Hello,
Could you please post the following call for papers?
Thank you!
Robin
Association for the Study of Literature and the Environment Panel Proposal:
Food, Film, and Ecocriticism, Inc.: Are We What We Eat?
June 21-26, 2011
Indiana University, Bloomington, Indiana
Panel Submission Deadline: October 15, 2010
The success of the Food Network and The Discovery Network series The Deadliest Catch demonstrates the continuing emphasis on food consumption and production in a global economic environment, an emphasis also found in literature and film. Publications such as Michael Pollan’s Second Nature: A Gardener’s Education (1991) and The Omnivore’s Dilemma: A Natural History of Four Meals (2006), for example, laid the groundwork for documentaries and feature films addressing environmental consequences of the food industry have become increasingly popular. See, for example, Darwin’s Nightmare (2004), Supersize Me (2004) to We Feed the World (2005), Our Daily Bread (2005), Fast Food Nation (2006) and the recent critically acclaimed King Korn (2007), Food, Inc. (2008), The Cove (2009), The End of the Line (2009).
This panel will explore and evaluate filmic representations of the environmental consequences of food production and consumption in relation to both content and style with at least one question in mind: When do documentary and/or feature films addressing the food industry move from document to art?
For example, the Austrian film, Our Daily Bread may provide the most effective argument against the move to industrial farming because it eliminates verbal explanation altogether. By relying exclusively on visual rhetoric, Our Daily Bread works as a powerful rhetorical tool, undiluted by either ambivalent multiple viewpoints or a voiceover that sometimes disguises the consequences of industrial farming on display. Multiple readings of a variety of films with food consumption or production at their center are welcome.
We are seeking proposals of approximately 600 words that address this broad theme of food and film in relation to the environment. Proposals from a variety of disciplines and perspectives are welcome. Please send abstracts by email to Eastern Illinois University Professors Robin Murray and Joseph Heumann at [log in to unmask] by October 15 and include your name, email, and affiliation.
----- Original Message -----
From: "SCREEN-L automatic digest system" <[log in to unmask]>
To: [log in to unmask]
Sent: Wednesday, August 11, 2010 12:00:34 AM
Subject: SCREEN-L Digest - 9 Aug 2010 to 10 Aug 2010 (#2010-83)
There are 2 messages totalling 150 lines in this issue.
Topics of the day:
1. Saving Private Ryan's blood on the camera technique
2. Call for responses: Anthology on Archives and Pornography
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Learn to speak like a film/TV professor! Listen to the ScreenLex
podcast:
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----------------------------------------------------------------------
Date: Tue, 10 Aug 2010 10:45:14 +0100
From: Miriam Ross <[log in to unmask]>
Subject: Saving Private Ryan's blood on the camera technique
Does anyone know of instances prior to Saving Private Ryan where blood or
other liquids have splattered onto the camera lens and have been left in the
shot (thus suggesting the fourth wall).
Following this enquiry, does anyone know of any 3D films that have used the
same effect. Step Up 3D allows water to remain on the lens but I haven't
seen this in any other previous stereoscopic films.
many thanks
Miriam Ross
--
http://glasgow.academia.edu/MiriamRoss
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For past messages, visit the Screen-L Archives:
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Date: Mon, 9 Aug 2010 16:20:49 -0400
From: Bo Baker <[log in to unmask]>
Subject: Call for responses: Anthology on Archives and Pornography
An announcement from a colleague, please contact her off-list at
[log in to unmask] (also, please excuse cross-postings):
Hello all,
I am writing today to solicit feedback that hopefully will be included in a
forthcoming anthology. *Porn Archives*, to be published by SUNY Press, is a
compilation of essays exploring how archives preserve and provide access to
pornography, among other topics related to the burgeoning field of Porn
Studies. I have included an overview of the book at the bottom of this
message. My contribution will be an annotated bibliography of archives that
house collections of probable interest to researchers in this field.
In addition to searching library catalogs for materials, I am sending out
this inquiry in the hope that institutions with un-cataloged or
under-publicized materials can respond and be included. I am aware of some
of the more well-known organizations collecting these materials (such as th=
e
Kinsey Institute), but I hope that my contribution to this volume will
highlight institutions that most scholars overlook in the course of their
research.
I know what you might be thinking: *pornography is difficult to define! How
can I determine what counts?* To aid in that process, I have included some
specific criteria below. Of course, I also welcome further questions if
you=92re unsure about a particular item or collection.
Collections of interest should include published or gray literature (thus
excluding materials like letters and diaries), and may include significant
collections of books from publishers that are known for publishing
pornography, even if some of the books in the collection may not be
pornographic (examples include Grove, Olympia, and Naiad).
Other examples of materials of interest include:
- erotic pulp fiction
- sex manuals
- substantial runs of mainstream publications such as *Playboy,
Penthouse, Oui, Hustler, Adult Video News,* and *Players*
- zines, small press items, and limited edition vanity press publication=
s
- penny papers, Tijuana bibles, and adult comics
If you have collections that you think fit these criteria, please respond
off-list by *August 27* with:
- the name and address (both web and physical) of the institution
- names and descriptions of collections to be included
- any other information you think may be useful to researchers
Please let me know if you have questions, and I look forward to hearing fro=
m
you!
Thank you for your time,
Caitlin
Caitlin Shanley
Assistant Professor
Instructional Design and Technology Librarian
Lupton Library
University of Tennessee at Chattanooga
[log in to unmask]
(423) 425-5279 (office)
*Overview of PORN ARCHIVES
Where and how is pornography archived? How have archives conditioned access
to pornography? How do archives preserve, while simultaneously restricting
access to, their contents? If our modern understanding of pornography came
into being with the gathering of Pompeian artifacts in the =93secret museum=
,=94
how might pornography and the archive be mutually constitutive?
Pornography, more readily available now than ever before, saturates our
political debates, our inboxes, and our imaginations. Yet, our public
institutions have historically identified pornography in the process of
trying to regulate it. As its presence has increased in the public sphere,
however, debates about porn=92s place in our society have become not only
increasingly urgent but also increasingly complex. By the late 1980s severa=
l
scholars, Linda Williams most notably, called for a move beyond the
anti-censorship / anti-pornography debates that characterized discourse in
the United States during the post-WWII era.
In the spirit of that critically engaged scholarship, which broadened the
field of discourse, we recently organized a public conference on pornograph=
y
in Buffalo that attempted to take stock of where Porn Studies exists twenty
years after its emergence. Following that successful conference, and spurre=
d
by ongoing work in a graduate seminar on pornography that Tim Dean taught a=
t
the University at Buffalo, we envision a lasting contribution to the field
of porn studies by putting together a blockbuster anthology titled Porn
Archives, to be published by SUNY Press. The volume seeks to build upon the
solid foundation of porn scholarship from the past twenty years, while also
enlarging the field by investigating how public institutions mediate our
experience of sexuality, our definitions of obscenity, our access to
pornographic texts, and our understanding of material preservation. The
question of the archive has a long history of academic engagement that
warrants further consideration, as digital technologies=97from cell-phone
cameras to online databases=97reconfigure how we produce and transmit sexua=
lly
explicit representations. As the common parlance of porn increasingly
denotes the pornographic (moving) image, we are interested in the altered
status of written pornography and in how classifications of pornography are
made and remade. With this volume, we aim to turn porn studies back on
itself to discover and attend to its as yet unearthed objects of study. Por=
n
Archives will inaugurate a more expansive and nuanced field of porn studies=
.
*
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Online resources for film/TV studies may be found at ScreenSite
http://www.ScreenSite.org
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End of SCREEN-L Digest - 9 Aug 2010 to 10 Aug 2010 (#2010-83)
*************************************************************
--
Robin L. Murray, PhD
Professor of English
Eastern Illinois Writing Project Director
Film Studies Minor Advisor
Eastern Illinois University
600 Lincoln Avenue
Charleston, IL 61920
----
Learn to speak like a film/TV professor! Listen to the ScreenLex
podcast:
http://www.screenlex.org
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