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August 2009, 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:
Wed, 5 Aug 2009 14:16:47 -0400
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lease scroll down for CFPs for "An American Bromance: Homosocial Love in Film and Television"; "Jane Austen in Film and History"; "Jewish-Gentile Romances: From Abie to Zohan"
 
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Call for Papers
"An American Bromance: Homosocial Love in Film 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: An American Bromance: Homosocial Love in Film and Television
 
In American cinema, the buddy film, which tends to focus on male relationships, has been surging. Consider, for example, I Love You, Man (John Hamburg, 2009), Role Models (David Wain, 2008), Superbad (Greg Mottola, 2007), and Wedding Crashers (David Dobkin, 2005). These so-called "Bromances" are also featured on the small screen in sitcoms such as Scrubs (JD, Turk) and How I Met Your Mother (Ted, Marshall), as well as in hour-long shows like House, M.D. (Wilson, House) and Boston Legal (Alan, Denny). 
 
What cultural circumstances or social forces-or fears-have caused this surge in the Bromance sub-genre? In what narrative or historical contexts do these male-male relationships thrive? Where and how do women fit in to the homosocial love between heterosexual men? How has masculinity been redefined by it? Are homosociality and homosexuality ever connected in these texts? What types of male characters are predominately featured in the Bromance (i.e., attractive, pudgy, nerdy)? These and all other topics regarding homosocial love in film and/or television will be considered. 
 
Please send your 200-word proposal by e-mail to the area chair:
 
Kelli Marshall, Area Chair
The University of Toledo
Dept. of Theatre and Film, MS 611
2801 W. Bancroft
Toledo, OH 43606
Email: kellirmarshall_at_gmail.com (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
"Jane Austen in Film and History"
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: Jane Austen in Film and History
 
When filmmakers adapt Jane Austen to the screen, what happens to the text's finely articulated human relationships, to the audience's sense of love? How does production design or economics or star power re-shape Austen's melodramas and romances? How do Austen adaptations re-shape popular culture or period history? 
 
This area, comprising multiple panels, welcomes proposals that address the following issues:
 
a) Film, Television, and Jane Austen: how and why Hollywood (as well as other companies in the United States and Great Britain) turns to Austen at particular moments in history. Why did she become popular in the 1990s? And why has she been a subject for Masterpiece Theatre adaptations since the late 1960s? 

b) Remaking Stardom: how Austen's texts both reinforce and recreate Hollywood star images. Examples include Laurence Olivier (Pride and Prejudice, 1940), Gwyneth Paltrow (Emma, 1997), and Anne Hathaway (Becoming Jane, 2005).

c) Production Companies and Jane Austen: how particular production companies adapt Jane Austen to suit their specific house styles. Examples include the 1940 Pride and Prejudice adapted to the star-laden and expensively designed MGM house style of the late 1930s and early 1940s, or the Austen texts adapted to the Masterpiece Theatre style of studio-bound production in the 1970s and mid-1980s.

d) Reinventing History: the significance of historically authentic design and costumes in the 'look' of an adaptation; the importance of 'heritage' and use of historically accurate locations; the importance of landscape (for marketing as well as thematic purposes); images of Britain and 'Britishness'; changing approaches to gender construction since the early 1940s.

e) Genre and Jane Austen: how her work has been adapted to suit particularly (constructed) conventions of genre discourse - the romance, the period drama, or the classic serial. The intention here would be to focus less on novel/film comparison, but rather on the screenplay (published copies of which are available for several Austen adaptations).

f) Rewriting Austen: how and why Austen's life has formed the subject for films like Becoming Jane and radio plays

g) Marketing Austen: the role of publicity in marketing Austen adaptations; how pressbooks and other materials (interviews, articles as well as online material) remake history and sell it to international audiences (especially Americans); the significance of secondary materials (interviews, film websites)

h) Reception: how audiences and reviewers respond to Austen adaptations; how newspapers shape audience responses; changing cultural conditions and how they shape reviewers' reactions; institutional forces and their effect on reviews (popular or quality newspapers, film magazines, fanzines).

i) Afterlife: Fan communities; Austen fan sites online; rewriting Austen on fansites; blogs and other forms of communication; the Jane Austen Society; DVDs - the significance of extended editions, "Director's Cuts" and extras as a way of remaking Austen as well as improving marketing.; repackaging old films for contemporary audiences. 
 
Please send your 200-word proposal by e-mail to the area chair:
 
Laurence J. Raw, Area Chair
Baskent University
Ankara, Turkey
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
"Jewish-Gentile Romances: From Abie to Zohan" 
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
 
Although endogamy is a cornerstone of Jewish tradition, Jewish film protagonists often have gravitated toward Gentile partners. As Thomas Wartenberg observes, "unlikely couple" films can be cautionary tales about the dangers of crossing ethnic, class, gender, racial, and religious boundaries, or they can be poignant critiques of such boundaries. How do the backgrounds of non-Jewish partners, the assimilation of Jewish lovers (gay or straight, Jewish and/or Gentile), or the receptions of these pairings by families and audiences mirror-or not mirror-competing models of society (multicultural vs. melting-pot, religious vs. secular, West vs. East)?
 
This area, comprising multiple panels, welcomes papers and panel proposals that examine all forms and genres of films whose plots revolve around Jewish-Gentile romances and marriages.  Possibilities include, but are not limited to, the following topics: 
 
* Biblical epics about mixed couples (David and Bathsheba Solomon and Sheba). 
* Violating communal taboos (Fiddler on the Roof , The Governess. Solomon and Gaenor)
* Fatal attractions during the Holocaust (Angry Harvest, Black Book The Night Porter) 
* Intermarriage as social mobility (Abie's Irish Rose, Heartbreak Kid, The Young Lions). 
* Love as cultural pluralism (Annie Hall, Café au Lait, Keeping the Faith) 
* Attitudes toward homosexuality (Aimee and Jaguar, Bent, Torch Song Trilogy)  
* Love thy Palestinian enemy (The Bubble, Hamsin and You Don't Mess with the Zohan)
 
Please send your 200-word proposal by email to the area chair:
 
Lawrence Baron, Area Chair                                                                                                           Department of History          
San Diego State University                                                                                                                         San San Diego, CA 92182                                                                                                                                   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 and History Website (www.uwosh.edu/filmandhistory).
***

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