SCREEN-L Archives

March 1999, Week 1


Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
James Friedman <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Tue, 2 Mar 1999 09:23:05 -0800
text/plain (140 lines)

The UCLA Film and Television Archive

August 19-22, 1999  UCLA, Los Angeles, CA
The 1999 Visible Evidence Conference is co-sponsored by the UCLA School of
Theater Film and Television and the USC School of Cinema-Television

The 1999 Visible Evidence Conference is the seventh in a series of major
interdisciplinary conferences focused on the role of film and video as
witness to and voice for lived, social reality. The Conferences originate
from a center in documentary to encompass issues of ethnography, journalism,
medical imagining, visible evidence and the law, advocacy, biography and
auto-biography, and the art of social representation. We welcome a wide
range of perspectives from fields such as anthropology, architecture, art
history, ethnic studies, gay and lesbian studies, history, journalism, law,
medicine, political science, sociology, urban studies and women studies.

At this time you may submit a paper directly to a panel listed below, or to
the Open Call address listed at the bottom of this page.  In either case you
will need to submit the following: 1) a one page paper proposal; 2) a brief
description of your background or experience relevant to the proposal; 3)
your email or alternative address and phone number. For more information
please visit our website at

All proposals must be received by e-mail, or postmarked, by March 30th,

Jane Gaines, Duke University; and Tom Waugh, Concordia University:
 ³Hand Held Cameras and Other Things: Documentary Sexologies²
At least one contemporary theorist (Bill Nichols) has compared documentary
to pornography. On this panel we will be interested in probing this
analogy-‹in discussing the affinities between sex acts and machine acts, in
considering the prosthetic aspects of the camera as well as the
anthropomorphic ones, and finally in historicizing the documentary camera¹s
role in Foucault¹s ³implantation of perversions,² and ³proliferation of

contact: [log in to unmask]
Derek Paget, University College Worcester:
 ³Border Genres: Facts, Fictions & The Spaces in Between²
The main focus for this panel will be mixed-form television programming: in
particular, those genres which negotiate between the formal characteristics
of documentary and drama. Such types of program habitually use documentary
and historical material to produce dramas, but increasingly the importation
of dramatic structures into documentary has complicated already problematic
Œborder lines¹.

contact: [log in to unmask]

Akira Lippit, San Francisco State University:
 ³Real Phantasies² Role of Fantasy in Documentary
This double-session panel will explore the status of fantasy, and its
psychological counterpart phantasy, in documentary film and media. The
purpose of this double-session is to assess the status of the fantastic
within a discourse that places an ideological value on the rhetorical force
of the real.

contact: [log in to unmask]

Scott Curtis, Northwestern University:
 ³The Moving Image in Scientific and Medical Practice²
 This panel will explore the impact of moving image technology on science
and medicine, focusing especially on its role in organizing scientific
and/or medical practice. How has the moving image influenced the way
scientists or physicians represent phenomena? A broad range of approaches
that emphasize the scientific/medical researcher¹s point of view are
welcome, including (but not limited to) those that investigate such issues
as: subjectivity and objectivity, legibility and legitimacy, rhetoric and
ethics, race and gender, technology and perception.

contact: [log in to unmask]

Christie Milliken, University of Southern California:
 ³Life Lessons: Theorizing Documentary as Pedagogy²
This panel will focus on explicitly educational film and video texts in
order to examine the intersection of critical pedagogy with the rhetorical
strategies of documentary film and video. Particular emphasis on how
different models for critical pedagogy are reflected in the transformation
of documentary film practices over time, as well as the success or failure
of various educational methodologies offer a potential starting point for

contact: [log in to unmask]


Eric Smoodin, Film and Media Editor, University of California Press:
 ³Documentary Publishing²
Editors from several presses will discuss the possibilities for scholarly
publishing on documentary, and also the future of such publishing.
Participants would not only get a chance to talk about theoretical and
historiographic issues, but they would also discuss the nuts and bolts of
scholarly publishing.

contact: [log in to unmask]

John Hess, University of Maryland and Patricia Zimmermann, Ithaca College:
 ³The Digital Documentary Project²
A ³Working Session² with three to five selected presenter/curators to engage
in collective discussion and exchange about the continuation of the
Documentary Project in digital forms, particularly websites and CD ROMs.

contact: [log in to unmask]

                Open Call:

Approximately  eight  panels or workshops will be constructed from
submissions to the open call.  We welcome all papers relating to documentary
media and Visible Evidence.

Send open call proposals to:

James Friedman, UCLA Film and Television Archive ‹- [log in to unmask]
Or mail to
UCLA Film and Television Archive
Archive Research & Study Center
405 Hilgard Ave.
46 Powell Library
Los Angeles, CA 90095-1517

In addition to the receptions, panels and discussions with filmmakers at
UCLA, USC will be hosting ³Documentary Outlaws² a panel discussion followed
by an evening reception.

Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama.