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FILM-PHILOSOPHY CONFERENCE

6-8 July 2020
At OCAD University, Toronto
Co-Hosted by OCAD University, Ryerson University, and York University
KEYNOTES:
Kara Keeling (University of Chicago) Brian Price (University of Toronto) two more TBA

We invite proposals for presentations on any subject related to film, media and philosophy for the Film-Philosophy Conference 2020 to be held at OCAD University and the TIFF-Bell Lightbox in Toronto. There is no overall theme or specialized topics for the conference. We will instead use a “track” system that provides a number of broad headings to which a presenter may wish to attach their submission. There is, of course, an Open track if you feel that your paper does not fit within any of the other tracks. The tracks for 2020 are (in alphabetic order):

• Affect and Emotion
• Aesthetics
• The Animal and the Non-Human
• Canadian Cinema
• Documentary and Essay Films
• Ecology
• Emergent Film-Philosophies
• Ethics
• Existentialism
• Expanded Cinema, Film Installation,
Video Art
• Film and Critical Race Theory
• Film-Philosophy Canon
• Film-Philosophy Pedagogy
• Gender and Feminism
• Indigeneity and Fourth Cinema
• New Materialism and Object-Oriented
Ontology
• New Media and Technologies
• Open
• Phenomenology
• Political Film-Philosophy
• Queer approaches to Film-Philosophy • Realism
• Religion, Secularism, Postsecularism • Workshops

We are only accepting individual proposals for presentations of 20 minutes.
We do not accept group proposals, except for Workshops. We are open to workshops that have alternative and innovative formats that provoke discussion and debate. If you have any ideas for a workshop – in format or content – please contact one of the conference directors before submitting an official abstract via the website.

We invite 300-word abstract proposals to be submitted by 31 January 2020. All abstracts will be considered by at least two members of the conference committee and decisions will be announced in March 2020.

Click here to submit a proposal for the 2020 Film-Philosophy Conference.

Please direct all enquiries regarding the conference to the conference e- mail: FPToronto2020@gmail.com

Individual conference organizers may be reached at:
John Caruana (jcaruana@ryerson.ca) Mark Cauchi (mcauchi@yorku.ca) Selmin Kara (selminkara@gmail.com)

 

From Annihilation to High Life:

Feminist Posthumanism and Postfeminist Humanism in

Contemporary Science Fiction Film

 

Joint panel of the Posthumanism Research Network and FSAC

Annual Meeting of the Film Studies Association of Canada(FSAC), June 02-04, 2020, University of Western Ontario, London (ON)

Organizers: Julia Empey (WLU) and Russell Kilbourn (WLU)

 

Deadline for submission of abstracts: January 06, 2020

 

 

In 2018 two films were released—Claire Denis’ High Life and Alex Garland’s Annihilation—representing two different poles of contemporary SF film narrative, and two different explorations of specific posthumanist (as well as transhumanist) themes. The two films are similar to the extent that they challenge the Enlightenment Humanist narrative that has dominated Western thought for the last four centuries. Annihilation and High Life can be conceived as two ends of a spectrum of contemporary SF cinema intimately invested in the debates around the posthuman and the critical posthumanities within a feminist critical-theoretical context. The decentring of the human at the core of posthumanist thought has its corollary—indeed, its typological anticipation—in feminism’s de-centring of ‘man.’ That neither of these transformations has entirely succeeded is a problem that informs the story in each of these films, albeit from entirely different perspectives, with a radically different audiovisual language in each case.

In Rosi Braidotti’s (2019) terms, we are now living “the posthuman predicament” resulting from the convergence of the ongoing critique of a Eurocentric Humanist philosophical legacy and the anthropocentric habits of representation it supports. According to Cecilia Åsberg (2018), critical posthumanism is in an important sense exemplified in feminist theory, “long critiquing the centrality of the figure of Man for its gender chauvinism.” Arguably, the (dis-)embodied female could be the ultimate posthuman subject. This panel seeks to place posthumanism and feminism in direct conversation as mediated through contemporary science fiction films. Both posthumanism and feminism aim to counter or dismantle a masculinist, patriarchist Enlightenment Humanism, and SF cinema has been putting these seemingly disparate schools of thought into dialogue for some time now. Where typically the mention of SF in the posthumanist context brings a whole set of (often clichéd) transhumanist tropes to mind—the cyborg, technologically augmented bodies, AI subjectivities, etc.—we encourage instead the submission of papers that either: (a) prioritize analyses of specific examples of contemporary SF cinema that engage in meaningful ways with the burgeoning field of critical posthumanism; or (b) utilize such films as case studies in the interrogation of posthumanist and feminist as well as humanistic ideas. In either case, papers grounded in formal film analysis are strongly encouraged.

 

 

Possible topics and films include, but are not limited to:

  • Feminist alterities
  • Posthuman ecologies
  • Posthuman subjectivities
  • Gender before and behind the camera in SF film
  • Futurism (both Italian and its newer incarnations) 
  • New materialism
  • Gendered cyborgs
  • Posthuman femininity/masculinity
  • Scarlett Johansson
  • Natalie Portman
  • Arrival (2016, Denis Villeneuve)
  • Blade Runner(1982, Ridley Scott)
  • Blade Runner 2049(2017, Denis Villeneuve)
  • Ex Machina(2014, Alex Garland)
  • Her(2013, Spike Jonze)
  • Lucy(2014, Luc Besson)
  • Metropolis(1928, Fritz Lang)
  • Under the Skin(2013, Jonathan Glazer)
  • Etc.

Authors are invited to submit a 500-word abstract for a paper of max. 20 minutes reading time as well as a 250-word biographical note. The deadline for submitting an abstract is Monday January 06, 2020.

Abstracts can be emailed to Julia Empey (empe3530@mylaurier.ca) and Russell Kilbourn (rkilbourn@wlu.ca).

Notification of acceptance will be sent by early February.

 

La version française ci-dessous

22nd Annual FSAC Graduate Colloquium
York University, Friday February 28 – Sunday March 1st, 2020
Call for papers: “Activity”

Keynote address by Dr. Brenda Longfellow, York University

Call for Papers: Activity

Cinema is an active agent: the mutual and reciprocal relationship between moving images and their spectators, the very act of making cinema, is a direct action. Packaged within this making is the action on the screen, the action of the technology capturing and then displaying the cinematic object, and the actions of the spectator. These activities extend well beyond screenings, into production, archiving, theorizing, and distributing; cinema is a collaborative, communal, multi-technological process of creation that spreads itself across vast networks of spectatorship, reception, distribution, imaginaries, and/or activisms. Such cases are woven into the medium’s history: from early Soviet montage articulating class struggle, to the Brechtian cinemas of the late French New Wave, to second wave feminist consciousness raising, and to contemporary practises in interactive documentary and new media, cinema has routinely been considered and used in service of a political modality. In 2020, cinema’s activities are global, streaming over the internet, and able to represent and shape the great forces of our current moment, including, but not limited to, climate catastrophe, mass migration, global civil war, economies of precarious labour, and the ongoing project of settler colonialism. These forces manifest simultaneously as hyper-local, ingrained in the communities their making emerges from, sites where both positive and negative consequences are most intimately felt.

The 22nd Annual FSAC Graduate Colloquium at York University coincides with the Cinema and Media Arts Department’s 50th anniversary. This department was built on a foundation of political praxis, in response to and continuation of this history of a cinema which is inherently political and active. It was in this spirit that in 1985 a collective of York University film professors—including Robin Wood, Andrew Britton, Scott Forsyth, among other notable scholars, critics, and filmmakers—founded CineAction, a self-described “magazine of radical film criticism and theory”. In her editorial contribution to CineAction’s final issue in 2016, co-founder Florence Jacobowitz conceives of the magazine’s approach to film criticism as a kind of political activity, recalling its founding “out of necessity, as a magazine that would publish politicized readings and where theory could be tested against critical practice (instead of simply imposed)”. Consequently, this year we ask for an engagement with the idea of activity and activism in film theory, history, and practise. How is cinema used as a tool of direct action? How does form foster political engagement?

Possible topics include, but are not limited to:
Medium specificity and activism
Cinema and direct action
New media(s)
Documentary
Worldbuilding and futurisms—imaginations of the world as otherwise
Queer and trans cinemas
Research creation
Public and participatory art practices—artists intervening in the public sphere
Counterpublic spheres
Community media histories
Activist film festivals
Archival interventions
Media and pedagogy
The Anthropocene

Interested students should submit an abstract of no more than 300-500 words through the following form by Friday, January 3rd: https://forms.gle/P8ZKqFtw58Kz1yZV8

***

22e Colloque annuel de l’ACÉC pour les étudiant-e-s des cycles supérieurs
Université York, Vendredi, 28 février – Dimanche, 1er mars 2020
Appel à conférence : « Activité »

Conférence liminaire : Prof. Brenda Longfellow, Université York

Appel à communication : Activité

Le cinéma est un agent actif : la relation mutuelle et réciproque entre les images en mouvement et leurs spectateurs, l’acte de faire du cinéma, est une action directe. Dans toute cette création se retrouve l’activité que l’on retrouve à l’écran, l’activité derrière la technologie de captation, ainsi que la monstration de l’objet cinématographique, en plus des activités spectatorielles. Ces activités se prolongent bien au-delà de l’écran, dans la production, l’archivage, la théorisation et la distribution ; le cinéma est collaboratif, communal, un procédé de création pluritechnologique qui s’étend jusqu’aux vastes réseaux spectatoriels, de réception, de distribution, de l’imagination, et/ou d’activisme. De tels exemples se tissent dans l’histoire de ce médium : des débuts du montage de l’avant-garde soviétique qui traitaient de la lutte des classes, des théories brechtiennes associées à la nouvelle vague française, de la deuxième vague féministe et de la sensibilisation, jusqu’aux pratiques contemporaines dans le documentaire interactif et des nouveaux médias, le cinéma a toujours été systématiquement considéré et utilisé au service d’une modalité politique. En 2020, les activités cinématographiques sont mondiales, diffusées en continu sur Internet, tout en ayant la possibilité de représenter et de façonner les grandes forces du moment y compris, mais sans s’y limiter, la catastrophe environnementale, l’immigration massive, la guerre civile mondiale, l’économie des emplois précaires, ainsi que les colonies de peuplement actuelles. Ces influences se manifestent simultanément d’un point de vue hyperlocal, enracinées dans les communautés desquelles elles émergent, dont les conséquences, qu’elles soient positives ou négatives, sont intimement liées.

Le 22e Colloque annuel de l’ACÉC pour les étudiants des cycles supérieurs à l’Université York coïncide avec le 50e anniversaire de son département de cinéma et d’arts médiatiques. Ce département a été créé sur des bases de la praxis politique, en réponse et en prolongement de cette histoire d’un cinéma fondamentalement politique et actif. C’était dans cet esprit qu’en 1985, un collectif de professeurs en cinéma de l’Université York incluant Robin Wood, Andrew Britton, Scott Forsyth, avec d’autres spécialistes, critiques et cinéastes, a fondé CineAction, un magazine décrit comme traitant de la critique et de la théorie cinématographique radical. Dans sa contribution éditoriale pour l’ultime numéro de CineAction en 2016, la cofondatrice Florence Jacobowitz mentionne que l’approche envers la critique cinématographique a été conçue comme une sorte d’activité politique, se remémorant ces fondements comme une nécessité en tant que magazine qui publierait des textes politisés où la théorie pourrait être mise à l’épreuve contre la pratique analytique (au lieu de simplement l’imposer). Nous demandons donc, par conséquent, cette année de faire appel à un engagement avec cette idée de l’activité et de l’activisme associée avec la théorie du cinéma, l’histoire et la pratique. Comment le cinéma est-il utilisé en tant qu’outil d’une action directe ? Comment entretenir la promotion d’un engagement politique ?

Les propositions d’article peuvent aborder les sujets suivants, sans s’y limiter :
Spécificité et militantisme du médium
Cinéma et action directe
Nouveau(x) média(s)
Documentaire
Construction d’univers et futurisme – imagination d’autres mondes
Cinéma gai et transgenre
Recherche-création
Pratiques artistiques publiques ou participatives – artistes intervenant dans la sphère publique
Sphères contre-publiques
Histoire des médias communautaires
Festivals de films activistes
Interventions archivistiques
Média et pédagogie
L’Anthropocène

Les étudiant-e-s intéressé-e-s sont prié-e-s de faire parvenir une proposition comprenant entre 300 et 500 mots en suivant les instructions suivantes d’ici le vendredi 3 janvier 2020 : https://forms.gle/P8ZKqFtw58Kz1yZV8

 

Call for Proposals

The 2020 Carleton University Film Studies Graduate Student Colloquium will be held on Friday, March 6 and Saturday, March 7, 2020, in Ottawa. The organizing committee is excited to announce a call for proposals from students across Canada and 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 program, located in the School for Studies in Art and Culture at Carleton University.

The colloquium’s keynote speaker is Susan Lord, a current professor in the Department of Film and Media at Queen’s University in Kingston, Ontario. She is interested in feminism, critical theory, and vulnerable media. Currently she is the Director of the Vulnerable Media Lab, and archival project that collects media from groups such as women and Indigenous peoples. Her Keynote Address will occur on the evening of March 6.

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 affiliation, 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:

carletonfilmgsc@gmail.com

The deadline for submissions is Monday, January 6, 2020.

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

Kind regards,

The 2020 Student Colloquium Organizing Committee

 

Source: Department of English, University of Saskatoon
Deadline: February 10, 2020

 

20/20 Vision: Speculating in Literature and Film in Canada is a three-day international conference to be held at the University of Saskatchewan in August 2020. The conference aims to gather together scholars, authors, and members of the public who are interested in speculative writing in Canada. Works of this genre have provocative implications that challenge conventional visions of reality by alluding to future possible worlds. Despite their focus on the future, speculative works comment on the present and the past. They ask readers to consider environmental, technological, and political events and developments in the world today, and the impacts these may have on the world of the future. Speculative writing has proliferated in past decades, used by authors to represent and report on important societal concerns, such as relations of class, gender, and race, as well as issues of environmental destruction and political conflict.

In the Canadian context, speculative writing has become a powerful tool to interrogate patriarchal-colonial enterprises. Marginalized groups, including women, Indigenous peoples, members of LGBTQ2S+ communities, and others whose lives are inflected by cultural difference, use works of speculation to resignify a past marked by oppression, attest their identities, and create spaces of resistance and social change. The conference will invite a keynote speaker who can provoke discussion in these areas and help to strengthen the presence of diverse voices and emerging literary communities.

Speculative worlds have achieved popularity through media representations such as movies, television/internet series, and video games, some of which are adaptations of textual works. Conference organizers expect that participants will present their research on speculation in these media/genres as well as in published writings.

There will be space at the conference for writers of speculative genres to present their work to the public, at an open event on Thursday evening, and we hope to organize a workshop on aspects of speculative writing Saturday morning, for practitioners of the genre.

Following the conference, there will be a call for contributors to submit papers that expand on or respond to conference presentations and discussions, for publication in an essay collection. Featured in that collection will be an interview with the conference’s keynote practitioner of speculative writing. The collection will highlight the material accomplishment of the conference goals, which are to expand discussion and visibility of this literary genre, so significant for the contemporary era in which we live.

The conference is organized by members of the Department of English at the University of Saskatchewan. The organizing committee includes faculty and graduate researchers of speculative fiction and practitioners based in our MFA in Writing graduate program. For more information see https://artsandscience.usask.ca/english/.

 

Call for Proposals

20/20 Vision: Speculating in Literature and Film in Canada

AUGUST 20-22, 2020
UNIVERSITY OF SASKATCHEWAN, SASKATOON, CANADA

Speculative fiction, film, and television series are fast-growing genres, in part because they comment on the present. These genres ask readers to consider environmental, technological, and political events and developments in the world today, and the impacts these may have on the world of the future. They are often used by their creators to represent, report, and speculate on key societal issues, such as relations of class, gender, and race, as well as issues of environmental destruction and political conflict. In Canada, speculative writing has become a tool to interrogate colonial enterprises and open up spaces for marginalized groups, including women, Indigenous peoples, members of LGBTQ2S+ communities, and others whose lives are inflected by cultural difference, to assert their identities and create avenues for resistance. A variety of speculative worlds have achieved popularity through films and television/internet series, some of which are literary adaptations. 20/20 Vision: Speculating in Literature and Film in Canada invites researchers and creators in the year 2020 to present their own speculations about the futures and/or societies that are presented in various texts produced in or relating to Canada. What do speculative texts tell us? Which visions of “Canada” do we find in speculative texts? How do these visions reflect our own perceptions of the world? Does this kind of literary imagination help us achieve social change? 

Proposals for both papers and panels are invited. These can take a range of approaches related to speculative writing in Canada, including: 

  • Dystopian worlds
  • Utopian and anti-utopian worlds
  • Apocalyptic scenarios
  • Post-apocalyptic futures
  • Feminist speculations
  • Indigenous speculations
  • Decolonizing speculations
  • Speculative writing for children
  • Speculative poetry
  • Climate change and/or technological developments
  • Animals in speculative writing
  • Speculations on language and power
  • Disability in speculative writing
  • Gender and sexuality in speculative writing
  • Speculation and interdisciplinarity
  • Speculations on the screen: movies, documentaries, television and internet series, video games
  • Speculative adaptations
  • Speculative creation, including the writing of speculative fiction* 

*The conference will also host sessions in which creators of speculative genres will be invited to present their works. Authors and artists are invited to propose 20-minute creative pieces; these may involve readings from written works, visual instalments, performance pieces, or film presentations. 

Paper proposals should include the following:

  1. Your name, contact information (including email address and telephone number), and institutional affiliation.
  2. The title of your proposed 20-minute paper or presentation, AND a proposal of 250-300 words, identifying the works that will be your focus of your paper and outlining the argument to be presented OR describing your creative piece and the method of presentation or performance.
  3. A 50-word biographical statement. 

Panel proposals should include the above information for all participants. 

Please e-mail your proposal in a Word document to conference organizers Wendy Roy and Mabiana Camargo of the University of Saskatchewan at 2020vision@usask.ca by February 10, 2020

Conference acceptances will be emailed in April, 2020. For further information, please visit the website or send an email to 2020vision@usask.ca

After the conference, there will be an open call for expanded papers to be published in a collection of essays on speculations in literature and on screen in Canada.

 

Conference Program

We are pleased to announce that the invited keynote speaker for 20/20 Vision: Speculating in Literature and Film in Canada is Cherie Dimaline. She lives in Ontario and is a member of the Georgian Bay Métis Community. Her fifth novel, Empire of Wild, will be published soon, and she is currently working on the television adaptation of her 2017 bestselling novel The Marrow Thieves.​

The Marrow Thieves focuses on a young Indigenous protagonist and his created “family” in a near-future dystopian Canada. The novel won a Governor General’s Award (2017), Kirkus Prize for Young Readers (2017), Sunburst Award for Excellence in Canadian Literature of the Fantastic (2018), Burt Award for First Nations, Inuit and Métis Young Adult Literature (2018), and Amy Mathers Teen Book Award (2018). The Marrow Thieves was also a finalist for the White Pine Award and Trillium Book Award in 2018; it was shortlisted for CBC’s Canada Reads contest and appeared as a Book of the Year in lists by publications such as the Globe and Mail newspaper and the School Library Journal.

Further details about the conference program will be posted in spring 2020.

 

Fellini, Italy, CinemaInternational Conference on the Centenary of Federico Fellini’s Birth (1920-2020)

In the centenary of his birth, the Department of Italian Studies and the Cinema Studies Institute at the University of Toronto,and the Dipartimento di Storia, Antropologia, Religioni, Arte,Spettacolo of Sapienza Università di Roma La Sapienza are delighted to announce a joint conference on the work and legacy of late Italian film master Federico Fellini (1920-2020).

A number of volumes of recent publication have returned to Fellini’s cinema and assessed it from a variety of novel vantage points, testing its resilience against the latest contributions in critical theory and making a compelling case for the need of its reevaluation. For instance, in his Political Fellini: Journey to the End of Italy(Berghahn 2018), Andrea Minuz argues that, contrary to popular belief, the film auteur was not an aloof dreamer, but an artist who was profoundly immersed in his cultural milieu, pondering the questions of his time and responding to it with an honesty that was uncommon, often disarming, and certainly problematic. If Minuz focuses on secular institutions, Alessandro Carrera turns to religion in his Fellini’s Eternal Rome: Paganism and Christianity in the Films of Federico Fellini (Bloomsbury 2018), exploring the uneasy melange of paganism and Christianity in the works of the director, underscoring how life-affirming Franciscanism and repressive Counter-Reformation dogmatism co-exist and clash throughout Fellini’s catalogue. Ottavio Ciro Zanetti’s Tre passi nel genio: Fellini tra fumetto, circo e varietà(Marsilio 2018) focuses on Fellini’s interest in cinema’s sister visual and performing popular arts, of which the director was a both an early practitioner and a lifelong admirer. Moreover, books devoted Fellini’s films still appear in print with regular cadence, from Roberto Chiesi’s monograph 8 ½ di Federico Fellini(Gremese 2018) to Rosita Copioli and Gérard Morin’s edited collection Il Casanova di Fellini: ieri e oggi 1976-2016(Gangemi 2018). As this cursory look at the small sample of 2018 publications illustrates, the academic community is still actively engaged with Fellini’s work, continuing to produce a plethora of interventions aimed at refining at updating the already vast bibliography on the Italian master.

 

This joint bilingual conference seeks papers that (re)assess Fellini’s career and the legacy of his work, examining the complex network of (mediated) significations produced by his artistic collaborations and his personal relationships. Our ultimate goal is to evaluate the present state of Fellininan studies and perhaps anticipate their future developments on both sides of the Atlantic and across scholarly traditions. This event is articulated in two sessions: the first one, hosted by the Università di RomaLa Sapienza, will convene in the Spring of 2020 (25-26 May); the second, at the University of Toronto, will resume the conversation in the Fall of the same year (16-17 October). Confirmed keynote speakers: in Rome, for the Rome session are Stephen Gundle (University of Warwick); Frank Burke (Queen’s University, Emeritus) and Atom Egoyan (Filmmaker) will deliver the address in Toronto. The resulting proceedings will be published by Franco Cesati Editore as part of the Goggio Chair series in Italian Studies.

 

Various avenues of inquiry are welcome, including but not limited to:

 

  • Critical Reception, Film Theory, Film Analysis, Production Studies
  • Case Studies in Distribution and Circulation
  • Interdisciplinarity (Music, Visual Arts, Multi-and-transmedia projects)
  • Screenwriting, Literature, Language
  • History, Fascism, Italian Modernity
  • Architecture and Urbanism
  • Biopolitics and Ecocinema
  • Gender and Sexuality

 

Please submit proposals (250 words max) accompanied by a short bio (150 words max) to FedericoFellini2020@gmail.com by 1 September 2019, indicating for which session (Rome, Toronto, or both) you wish to be considered. Proposals should include a title and up to five keywords. For information about panel topics, assistance with proposals, and other questions about the conference program, please contact the organizing committee. We welcome the presentation or performance of creative works or artifacts. Proposals will be evaluated and selected based on their fit and scientific promise. Participants will be notified by 1 November 2019.

 

Organizing Committee

Andrea Minuz, Università di Roma La Sapienza

Emiliano Morreale, Università di Roma La Sapienza

Jessica Whitehead, University of Toronto

Alberto Zambenedetti, University of Toronto

 

Scientific Committee

Marco Bertozzi (IUAV – Venezia)

Frank Burke (Queen’s University – Emeritus)

Angela Dalle Vacche (Georgia Institute of Technology)

Manuela Gieri (Università della Basilicata)

Stephen Gundle (University of Warwick)

Gaetano Lettieri (Università di Roma La Sapienza)

Emiliano Morreale (Università di Roma La Sapienza)

Federico Pacchioni (Chapman University)

Veronica Pravadelli (Università Roma Tre)

Jaqueline Reich (Fordham University)

Luca Somigli (University of Toronto)

Vito Zagarrio (Università Roma Tre)

 


 

CFP: Italiano

 

Fellini, l’Italia, il cinema.

Convegno Internazionale Per Il Centenario della Nascita di Federico Fellini

(1920-2020)

 

In occasione del centenario della nascita di Federico Fellini (1920-2020), il Department of Italian Studies, il Cinema Studies Institute della University of Toronto, e il Dipartimento di Storia, Antropologia, Religioni, Arte, Spettacolo dell’Università di Roma La Sapienza sono lieti di annunciare un convegno congiunto per invitare gli studiosi a riflettere sull’eredità, le connessioni interdisciplinari e le nuove prospettive di ricerca e interpretazione del cinema di Fellini.

 

Vari studi di recente pubblicazione hanno riesaminato il cinema di Fellini da molteplici punti di vista, alla luce delle teorie e delle prospettive critiche più recenti, indicando in vari modi la necessità di una profonda rilettura di quest’opera. Ad esempio, in Viaggio al termine dell’Italia. Fellini politico(Rubbettino, 2012), Andrea Minuz sostiene che, contrariamente a quanto si è sempre creduto, Fellini non fosse solo un “sognatore distratto” e un “visionario”, ma un artista profondamente immerso nel suo milieu culturale, attento alle questioni culturali e anche politiche dell’Italia in cui è vissuto, alle quali rispondeva con un’onestà a volte disarmante ma certamente problematica. Se Minuz si concentra sulle istituzioni laiche e sul rapporto con la società italiana e la politica, Alessandro Carrera mette in luce invece la complessità della dimensione religiosa: il suo studio, Fellini’s Eternal Rome: Paganism and Christianity in the Films of Federico Fellini (Bloomsbury, 2018), esplora lo scomodo melange di paganesimo e cristianità nell’opera del regista, sottolineando come coesistano in Fellini la vitalità del francescanesimo e il dogmatismo della controriforma. Tre passi nel genio: Fellini tra fumetto, circo e varietà (Marsilio 2018) di Ottavio Ciro Zanetti è invece dedicato all’interesse di Fellini per le arti figurative e performative, in cui il regista si è cimentato all’inizio della sua carriera e di cui, com’è noto, è sempre stato un grande ammiratore. D’altro canto, volumi sul cinema di Fellini continuano a uscire con regolare cadenza, dalla monografia di Roberto Chiesi 8 ½ di Federico Fellini(Gremese 2018) alla curatela di Rosita Copioli e Gérard Morin intitolata Il Casanova di Fellini: ieri e oggi 1976-2016 (Gangemi 2018). La comunità accademica continua pertanto a interessarsi all’opera di Fellini, producendosi in una varietà di interventi che perfezionano e aggiornano la vasta bibliografia già esistente dedicata al maestro.

 

  Questo convegno congiunto (e bilingue) intende quindi dare spazio a proposte costruire nell’orizzonte di una rilettura del cinema di Fellini, esaminandone il sistema di rimandi e di significazioni (mediate) prodotte sia dalle collaborazioni artistiche che dalle relazioni personali e culturali. Gli incontri si propongono così da un lato di fare il punto sullo stato attuale degli studi felliniani, e dall’altro di immaginare sviluppi futuri all’interno delle tradizioni accademiche europee e nordamericane. Gli incontri si svolgeranno in due sessioni: l’Università di Roma La Sapienza ospiterà la prima parte nella primavera del 2020 (25-26 maggio), mentre la University of Toronto chiuderà i lavori nell’autunno dello stesso anno (16-17 ottobre). I keynote che hanno già confermato la loro presenza sono: Stephen Gundle (University of Warwick) a Roma; Frank Burke (Queen’s University, Emeritus) e il regista Atom Egoyan (filmmaker) a Toronto. Gli atti di entrambe le sessioni verranno raccolti in un volume pubblicato da Franco Cesati Editore nella collana Goggio Chair in Italian Studies.

 

Si invitano contributi di ampio respiro tematico, fra cui si segnalano i seguenti possibili approcci:

  • Teoria del cinema e analisi del film
  • Studi sulla produzione, la ricezione e la circolazione internazionale dell’opera di Fellini a partire da singoli case study
  • Interdisciplinarità (musica, arti figurative, progetti multi-e-trans-mediali)
  • Sceneggiatura, letteratura, rapporti tra Fellini e gli scrittori
  • Storia italiana, Fascismo, modernità e modernizzazione
  • Architettura e urbanistica
  • Biopolitica e ecocinema
  • Studi di genere e sessualità

 

Gli interessati a presentare una relazione dovranno inviare un abstract (250 parole max) corredato da una breve nota biografica, (150 parole max) all’indirizzo FedericoFellini2020@gmail.comentro il primo settembre 2019, indicando chiaramente a quale sessione (Roma, Toronto, o entrambi) desiderano partecipate. Le proposte devono includere un titolo e fino a cinque parole chiave. Per informazioni su possibili argomenti, assistenza con le proposte, e altre domande riguardo al programma del convegno, si prega di contattare gli organizzatori. Si sollecitano inoltre proposte di lavori creativi e artefatti. La selezione delle proposte si effettuerà in base alla qualità scientifica e alla pertinenza. L’esito sarà comunicato entro il primo novembre 2019.

 

Comitato Organizzativo

Andrea Minuz, Università di Roma La Sapienza

Emiliano Morreale, Università di Roma La Sapienza

Jessica Whitehead, University of Toronto

Alberto Zambenedetti, University of Toronto

 

Comitato Scientifico

Marco Bertozzi (IUAV – Venezia)

Frank Burke (Queen’s University – Emeritus)

Angela Dalle Vacche (Georgia Institute of Technology)

Manuela Gieri (Università della Basilicata)

Stephen Gundle (University of Warwick)

Gaetano Lettieri (Università di Roma La Sapienza)

Emiliano Morreale (Università di Roma La Sapienza)

Federico Pacchioni (Chapman University)

Veronica Pravadelli (Università Roma Tre)

Jaqueline Reich (Fordham University)

Luca Somigli (University of Toronto)

Vito Zagarrio (Università Roma Tre)

 

 

 

Call For Proposals: The (re)Making of a Movement: New Perspectives on the 1960s Counterculture

Abstract Submission: https://www.humber.ca/liberalarts-ifoa/call-proposals
Contact: daniel.hambly@humber.ca, jennifer.marotta@humber.ca
Submission Deadline: May 30, 2019
Conference Date: October 26-27, 2019
Location: Harbourfront Centre, 235 Queens’ Quay West, Toronto, Canada.
Host: Faculty of Liberal Arts and Sciences and Innovative Learning (FLA), Humber
College and the Toronto International Festival of Authors (TIFA)

Keynote Speaker:

Angela Davis
Activist, Author, Educator, and Scholar
 

It’s been 50 years since 400,000 people descended on Bethel, New York, for an event that became one of the most important cultural touchstones for a generation: Woodstock. As participants in an amorphous social movement the Woodstock Generation came to be defined in opposition to previous generations. Despite growing up in an era of incredible privilege, widespread government social programs, post-war housing and education, and increasing affluence, they rejected, or attempted to redefine traditional values. In theory, supporters of the counterculture rejected individualism, competition, and capitalism. Rejection of monogamy and the traditional nuclear family gave way to a communal ideal—disavowing individualism and private property in favour of shared food, work, sex. As historian Michael Doyle points out, the myth of Woodstock holds that “in a time of military conflict abroad, racial and ethnic strife at home, when a deep social division known as the ‘generation gap’ separated parents from children, nearly half a million young people removed themselves from proximity to these conflicts and went ‘back to the garden’ to try to ‘set their souls free’.” As such, Woodstock carries a certain symbolic weight for participants in the 1960s and 1970s counterculture movement and for anyone who looks back on the past fifty years with a critical eye.

The counterculture movement encompassed: the Civil Rights Movement, Free Speech, the New Left, Anti-war, Anti-nuclear, Feminism, Free school movement, Drug Culture, Environmentalism, Student Activism, Producerism, Gay liberation, the Sexual Revolution, and the rise of Hippies to innovations in fashion, music, film, and literature. The American poet John Perry Barlow once said: “I started out as a teenage beatnik and then became a hippie and then became a cyberpunk. And now I’m still a member of the counterculture, but I don’t know what to call that.” How have the various movements within the counterculture evolved over the past 50 years? What did hippies become? Who was the Sexual Revolution scripted for? How did the Civil Rights movement evolve? How did a generation that “dropped out” re-engage? How was this fringe culture appropriated by marketers? How challenging was it to live an ideal especially in light of the Cold War and rise of Reaganism?

Our conference committee welcomes individual presentation proposals of 300 words, and panel proposals (3 people max) of 900 words, based on any of the above themes.

This will be the sixth annual interdisciplinary conference held by Humber College’s Faculty of Liberal Arts and Sciences and Innovative Learning (FLA) of Toronto in association with the Toronto International Festival of Authors (TIFA), one of the most celebrated literary festivals in the world. It is located at the Harbourfront Centre, one of downtown Toronto’s major cultural and artistic venues.

Submit your proposal online: https://www.humber.ca/liberalarts-ifoa/call-proposals

 

CFP: Digital Feminist Activisms: The Performances and Practices of Online Public Assemblies

Editors: Dr. Shana MacDonald (University of Waterloo), Dr. Milena Radzikowska (Mount Royal University), Dr. Michelle MacArthur (University of Windsor), Brianna I. Wiens (York University)

With the rise of what Jessalyn Keller and Maureen Ryan have called “emergent feminism,” we are witnessing a moment marked by the “sudden reappearance” of strident critiques of gendered inequalities within popular discourse (2018, 2). More often than not, emergent feminisms are amplified online through social media by popular feminism and celebrity endorsements (BanetWeiser 2018, McRobbie 2009), which can problematically promote neoliberal values of individual consumer practices and competitive self-improvement as a forms of empowerment. And yet, access to social media has produced important and critical forms of feminist politics. In Notes Towards a Theory of Performative Assembly, Judith Butler (2015) advances the importance of bodies assembling in space as a form of protest that performatively asserts both “the right to appear” and demands “a livable life” for those in positions of precarity. While feminist visibility in the broader public eye has produced important dialogues, this politics of assembly simultaneously begs the question: “What about those who prefer not to appear, who engage in their democratic activism in another way?” (Butler 2015, 55). There are many valid and powerful reasons as to why feminist activists may want, or be able, to not appear given the dangerous climate of online spaces, rife with the violent misogyny of trolling culture. These forms of publicness and erasure are equally important to consider within current considerations of emergent feminist practices online.

This book seeks to gather provocations, analyses, creative explorations, and/or cases studies of digital feminist practices from a wide range of disciplinary perspectives including, but not limited to, media studies, communication studies, critical and cultural studies, gender and sexuality studies, performance studies, digital humanities, feminist HCI, and feminist STS. The book frames digital feminisms as forms of public assembly that are performative and theatrical; that is, performative in that they can offer, “a process, a praxis, an episteme, a mode of transmission, an accomplishment, and a means of intervening in the world” (Diana Taylor 2003, 15), and theatrical in that they are events that may include characters, plot, the invocation of an audience, and the collective labour of multiple collaborators. In this way, digital feminist practices foster counterpublics––communities that enable “exchanges…distinct from authority” that “have a critical relation to power” (Michael Warner 2002, 56). This book seeks to consider how digital feminist activism uses conventions of assembly, performativity, theatricality, and design to counter the individualizing forces of postfeminist neoliberalism while foregrounding the types of systemic change so greatly needed, but often overlooked, in this climate.

List of possible topics:

  • Feminist hashtag activism; feminist, anti-racist, decolonial, LGBTQ+ hashtag movements
  • Closed virtual feminist communities and safe(r) spaces
  • Feminist and post-feminist forms of digital culture
  • Intersectional feminism online
  • LGBTQ+ digital cultures
  • Black, indigenous, and people of colour (BIPOC) digital cultures
  • Transnational digital feminism
  • Popular and celebrity feminism online
  • Feminist responses to online misogyny
  • Feminism and post-feminism on Instagram and/or Twitter
  • Feminist, queer, and BIPOC meme
  • Feminist, queer, and BIPOC design
  • Gamergate and implications of online misogyny in game culture
  • Methodological and/or theoretical approaches to feminist digital culture

Please submit a 250-350 word abstract, a brief author bio, and any questions to Brianna I. Wiens (bwiens@yorku.ca) by May 30th, 2019. Accepted submissions should be 6000-7000 words and will be due to the editors by November 1, 2019.

References

Banet-Weiser, Sarah. 2018. Empowered: Popular Feminism and Popular Misogyny. Duke University Press.

Butler, Judith. 2015. Notes Toward a Theory of Performative Assembly. Cambridge, Massachusetts. Harvard University Press.

Keller, Jessalynn and Maureen E. Ryan (eds). 2018. Emergent Feminisms: Complicating a Postfeminist Media Culture. Routledge.

McRobbie, Angela. 2008. The Aftermath of Feminism: Gender, Culture and Social Change. Sage.

Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.

Warner, Michael. 2002. “Publics and Counterpublics.” Public Culture 14(1): 49-90.

 
TWO DAYS OF CANADA 2019: CANADIAN SCREENS
BROCK UNIVERSITY, ST. CATHARINES, ON
NOVEMBER 7-9, 2019
CALL FOR PAPERS
 
 
Conference Theme
The annual Two Days of Canada conference program committee is seeking proposals for papers that explore the shifting terrain of contemporary Canadian screens. As a reprise of the engaging gathering of scholars and researchers at ‘Two Days of Canada 2006: Television in Canada,’ we hope to survey the current state of research on texts and contexts across the multiple sites and screens that have emerged from within and beyond the traditional terrain of television. Contemporary Canadian screens include television, film, web platforms, social media, digital games and cell phones, among others. How is content being produced, consumed, interpreted, circulated and regulated across these various screen spaces?  What are the historical, social, political, cultural and technological contexts shaping Canadian screen production and consumption?  How can traditional film and television theory be applied to emerging screen texts and practices? What research methodologies and critical approaches are best adapted to the study of contemporary Canadian screens? ‘Two Days of Canada 2019: Canadian Screens’ presents an exciting interdisciplinary venue for exploring these key questions. 
 
Conference Paper Topics
We seek individual paper or panel proposals from scholars and graduate students presenting current research on the topics listed below, or on other themes and topics relevant to the understanding of contemporary Canadian screens. 
  • Shifting practices of screen content production
  • Transnational and transmedia storytelling on Canadian screens
  • Production practices in screen industries
  • Evolving contexts of Canadian screen content policies 
  • Emerging digital content and gaming industries in Canada
  • Canadian fan cultures
  • Screen spaces: proliferation of screens in the built environment
  • Screen genres in Canada
  • Co-production and globalization of Canadian screen content

Submission Format and Deadlines
Please submit a 250-word abstract of your proposed paper, along with a 50-word biographical statement about yourself, to the conference organizers at canadianstudies@brocku.ca. Proposals for a panel of three to five presenters comprised of separate abstracts for each paper are also welcome and may be submitted by a single contact person on behalf of the panel members.  

  • Proposals due August 2nd, 2019
  • Decisions communicated by August 15, 2019
  • Conference registration open on EventBrite, August 15, 2019
  • Early bird registration closes September 30, 2019
  • Final registration closes November 7, 2019  
 
For More Information
  • Contact: canadianstudies@brocku.ca.
  • Conference Program Committee: Marian Bredin, Brian deRuiter, Anthony Kinik, Peter Lester, Sarah Matheson.
 

***la version française suit***

The Neutral is excited to announce the call for papers for issue #2 on the theme of  Period. We hope you will distribute this call to graduate students and interested faculty. Please see text below or attached PDF (French translation included). Please email submissions to theneutralcinemajournal@gmail.com by June 30, 2019.

 
The Neutral is a new, peer-reviewed media studies journal based out of the Cinema Studies Institute at the University of Toronto. The Neutral is committed to a diversity of disciplinary approaches and media objects of study. It is published online at: www.theneutraljournal.com
 
Call for Papers: PERIOD
The Neutral Journal
University of Toronto
Period.
A special issue on Environmental Media and Punctuation.
 
A period is a temporal marker: it designates both the span of a duration and the instant of an end. In physics, a period is the recurrent temporal loop of a wave’s frequency; in history, it represents events artificially bounded by dates for narrative purposes; in gynecology, it is the colloquial expression of menstruation; in grammar, it terminates the sentence. For geologists, a period stretches to the length of a hundred million years and is subdivided into epochs. Hypothetical geologists, working a hundred million years from now, will be able to identify our epoch, now labelled the Anthropocene, thanks to traces left by climate change, extinctions, and radioactive isotopes in the paper-thin sedimentary layer that will represent our era. That the Anthropocene projects geologists into the future, far past the end of the world it simultaneously predicts, demonstrates some of the paradoxical logic bound up in its anthropocentric periodization.
 
The end of the world is unevenly distributed, occurring at different times for different beings and things. For instance, the world has already ended for a species of Hawaiian tree snail, Achatinella apexfulva. The last individual of the species died in captivity at fourteen years of age on New Year’s Day, 2019. On this day both the snail and the species it constituted came to a point, full stop. The extinction of this tree snail can be attributed to the introduction of an invasive species by the invasive species par excellenceHomo sapiens. The end of the world for the tree snail is therefore a part of the anthropogenic extinction event—thought to be, as Elizabeth Kolbert suggests, only the sixth such moment in the history of life on planet Earth.
 
Humanity is not living through the simultaneous, universal doomsday predicted by so many eschatological enthusiasts, but rather the uneven punctuation of species, narratives, epochs, and even islands. Many indigenous and colonized people, for example, are already living in a post-apocalyptic world. Though the Anthropocene is useful for representing the planetary scale of human influence, its imagination of the end is consistent with many human predictions and depictions of a universal apocalypse: namely, it presents “the end” as globally homogenous and simultaneous. We know, however, that western capitalist corporations are overwhelmingly responsible for environmental effects suffered predominantly by marginalized people in the Global South and elsewhere. In Future Remains: A Cabinet of Curiosities for the Anthropocene Rob Nixon asks, “Doesn’t lumping together under the sign of the human the average twenty-first-century Liberian and the average twenty-first-century American as agents of planetary change risk concealing more than it reveals?” (2018, 8). Though the West imagines an evenly distributed “end,” how might we reconceive the heterogeneity of the period, of “ends”? What can the study of media reveal about our current environmental period?
 
In light of these questions, The Neutral seeks submissions that deal with mediated imaginations of periods—as temporal significations that mark everything from the end of a sentence to the span of geological epochs—with a view to complicating traditional ideas about apocalypse generally, and the Anthropocene specifically.
 
Some potential avenues of investigation include:
  • Our understandings of such broad concepts as “the earth,” “nature,” “climate,” and “media” have become increasingly partisan and increasingly fixed—climate science is truth and the self-made destruction of the human is total and imminent, or climate science is untruth created and promulgated for the purposes of anti-industrial, anti-capitalist fear mongering. How has media worked to industrially, formally, and narratively construct and dismantle the ahistorical, western and anthropocentric teleologies of both of these perspectives?
  • Can attempts to re-articulate the idea of the Anthropocene steer us past some of its pitfalls? Are there merits to some of the proposed alternatives to the Anthropocene—such as: Bernard Stiegler’s Neganthropocene, Donna Haraway’s Chthulucene, and the Capitalocene—or are these geo-logisms just obscene?
  • How might the temporal and non-anthropocentric critiques of media archaeology (Jussi Parikka’s Geology of Media, for example) be brought to bear on the strictures of the geological record? Have historically underserved media forms offered potential avenues of inquiry that suggest signposts around our mediated obsessions with destruction and its immanence?
  • Serialized storytelling presents complications for the rhetorical period and periods in media. Whether the problem of what constitutes an ending of or in a series, the issue of periods of quality or weakness in a series, or the turning of a period into an ellipsis through cliffhangers, easter eggs, or post-credits scenes, the expansion of serialized storytelling in moving image media challenges classical conceptions of narrative structure and cohesion. How might our conceptualizations of seriality and narrative structure need to adapt to this transformation of the period into other rhetorical forms of narrative closure (or lack thereof)?
  • The body as a bearer of time: Surely, any marker of time is bound to chronicle time incompletely. The menstrual period, as a marker of duration and cycle—a stretch of days with monthly returns—is only a fractional account of the indefinite time of ongoing bodily operations. How is time catalogued or uncatalogued in the corporeal realm? In what ways do geological periods become inscribed on the body?  How is the concept of the period, in both marking out and terminating stretches of time, experienced through bodies on screen? How does the body mediate periods for us?

*       *       *

Please submit completed essays:
  • Between 5,000-7,000 words in length, including endnotes and citations
  • As a word document in Chicago style
  • To theneutralcinemajournal@gmail.com with the subject line “Period Submission”
  • With name and affiliation included in body of email only
  • By June 30th, 2019

 

The Neutral est un nouveau périodique d’études médiatiques évalué par les pairs. Issue de l’Institut d’Études Cinématographiques de l’Université de Toronto, The Neutra se dédie à l’étude d’objets médiatiques divers selon une approche multidisciplinaire. Le journal est publié en ligne au: www.theneutraljournal.com

Pour sa seconde édition, The Neutral sollicite des contributions pour…

Period.
A special issue on Environmental Media and Punctuation

Un point est un marqueur temporel qui désigne à la fois l’étendue d’une durée et l’instant d’une fin. Tout comme la period en anglais, le point est à la fois une portion de l’espace ou du temps déterminée avec précision et considérée abstraitement pour localiser un phénomène, ainsi qu’une portion de l’espace dont toutes les dimensions linéaires sont nulles. Au début du 19 ième siècle, la « période » désigne aussi simultanément la durée plus ou moins longue d’une manifestation physiologique, la fameuse période menstruelle par exemple, ainsi que la durée géologique, ces grandes divisions chronologiques de l’histoire de la terre, ellesmêmes divisées en époques. Cette période géologique permet plus spécifiquement d’imaginer un cadre structurel dans lequel d’hypothétiques géologues, travaillant à un million d’années du présent, seront vraisemblablement en mesure d’identifier notre époque que nous nommons Anthropocène grâce aux traces laissées par les changements climatiques, les extinctions, ainsi que les isotopes radioactifs présents dans les minces couches sédimentaires. Que l’Anthropocène projette ainsi des géologues du futur bien après la fin du monde qu’elle prédit simultanément démontre quelques-unes des approches paradoxales de cette périodisation anthropocentrique.

La fin du monde se déploie de manière inégale, s’organisant déjà autour de diverses êtres et choses. Par exemple, le monde s’est déjà conclu pour l’espèce d’escargot hawaïen Achatinella apexfulva. Le dernier individu de l’espèce est mort en captivité à l’âge de 14 ans au jour de l’an 2019. À ce moment, cet individu et son espèce ont atteint un point mort, une fin. L’extinction de cette espèce d’escargot peut être attribuée à l’introduction d’une espèce envahissante par l’espèce envahissante par excellence. Homo sapiens. La fin du monde pour l’Achatinella apexfulva fait donc partie de l’événement d’extinction anthropogénique – seulement le sixième événement du genre sur la planète Terre selon Elizabeth Kolbert.

L’humanité ne vit pas le jugement dernier simultané et universel prédit par l’argument eschatologique. Elle fait plutôt face à une extinction ponctuelle et inégale des espèces, des narratives, des époques et même des îles. Par exemple, plusieurs peuples autochtones et colonisés vivent déjà dans un monde post-apocalyptique. Bien que l’Anthropocène soit un outil utile pour représenter la dimension planétaire de l’influence humaine, sa caractérisation de la fin participe d’une tendance humaine à prédire et caractériser une apocalypse universelle : on y présente une « fin » globalement homogène et simultanée. Nous savons par contre que les compagnies occidentales sont largement responsables des effets environnementaux dont souffrent majoritairement les populations marginalisées du Sud et d’ailleurs. Dans son livre Future Remains : A Cabinet of Curiosities for the Anthropocene Rob Nixon demande : « Doesn’t lumping together under the sign of the human the average twenty-first-century Liberian and the average twenty-first-century American as agents of planetary change risk concealing more than it reveals? » (2018, 8). Bien que l’occident imagine une distribution simultanée de la “fin”, comment pourrions-nous faire le point et reconsidérer l’hétérogénéité de la période, des « fins »? Qu’est-ce que les études médiatiques peuvent nous révéler sur la présente période environnementale?

À la lueur de ces questionnements, The Neutral lance un appel pour des propositions d’article traitant de l’imagination médiatisée des périodes, ces points de repère qui forment des abstractions spatio-temporelles et marquent autant la fin d’une phrase que l’étendue d’une période géologique. Le numéro a pour objectif de compliquer nos idées traditionnelles du concept de période en général, et des périodes qui traitent de la fin de manière plus spécifique, de l’apocalypse à l’Anthropocène.

Voici quelques exemples d’approches potentielles :

  • Notre compréhension de sujets aussi vastes que « la terre », « la nature », « le climat », ainsi que la « médiatisation » se situe de plus en plus à l’intérieur d’une partisanerie rigide : d’un côté la science du climat est la vérité et la destruction humaine est totale et imminente; de l’autre la science du climat est une contrevérité véhiculée à des fins anti-industrielles et anticapitalistes. Comment la médiatisation a-t-elle pu construire et démantelé de manière industrielle, formelle et narrative les téléologies anhistoriques, occidentales et anthropocentriques de ces deux perspectives?
  • Est-ce que les efforts de redéfinition de l’Anthropocène nous aident vraiment à contrecarrer ses principales pierres d’achoppement? Est-ce qu’un bienfondé réside dans les propositions alternatives à l’Anthropocène qu’on retrouve chez Bernard Stiegler (Néganthropocène), Donna Haraway (Chtulucene) et Jason Moore (Capitalocene), ou est-ce que ces positions ne sont que des géo-logismes obscènes?
  • Comment les critiques temporelles et non anthropocentriques de l’archéologie des médias (Geology of Media de Jussi Parikka, par exemple) peuvent-elles nous aider à entrevoir les critiques de la périodisation géologique? Nos formes médiatiques historiquement asservies nous offrent-elles d’intéressantes avenues d’interrogation en tant que catalyseur de nos obsessions à l’égard de la médiatisation de la destruction et de son immanence?
  • La narration sérialisée complique à la fois la présente rhétorique de la période narrative ainsi que la périodisation générale des époques médiatiques. Qu’on se concentre sur ce qui représente la fin dans une série ou la fin d’une série; sur la problématique des périodes de qualités ou de faiblesses d’une série; ou sur la transformation de la période d’une série en ellipse à travers les procédés de cliffhanger, easter eggs, et de scènes cachées, l’importance de la narration sérialisée dans les médias audiovisuels vient déstabiliser nos conceptions narratives traditionnelles reliées aux principes de structure et de cohésion. De quelle manière nos conceptions de sérialité et de structure narrative devront-elles s’adapter à cette transformation de la période en de nouvelles formes rhétoriques de dénouement (ou d’absence de dénouement) narratif?
  • Le corps comme ancrage temporel : bien évidemment, n’importe quel marqueur temporel est destiné à échouer une tâche de représentation complète. La période menstruelle, en tant que marqueur d’une durée et d’un cycle – une étendue de jours à l’intérieur d’une répétition mensuelle – n’est que le compte-rendu fractionnel du temps indéfini des opérations corporelles continuelles. Comment cataloguons-nous le temps, ou comment renions-nous ce catalogage du temps, dans le domaine corporel? De quelle manière les périodes géologiques s’inscrivent-elles sur le corps? Comment les concepts de la période et du point (punctum) en tant que marqueurs de l’étendue d’une durée et de l’instant d’une fin sont-ils éprouvés par des corps à l’écran? Comment est-ce que le corps médiatise des périodes pour nous?

Veuillez s’il-vous-plaît soumettre des articles complets

  • entre 5000 et 7000 mots, incluant citations et notes de bas de page;
  • dans un format word, au format bibliographique Chicago;
  • à notre theneutralcinemajournal@gmail.com avec l’objet « Period submission »;
  • avec votre nom et affiliation inclus dans le corps de votre courriel seulement;
  • d’ici le 30ème Juin, 2019.