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August 2009, Week 2

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Cynthia Miller <[log in to unmask]>
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Wed, 5 Aug 2009 14:51:34 -0400
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Please scroll down for CFPs for "Performing Love/Loving Performance: Broadway Musical Motifs in Cinema and Television," "Pro Patria Mori: Patriotism in Film and Television,"Sex and Love in Asian Contexts," "Vampire Love"
 
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Call for Papers
"Performing Love / Loving Performance: Broadway Musical Motifs in Cinema and Television"
2010 Film & History Conference: Representations of Love in Film and Television
November 10-14, 2010
Hyatt Regency Milwaukee
www.uwosh.edu/filmandhistory
First Round Deadline: November 1, 2009
AREA: Performing Love / Loving Performance: Broadway Musical Motifs in Cinema and Television
 
Musicals develop love-for a person, for a place, for an idea-more through bursts of song and dance than from dialogue, suggesting kinesthetic and performative dimensions to love that standard filmmaking only dimly translates. How does song and dance in films add to our understanding of love? Who are the audiences for such performances? Melodies and dance routines circulate from one person to another, structuring what kinds of patterns and forces within representations of love? How have shifting standards in the depiction of sensuality influenced musical performances of love? What aspects of love does "Broadway" import to film and television?
 
This Call for Papers seeks submissions of work from a wide range of orientations, exploring how musicals engage the concept of love through performance and/or how the love for performance itself-for song and dance-is understood within the genre. 
 
Papers might address (but are not limited to) the following: 
 
-the tensions between heterosexual closure in musicals and gay spectatorship
-fandoms (such as The Sound of Music or Buffy's "Once More with Feeling" sing-alongs)
-how non-musical films/television understand musicals as a genre (ex: Jersey Girl, Family Guy)
-musicals from countries other than the US (ex: India, England)
-Internet musicals (ex: Dr. Horrible's Sing-Along Blog, Prop. 8: The Musical)
-television musicals (ex: Cop Rock)
-a particular era (ex: 1930s), studio (ex: MGM), performer (ex: Gene Kelly), subgenre (ex: cowboy musicals), or an individual film
 
Please send your 200-word proposal by e-mail to the area chair:
 
Kathryn Edney
16 Foreside Rd
Topsham, ME 04086
Email: [log in to unmask] (email submissions preferred)
 
Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (www.uwosh.edu/filmandhistory).
 
***
Call for Papers
"Pro Patria Mori: Patriotism in Film and Television"
2010 Film & History Conference: Representation of Love in Film and Television
November 10-14, 2010
Hyatt Regency Milwaukee
www.uwosh.edu/filmandhistory
First-Round Deadline: November 1, 2009
AREA: Pro Patria Mori: Patriotism in Film and Television
 
Patriotism-the love of nation or country-is an abstract and malleable term, lending itself to many forms of expression and exploitation, not only by the individual but also by the group or nation itself. As both mindset and zeitgeist, "patriotism" influences filmmaking in remarkably complex ways, from militaristic propaganda to romantic allegory to cartoon farce. Lovers of countries are sometimes lovers of ideas, lovers of great social causes, lovers of anarchy, or lovers secretly of themselves. 
 
What genres of film or characterizations of patriotic types lend themselves best to these considerations? What specific ideologies do these films promote, and what sub-cultural movements might they engender?  When might filmic representations of patriotism be considered relics of propagandistic vainglory? How does love of one's country become more-or less-than honorable once a filmmaker sets in motion the actual patriot?
 
This area, comprising multiple panels, welcomes papers and panel proposals that examine all forms and genres of films featuring performances of patriotism/love of country.  Possibilities include, but are not limited to, the following topics:
 
* Not-James-BOND: Liberty Loan Propaganda (The Bond, Johanna Enlists, Swat the Kaiser, Lillian Gish in a Liberty Loan Appeal)
* Rebel Love (Easy Rider, Nashville, The Man Who Would Be King, Birth of a Nation)
* "Once more into the Breech!": Military Patriotism (The Fighting 49th, Wings, The Big Parade, Shoulder Arms, Sergeant York, They Were Expendable, Destination Tokyo)
* Big Stick Patriotism (The Wind and the Lion, Gunga Din, The King and I) 
* Love for Sale: Mercenary Patriotism (Beau Geste, Rambo)
* über-Patriotism or Zealous Patriotism (any of the above)
 
Please send your 250-word proposal by email to the area chair:
 
Lisa K. Stein
Ohio University-Zanesville
1425 Newark Road
Zanesville, OH  43701
Email:  [log in to unmask] (email submissions preferred)
 
Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal.  For updates and registration information about the upcoming meeting, see the Film & History website (www.uwosh.edu/filmandhistory). 
 
***
Call for Papers
"Sex and Love in Asian Contexts"
2010 Film & History Conference: Representations of Love in Film and Television
November 10-14, 2010
Hyatt Regency Milwaukee
www.uwosh.edu/filmandhistory
First-Round Deadline: November  1, 2009
AREA:  "Sex and Love in Asian Contexts"
 
Asia has, perhaps, the richest history of cultural and commercial exchange in the world, resulting in deeply layered 
religious, political, and artistic traditions. In cinema, for example, sex and love often are bound up in complex rites, taboos, negotiations, honor codes, pieties, and spiritual allegiances. How do Asians themselves see or represent love? How do non-Asians see or represent love in Asian contexts?
 
This area, comprising multiple panels, welcomes papers treating the representations of love and sex within, or from the perspective of, Asian contexts (East, West, Central, South, Southeast). Proposals for full panels should include the individual proposals for 3-4 presenters. Possible topics:
 
*  traditional and customary practices-loved or hated
*  treatments of historical and modern extra-marital sex and sex workers
*  love and sex--including homosexuality--as indexes of modernity, cosmo-
   politanism, or the status of women
*  love and sex in pre-modern inter-Asian narrative 
*  modern international influences (American and European)
*  distinctively indigenous traditions (Bollywood, Japanese studios, etc.)
*  new developments in contemporary pan-Asian cinema 
*  new developments in the films of Islamic cultures 
*  adaptations 
 
Please send your 200-word proposal by e-mail to the area chair:
 
S.A. Thornton
Department of History
Arizona State University
Tempe, AZ  85287-4302
Email:  [log in to unmask]  (email submissions preferred)
 
Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (www.uwosh.edu/filmandhistory).
 
***
Call for Papers
"Vampire Love"
2010 Film & History Conference: Representations of Love in Film and Television
November 10-14, 2010
Hyatt Regency Milwaukee
www.uwosh.edu/filmandhistory
First Round Deadline: November 1, 2009
AREA: Vampire Love.
 
The history of film is regularly punctuated by vampiric manifestations. From the earliest surviving film, 1922's Nosferatu, Eine Symphonie des Grauens, to the currently popular Twilight saga, cinematic vampires, by virtue perhaps of nothing more than the physical intimacy of their feeding habits and the exchange of bodily fluids, have been viewed as sexual creatures. Or is there more to it? Does the nature of this sexualization change over time? Does Max Schreck's Nosferatu devise a complex metaphor for venereal disease? Does Bela Lugosi represent American fears about "decadent" European sexuality or Western fears about sexually predacious male behavior? How might vampirism in 1936's Dracula's Daughter be viewed as an expression of lesbian desire? Do the Hammer Studios Dracula films of Christopher Lee reflect cultural anxieties about juvenile sexuality? Are the lesbian vampire films of the 1970s a symbol of homosexual liberation or an expression of male anxieties about uncontrolled female sexuality? Does the post-millennial increase in sympathetic depictions of vampirism reflect a liberalizing shift in cultural attitudes toward the erotic-or to something else? 
 
Topics might include the following:
 
The sexual overtones of lost vampire films of the Silent Era (there are at least 22)
Comparisons of vampiric bloodlust to contemporary depictions of sexual desire
Portrayals of women as victims or as predators
Femme fatales and lesbian vampires
Vampire film as index of changing sexual attitudes
Depression vampires, Cold War vampires, 21st century vampires
The vampire's bite as sexual liberation or as curse
Influences from (and upon) romance genres
Vampire as sexual opportunists
Vampires as idealized lovers
Comical romance and vampiric lust
Family love and vampire love
 
Please send your 200-word proposal by e-mail to the area chair:
 
Daniel Schnopp-Wyatt
School of Professional Counseling
Lindsey Wilson College
210 Lindsey Wilson Street
Columbia, KY 42728
Email: [log in to unmask]  (email submissions preferred)
 
Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (www.uwosh.edu/filmandhistory)
 
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