-------- Original Message --------
Subject: Screen Studies Conference, Glasgow
Date: Fri, 27 May 2005 14:04:39 +0100
From: Caroline Beven <[log in to unmask]>
To: [log in to unmask]
/*Screen*/* Studies Conference 1-3 July 2005*
*Gilmorehill Centre*
*University of Glasgow*
There's still just time to register for the Screen Studies Conference,
but forms must be with us by* 10 June* at very latest.
If you wish to attend the Conference, a registration form is attached to
this e-mail (in both Word & pdf formats), which also includes details of
accommodation. Lunches for Saturday and Sunday are included in the
registration fee. Please print, complete and return the form to/ Screen/
with full payment as soon as possible. If you require an invoice, you
may send the form without payment, but make sure to mention this on the
form.
The conference will run from around 3pm Friday afternoon to 3pm Sunday
afternoon.
Please contact us by e-mail if you require any further information at
this stage. Updates will be posted on the/ Screen/ website,
www.screen.arts.gla.ac.uk.
We hope to see you in July!
Caroline Beven
*ACCEPTED PAPERS*
*
*
*Researching the history of the British Film Institute*
Christope Dupin: The revolution of the British Film Institute in the
late 1940s and its impact on film culture in Britain
Geoffrey Nowell-Smith: The crisis in the BFI in 1970 and its aftermath
*Cultural consecration and its discontents: the Arts Council v. film and
video artists' organisations, 1975 to present
*Peter Thomas: The struggle for funding: sponsorship, competition and
pacification
Julia Knight: Agency v. archive: London Film-Makers' Co-op and London
Electronic Arts v. Film and Video Umbrella
Duncan Reekie: Internalising the other: the end of the London
Film-Makers' Co-op
*Cinema in Iran
*Christopher Gow: Sohrab Shahid Saless and the 'everyday'
Saeed Zeydabadi-Nejad: State control and Iranian cinema
*Film studies as discipline
*Noel King: Every day I write the list: the return of the concept of the
canon to film cultural debate
Catherine Grant: World Cinema and its limits
Kwak Yung-Bin: Can we Enjoy (Zizek as) our symptom?: Zizek, cognitivism
and the crisis of film studies as a discipline
*Intersections of the image: global media, local markets
*Leon Gurevitch: Horizontal cooperation: the economics of product
placement in 90s Hollywood
Suman Ghosh: Indian films, international audiences: the impact of
globalisation on mainstream Indian cinema of the 1990s
Alexandra Simcock: A topical taste: the economics of American TV movie
production and the commodified aesthetic
*Film musical
*Cristina Lucia Stasia: One angry inch for the musical, one giant step
for the MTV-kind:/ Hedwig and the Angry Inch/ and/ Moulin Rouge
/Tom Brown: 'Entertainment and dystopia': French and American cinema of
the 1930s, 'musicality' and the genre problem
Colin McArthur: High art, mass art and classical Hollywood narrative:/
Rhapsody In Blue/ as paradigm case
*Contemporary teen and 'post'-teen television drama
*Glyn Davis: 'I don't want to be anything other than what I've been
trying to be lately': class, queerness, and/ One Tree Hill
/Amy Holdsworth:/ Spaced,/ continued adolescence, performance and belonging
Rachel Moseley: 'Are you a Ryan or a Seth girl?': structures of fantasy
and desire in/ The O.C.
/*Attractions
*Helen Stoddart: Early cinema: circus, gravity and machines
Manishita Dass: Worlds apart? Modernity and early Indian cinema
Rachel Volloch: (E)motion sickness: visceral language and the
bio-logical experience of spectatorship
*European cinema(s) in the television age
*Graham Roberts: Is it all about the material? - from script to screen
in the UK Film Council age
Stephen Hay: Making rectangles to fit into squares: European cinemas in
the television age
Dorota Ostrowska: The tradition of joint productions of heritage films
and TV serials in Poland: politics and economics of the cinema-TV
relationship in the socialist and post-socialist state.
*Close reading and its [dis]contents
*Kimberly Chabot Davis: Slippery images: ideological ambiguity in
Kazan's/ A Face in the Crowd
/Ken Nolley: Monnikendam's/ Mother Dao: The Turtlelike/:
recontextualizing the orphan image
Mike Frank: Judy's Kansas photos: speculations on reading/ Vertigo
/*British cinema and romantic comedy
*Kathrina Glitre: Matters of life and death: fantasy, romance and
comedy, 1944-1949
Mark Bould: Pull the other one; or, mine's a double: production and
reproduction in/ The Perfect Woman
/Greg Tuck: Loving the (white) alien: ethnicity and romance in/ Passport
to Pimlico
/Josie Dolan:/ Maytime in Mayfair/: extravagance, restraint and circuits
of consumption
*Small national cinemas
*Duncan Petrie: Images from the edge of the world: the dilemmas of a
small national cinema in New Zealand
James Udden: The triumph of art over industry: Taiwan's tribulations as
a national cinema
Jonnny Murray: DOGMAC? Scottish-Scandinavian cinema of the '00s
*Guilt, rupture, parody, and nostalgia: contemporary Turkish cinema and
the question of tradition
*Senem Aytac:/ Rupture/ or tied: urban identities in contemporary
Turkish cinema
Gozde Onaran:/ Parody/ in contemporary Turkish cinema: break from or
search for tradition?
Ovgu Gokce: From/ Pathos/ to/ Nostalgia/: Yavuz Turgul's cinema of
sentiments
Zeynep Dadak:/ Guilt/ and cleansing: love as 'impossibility' in
contemporary Turkish cinema
*East German television and the political dimension of entertainment
*Steffi Schültzke: Comic dramas on East German television
Sebastian Pfau/Sascha Trültzsch: The family and the socialist ideology
in the TV series of the GDR
Lutz Warnicke: Sports on television. the development of a programme
focus in East German television
Uwe Breitenborn: Disco only in Moscow? Popular culture in East German
television
*Marketing on film
*James Lyons: Did Mildred Pierce drink Jack Daniels?: product placement
in postwar Hollywood
Madhuja Mukherjee: Glass negatives, history, cultures and ideologies: on
image, text and publicity material of Indian cinema (1940s-1950s)
Keith M. Johnston: 'Something BIG is on the way': The BIG screen and the
BIG sell in 1950s widescreen trailers
*British cinema exhibition
*Andrew Burke: Beyond the pleasure palace: the seaside resort and
British cinema
Steve Chibnall : Booking British: Quota Quickies, exhibitors and
audiences in the 1930s
*Film and consumption
*Constance Balides: The text in the formation: women as reform subjects
during the progressive era
Kara Lynn Andersen: Reinventing the wheel: objects in/ The Hudsucker Proxy
/*Deleuze
*Lisa Trahair: Gilles Deleuze, cinematic figuration and Jean-Luc
Godard's/ Je vous salue, Marie
/Steven Rawle: The eternal recurrence of the same: compulsions to repeat
in/ Eternal Sunshine of the Spotless Mind
/Nadine Boljkovac: Remnants of past and future: violent event, time and
memory in Chris Marker's cinema
*Television aesthetics
*Jason Jacobs: Television aesthetics: an infantile disorder
Catherine Johnson: 'Quality' television: aesthetics vs economics?
*9/11
*Ivan Kwek: Un/Veiling the moderate Malay Muslim: minority television in
Singapore on the eve of September 11 and after
Neil Bather: Contemplations on the construction of cinematic evil since 9/11
Carsten Hennig: Hollywood combat post 9/11: analysing the social
function of today's war movies
Max Dawson: 9/11, the war on terror, and the production of the viewer as
witness
*Lifestyle television
*Elizabeth Nathanson Saidel: As easy as pie: cooking shows and temporal
pleasures
James Bennett: Making over the makeover: From "everyday aesthetics" to
fantasy and performance
Frances Bonner : Cooking up a lifestyle: television food presenters tell
us what to do
*Television
*Ann Gray: Televising history
Lez Cooke: Regional identity in British television drama, 1960-1982
*Film history and race
*Hélčne Charlery: The Americanness of the sexualised and desexualised
images of black women under the Hays Code
Sarah J. Smith: Tarzan at MGM
--
Caroline Beven
Screen
Gilmorehill Centre
Glasgow University
Glasgow
G12 8QQ
Scotland
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