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February 2014, Week 1

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Subject:
From:
Bart Versteirt <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Wed, 5 Feb 2014 11:49:48 +0100
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Dear Readers,

We are pleased to announce the second open call for papers for *Photogénie*
 (www.photogenie.be) - the deadline for proposals is *March 16, 2014*.
Selected contributions are due* April 30, 2014*. Submissions (as Microsoft
Word e-mail attachments) and questions should be directed to
[log in to unmask] Consult our style guide
here<http://www.photogenie.be/photogenie_blog/about>.
We look forward to receiving your contributions!


 Given the scope of inquiry opened up by our first call for papers on a
'New Realist Cinema,' we've decided to focus the second issue of *Photogénie
*on the related issue of 'everydayness.' An ever-growing field of study in
cultural studies and cultural theory, everydayness is also still a
governing aesthetic principle behind much of what is most exciting in
contemporary art cinema: be it in political cinemas incorporating the
precepts of new historiographies, like the French 'Annals' school, tracing
collective perception through anecdotal accounts of everyday life; in slow
or 'contemplative' cinemas enacting temporality and harking back to
modernist or avant-gardist experiments with duration; in contemporary
instances of surrealist cinema, discovering the marvelous and absurd in the
everyday; in mumblecore anti-narratives hinging on aimless conversation; in
the recent interest, both artistic and academic, in home movies and amateur
filmmaking; or in observational, ethnographic or personal documentaries
that start from lived experience. We are less interested in reiterating the
cultural and social readings of everydayness inspired by Henri Lefebvre,
Michel de Certeau, or, against the setting of modernity, Siegfried Kracauer
and Walter Benjamin, than in highlighting the aesthetic choices or
particularities, dare we say it, the *routines *of filmmakers working
within the idiom of the everyday, in their ways of staging undramatic or
non-events, repeated actions and general absence of classical narrative
progression (resulting in delays, retardations and open endings). The
cinematic language these filmmakers develop is often based on a
self-imposed restriction or restraint: restriction of setting, camera
movement, of the available technologies of shooting and processing,
restraint in performance, dramaturgy and scoring.  What appears instead is
a heightening of specific expressive elements, like rhythm and tempo (of
speech, movement, cutting), mise en scène (attention to particular
objects), narration, framing and composition, or, at a more theoretical
level, the exploration of stillness, contemplation and presence as both
mediated and unmediated category. We welcome papers on all these topics and
specifically encourage contributions on minimalism in new Asian and
European cinemas; boredom, slowness and radical running times; ethnographic
cinemas; the archeology of social change; filmed conversations; and on
filmmakers like Wang Bing, Ben Rivers, Hong Sang-soo, Pedro Costa, Lav
Diaz, Lisandro Alonso, Apichatpong Weerasethakul, Albert Serra, Jia
Zhang-ke, Corneliu Porumboiu, Richard Linklater and Andrew Bujalski.


You can also find the CFP attached to this e-mail as a pdf-document.


Sincerely,

Bart Versteirt / VDFC vzw

02/ 551.19.61  (VOX) / 02/ 551.19.55 (FAX) / 0474/ 38.87.80 (MOBILE)

www.vdfc.be

HOTEL VAN CLEVE-RAVENSTEIN / Ravensteinstraat 3 / B-1000 Brussel / Belgium
vzw Vlaamse Dienst voor Filmcultuur / company registration number BE
0452067708
bank account number FORTIS 210-0079616-31 /  BIC GEBABEBB /  IBAN BE
04 2100 0796 1631

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