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Showing posts from 2017

CFP: 11th Screenwriting Research Network conference

CALL FOR PAPERS

11th Screenwriting Research Network (SRN) International Conference 
Topic: Writing for cinema. Writing for TV 

Università Cattolica del Sacro Cuore in Milan.
Thursday, September 13th to Saturday, September 15th, 2018.

 Abstracts due December 15, 2017

The main theme of the 2018 Screenwriting Research Network conference is the relationship between cinema and television storytelling. Once two separate worlds, cinema and television narratives are progressively becoming overlapping domains in terms of screenwriting techniques, development methods, careers, contents and audiences.

 If authorship, sophisticated drama, address to educated viewers, consideration by the critics had been for long the exclusive marks of stories written for the big screen, this is much less the case today. The cable channels and nowadays the streaming platforms revolution have led to series that have zeroed the distance from cinema artistic quality. Walls between careers have fallen, with prominent…

Documentary Symposium: Documentary After Farocki

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CALL FOR PARTICIPANTS

Temple University’s Film and Media Arts Department invites proposals for its
3rd Annual Documentary Theory-Practice Symposium

on the topic of "Documentary After Farocki"

One-day symposium, Friday, September 22, 2017
Temple Performing Arts Center
Temple University, Philadelphia

Speakers to include Thomas Y. Levin (Princeton) and video-essayist and critic Kevin B. Lee.

This one-day symposium will bring together mediamakers, critics, and scholars to examine the legacy and continuing influence of late essay filmmaker and artist, Harun Farocki.  Farocki’s career spans roughly fifty years during which time worked in 16mm, 35mm, video, and digital production, He was a writer, a critical theorist, a filmmaker, and an artist. His work was exhibited in alternative spaces, on network television and in the most prestigious international art exhibitions. What remained constant throughout his engagement with moving images was his unrelenting investigation and critiq…

New Venture: Festival Documentary blog

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I want to announce that I've compiled my blog writing and ongoing work on contemporary documentary at a new website, titled simply The Festival Documentary. I expect this to serve as an online companion to my book project of the same title. I will continue to cross-post content here at Category D.

By "festival documentary," I mean a distinct style of documentary geared toward film festival exhibition. The more I watch documentaries that play on the festival circuit, the more I am convinced that they comprise distinct genres, from the poetic and observational to the character-driven documentary. These genres labels are still not widely used among documentary scholars, and I hope to make the case for their utility.

The website will feature blog of reflections on contemporary documentaries, a filmography of films I've watched for the project, and a collection of relevant reviews. Currently, the filmography is a work in progress, which I will continue to flesh out, but u…

Making the Case for Socially Conscious Doc

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cross-posted to Festival Film blog

Cameraperson
Kirsten Johnson, 2016
USA

Genre: Essay film
102m | on DVD, Blu-Ray, and VOD

There’s a lot one can say about Cameraperson. The two posts I might be initially inclined to write are one dealing with the Bazinian real of the documentary shot and one dealing with the craft of documentary cinematography (Cameraperson as an intervention in both the auteur bias of criticism and the elision of documentary from industry cinematographic trade discourse.) Both of these would be very much with the grain of the film.

But another motif occurred to me watching the film. So many of the films that Kirsten Johnson worked on belong to a traditional of observational-style socially conscious documentary. I’ve seen few of them. That’s my own failing, to be clear, and one of the strengths of Cameraperson is that it excites me to begin tracking down some of Johnson’s films to watch in their entirety.

I suspect I’m not alone. I think it’s fair to say that this str…

Prestige Cinematography, 1950s style

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I'm pleased to note that I have an essay in the newly published volume, Projecting the World: Representing the "Foreign" in Classical Hollywood, now out from Wayne State University Press. Thanks to editors Anna Cooper and Russell Meeuf for including me and for their editorial guidance as I revised what was initially an outcast from my book into a stand-alone article. And I'm eager to read the other essays in the book, all exploring the still underexamined transnational dimensions of Hollywood in the studio years.

My essay reads Kramer's On the Beach and Preminger's Bonjour Tristesse as comparable cosmopolitan texts offering a "Europeanized" spin on prestige film aesthetics.

My project initially started as I came across pressbooks in my research of Stanley Kramer. I'd initially looked at Kramer's work as a social problem film auteur, and On the Beach fit that mold, in part, but it also seemed to foreground an international cosmopolitanism in …

Conferences Winter 2017 Edition

Here is my current list of English-language conferences of interest to those in film studies (and some for TV and media studies). Upcoming conferences are listed in order by date or, for open calls, by abstract due date. Please let me know if I should add anything.

Closed calls:
SCMS - Chicago, Mar. 22-26, 2017 [website]
ICA 2017 - San Diego, California, 25-29 May 2017 [call]
Society for Cognitive Studies of the Moving Image (SCSMI) - Helsinki, June 11-14, 2017 [website]
Women and the Silent Screen - Shanghai, June 16-18, 2017 [website]
Circuits of Cinema (Histories of Movie/Media Distribution) - Ryerson Univ., June 22-24, 2017 [website]
Visible Evidence XXIV - Buenos Aires, Aug. 2-5, 2017 [website]
Current calls:
due date: January 15, 2017 Screen - Univ of Glasgow, June 23-25, 2017 [website]
due date: January 16, 2017 Console-ing Passions - East Carolina Univ., July 27-29, 2017 [call]
due date: January 31, 2017 NECS - Université Sorbonne Nouvelle and Université Paris Diderot, Paris, June 29 …

CFP: Black Film British Cinema Conference 2017

CALL FOR PAPERS

Black Film British Cinema Conference 2017
The Politics of Race in Contemporary Film and Digital Practice

Goldsmiths, University of London (Day One)
& Institute of Contemporary Arts (Day Two)
17-18 May 2017

abstracts due 3rd February 2017
CONFIRMED SPEAKERS

Professor Sarita Malik, Brunel University
Dr Kara Keeling, University of Southern California
June Givanni, Pan African Cinema Archives
Additional speakers will be announced as they are confirmed.

THEMES

Whether we consider the rise of the concept of diversity, the on-screen representation of identities, the off-screen workforce, the production trends of film institutions, new forms of independent production opened up by new media, or film education and talent development, questions of race and ethnicity remain central to contemporary British film.

This conference will mark nearly 30 years since the original Black Film, British Cinema conference at the ICA and its subsequent publication, which has been a huge influ…

CFP: Rethinking Film Genres: East Asian Cinema and Beyond

CALL FOR PAPERS

Conference:
Rethinking Film Genres: East Asian Cinema and Beyond 
University of Hull
14-15 September 2017

abstracts due 15 April 2017

What is film genre? Does it still matter in today’s film production, distribution and consumption? How have some film genres become so closely associated with a nation or region, such as Chinese martial arts films, Japanese horror, and Korean melodrama? The fact that genre is widely discussed by the general public suggests that it is still important. However, the examination of genre theory and the scholarly discussion of genres have remained predominantly focussed on Hollywood and European cinemas, as exemplified by the work of scholars such as Thomas Schatz, Steve Neale, Barry Keith Grant, Rick Altman, Belén Vidal, and Antonio Lázaro-Reboll. Despite their rich screen culture and their influence within and beyond the Pacific region, East Asian cinemas remain underexplored. In today’s context of increasingly international filmmaking, we w…