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June 2014, Week 2

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Subject:
From:
Cynthia Miller <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Sun, 8 Jun 2014 12:45:07 +0000
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Please scroll down for calls for papers on Seeking El Dorado: Golden Ages of Nationalism, Empire, and International Relations; Culture, Politics, and Identity: The Golden Age of Transnational and World Cinemas; and The Cinematic City


CALL FOR PAPERS
Seeking El Dorado: Golden Ages of Nationalism, Empire, and International Relations
An area of multiple panels for the Film & History Conference on “Golden Ages”
October 29–November 2, 2014
The Madison Concourse Hotel and Governor’s Club
Madison, WI (USA)
DEADLINE for abstracts: July 1, 2014

“Golden Ages” have long been a way to construct notions of national identity. Encompassing tales of origin and descent, exile and migration, liberation and rebirth, “golden ages” are legends that allow us to understand the geographic, cultural, and historical boundaries by which nationhood is understood.

How do “Golden Ages,” as depicted on screen, give birth to nationalism, national identity, and/or transnationalism? To what degree is the concept of the national “golden age” linked to empire? To what degree is national character important to our definitions of “golden ages” in Hollywood and non-US cinema?

This area, comprising multiple panels, will examine all aspects of the “golden age” in film, television, and visual media. Papers that explore how national myths are played out in media from outside the US are especially welcome. Possible topics include, but are not limited to, the following:

• The Sun Never Sets? The British Empire on Screen (e.g., Zulu, Lawrence of Arabia)
• Seven Cities of Gold: Spanish Cinema and Empire (e.g., Alatriste, The Devil’s Backbone)
• Napoleon Complex? French Film and Nationhood (e.g., Napoleon, Le Crabe-tambour, The Battle of Algiers)
• Deutschland Über Alles? Germany on Screen (e.g., Aguirre, The Wrath of God; Downfall; The Lives of Others)
• Eight Corners of the World? Japanese Imperialism on Screen (e.g. Fires on the Plain; Merry Christmas, Mr. Lawrence)
• Paradise Found? American Territories on Screen (e.g., Edison’s Rough Riders films, Hawaii, Amigo)
• The Golden Arches: America, Cultural Imperialism, and McDonaldization
• Where the Streets Are Paved in Gold: Immigrants and Emigrants (e.g., An American Tail)
• All That Glitters: Myths of International Relations (e.g., Babel; Love Actually; Midnight in Paris)

Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. For updates and registration information about the upcoming meeting, see: www.filmandhistory.org.

Please e-mail your 200-word proposal by 1 July 2014 to the area chair:

Elizabeth Rawitsch
University of North Carolina Wilmington 
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CALL FOR PAPERS
CFP: Culture, Politics, and Identity: The Golden Age of Transnational and World Cinemas
An area of multiple panels for the 2014 Film & History Conference:
Golden Ages: Styles and Personalities, Genres and Histories
October 29-November 2, 2014
The Madison Concourse Hotel and Governor’s Club
Madison, WI (USA)
DEADLINE for abstracts: July 1, 2014

AREA: Culture, Politics, and Identity: The Golden Age of Transnational and World Cinemas

In the era of increasingly diversified global popular entertainment industry, film production and consumption become poly-centralized both geographically and conceptually. Traditional centers of film industry such as Hollywood, Hong Kong, and Bollywood are confronted with the rising presence of cinemas from China, Korea, Brazil, Iran, and Algeria, whose re-imagination of identity (re)formation and cultural politics provides critical perspectives that re-define commercial cinema. 

This area invites 15-20 minutes presentations that explore the expression and representation of culture, politics, and identity in transnational and world cinemas through different film forms and genres. How does transnationality affect the cultural and political ideas that inform individual films?  In what ways does it impact viewing and reception? How do we critically analyze the many ways that world cinema politicizes identity discourse and cinematic expression? How do transnational cinematic representations and portrayals of gender and cultural identities both reflect and shape societies and visual politics?

Topics of interests may include, but not limited to:

•	Masculinity and social changes in world cinema
•	Transnational identities in crisis
•	Feminism in borderless films
•	The influence of transnational erotic culture
•	Transnational film as global activism or protest
•	Visual languages and transnational audiences
•	World cinema and cultural politics

Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. For updates and registration information about the upcoming meeting, see the Film & History website (www.filmandhistory.org).

Please e-mail your 200-word proposal by 1 July 2014, to the area chair:

Jinhua Li
University of North Carolina, Asheville
[log in to unmask]

***


CALL FOR PAPERS
CFP: The Cinematic City
An area of multiple panels for the 2014 Film & History Conference:
Golden Ages: Styles and Personalities, Genres and Histories
October 29-November 2, 2014
The Madison Concourse Hotel and Governor’s Club
Madison, WI (USA)
DEADLINE for abstracts: July 1, 2014

AREA: The Cinematic City

Much has been written about the development of the modern, post-industrial city in relation to the evolution of new technologies of visual representation. The moving image, in a sense, could not have been born anywhere other than amidst the hustle and bustle of metropolitan existence. The merging of urban theory with film studies has produced fascinating work examining this relationship; exploring the ways that film portrays the city, as well as the ways in which the city animates and influences the world of film. 

This area will continue that work.  We invite 20-minute papers that investigate how films capture an affective urban topography, as well as explorations of the ways in which metropolitan cartographies and urban environments are transformed/enhanced/mediated by their portrayal on screen. What are the filmic properties of the city?  How are the ebbs and flows of cities articulated in cinema? How does cinema (de)territorialize the city? How do we begin to conceptualize the journey of the cinematic city from documentary footage of the Lumière Brothers to CGI cities in contemporary blockbusters? 

Possible topics/films may include, but are by no means limited to:

•	Urban crowds and mobs 
•	City’s empty spaces – abandoned buildings, dysfunctional docks, graveyards
•	Postcolonial city – the city in the Indian, Chinese, Korean, Nigerian, Latin American cinema 
•	Criminal city – what is peculiar about a screenscape inhabited by detectives and criminals? How do “masters of suspense” mobilize the city?
•	Post-war city – the cityscape in Italian Neo-realist films, New York and in post 9/11 cinema and Third World cities in the aftermath of the “war on terror”
•	The city in documentary films – city symphonies in the cinema of Vertov, Reggio; cities in cinema cinéma vérité
•	Urban soundscapes – noise, traffic, silence, chatter, footsteps, technological sounds (phones rings, television, fax machines, trains)
•	Urban architecture – monuments, offices, malls, apartment complexes 
•	Revolutionary city – How do filmmakers imagine rebellious metropolises? Consider Odessa in Battleship Potempkin, Havana in Memories of Underdevelopment, Algiers in Battle of Algiers
•	Petrified city – what is the city’s role in horror films? Consider, for instance, Tokyo in Godzilla, Seoul in The Host, Paris in The Tenant, and New York in Rosemary’s Baby. 
•	Nocturnal City ¬¬– the city at night and the enigma of gaslight, shadows, darkness
•	The divided city – cinema’s treatment of spatial, gendered, racial disruptions 
•	Cities of tomorrow  – what fantasies, dystopic nightmares, desires orchestrate urban futurescapes in films like Bladerunner, The Matrix, Hunger Games, Her

Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. For updates and registration information about the upcoming meeting, see the Film & History website (www.filmandhistory.org).


Please e-mail your 200-word proposal by 1 July 2014, to the area chairs: 

Megha Anwer 
Purdue University
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Matt Varner 
Purdue University
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