SCMS Conference 2019 Panel/Workshop Bulletin Board
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Color and Materiality in Electronic Media (NO LONGER TAKING SUBMISSIONS) Locked Topic 0 L. Wu   In the past decade, an abundance of writings on color aesthetics and technologies has created a rich subfield within film studies. Yet, this research (Gunning et. al. 2014, Higgins 2007, Coates 2010, Misek 2010) tends to focus almost entirely on cinematic color processes (such as hand-tinting and Technicolor) and their symbolic or affective impact on film spectatorship. Given the  prevalence of digital technology over the last half century, it is surprising to see color in electronic and digital media, as well as broader intermedial frameworks, yet to receive the same attention. When it comes to color studies in electronic media, recent publications by Kane (2014), Somaini (2016), and Murray (2018) demonstrate a desire to apply color theory and aesthetics to non-cinematic media forms, but this field has yet to address the more complex sub-topics of contemporary media culture. This panel explores nuanced color aesthetics and technologies across media, paying particular attention to the ways in which electronic and digital media challenge established theories of visual perception and moving images. We are especially interested in questions of materiality, ephemerality, and transcoding across media platforms.   Some questions to consider: -       Does digital media render color more ephemeral? Does algorithmic or digitally manipulable color as seen in platforms such as Photoshop create a more immediate or detached experience of color? -       Does digital color represent a rupture from the experience of color in analog media and the plastic arts, or is it simply part of a broader transhistorical narrative? -       Is color intrinsically intermedial? If not, what claims can be made about color’s relationship to medium-specificity? -       What is color’s relationship to convergence? With digital streaming and color grading, how do we distinguish between color film, television, and Internet aesthetics?  
by L. Wu
Sunday, July 22, 2018
The Wizard of Oz Locked Topic 0 R. Bunch 2019 will be the 80th Anniversary of MGM’s The Wizard of Oz, and SCMS will be meeting in Seattle—the Emerald City! I would like to propose a panel on The Wizard of Oz. I am open to receiving proposals on the 1939 film, other film adaptations of Oz, or the presence of Oz in American and global culture. Please email paper proposals, including a title, abstract (200-300 words), and a short bio to Ryan Bunch (ryan@ryanbunch.com) by August 15.
by R. Bunch
Saturday, July 21, 2018
To Live and Love in Reagan’s America: Historicizing Queerness in 1980s Medi Locked Topic 0 M. Moretti In spite of the conservative administration in the USA, the 1980s were a decade of significant change for queer culture and representation. This shifting visibility afforded more plentiful as well as more mainstream representation. It was demonstrated in explicit moments like Rock Hudson’s declaration of his AIDS diagnosis and the subsequents reports on his sexuality, films like I’ve Heard the Mermaids Singing or Looking for Langston, and even the homoeroticism of the “hard body.” This panel seeks to understand the history and historiography of mediated instances of queer visibility in the 1980s. What types of representation existed? What were the various social/political/cultural/racial/gendered factors that shaped them? What was the initial reaction? How has this media item been historicized since?  What kinds of interventions, e.g. scholarly, reception, other media referencing the piece, have been made? How has our perception and reaction to these depictions evolved over time? How has the discourse around the media object shifted from its release until now? What is its ongoing significance, and the significance of the changing discourse that it produces or is taken up in? This panel hopes to consider ‘queerness’ in all its iterations. While our anticipation is that all media objects should stem from the 1980s, the engagements which the papers might draw out should span various decades and methodologies. We are defining media in the broadest terms possible and are interested in papers which might engage with, but are not limited to: Hollywood films Independent cinema Documentaries Television Radio Print media Activist art Music Installation art Etc. Please send a 500 word proposal, with 3-5 bibliographic resources, and 200 word biography to myrnamoretti2023@u.northwestern.edu by Friday, August 17, 2018.   
by M. Moretti
Friday, July 20, 2018
Beyond Netflix: New Frontiers in Streaming Video Locked Topic 0 C. Barker As Netflix enters its second decade as a streaming video platform, the company is more prominent than ever in Hollywood, as an industrial force and topic of conversation. Beyond Netflix, however, the streaming video marketplace remains volatile. As first generation Netflix competitors like Amazon Studios, YouTube, and Hulu continue to score wildly varying degrees of success with their respective original programming, enormous social platforms like Facebook, Twitter, and Snapchat have begun ramping up original content production campaigns of their own. Apple has promised to invest more than $4 billion in original programming by 2022. Mega-mergers spearheaded by Disney and AT&T aim to position popular brands against Netflix. Independent platforms like OTV and amateur streamers on Twitch offer alternatives to the big budgets found elsewhere. And those are just some of the companies with a US focus. While Netflix of course remains a viable subject of interest, this panel seeks to highlight those streaming platforms and practices operating within, or completely outside of, its massive shadow. Focusing our attention beyond Netflix will better illustrate the maturation of streaming video production, distribution, and consumption. Possible approaches/topics might include, but are not limited to: Case studies of individual companies or programs from international contexts Unique distribution strategies or business models—the surprise drop, independent productions, Patreons, and the like Promotional and publicity campaigns for streaming video distribution Streaming video’s embrace of liveness via Facebook Live, Twitch, Twitter, and more The failure of niche streaming services like Seeso Reception of and audience practices surrounding non-Netflix series Please email paper proposals, including a title, abstract (200-300 words), 3-5 bibliographic sources, and a short bio to Cory Barker (barkerc@indiana.edu) by Friday, August 10. Potential panelists will be informed of decisions by Tuesday, August 14.
by C. Barker
Thursday, July 19, 2018
Women’s Documentaries in the Middle East Locked Topic 1 N. Moradiyan-Rizi ***We have extended the deadline for submission till August 10, 2018.
by N. Moradiyan-Rizi
Thursday, July 19, 2018
CFP: Film exhibition, venues, and spatiality. Locked Topic 0 E. Lunden We are looking for one presenter to complete our panel about film exhibition, venues, spatiality and urbanism for the upcoming SCMS Conference.  We would like to open this search not only to scholars, but also to archivist working with holdings that can help this type of research (i.e maps, architectural drawings, urbanism, design plans, programs, brochures, correspondence and ephemera related to these issues, etc.) If you are interested, please send your abstract including title, references, and keywords to Elizabeth Lunden (Stockholm University) elizabeth.lunden@ims.su.se by August 10th.
by E. Lunden
Wednesday, July 18, 2018
FESPACO@50 Locked Topic 0 A. Sanogo FESPACO@50-Celebrating the 50th Anniversary of Africa’s Most Important Film Festival and Cultural Event Five decades ago, many of the founding figures of African cinema found themselves carrying their first films under their arms, unable to screen them in movie theaters across their newly independent countries. These screens were literally ‘occupied’ by the more powerful film industries of Hollywood, Europe and to some extent Bollywood. The filmmakers banded together and set out to create ‘liberated zones’ for African cinema, first in Carthage in 1966 and later in Ouagadougou in 1969. The year 2019 will mark the golden jubilee or fiftieth (50th) anniversary of the founding of the festival that will later become the Pan African Film Festival of Ouagadougou (FESPACO), the most important film and cultural event on the African continent.  Over the years, the festival has, in addition to being a genuinely indispensable biennial exhibition space, become a locus classicus of artistic and cultural legitimation; a place for the encounter between filmmakers and their audiences; an inspiring lighthouse for cinephilia in Africa; a space for the reinvention of the world according to a principle of proximity irreducible to the play of geopolitics. Indeed, FESPACO is nothing short of a unique laboratory of ideas, where the cultural, the political, the economic and the social find unique modes of mutual articulation, and partake in the production of thought and affects about the place of Africa in the world, the ways she sees herself and wishes to project herself. Nevertheless, it is also traversed by the pressures of its times, from the lingering residuals of the neocolonial, to the postcolonial and global and indeed the emerging post-global. Its continued existence alone may be said to embody the sense of perennity of African cinema as a project, inspiring one of Ousmane Sembene’s most memorable quotes “We begot FESPACO. Now it is FESPACO that carries us forward.”   In an effort to evaluate this major institution, celebrate its uncommon journey and critically examine the festival’s successes and limitations, this panel will thus consist in a series of gestures involving retrospection, stocktaking and prospection in view of examining, inter alia, the evolving identities of the festival, its role in shaping the destiny of African cinema, its standing relative to the global sphere of film festivals, and, indeed, its place in the emerging field of film festival studies. Proposals are thus sought that might include the following issues: A.    IDENTITY 1.      FESPACO as the home of African cinema (is it still the home of African cinema?) 2.      FESPACO between continentalism and Pan Africanism 3.      FESPACO as a mecca of African cinephilia 4.      FESPACO and the diasporic: the place of African-American, Afro-Caribbean, Afro-European cinemas at FESPACO. 5.      FESPACO and the language question: Multilingualism or the legacy of colonial linguistic divide? (Francophones, Anglophones. Lusophones, Arabophones and Africaphones).   6.      FESPACO and the politics of gender 7.      FESPACO and 20th century history: decolonization; the Cold War; the challenges of post-independent Africa; globalization; apartheid; etc.  8.      FESPACO and host country politics   B.     SHAPING AFRICAN CINEMA AND MEDIA 1.      FESPACO as a “factory” of auteurism in Africa cinema: what kind of auteurism for African cinema? Has FESPACO helped push the boundaries of auteurism, redefined auteurism? 2.      The status of popular cinema at FESPACO: Nollywood and its progenies at FESPACO 3.      The politics of programming at FESPACO. 4.      FESPACO and the political economy of African cinema 5.      Awards and prizes at FESPACO and the afterlives of African films 6.      FESPACO and the emergence and strengthening of national cinemas in Africa 7.      The status of television at FESPACO 8.      The status of video at FESPACO   C.    RELATIONSHIP TO OTHER FESTIVALS AND TO FILM FESTIVAL STUDIES   1.      FESPACO in the ecology of African film festivals 2.      FESPACO in the global ecology of film festivals (A list film festivals Cannes, Berlinale, Venice, Toronto, etc.) 3.      FESPACO as event and the event-ness of FESPACO 4.      FESPACO in the political economy of world cinema 5.      FESPACO and film markets 6.      FESPACO in the age of new and digital technologies and social media: challenges and opportunities? 7.      FESPACO and the world of streaming.   Please submit a 200 word abstract, 5 bibliographic sources, 5 keywords, a short professional biography to aboubakar.sanogo@carleton.ca  by August 10, 2018.  
by A. Sanogo
Tuesday, July 17, 2018
Theatre-Making in Non-Musical Films Locked Topic 0 C. Russell With the abundance of scholarly writing on the Hollywood musical, relatively little attention has been given to depictions of theatre-making in non-musical films. These films often center on the more workmanlike, less glamorous aspects of theatre creation, navigating the same antitheatrical prejudices as the backstage musical but often settling on a more jaded view of theatricality and its relation to memory, nationhood, and the business of theatre. This panel, which includes papers on filmic depictions of Buffalo Bill and the 1943 Barbara Stanwyck mystery Lady of Burlesque, seeks to better understand how these representations both challenge and draw inspiration from the can-do attitude of the Hollywood musical elucidated by Rick Altman, Jane Feuer, and others to create images of theatre-making at once more complex and, perhaps, more ideologically inflected. Please send proposal and bio to Curtis Russell (curtis.russell@ymail.com) and Christine Snyder (cehrensnyder@outlook.com), The Graduate Center, CUNY, by Sunday, August 5th. Applicants will be notified by Tuesday, August 7th.
by C. Russell
Tuesday, July 17, 2018
Historicizing Exhibition Futures Locked Topic 0 C. Orzel Interested participants should email proposals to co-chairs Charlotte Orzel (charlotteorzel@ucsb.edu) and Todd Kushigemachi (toddkush@gmail.com) by August 6th. Proposals should include a title, an abstract no longer than 2500 characters (including spaces), 3-5 bibliographic sources, and a bio no longer than 500 characters. Decisions will be communicated by August 14th.   This panel examines contemporary film exhibition practices and experiences by engaging them with relevant historical contexts. Scholarship over the last fifteen years has spoken to the exhibition industry’s place within broader changes to media landscapes, including globalization (Acland 2003) and digitization (Tryon 2013), and more generally, cinema and media studies has explored the role of the digital in the future of film (Elsasser 2013; Rodowick 2007). Simultaneously, scholars have connected emerging presentation technologies (Rogers 2013), practices of media convergence (Melnick 2012), and immersive screening environments (Griffiths 2013) in theatrical contexts to their antecedents, drawing out overlaps and disjunctions between contemporary and historical practice.   Against the grain of current industrial and journalistic emphases on cinemagoing’s imminent demise or on life-breathing technological revolutions, this panel forwards the impulse to understand exhibition’s futures by examining the persistences or reconfigurations of its past. We ask not only what aspects are emerging in film exhibition but where and how they emerge, joining historical to contemporary forms and giving shape to currents of technological, industrial, and cultural change. How have new forms of exhibition practice repurposed or reignited historical discourses or cultural frameworks concerning cinemagoing activity? How have emerging exhibition technologies borrowed from, remediated, or been framed against their historical forms? What historical aspects of the spaces, industries, or practices of cinemagoing persist amidst ongoing change? How do media industries implicitly or explicitly cite and appropriate these histories, and to what end?    Topics may include, but are not limited to:   Geneological or archaeological approaches to contemporary exhibition practices Theatre space, architecture, and furnishing Presentation technologies and their multiple articulations (e.g. IMAX, 3D, surround sound) How and why major studios and theater chains engage cinema histories Functions and animations of nostalgia Discourses of the death(s) of moviegoing Anniversary and event theatrical rereleases Reconfigurations and relocations of cinema sites Evolutions of multi-sensory experience (e.g. motion seating, 4DX) Audiences and cinemagoing as a cultural practice Changing industrial and economic activity Subscription and loyalty services (e.g. MoviePass, theatre rewards programs) and their reconstruction of a regular moviegoer
by C. Orzel
Tuesday, July 17, 2018
Historicizing Global Hollywood Locked Topic 0 D. Steinhart Hollywood’s global presence today is robust. The industry’s global activities are shaped by multinational conglomerates whose financing, production, and distribution of film and media are widespread. Studios produce film and television on locations all around the world. Production centers in places such as the UK, Canada, Eastern Europe, and China vie with one another to attract these productions through financial incentives. Meanwhile, Hollywood movies and TV shows dominate international markets, sometimes making it difficult for local productions to compete. But these activities are nothing new, as Hollywood has long been a global industry. From early on, the industry maintained a vast distribution and exhibition network that spanned the globe. The Hollywood community was home to countless foreign émigrés and exiles. International runaway productions were rampant after World War II. While the specific economic and geopolitical characteristics of contemporary globalization differ from the past, Hollywood’s history of thinking and acting globally heralded some of the international trends in production, distribution, exhibition, and marketing that we see now. This panel seeks papers that take historical approaches and bring historical perspectives on global Hollywood. Presentation topics may include but are not limited to: -International productions -International distribution and marketing practices -The reception of Hollywood films and early TV programs around the world -Transnational Hollywood stars, filmmakers, and technicians -The effect of internationalism on aesthetics -Early global television Please submit inquiries and proposals, including title, abstract (max. 2500 characters), list of 3-5 bibliographic sources, and bio (max. 500 characters) to Daniel Gomez Steinhart (dsteinha@uoregon.edu) by August 1. Panelists will be notified by August 14.
by D. Steinhart
Tuesday, July 17, 2018
Building and Contesting the Nation in Cold War Latin America Cinema Locked Topic 0 L. Jaramillo     This panel explores the relationship between Cold War imaginaries, popular cultural expressions, and national ideology in Latin American cinema. Our goal is to complicate existing approaches to Latin American film and show elisions within recurring narratives of the Cold War by focusing on neglected texts and overlooked histories. We seek papers that examine the role of film in mediating the complex geopolitical dynamics of the period. In other words, how did film explicate the effects of the Cold War on the peoples of Latin America and the Third World? What role did the internationalist and Third Worldist dimensions of Latin American cinema play in imagining or questioning national projects during this period? We are especially interested in work that considers how Latin American filmmakers engaged with state discourse and Cold War rhetoric while often leveling an internal critique of dominant ideologies and showing fissures in the domestic context of these countries. What are the formal grammars that allow these films to perform such critiques? What industrial and production contexts enable these strategies of dissent in Latin American film? How did Latin American filmmakers make use of official resources, cultural and institutional networks in order to posit a critique of the state? How do films of the period deal with otherness as they project particular images of the nation? In addition, we welcome papers that explore visions of Latin America or specific Latin American nations in international cinema during the Cold War years. We welcome a range of methodological approaches to the topic from historical to theoretical perspectives.   Please send any inquiries and paper proposals to Laura Jaramillo (laura.jmillo@gmail.com) and Bianka Ballina (biankaluba@gmail.com) by August 5, 2018. Proposals should include a title (max. 120 characters), abstract (max. 2500 characters), 3-5 bibliographic sources, and a bio (max. 500 characters). Panelists will be informed of decisions by August 10, 2018.      
by L. Jaramillo
Tuesday, July 17, 2018
Frankenstein Across Time & Media: A Bicentennial Reconsideration Locked Topic 0 D. Lugowski 2018 marks the bicentennial of the first publishing of Mary Shelley’s novel Frankenstein. The anniversary has already been marked by major interdisciplinary initiatives across academia (e.g. a two-year series of events and materials produced by Arizona State University’s Center for Science and the Imagination) and important publications like Monstrous Progeny: A History of the Frankenstein Narratives by Lester Friedman and Allison Kavey. We have also seen a spate of recent films that address the famous story (I, Frankenstein 2014, Victor Frankenstein 2015) and its author (Mary Shelley 2018), as well as many others (e.g. Ex Machina 2015) that seem at least partly inspired or influenced by it. Even Donald Trump tweeted about "Al Frankenstien" (sic) in 2017 in referring to Senator Al Franken's alleged sexual misconduct. Of course, these few examples are only the latest tips of a very large iceberg of texts and issues worthy of study.   This panel proposes to explore not only the “traditions” of Frankenstein but also what Friedman, Kavey and others have called the “transitions, translations and transformations” of Frankenstein across the years and across media. Papers examining under-explored aspects, new archival research, or new interpretations of older or canonical Frankenstein media texts (Universal, Hammer, etc.) are certainly welcome, but so are papers considering media that borrow, stretch, interrogate or utilize any aspect of, or relation to, Frankenstein beyond obvious adaptations. A variety of methodological approaches, including but not limited to textual analysis, is also desirable; thus, papers might investigate Frankenstein fans or other audiences, debate the sociopolitical effects of Frankenstein media, or theorize and critique the very idea of a Frankenstein media text or narrative, among many possibilities. This panel further aims to be transnational and transmedia-oriented, and so papers dealing with television, radio, comic books, video games, online and social media and more, in addition to films, are also very welcome.   Please be in touch with David Lugowski of Manhattanville College (lugowskid@mville.edu; David.Lugowski@mville.edu) by August 10 with your proposals. Proposals in progress are fine, but please include a title, a proposal as close to 2500 characters as possible, 3-5 bibliographic references, a biographical sketch close to 500 characters, and your contact information. I will respond on or by August 14, 2018.
by D. Lugowski
Tuesday, July 17, 2018
Political Ecologies of Media Locked Topic 0 C. Stratton All technological artifacts are made of material elements that originate in the natural world. All technological affordances depend on the unique qualities of specific materials from particular places. All of these materials must be extracted from the earth, transported across the planet, reconfigured into useful forms, and assembled into a technological artifact before that artifact is ever able to enter into the social relations of human societies. All media are thus fundamentally ecological. How are media technologies and practices linked to their material and energetic requirements? What kinds of social relations are required to produce and sustain media technology? What insights can be gained by analyzing media as if nature matters? This panel seeks to explore the ecological dynamics of media. It welcomes contributions from a broad range of issues, perspectives, and methods. Topics include but are not limited to: Resource extraction Component manufacture Assembly Distribution Cheap labor Energy consumption Infrastructure Supply chain dynamics Waste If interested, please submit: (1) a 250-500 word abstract, (2) a short bio (150 words max.), and (3) a short bibliographic list (3-5 items) to Cole Stratton at stratton@iu.edu by August 5th. Feel free to email me with any questions or comments before or after submitting.
by C. Stratton
Tuesday, July 17, 2018
Investigating Crime Films from Transnational Perspectives Locked Topic 0 S. Delahousse Emerging as a result of the international popularity of American and British detective novels in the 19th and early 20th century, the crime film has fascinated filmmakers and audiences since the early days of cinema because of its thrilling subject matter and commentary on the consequences of urban and industrial modernization. This genre, thus, adapts and translates well into different cultural contexts and appealing beyond a film’s domestic audience. Furthermore, it provides a means for filmmakers to cultivate their style and influence cinemas outside their countries of origin through their use of and perhaps reimagining of established genre conventions. This panel seeks to explore the theoretical and historical contributions, influences and implications of crime films within a transnational context. Papers on filmmakers’ contributions to film industries outside their countries of origin, transnational depictions of detectives, spies and/or criminals, receptions of international crime films, and the globalization or international transcendence of the crime film genre are especially encouraged. Please send submissions that are 250-300 words in length with a 3-4 source bibliography and a brief bio to Sarah Delahousse at sdelahousse@york.cuny.edu by August 1st.
by S. Delahousse
Tuesday, July 17, 2018
Propped Up: Fan Cultures and Fabricated Objects Locked Topic 0 C. McCann When fan practices such as cosplay are discussed, the emphasis is commonly on costuming and rarely on props; however, props often have as much narrative resonance and character embodiment for fans and consumers as costumes do. Props create bonds with fans and intricate mythologies that stand on their own--The Maltese Falcon, Luke Skywalker’s lightsaber, Nakia’s ring blades, etc. These objects, both created by the film industry and replicated by the fans, prove that people connect with the physical things inside media texts as readily as the texts themselves. The depth and breadth of these fan experiences with props have yet to be fully addressed in scholarship. This panel explores the often complex relationships between fans and/or media producers with their fabricated objects. Each paper will express a different facet of these relationships in order to offer a nuanced understanding of the importance of props within fandom. Topics can include but are not limited to: Issues of authenticity in licensed props, collectibles, and replications A material cultures perspective or history of a specific prop Collector culture and props--its motivations and limitations Fan desires to acquire--cultural caches and cultural economies Historical or contemporary auctions of props and the fans’ relationships therein Marketing of props and merchandising to fans Fan crafting of props DIY YouTube channels or other instructional outlets for fan builds Practices of curation of media props in museums or exhibits The economies that spring up around prop creation The aesthetics or challenges of realizing an “unreal” object such as props from video games or other animated media Cosplay and prop making How props are utilized/censored at conferences such as ComicCon The differences between replicas and merchandise in either materiality or usage Please submit 1) an abstract (250 words) and a title (120 characters max)   2) a 3-5 work bibliography 3) a 150 word author biography to caitlinemccann@gmail.com by August 1st. Participants will be notified on August 15th.
by C. McCann
Monday, July 16, 2018
Boomer Horror Locked Topic 0 L. Decker In A Generation of Sociopaths: How the Baby Boomers Betrayed America, Bruce Cannon Gibney argues that the Baby Boomer generation (for his purposes, largely white, native-born Americans born between roughly 1940 and 1964) is best described as a group as sociopaths. For Gibney, the personal decisions and political actions of Boomers have been primarily characterized by self-interest, without care for consequence or conscience. Certainly, from a horror studies perspective, Boomers seem to have held a special interest in American horror throughout the decades. From the endangered Boomer teens in Halloween (John Carpenter, 1978), to the negligent Boomer parents in Poltergeist (Tobe Hooper, 1982) or Scream (Wes Craven, 1996), to today’s monstrous Boomers in Get Out (Jordan Peele, 2017) or Hereditary (Ari Aster, 2018). While work in horror studies has incidentally discussed Boomers’ representation in the genre, particularly work on 1970s American horror, there has not yet been sustained attention to the changing representation of this generation vis-à-vis the horror genre.   This panel seeks to begin this work by considering the relationship between the Baby Boomer generation and the American horror film from the 1970s to today.   Possible lines of inquiry may include but are not limited to: how has the representation of the Boomer generation changed throughout the decades, and what might these changes tell us about changing views on the genre in popular discourse? how has the representation of Boomers been incorporated into films’ marketing and paratexts during exhibition and distribution? what relationship might there be between the Boomer generation and horror films’ perceived audience(s)? how does the generation figure in to the changing conceptions of who watches horror films and who they are made for? how have remakes played into or against their original depictions of the Boomer generation? how might stardom and actors’ career paths relate to Boomer horror? how does Boomer horror figure in to studio imperatives, or studio executives’ perspectives on and relation to this generation? what is the relationship between Boomer representation and identity in horror? Who gets represented as part of the generation / how is the generation primarily defined via its representation in terms of race, class, politics, sexuality, gender, religion, ability, etc.?   If interested, please send an abstract (around 250-350 words), a brief biography (around 50-100 words), and a preliminary bibliography of 3-5 sources to Lindsey Decker at ldeck@bu.edu AND Rebecca Gordon at rmg286@nau.edu by EOD Tuesday, August 7th, 2018. Individuals who submit abstracts will be notified of final decisions by 8/14 at the latest.
by L. Decker
Monday, July 16, 2018
Workshop: Teaching Local/Regional Film Histories Locked Topic 0 E. Peterson Workshop CFP: Teaching Students to Research and Document Local/Regional Film Histories This workshop proposal comes out of a course we co-taught this past year at the University of Oregon on film exhibition history.  In the course, students began, through their own primary research, to build a history of exhibition in cities and towns in Oregon, from around 1900-1929.  The resulting public-facing part of the course was this website:https://blogs.uoregon.edu/movies/  As anyone knows who does this type of work, there remains a lot of research to be done in documenting and analyzing local/regional histories of movie exhibition and moviegoing.  In the past decade or two, digital archives and accompanying digital tools provide exciting potential for collaborative research, for presenting the results online, and for collecting, sharing and visualizing data about regional and local exhibition practices. This workshop is designed to discuss what happens when you engage undergraduates in this very type of work.  We are seeking additional workshop facilitators who are interested in addressing this topic, either because they’ve taught similar topics before, or because they’re interested in further integrating their own research with their pedagogy. Topics may include, but are in no way not limited to: ·         Tools for managing collaborative digital projects ·         Strategies for teaching research methods ·         What is possible and what are the limits? ·         How to make collaborative digital projects scalable and sustainable ·         How to ensure quality control of data, facts, citations, presentation ·         Strategies for incorporating digital humanities tools into undergraduate research ·         Strategies for teaching with primary sources ·         Collaborations with librarians and archivists This will be a “best practices”(and lessons learned) -style workshop, and our facilitators will bring teaching materials to distribute among attendees, including model syllabi, assignment prompts, and discussion prompts.  To express interest, please contact Elizabeth Peterson at emp@uoregon.edu and/or Mike Aronson at aronson@uoregon.eduby August 3 and explain how you would be able to contribute to this workshop. Participants will be notified by Aug. 14.
by E. Peterson
Monday, July 16, 2018
Working in, and on, the neighborhood Locked Topic 0 M. Dwyer Neighborhoods are both material and social. They are physical, geographical locations built into the structure of cities, suburbs, and rural towns and the context for ongoing processes of negotiation, exchange, conflict and control. That is to say neighborhoods are both the site of, and the product of, work. Despite the volume of illuminating film studies scholarship that has pursued the so-called “spatial turn”: the emergence of the geohumanities, examinations of the intersection of urban life with issues of race, gender, class, sexuality and ability, or the geographical dynamics of film production, promotion, and reception—film studies still has much work to do in order to better understand the neighborhood. This panel aims to interrogate the ways that neighborhoods work in media.   Potential submissions may address issues including, but not limited to: Gentrification and processes of “urban renewal” Location shooting and discourses of authenticity in neighborhoods The role of neighborhood associations in media production, promotion, and exhibition Neighborhood segregation and its cultural reproduction The production of neighborhoods through representations in popular and industrial media Contemporary or historical institutions that drew media productions to particular neighborhoods Neighborhoods and the “creative class” The economics and politics of local film exhibition Neighborhood “reality tours” attached to media franchises Stars and/or auteurs associated with neighborhoods Representations of specific neighborhoods, either real (Hollywood, Bed Stuy, South Philly) or imaginary (Toontown, District X, Walford)   If interested, please send an abstract (~350 words), a brief biography (~200 words) and a tentative bibliography (3-5 sources) to Michael D. Dwyer at dwyerm@arcadia.edu by August 3, 2017. Decisions by August 10.  
by M. Dwyer
Monday, July 16, 2018
CFP: The Emotional Life of Horror Films Locked Topic 0 E. Bessette For all the research that has been conducted into the ideological underpinnings of horror, ideology is not ultimately constitutive of the genre. Emotions are, as producers and fans well know. Yet there has been scant scholarly attention given to emotions (or affects) as such in the genre. Whether the defining generic emotion is taken to be art-horror (Carroll), a feeling of threat (Aldana Reyes), or a looser family of reactions like fear and suspense and disgust (Schneider), there is no escaping emotions. Sometimes individual emotions are the beating heart in their films, like disgust in Cronenberg’s The Fly or dread in The Blair Witch Project, but even there the disgust is leavened with empathy for Brundlefly, and the dread is gnarled with anger and sadness at foolish decisions.   This panel seeks to collect innovative scholarship on the emotional life of horror films. Whether old or new, famous or obscure, American or international, horror films beg a thoroughgoing analysis into their emotional make-up. Panelists could address the emotional composition of individual scenes, single films, or larger generic divisions. Both characters’ and audiences’ emotions might be considered. Papers may wish to investigate:   —What do emotions look like in horror cinema, and how do scenes alter when filtered through characters’ emotion? —How do emotions inflect scenes, films, subgenres, or national cinemas? —What, if anything, is the difference between “emotion” and “affect” in horror? —What is the current value in Noël Carroll’s foundational but much-criticized conception of “art-horror”? —How can horror films help us disambiguate related and perhaps overlapping sensations like fear, dread, anxiety, and suspense?   Please send paper proposals featuring a title, abstracts of up to 2500 characters, a list of 3-5 likely sources, and author bios of up to 500 characters to Eliot Bessette (erbessette@berkeley.edu) by Tuesday, August 7, 2018. Notifications will follow within a week. Feel free to reach out with any questions or concerns as well.
by E. Bessette
Monday, July 16, 2018
Insides Out: Visualizing Bodily Interiority Locked Topic 0 Z. Price This panel addresses the use of special effects and animation to construct aesthetics and narratives of bodily interiority within a range of different media. From its inception, cinema has a strong tradition of centering visual pleasure on and inside the body. Julia Kristeva famously argued that the abject is the bodily interiority made visible and distanced from the self, only to return with uncanny familiarity. Horror and porn scholars note the narrative necessity of exposing the insides: “The interior of the body ceases to be a private space, and the distinction between what is inside and what is outside begins to break down.” From the sudden plunge inside the arm of the protagonist in 127 Hours (2010) as he attempts to amputate using a Swiss Army knife, to the sinking space of Chris’s body-made-prison via hypnosis in Get Out (2017), to the team of curators that upload memories to control Riley’s emotions in Pixar’s Inside Out (2015), the revolutions in digital animation and special effect has made it easier for cinema to explore interiority in new ways.  · Metaphors: In “A Cyborg Manifesto,” Donna Haraway argued that scientific images of the body during the cold war reconstructed the body’s interiority as outer space, a wild frontier to be explored and conquered. How have the visual metaphors changed?   · Gender and Racialization: How is the body’s interiority marked, racialized, gendered, or eroticized? (Osmosis Jones, Under the Skin, Inside Out, Get Out)   · Technology: What are the technologies used to depict the inside of the body? Fantastic Voyage was famous for utilizing matte paintings to provide a sense of the body as cavernous and unknown. How have new forms of imaging or special effects shifted what stories are told about the inside of the body? What is the role of realism in digital animation of the body? (Fight Club, 127 Hours, Contagion)   ·  Psychological Interiority: What is the relationship between bodily interiority and psychology in films about going inside the body, especially those that seek to image the chambers of the brain (Inside Out, Being John Malkovich). How do we gleam information about psychology from the attentive focus to bodily interiority (Under the Skin, The Untamed, Get Out, Upstream Color)?   ·  Genealogy: What is the genealogy of films/media that explore the inside the body? What are the conventions, and how, if at all, are they shifting? (Osmosis Jones, Inner Space, Fantastic Voyage)   ·  Medicine: One of the great advancements in medicine is the ability image the interiority of the body in non-invasion ways: MRI, CT Scan, X-Ray, Capsule Endoscopy (swallow a tiny camera that records video as it moves through the digestive system). These technologies are central to diagnosis. What would a media studies approach bring to these imaging technologies? How has the move toward genetics in medicine, such as the popular 23andMe, shifted the visualization of the interiority of the body? (CSI, NCIS, House, Contagion)   Please send a 200-300 word abstract and brief bio to Zachary Price at zbp3@cornell.edu by August 1st.
by Z. Price
Monday, July 16, 2018

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