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February 2006, Week 4


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Phil Powrie <[log in to unmask]>
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Film and TV Studies Discussion List <[log in to unmask]>
Sat, 25 Feb 2006 14:35:37 -0000
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It is now approaching one hundred years since the first cinemas were built in Britain. In that time, the ways in which we consume film have changed enormously. This symposium aims to explore film consumption with a specific emphasis on cinemas and audiences. How have our cinema-going practices changed over the last century? How do audiences engage with film culture? How have cinema industries adapted to drive or reflect these changing patterns of consumption? 

Recent developments in Film Studies have seen an increasing desire to engage with the cultures of film consumption: to investigate the audience rather than to construct the spectator. Studies such as those of Pierre Sorlin (Mass Media, 1994), Mark Jancovich (The Place of the Audience: Cultural Geographies of Film Consumption, 2003), Annette Kuhn (Everyday Magic: Cinema and Cultural Memory, 2002) and Jackie Stacey (Star Gazing: Hollywood Cinema and Female Spectatorship, 1994), have helped to redefine our understanding of 'audience studies', demonstrating how such research can open up new areas of study, and challenge academic pre-conceptions relating to the relationships between texts and spectators, and between film production and film consumption. This day of events devoted to cinema audiences will continue to develop this burgeoning area of research and to consider what audiences can bring to Film Studies. 

Visiting speakers will include: Pierre Sorlin (Emeritus Professor, University of Paris III) and Mark Jancovich (Professor of Film and Television Studies, University of East Anglia).

Papers would be welcomed on any area of film consumption, including: 

The history of the cinema
Ethnographic studies and audiences
Audiences as consumers of film culture
Film consumption and cultural, regional or national identity
Child consumers
Documentary film
The Art-house Cinema
The Multiplex
Film clubs and cinephilia
Fan cultures
Audiences and genre/stars
Early cinema audiences

Send abstracts of approximately 200 words to [log in to unmask] by 28 February 2006. It is planned to publish selected papers in an edited volume. 


2. Interval(2)  Film can help us think thought
A confluence of screenings, installations, theoretical papers and video/film essays

Woburn Square Studios (The Slade Research Centre) Woburn Square WC1 OAB (off Gower Street. Euston Square / Russell Square tube) Friday March 17th 9am - 7pm

Interval(2) takes as its line of flight philosopher Gilles Deleuze's terms: "the irrational interval" and "the ruin of representation", giving attention to the moving image as a site for aberrant thought and social transformation. Interval(2) is a confluence of artists' film & video, experimental fiction/documentary and film philosophy...

Janet Cardiff & George Bures Miller
David Rodowick (author, 'Gilles Deleuze's Time Machine') 

Henry VIII's Wives, Duncan Reekie , Peter Tscherkassky, Nicole Hewitt, Clio Barnard. Stephen Connolly, Karen Mirza & Brad Butler, Maria Walsh, Steven Eastwood, Emily Richardson, Alan Rhodes, Phillip Warnell, Mark Aerial Waller, Sophia Kosmaoglou, Rob Grosse, Michael Goddard, Hilary Koob Sassen, Firoza Elavia, Doug Fishbone, Jamie O'Neil, Chris Ernst, Daniel Cockburn, Katherin McInnis, Peter Miller, Romeo Grunfelder, Natalie Frigo, Victoria Fu, Paul Tarrago, Alexander Stewart, Joanna Raczynska,Ben Callaway, Resonance FM, Jigoku.

Moderators: Gareth Evans, Penny Florence, Ian White.

Panel #1
Panel #2
Panel #3

Saturday March 18th
Screenings and discussions at Cine Lumiere, Institut Francais, South Kensington 12.00 - 6.00pm

For full programme details, QT movies and information on how to register/book tickets: 
email: [log in to unmask]
Both events open to the public



3. AHRC Project: French Cinema in Britain since 1930 PhD Studentship

Applications are invited for a PhD studentship in connection with an AHRC-funded research project led by Dr. Lucy Mazdon. The post is for a fixed period of 3 years starting in October 2006.

The Project
This project will examine perceptions and articulations of French cinema within British culture from 1930 to the present. In a market dominated by Hollywood, French films are consistently the most widely distributed non-English language work. However French cinema appears to undergo a transformation as it reaches Britain, becoming something quite different to that experienced by audiences at home. This project will analyse how and why this process of transformation takes place and to what extent it curtails French cinemaıs plural identities via study of the distribution, exhibition, promotion and reception of French cinema in Britain

The PhD project (supervised by Mazdon) will explore the promotion, distribution and reception of French cinema in Britain since 1980, a key moment in this history as the then Socialist administration in France vociferously advocated a popular and exportable national cinema. As such it will provide detailed analysis of a central period in Franco-British cinematic exchange.


The projectıs other envisaged activities and outputs include:

* A co-authored volume written by Mazdon and a Research Assistant provisionally entitled French Cinema in Britain 1930 to 1980. This book will provide a broad overview of key debates and developments in the distribution, promotion and exhibition of French cinema in Britain and will include specific case studies) as wells a comprehensive account of policies, strategies and statistics.
* A symposium which will explore a key moment in constructions and understandings of French cinema both at home and in Britain, the emergence of the New Wave in the late 1950s.
* A conference which will move beyond the specific focus of the project to a wider discussion of Anglo-French cinematic relations from 1930 to the present. 
* An exhibition which will complement the conference and which will be devoted to posters and other promotional material linked to the distribution/promotion of French film in Britain.
* An edited collection (co-edited by Mazdon and a Research Assistant) based upon conference proceedings and commissioned work. It will include essays on Franco-British cinematic traffic as well as broader questions of Anglo-French cinematic relations.





The person specification:


You will have a good first degree and a postgraduate qualification (or be in the process of completing a postgraduate qualification) in a Humanities subject area. Ideally you will have engaged with the medium of film. You will possess basic IT skills. You will either have, or must acquire, a broad knowledge of French and British culture, specifically cinematic culture, since 1980. You will also require native or near-native ability in written and spoken English and French.


You must have a keen interest in academic study. You must have the ability to work independently and to manage your time effectively. You should have good interpersonal skills. You must also be willing to undertake some research trips to London and Paris (funded by the project).

Film Studies at Southampton
Film Studies has been taught at Southampton for more than twenty years. It is a small but vibrant academic community, which aims to be one of the leading Film Studies groupings in Europe, for research, teaching and outreach. Film Studies was until recently in interdisciplinary venture run by the then departments of English and Modern Languages. In the last Research Assessment Exercise in 2001 Film staff were submitted with their parent disciplines and contributed to a rating of 5* (Modern Languages) and
5 (English). Due to a University restructuring, Film Studies is now an independent entity in the School of Humanities but retains strong teaching and research links with other disciplines within the School. Film Studies has an innovative, student centred approach to education, offering degree combinations of Film with English, History, History of Art and Design, Philosophy, and Modern Languages and form 2006, a single honours degree in Film Studies. Its MA in Film Studies is one of the most successfully recruiting postgraduate programmes in the School and it has recently begun a second MA programme in Film and Cultural Management. Current and recently completed PhDs include work on topics such as Universalıs Sherlock Holmes series in the 1940s, stars in East German cinema, James Bond and British film culture in the 1960s, the films of David Lynch, the representation of the Holocaust on British television, the 1950s American film adaptations of Jules Vernes, early British television history, and the use of music in the films of Stanley Kubrick.

The School of Humanities
Film Studies is located in the recently formed School of Humanities, where it enjoys a close collaborative relationship with Archaeology, English, History, Modern Languages, Music and Philosophy. The School has a vigorous culture of postgraduate research and has developed an extensive range of taught MA programmes. It also has several interdisciplinary groupings and research-based Centres, including some of which involve other Faculties within the University.

The University
Southampton is an expanding research-led university with a strong commitment to improving profile within the Russell Group, the leading group of research universities in the UK, and to extending the number of disciplines in which it has an international reputation. With strong departments in science, engineering, social science and medicine, as well as arts and humanities, the University is at the centre of a substantial network of higher education in the region and internationally. It is a member of the Worldwide University Network (WUN), an alliance of research-led universities in the UK, US, Europe and the Far East. The predominant ethos is informal and participatory with a strongly developed and supportive structure.

More detailed information is available as the Universityıs website: <>


For informal enquiries regarding the studentship, please contact Dr. Lucy Mazdon ([log in to unmask])

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