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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:
Sat, 7 Jun 2014 12:21:42 +0000
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Please scroll down for calls for papers on Film Noir, The Golden Age(s) of Screen Science Fiction, and The Golden Age of the Western


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

AREA: Film Noir

Emerging during World War II and reaching its peak in the decade that followed, film noir emerged from the seamy underbelly of popular culture. It drew from pulp detective stories and the hard-boiled crime novels of authors like James M. Cain, flouting the dictates of the industry’s moral guardians and embracing violence, blatant sexuality, and societal conflict. This style forced audiences to re-examine American values, including traditional gender roles, race, and sexuality; and as its social context changed, so too did film noir’s critique.

What can be said about the effects that film noir has had upon traditional Western societies? What cultural or historical factors affected audience perceptions of these stories, and their subsequent pleasures? How did female spectatorship figure into postwar narratives? How has the anti-hero figured prominently in the deconstruction of patriarchy, if at all? This area, comprising multiple panels, explores the concept of Golden Ages across the production systems surrounding Film Noir. Topics might include the following:

•	Decoding the Production Code through Film Noir
•	Feminism, female sexuality, and fandom
•	Gay, Lesbian characters and Queer considerations
•	Racial relations, and social disruption
•	The existence, or non-existence, of Neo-Noir
•	The Family in Film Noir
•	The military man or woman in wartime Films Noir
•	The recognizable star vs. the unknown actor in Films Noir
•	The Tough Guy guise, and the fascination with the Femme Fatale
•	Wet, dangerous, and dark: the visual tropes of the Film Noir city

Proposals for individual papers should include a 200-word abstract and the name, affiliation, and contact email of the presenter. 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:

Darrell M, Newton
Salisbury University
[log in to unmask]

***

CALL FOR PAPERS
CFP: The Golden Age(s) of Screen Science Fiction
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 Golden Age(s) of Screen Science Fiction

Defining the Golden Age of screen science fiction is both complex and contentious. The 1930s offered viewers the exuberant serials like The Phantom Empire and Flash Gordon Conquers the Universe, as well darkly atmospheric tales of science gone wrong like Frankenstein, The Invisible Man, and Dr. Jekyll and Mr. Hyde. The 1950s established science fiction's claim to be a cinema of ideas, with high-gloss "adult" productions like The Day the Earth Stood Still and Forbidden Planet. James Cameron's The Abyss and the CGI-driven SF films that followed it in the early 1990s renewed screen science fiction's reputation for spectacle, and references to the 2000s as a golden age of television drama routinely cite SF series such as Firefly, Fringe, and the reimagined Battlestar Galactica as evidence. How do we define these purported golden ages in screen SF and understand their interrelationship?  Has science fiction on screen yet to find its Golden Age?

This area invites 20-minute papers dealing with all aspects of how the concept of a "Golden Age" relates to science fiction in film, television, and other moving-image media. Because golden ages are, almost by definition, culturally specific, papers that explore screen SF from outside the United States are especially welcome.

Possible topics include, but are not limited to, the following:

• Defining golden ages in screen SF: quality v. quantity, word v. image, spectacle v. ideas 
• Films or television series that defined the (or a) golden age of Screen SF
• Screen SF's golden age(s) and the march of special effects
• Golden ages in non-US science fiction film or television
• Fan discourse and the framing of golden ages
• Adapting the "Golden Age" of print (or comic-book) SF for the screen
• Was there a golden age of children's SF television?

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:

A. Bowdoin Van Riper
[log in to unmask]

***

CALL FOR PAPERS
CFP: The Golden Age of the Western
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 Golden Age of the Western

From the late 1920s to the mid-1960s, the Western genre underwent a series of surprising transformations, experiencing a decline, a rebirth, and finally, its Golden Age.  From highly successful traditional “oaters” and musical “horse operas,” Westerns developed into complex, “revisionist” forms during the Cold War that included the noir Western, the cult Western, and the Spaghetti Western. At the same time, the Western also dominated the small screen, its popularity peaking in 1959 when 26 shows were aired on television. 

Why was the Western so popular during this period?  What screen personalities in film and television rose and/or fell with the entrance of sound and Hollywood’s support of the Second World War?  What does the Golden Age of the Western or, arguably, the Golden Age of the Spaghetti Western tell us about American culture?

This area, comprising multiple panels, welcomes proposals on the subject of the Golden Age Western in film and television during Hollywood’s “Golden Age.” Papers and panels may address attitudes, styles, directors, stars, or genres that defined the success of the Western during this period. 

Possible topics include, but are not limited to, the following:

* The Western’s Golden Boys and Gals (John Wayne, Gary Cooper, Glenn Ford, Jimmy Stewart, Barbara Stanwyck, Joanne Dru, Maureen O’Hara, Jean Simmons) 

* Directors of Golden Age Westerns (such as John Ford, Howard Hawks, Anthony Mann, Delmer Daves)

* Poverty Row Studios and B Westerns during the Golden Age  (Ride Lonesome, Decision at Sundown, Outlaw Gold, The Dakota Kid, Hot Lead)

* Scoring the Golden Age Western (Sons of the Pioneers, Dimitri Tiomkin, Jerome Moross, Elmer Bernstein)

* Location Shooting during the Golden Age (Monument Valley, Utah; Apache Junction, Arizona; Red Rock Canyon, Nevada; Lone Pine, California; movie ranches)

* Black Gold: Noir-ish Westerns in the 1950s and 1960s (Bad Day at Black Rock, Devil’s Doorway, The Furies, The Naked Spur, The Tin Star, A Man Alone)

* The Spaghetti Western’s Golden Age (A Fistful of Dollars, Taste of Violence, Death Rides A Horse, The Good, The Bad and The Ugly)

* The Television Western in the Golden Age (The Lone Ranger, Hopalong Cassidy, The Big Valley, Rawhide, Bonanza, High Chaparral)

* The treatment of Native American issues in Golden Age Westerns (Geronimo, The Battle at Apache Pass, Broken Arrow, Hondo, Cheyenne Autumn,)

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:

Sue Matheson
University College of the North
Email: [log in to unmask]

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