CFP: Music in European Postwar Cinema
Music in European Postwar Cinema
Call-for-papers for an essay collection
Over the last few decades a well-established theoretical framework for Hollywood and post-Hollywood cinema has emerged, while music in the European cinema has not been given the same scholarly attention. Except for a small number of disparate and unrelated articles, several monographs and one anthology, there is no published scholarly study available which puts forward a theory for music in European cinema. One reason why the void exists is because of the varied and diverse aesthetic approaches to film music in Europe over the last century, as well as the different genres and different production formats, from experimental and art, to mainstream and commercial cinema. The objective of the book project is to bring together the numerous threads and create a theoretical model for the music in European cinema within a well-defined historical period, the postwar years up to the fall of the Berlin wall (1946–1989). The anthology would contain contributions on the music in
The music in films from these countries and stylistic periods should be ideally analyzed by expanding the horizon of music in cinema to include the following historical, social, political and cultural topics particularly relevant to the life in postwar Europe:
The collection will be edited by Ewelina Boczkowska (Youngstown State University) and Michael Baumgartner (Cleveland State University). Please submit a 300-word abstract and/or a max. 5,000-word essay or any inquiries to m.baumgartner29-AT-csuohio.edu and eboczkowska-AT-ysu.edu before October 15th, 2014.
Call-for-papers for an essay collection
Over the last few decades a well-established theoretical framework for Hollywood and post-Hollywood cinema has emerged, while music in the European cinema has not been given the same scholarly attention. Except for a small number of disparate and unrelated articles, several monographs and one anthology, there is no published scholarly study available which puts forward a theory for music in European cinema. One reason why the void exists is because of the varied and diverse aesthetic approaches to film music in Europe over the last century, as well as the different genres and different production formats, from experimental and art, to mainstream and commercial cinema. The objective of the book project is to bring together the numerous threads and create a theoretical model for the music in European cinema within a well-defined historical period, the postwar years up to the fall of the Berlin wall (1946–1989). The anthology would contain contributions on the music in
- Italian Neorealism
- Italian cinema from the 1950s to the 1980s
- French mainstream cinema of the 1950s
- French New Wave cinema
- French art and mainstream cinema from the 1960s to the 1980s
- Neues Deutsches Kino
- West German mainstream cinema from the 1950s to the 1980s
- Cinema in the GDR
- British Cinema from the 1950s to the 1980s
- New British Cinema
- Dutch and Belgian cinema
- Spanish cinema during the Franco regime
- Spanish post-Franco cinema
- Scandinavian cinema from Bergman to Trier
- Czech, Polish and Hungarian cinema (in particular of the 1960s and 1970s)
- Cinema of the Balkans
- Greek cinema
- Soviet cinema from Stalin to Glasnost
The music in films from these countries and stylistic periods should be ideally analyzed by expanding the horizon of music in cinema to include the following historical, social, political and cultural topics particularly relevant to the life in postwar Europe:
- Memory, trauma and the (recent) past
- History, politics and cultural identity
- Migration, diaspora, displacement and crossing borders
- Political repression and self-censorship, dissent and stagnation
- Nationalism and “postnationalism”
- Images and identity of the self and the other
- Human relationships, sexuality, and gender representations
The collection will be edited by Ewelina Boczkowska (Youngstown State University) and Michael Baumgartner (Cleveland State University). Please submit a 300-word abstract and/or a max. 5,000-word essay or any inquiries to m.baumgartner29-AT-csuohio.edu and eboczkowska-AT-ysu.edu before October 15th, 2014.
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