Please scroll down for CFPs for "Love (Early) American Style: Love and Lust in Films About Early U.S. History," "Love and Commitment in the Fraternity/Sorority Film," "Love in a Time of War"
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Call for Papers
"Love (Early) American Style: Love and Lust in Films about Early U.S. History"
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: Love (Early) American Style: Love and Lust in Films about Early U.S. History
History textbooks seldom share the steamier side of Early American History with their reading audiences. Film, on the other hand, has reveled in the love, lust, and loss of characters (both historical and fictional) in the time covering the settlement of the British colonies to the Civil War. Why does American film romanticize this period? Is The Last of the Mohicans, for example, about the French and Indian War, or is it about the nature and development of love across the lines of class, culture, and race? How does the mythic love affair between Pocahontas and Captain John Smith disturb or reinforce assumptions about the founding of the American colonies? When do the sex scandals of a Jefferson or a Franklin become important to film audiences? How are happy or unhappy marriages depicted in films about Early America? How do desire and longing drive historical characters to achieve their goals? What do documentaries capture-or miss-when portraying the role of love, lust, marriage, and loss in films or television?
Possible topics to consider for papers or panels:
* Myths about cross-cultural love perpetuated by film (Pocahontas, The New World)
* Forced separation for historic (or heroic) purposes (Last of the Mohicans, Drums Along the Mohawk, North and South)
* Tragic loss of love (The Blue and the Gray, The Patriot)
* True partnerships in love (John Adams, the Swamp Fox, George Washington)
* Scandals (Jefferson in Paris, Sally Hemmings, The President's Lady)
* Love, Lust, and Religion (The Crucible, the Scarlet Letter)
* The Unhappy marriage or "You were not my first choice" (George Washington, Abraham and Mary Lincoln: A House Divided)
Please send your 200-word proposal by e-mail to the area chair:
Marianne Holdzkom, Area Chair
Department of Social and International Studies
Southern Polytechnic State University
1100 South Marietta Parkway
Marietta, GA 30060-2896
[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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Call for Papers
"Love and Commitment in the Fraternity/Sorority Film"
2010 Film & History Conference: Representations of Love in Film and Television
November 11-14, 2010
Hyatt Regency Milwaukee
www.uwosh.edu/filmandhistory
First Round Deadline: November 1, 2009
AREA: Love and Commitment in the Fraternity/Sorority Film
Fraternities and sororities vary in purpose and prestige, but most of them share formal systems of recruitment that echo or anticipate the "rushing" and "bidding" of love, with its social (and often sexual) enmeshments, its vagaries of "pledging" and "hazing," and its complex blending of personal and institutional histories. But what sort of love is this, and how do films depict it-or mistake it? Is it a romance? Is it a mock-epic? Why do fraternity or sorority films rely so often on comedy or horror? And how do the loyalty and love of one's "brothers" or "sisters" develop within either of these generic frameworks? How have fraternity/sorority films evolved over the last century of filmmaking? Or the last decade?
This area welcomes papers and panel proposals that consider films focusing on the many different forms of love within fraternities and sororities (or similar brotherhoods and sisterhoods). Possible topics:
* Homosocial bonding as proving ground for romantic relationships (Going Greek, American Pie Presents: Beta House)
* Repression and Aggression (Frat House, Higher Learning)
* Desperation and Validation (Old School, Accepted, Revenge of the Nerds, College)
* Sisterhood and Survival (Black Christmas, Sorority Row, Scream)
* The Masculine Sister or the Feminine Brother (King Frat, Revenge of the Nerds, The House Bunny)
* Love and sex in the co-ed fraternity/sorority (PCU, Sorority Boys)
* Romantic love as threat to the brotherhood/sisterhood (Friends "Til the End, Grease, Superbad)
* Initiation rituals as secondary/late sexual maturation (The House Bunny, Going Greek, The 40 Year-Old Virgin)
* No Women Allowed/The "Frat Pack" effect (Wedding Crashers, Old School, Step Brothers)
Please send your 200-word proposal by e-mail to the area chair:
Thomas Britt, Area Chair
Film and Video Studies
George Mason University
4400 University Drive MS 3E6
Fairfax, VA 22030
703-993-1992
Email: [log in to unmask] (E-mail 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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Call for Papers
Area: Love in a Time of War
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: Love in a Time of War
As war films often confirm for us, love during war is different from love in any "ordinary" time. It is often more urgent, more impulsive, more passionate, more tenuous, more selfish, more tragic. Although some reasons for this intensification are obvious, deeper reasons-which this area will explore-motivate the production of cinematic art that complicates our portrait of people and their nations. How does war, as opposed to the urgencies of disease or personal tragedy, develop or disfigure love? In what ways does being "human" change because of this process? What historical understanding does a love affair bring to a film like Casablanca or Gone with the Wind or Dr. Zhivago? Why does peacetime sometimes revise or extinguish love? How does a film successfully marry narratives of love and war?
This area, comprising multiple panels, welcomes papers and panel proposals that examine all films featuring love in a time of war-anytime, anyplace. Possibilities might include, but are not limited to, the following:
Casablanca
Dr. Zhivago
For Whom The Bell Tolls
A Farewell to Arms
Gone with the Wind
Cold Mountain
Yanks
Hanover Street
From Here to Eternity
Coming Home
Pearl Harbor
30 Seconds over Tokyo
Drums Along The Mohawk
Since You Went Away
The Deer Hunter
Michael Collins
Cleopatra
The English Patient
Swing Shift
Last of The Mohicans
The Bridges at Toko-Ri
Please send your 200-word proposal by e-mail to the area chair:
Suzanne Broderick
Department of History
Illinois State University
Normal, IL 61761
[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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