SCREEN-L Archives

March 2013, Week 2

SCREEN-L@LISTSERV.UA.EDU

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

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

Print Reply
Content-Type:
text/plain; charset="Windows-1252"
Date:
Mon, 11 Mar 2013 13:31:40 -0400
Reply-To:
Film and TV Studies Discussion List <[log in to unmask]>
Subject:
Content-Transfer-Encoding:
quoted-printable
Message-ID:
MIME-Version:
1.0
Sender:
Film and TV Studies Discussion List <[log in to unmask]>
From:
Cynthia Miller <[log in to unmask]>
Parts/Attachments:
text/plain (40 lines)
CALL FOR PAPERS
“Money Makes the World Go Around: Screening National and Transnational Transactions”

An area of multiple panels for the 2013 Film & History Conference on 
Making Movie$: The Figure of Money On and Off the Screen November 20-24, 2013
Madison Concourse Hotel (Madison, WI)
www.filmandhistory.org/The2013FilmHistoryConference.php
DEADLINE for abstracts: July 1, 2013

AREA: Money Makes the World Go Around: Screening National and Transnational Transactions

How a nation responds to economic pressures or opportunities can define its character, its national identity. How, then, have film and television depicted or reshaped that character, especially as globalization has complicated our perception of nation and nationality?  How, for example, does Revolutionary America’s objection to taxation or Bolshevik Russia’s rejection of the bourgeoisie figure in a film that seeks to define the character of the United States or the Soviet Union? 

Conversely, what effects do national audiences, reception, and box-office revenues have on transnational texts? How, for example, does Australia’s or America’s response to a Chinese film—and to the economic identity it seeks to define—in turn affect Chinese filmmaking? Filmmaking today is, perhaps, as nationally minded as it is transnationally produced and assimilated, and that paradox stands at the center of this area.

This area, comprising multiple panels, will treat all aspects of the financial underpinnings of nationality and transnationality in films and television programs. Papers that explore how monetary matters are played out in media from outside the US are especially welcome. Possible topics include, but are not limited to, the following:
 
• Shouldering the Cost: National and Transnational Co-productions
• Spreading the Wealth: National and Transnational Distribution
• Investing Time: National and Transnational Audiences
• Special Relationships and Global Economies on Screen (e.g., Babel)
• Mediating International Tourism (e.g., The Amazing Race, It’s a Mad, Mad, Mad, Mad World)
• Poor, Huddled Masses: Class and The American Dream
• Capitol/Capital: Federal Government and Fiscal Policy (e.g., Mr. Smith Goes to Washington)
• Trading Places: Wall Street, Las Vegas, and Other Geographies of Money 
• Booms and Busts: National Narratives from the Gold Rush to the Great Depression and Beyond

Please e-mail your 200-word proposal by July 1, 2013, to the area chair:

Elizabeth Rawitsch, Area Chair
Money Makes the World Go Around: Screening National and Transnational Transactions
University of East Anglia
Email: [log in to unmask]

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).

----
Online resources for film/TV studies may be found at ScreenSite
http://www.ScreenSite.org

ATOM RSS1 RSS2