*Displacement *
*NYU Cinema Studies Graduate Student Conference *
*March 4-5, 2016*
The recent passing of Chantal Akerman dealt an irrecoverable blow to the
history of cinema. For nearly the past half-century, Akerman continually
produced provocative work that meditated on concepts of home, belonging,
and identity, while consistently investigating these via contemporary
formats and technologies. Her latest and final film, *No Home Movie*, found
Akerman probing these issues anew; reconciling distances through the use of
Skype, developing her self- understanding through conversations with her
mother, amongst others. This conference, designed to celebrate Akerman’s
memory, focuses on one of her most consistent and deeply examined themes:
displacement.
Like Akerman, our conference aims to challenge the monolithic understanding
of displacement, and embrace its multifaceted characteristics. Thus, while
we welcome proposals on issues of physical or geographical displacement à
la diasporic or exilic narratives, media coverage of displaced peoples, or
historically displaced filmmakers, we also seek papers that cover media’s
own relocation from analog to digital, temporal displacements through
processes of restoration or remediation, or spectatorial displacement as
methods of film viewing continually change. Of particular interest to this
conference are ways in which displacement has impacted the development of
cinema history, and ways in which it is centrally important to our
contemporary understanding of film as a medium and a cultural institution.
Additionally, proposals dedicated to the concept of displacement within the
works of Chantal Akerman are welcome. Please send abstracts of
approximately 350 words with 100-word bios to the conference committee at
[log in to unmask] by 30 December 2015.
Potential topics can address, but are not limited to, the following:
Physical Displacement:
● Narratives of displacement and/or displaced people; representations of
displacement in cinema be they of geography, socioeconomic status, gender,
identity or others
● Exilic or diasporic filmmaking; filmmakers or film theoreticians who have
been historically displaced
● Displaced spectatorships, from the cinema to the mobile device
● Temporal displacement and the recontextualization of lost or forgotten
films that are newly restored
● Moving images displaced to the museum, the increasing role and presence
of video and installation art
● Transnational cinema: displacement of the means of production in the 21st
Century, i.e., the importance of Nollywood and other centers
Conceptual Displacement:
● Schools of theory displacing past philosophies, i.e. the significance of
the recent affective turn
● Translation, dubbing, and issues of displaced meaning centered upon
language
● Film’s displaced technology in the digital turn
● Displacing attention: glitches, scratches, and visualizing film’s
materiality
● Intertextual displacement and processes of appropriation or remediation
● The displacement of content and issues of censorship, intranationally and
transnationally
--
Alexander Davis
Ph.D. Candidate, Cinema Studies, Tisch School of the Arts
M.A. Cinema Studies, Tisch School of the Arts, 2014
B.A. Psychology, George Washington University, 2013
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