Christine Evans
Department of Theatre and Film, University of British Columbia
Téléphone : (604) 822-3707
 

 

 

***la version française suit***

The following is a Call for Papers for the Cinema Studies Institute’s Annual Graduate Conference, which will be held January 25th-26th, 2018, at the University of Toronto. Submission procedures are outlined below.

CFP: “Fluidity”

“The fluidity, the tepidity, the bluish color, the undulating restlessness of the water in a pool are given at one stroke, each quality through the others.”

– Jean-Paul Sartre, Being and Nothingness

“The idea of the smallest interval does not apply to figures of the same nature; it implies at least a curve and a straight line, a circle and a tangent. We witness a transformation of substances and a dissolution of forms … A matter more immediate, more fluid, and more ardent than bodies or words.”

– Gilles Deleuze & Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia

Although the notion of fluidity has consistently flowed through modern culture, its recent swelling has separately elicited both promise and trepidation. The dissolution of borders through migration and mass communication has helped grant the possibility of a plastic presence, one not necessarily fixed in a single, or even physical, location. Recognition of open gender expressions and liberated sexualities has given voice and visibility to many who struggled beneath the surface of society. The rise of cryptocurrencies further suggests the ephemeral nature of commerce and the political systems we have built on economic exchange. Rising against fluidity’s multiplicity of forms is an anxious conservatism that disguises its agenda of unbridled neoliberal expansion with rhetoric of stagnation and stillness. From Brexit’s shutting down of European mobility to Donald Trump’s aspiration to define gender through original birth certificates, this movement endeavors to roll back, stand firm, and refuse movement.

With the zoetrope’s invention came the foundational constitution of fluidity within cinema. As media technologies continued to expand, shift, and mutate, the interrelatedness of cinema and fluidity did not evaporate. In an early example of film theory that concerned fluidity, Sergei Eisenstein – reacting to Disney’s animated films – recognized our fluid identification with the plasmatic qualities of the moving image. Consequently, within our aqueous relationship to the cinematic screen, we experience flows of shifting desires and identifications. By seeking to account for fluidity’s dynamic interrelatedness with cinema, fundamental questions are inscribed with novel potential. How does the interwoven nature of representation and the world manifest itself in the flow of time? As the boundary between private space and public arena becomes increasingly blurred, how does one negotiate one’s personae and performances in the changing state of mutual interpretability that is at once more transparent and more obscure? How can we, through interdisciplinary approaches, engage with deconstructing sedimented opinions? By either responding directly to these questions or pursuing entirely distinct avenues of thought, we encourage submissions from students, scholars, and thinkers which examine all modalities and aspects of cinematic experience that assume a fluid form.

Sample topics might include but are not limited to:

  • Theories of Movement
  • Borders; Transnationality; Diaspora
  • Fluids
  • Theories of Intersubjectivity
  • Deconstruction; Post-Structuralism
  • Gender; Sexuality
  • Race
  • Genre Blurring; Intermediality; Interdisciplinarity

Keynote:
Dr. Luka Arsenjuk (Associate Professor of Film Studies, University of Maryland)

Conditions:

Colloquium:

This colloquium is open to both graduate students and independent scholars. Interested parties must submit a brief abstract (300 to 500 words), in English or French, by December 7th, 2018, at the following address: csgraduatestudentunion@gmail.com.

Submissions should include the following information:

  • Your name
  • Level of study
  • Name of your University
  • Title of your presentation
  • Abstract
  • Short bibliography

Following the analysis of submitted proposals, the committee will communicate their decisions by  December 14th, 2018.

 



Vous trouverez ci-dessous un Appel à Contributions pour la Conférence Annuelle des Étudiants des Cycles Supérieurs de l’Institut d’Études Cinématographiques (Cinema Studies Institute), qui se tiendra les 25 au 26 janvier 2018 à l’Université de Toronto. Les procédures de soumission sont également décrites ci-dessous.

AAC : « Fluidité »

« La fluidité, la tiédeur, la couleur bleuâtre, la mobilité onduleuse de l’eau d’une piscine sont données d’un coup au travers les unes des autres et c’est cette interpénétration totale qui se nomme le ceci. »

– Jean-Paul Sartre, L’Être et le Néant

« L’idée du plus petit intervalle ne s’établit pas entre des figures de même nature, mais implique au moins la courbe et la droite, le cercle et la tangente. On assiste à une transformation des substances et à une dissolution des formes, passage à la limite ou fuite des contours, au profit des forces fluides, des flux, de l’air, de la lumière, de la matière qui font qu’un corps ou un mot ne s’arrêtent en aucun point précis. »

– Gilles Deleuze & Félix Guattari, Mille plateaux : Capitalisme et Schizophrénie

Bien que la notion de fluidité ait constamment traversée la culture moderne, son récent gonflement a suscité, séparément, promesse et inquiétude. La dissolution des frontières par la migration et la communication de masse a permis de faciliter la possibilité d’une présence plastique, qui n’est pas nécessairement fixée dans un lieu unique, ni même physique. La reconnaissance des expressions ouvertes de genre et des sexualités libérées a donné voix et visibilité à beaucoup de ceux qui ont lutté sous la surface de la société. Avec l’essor des crypto-monnaies suggère en outre la nature éphémère du commerce et des systèmes politiques que nous avons bâti sur les échanges économiques. S’élever contre la multiplicité des formes de fluidité est un conservatisme anxieux qui dissimule son programme d’expansion néolibérale débridée par une rhétorique de la stagnation et du calme. De la mise en arrêt de la mobilité européenne par le Brexit à l’aspiration de Donald Trump à définir le sexe par le biais les certificats de naissance originaux, ce mouvement s’efforce de revenir en arrière, de rester ferme et de refuser le mouvement.

L’invention du zootrope est à l’origine de la constitution fondamentale de la fluidité au sein du cinéma. Bien que les technologies des médias aient continué de s’étendre, de se transformer et de muter, les liens entre le cinéma et la fluidité, elle, ne s’est pas évaporée. Dans un des premiers exemples de théorie cinématographique concernant la fluidité, Sergei Eisenstein – réagissant aux films d’animation de Disney – a reconnu notre identification fluide avec les qualités plasmatiques de l’image en mouvement. Par conséquent, au sein de notre relation aqueuse avec l’écran cinématique, nous éprouvons des flux de désirs et d’identification changeants. En cherchant à rendre compte de l’interdépendance dynamique de la fluidité avec le cinéma, des questions fondamentales s’inscrivent dans un potentiel nouveau. Comment la nature imbriquée de la représentation et du monde se manifeste-t-elle dans le temps ? Alors que la frontière entre espace privé et espace public devient de plus en plus floue, comment négocier personae et performances dans un état changeant d’interprétabilité mutuelle, à la fois plus transparent et plus obscur ? Comment pouvons-nous, à travers des approches interdisciplinaires, nous engager dans la déconstruction des opinions sédimentées ? En répondant directement à ces questions ou en poursuivant des pistes de réflexion entièrement distinctes, nous encourageons les étudiants, les universitaires, les penseurs et les chercheurs à soumettre leurs observations de toutes modalités et de tout aspects de l’expérience cinématographique se présentant sous une forme fluide.

Les exemples de sujets peuvent inclure, mais ne sont pas limités à :

  • Théories du mouvement
  • Les frontières ; la transnationalité ; la diaspora
  • Les fluides
  • Théories de l’intersubjectivité
  • La déconstruction ; le post-structuralisme
  • Le genre ; la sexualité
  • La race
  • La malléabilité du genre; l’intermédialité ; l’interdisciplinarité

Conférencier principal :
Luka Arsenjuk (professeur associé en études cinématographiques, Université du Maryland)

Conditions :
Colloque :

Ce colloque est ouvert aux étudiants de cycles supérieurs et aux chercheurs indépendants. Les parties intéressées doivent soumettre un bref résumé (300 à 500 mots), en anglais ou en français, au plus tard le 7 décembre 2018, à l’adresse suivante : csgraduatestudentunion@gmail.com.

Les soumissions doivent inclure les informations suivantes :

  • Votre nom
  • Niveau d’études
  • Nom de votre université
  • Titre de votre présentation
  • Résumé
  • Courte bibliographie

Suite à l’analyse des propositions soumises, le comité communiquera leurs décisions au plus tard le 14 décembre 2018.

******

 

21st Annual Graduate Colloquium / 21ème colloque des cycles supérieurs

Carleton University, Ottawa, Mar. 1-3, 2019 / Université Carleton à Ottawa, 1-3 mars 2019

Call for Proposals / Appel à communications

***la version française suit***

The 2019 FSAC Graduate Student Colloquium will be hosted by Carleton University from Friday March 1 to Sunday March 3, on the Carleton University campus in Ottawa. The organising committee is excited to announce a call for proposals from students across Canada and and abroad, studying at the graduate level in film and/or media studies. The conference is not strictly organized around an essential theme and as such we are seeking papers that encompass a broad number of topics within the discipline(s).

This Colloquium is sponsored by the Film Studies Association of Canada. Support is also provided by the Film Studies program, in the School for Studies in Art and Culture, at Carleton University.

This year the Canadian Journal of Film Studies will co-sponsor the Colloquium, and will host a special panel discussion on the topic of academic publishing.

Please submit proposals of no more than 300-500 words, for a presentation of twenty minutes, on any topic in film and/or media studies. Include current or past university or institutional affilliation, degree level (MA or PhD), a brief description of research interests (no more than 50 words), and contact email address. Submit proposals, as an email attachment, in a Word document (or Word-compatible file), to:  carletongsc2019@gmail.com

The deadline for submissions is Friday, Nov. 30, 2018.

We thank you for your submissions and look forward to your participation in this Colloquium.  

* * *

Le colloque des cycles supérieurs de l’ACÉC 2019 sera organisé par l’Université Carleton du vendredi 1er  mars au dimanche 3 mars, sur le campus de l’Université Carleton à Ottawa. Le comité organisateur est heureux d’annoncer un appel à communications pour les étudiant.e.s canadien.ne.s et de l’étranger qui étudient aux cycles supérieurs dans la discipline des études cinématographiques ou médiatiques. La conférence ne porte pas sur une thématique en particulier. Nous sommes plutôt à la recherche de propositions sur les différents sujets et approches afférant à nos disciplines.

Le colloque sera coordonné et soutenu par le programme d’études cinématographiques de l’École d’études de l’art et de la culture de l’Université Carleton, avec l’aide de l’Association canadienne d’études cinématographiques.

Pour cette édition, la Revue canadienne de cinématographique fournira un soutien particulier pour le Colloque, et organisera une table ronde spéciale sur le thème de la publication académique.

Les étudiant.e.s intéressé.e.s sont prié.e.s d’envoyer un résumé d’environ 300 à 500 mots pour une présentation de 20 minutes portant sur un sujet d’étude cinématographique ou médiatique. Veuillez inclure votre affiliation universitaire ou institutionnelle, votre niveau universitaire (MA ou PhD), une brève description de vos intérêts de recherche (environ 50 mots) ainsi que votre adresse courriel lors de votre envoie. Insérez votre résumé en pièce jointe au courriel en format Word (ou un fichier compatible avec Word) à l’adresse: carletongsc2019@gmail.com

Veuillez envoyer vos résumés avant le vendredi 30 novembre 2018.

Nous vous remercions pour vos contributions et votre participation à ce colloque.

 

Our Monsters: The Serial Killer in Post-9/11 Television

Call for Paper Proposals

 Since 9/11 there has been a significant increase in narratives dealing with serial killers in popular television. During this period, the Middle-Eastern terrorist replaced the serial killer as the archetypal boogeyman and resulted in the serial killer becoming a nostalgic figure of the supposed moral and political simplicity in the United States before 9/11. Though serial killers were represented as Other due to their sinister and murderous actions, they became paradoxically familiar monsters post-9/11, with the racially and culturally different terrorist now taking up the position of ultimate evil Other in popular culture. Series about serial killers such as Showtime’s Dexter (2006-2013), NBC’s Hannibal (2013-2015), A&E’s Bates Motel (2013-2017), Fox’s The Following (2013-2015), BBC’s The Fall (2013-), and Netflix’s Mindhunter (2017-) have all received critical acclaim and garnered large fanbases. What is it about serial killers that has attracted audiences to incite such a boom in these types of narratives? Clearly the serial format of television programming is uniquely suited for the presentation of these characters’ modus operandi, but why has television proven to be such a fertile ground for serial killer narratives in post-9/11 popular culture? Week after week, television audiences invite serial killers into their homes where these characters have not only become accepted, but even adored as protagonists in popular programs. Audience responses to serial killers have gone from being horrified and repulsed by these characters to having not only sympathy for them, but empathy. Serial killer characters were once deemed monsters who were evil, void of all that makes one human. Now, the narrative content and discourse of this kind of television programming has resulted in viewers developing a strong admiration for serial killer characters, which has seemed to produce a morbid identification with them. This potentially indicates a growing understanding of serial killers as in some unsettling way uniquely human in their psychological condition and philosophical worldview rather than simply unredeemingly inhuman. What is it about serial killers that make these characters deeply enlightening representations of the human condition that, although horrifically deviant, reflect complex elements of the human psyche? What caused this strange post-9/11 identification to occur, if indeed viewers are genuinely identifying with these characters? Furthermore, narratives dealing with serial killers have been conspicuously interested in themes related to existential philosophy and human psychology. Why are serial killers so intellectually fascinating to audiences? We invite scholars from any field who are interested in this subject to submit paper proposals of no longer than 500 words on topics related to serial killers on television in post-9/11 popular culture.

Possible topics and case studies include but are not limited to:

  • Series such as Dexter, Hannibal, Bates Motel, The Following, The Fall, Mindhunter, True Detective, The Killing, Aquarius, Criminal Minds, etc.
  • Documentaries and news coverage of serial killers in popular media
  • The popularity of serial killer narratives and how they relate to the cultural psyche in post-9/11 United States
  • The reasons for television’s suitability for serial killer characters during this boom
  • The impact of 9/11 on the audience’s need for such narratives about “familiar monsters”
  • The unique themes each serial killer narrative deals with. For example: Dexter (selfhood, family, masculinity), Hannibal (psychology, friendship, class), Bates Motel (mother-son relationship), The Fall (misogyny, feminism), True Detective (philosophy, religion), etc.
  • The commonalities to be found between different serial killer narratives during this period

 Please submit your paper proposal by November 15, 2018. Notification of acceptance will be sent by early January 2019 for a submission of a full paper of no more than 8,000 words by March 31, 2019. Submit documents to cdaigle@brocku.ca and brett.robinson@brocku.ca.

 

HoMER 2019 CfP Conference 2019, Nassau, The Bahamas, 26–28 June 2019

Hosted by The University of the Bahamas

CfP – Anchoring New Cinema History

Deadline for proposals, 15 November 2018
Letters of acceptance/rejection, 1 December 2018

The HoMER Network invites submissions for general paper entries, as well as a designated roundtable, panels, and workshops to be presented at the 2019 conference, which will take place at The University of the Bahamas from 26-28 June 2019.

New Cinema History, as an approach focusing “on the circulation and consumption of film” and examining “cinema as a site of social and cultural exchange” (Richard Maltby, 2011) has turned out to be very productive. It brought together both young and veteran scholars who believed that it was more fruitful writing film history with an eye for the social, economic and geographical aspects of cinema cultures, than merely an art history of the moving image or a critical reading of films. At the last HoMER@NECS conference in Amsterdam, members of the panel ‘New Cinema History: What’s Next?’ called for more theoretical and methodological grounding of our research. In the Homer 2019 conference Anchoring New Cinema History we would like to start answering that call. Presentations are welcome to critically explore the conference theme of Anchoring New Cinema History through the interdisciplinary lens of academic Film and Cinema Studies, Social Geography, Memory Studies and Economic History, etc.

Since its beginning the HoMER network has been instrumental in bringing together researchers working in the New Cinema History tradition, not just as a platform to present their work but also as place to meet colleagues to collaborate with. In the upcoming HoMER conference we propose to stress the network function of HoMER, both in welcoming young scholars as in creating interdisciplinary opportunities for collaborative work. The 2019 HoMER conference aims to exploit the established strong connections of people, and places the HoMER network can offer, in order to invite new and old members to engage in new collaborative research. This will be articulated in two main streams:

1. SPACES and PLACES – Connections and comparisons (either pre-constituted panels or individual papers)

The SPACES andPLACES Stream of the conference will aim to investigate the geography of cinema. This can be expressed both through the exploration of familiar and new spaces of cinemas, such as cinema theatres but also pop-up cinemas, community cinemas, and virtual cinemas. It will also include both well researched geographical areas and new territories and locations, such as South and Central America, Africa, Central Asia and South-East Asia. These new uncharted territories will be of great value on their own to reconnoitre the position of different countries in relation to cinema practises. They will also provide connections and comparisons with existing body of work on Europe, America, Canada and Australia.

By looking at this extended geography of cinema, possible topics and questions to explore might include (but are certainly not limited to):

  1. Environment, space, and place
  2. Cinemas and urban transformations, transition and change
  3. Cinema practices, policies and external bodies (local authorities, communities, self regulating associations)
  4. Memories and topographical references

2. THEORIES AND METHODOLOGIES – (special discussion sessions and presentations)

The THEORIES AND METHODOLOGIES Stream of the HoMER conference will provide an opportunity to reflect on and discuss some key areas of research within the HoMER network, with the aim of suggesting new directions in the field and developing new theoretical and methodological approaches, or reintroducing and adapting existing approaches that proved to be useful. These key areas can be suggested by members when submitting a paper proposal (or just by emailing the HoMER Co-ordinators). A dedicated session of this stream will include:

Small group discussion (1 hour) on the key areas, followed by presentations (10 min) to the HoMER participants and a further discussion (20 min). Possible key areas to explore might include (but are certainly not limited to): Cinema and Memory; the Economics and business of film; Programming and film popularity; Paratextual analysis; the Digital challenge; Distribution and spreading of films; Impact of research to non-academic audiences.

Moreover, in a speed dating session, junior researchers will be given the opportunity to team up with experts to discuss their individual methodological and theoretical concerns. If you are interested in this (both juniors and experts), please email the Co-ordinators.

Submissions

Please send abstracts of 250 to 300 words, plus 3 or 4 bibliographic entries, and a 50-word academic biography to conference co-ordinators, Clara Pafort-Overduin (c.pafort-overduin@uu.nl) and Daniela Treveri Gennari (dtreveri-gennari@brookes.ac.uk).

Updated Information will be posted at: http://homernetwork.org/

 

Call for papers for a special issue of the journal Arts titled “Memory, Affect, and Cinema.”
Guest editor: Dr. Russell J. A. Kilbourn

http://www.mdpi.com/journal/arts/special_issues/memory_affect_cinema.

Dear Colleagues,

The intersection of memory and cinema is a robust field of research, but the confluence of memory and affect remains underexplored. While memory and emotion are deeply interconnected, affect and emotion are distinct. Affect theory needs to take account of memory studies, particularly in relation to aesthetics and ethics, on the one hand, and to ideology and politics, on the other.

More inclusive and more ‘primal’ than emotion, affect in the context of memory manifests on a spectrum with nostalgia at one end and trauma at the other. In-between lies everything from melancholic detachment to the most ethical empathy. Today’s fascination with affect short-circuits critical reflection, reducing Deleuze’s complex treatment (in Cinema 1) of affect in the movement-image. Film-memory scholars need to think critically about the opposing of thought and emotion, image and body, signification or mediation, (or representation) and affective pre-cognition. For Ruth Leys, affect theory in its post-Deleuzean form is characterized by its resistance to representation and the privileging of consciousness. Theorists of affect are interested primarily in the traumatic-affective effects of media on the viewer. According to Cathy Caruth, where trauma negates the possibility of conscious representation (and therefore memory), the body registers the unspeakable experience affectively, in a manner that precedes representation. Ironically, this somatic registration, manifesting involuntarily in flashbacks and dreams, when translated cinematically demands visual representation. (Indeed, there would be no psychological ‘flashback’ were it not for cinema’s photographic origins.) As in trauma studies, the representability of traumatic experience is a key question for film studies.

At the other end of the memory/affect/cinema spectrum is nostalgia. Apart from spectator nostalgia for specific historical periods or styles, discussions of the intersection of film and memory have generally focused on commercial genre films rather than art cinema. Nostalgia continues to be invoked in a pejorative sense, influencing popular thinking about memory. ‘Memory is not commonly imagined as a site of possibility for progressive politics’, writes Alison Landsberg. ‘More often, memory, particularly in the form of nostalgia, is condemned for its solipsistic nature, for its tendency to draw people into the past instead of the present’. Svetlana Boym distinguishes between ‘restorative’ and ‘reflective’ nostalgia, however, where the latter allows for a combination of critical irony and melancholic longing. Restorative nostalgia, however, is a constitutive feature of many contemporary popular cultural narratives. Rather than an historical consciousness that might allow for individually and socially progressive political action, postmodern pop culture gives us collective memory as often as not packaged in nostalgic terms. Among the first to connect the contemporary fascination with memory and archives with affect and emotionality, Pam Cook re-values nostalgia in relation to both objective ‘History’ and subjective memory, substituting for Jameson’s ‘nostalgia film’ the transnational ‘nostalgic memory film’. This allows us to see that such films can have a usefully heuristic—and therefore potentially emancipatory—if not a properly political impact upon the spectator.

This guest-edited Special Issue aims to provide a cutting-edge perspective on contemporary scholarship examining the intersection of memory and affect in cinema, in terms of either the nostalgic or the traumatic end of the spectrum—or, most productively, from both at once. We invite 3000–5000 word scholarly articles on the theme by 15 August 2018. Potential topic areas could include:

  • nostalgia in/and film
  • trauma in/and film
  • reflective nostalgia as ‘antidote’ to traumatic memory
  • the memory-productive vs. the memory-reflexive film (Astrid Erll)
  • restorative vs. reflective nostalgia (Boym)
  • from Holocaust studies to trauma theory (Caruth)
  • from trauma theory to affect (Leys)
  • from ‘nostalgia film’ to the transnational ‘nostalgic memory film’ (Cook)
  • nostalgia in/and the ‘heritage film’ (Andrew Higson)
  • melodrama, memory, affect
  • Deleuze, the affection image, melodrama
  • the affection image and classical film style
  • the affection image and art cinema?
  • post-cinematic affect and memory (Shaviro)
  • post-affective cinema and memory
  • trauma and the possibility of (visual) representation
  • the ‘universalization of trauma’ and postmemorial ‘affiliative’ affect in the film viewer-as-victim (Richard Crownshaw)
  • second-order trauma (as negative correlative of postmemory)
  • the psychology and/or neuroscience of memory and cinematic viewing.

Dr. Russell J. A. Kilbourn
Guest Editor