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February 2019, Week 2

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Subject:
From:
Alexandra Nakelski <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Thu, 14 Feb 2019 14:38:49 -0700
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I believe the land is "Fantasia" not "Fantastica". I look forward to
submitting!

On Monday, February 11, 2019, Janine Leona Schleicher <
[log in to unmask]> wrote:

> Call for Papers
>
> Romanticism again and again! In autumn 1979, Michael Ende’s novel The
> Neverending Story was published in the Federal Republic of Germany. Even to
> Ende’s contemporaries, Bastian’s journey to Fantastica and back seemed to
> be the beginning of a revitalization of romantic longings and ideas within
> popular culture. Almost at the same time, US-American cinema discovers the
> genre of fantasy film. The motif of Campbell’s hero’s journey, a world that
> needs healing and the interconnectedness of all things becomes a
> constitutive trait of these films’ poetics.
>
> On the one hand, the corresponding novels and films emerged in answer to
> the uncertainty of a bipolar world – fear of the atomic bomb and nuclear
> fallout as ultima ratio of the Cold War – and the nascent awareness of
> environmental vulnerability. On the other hand, they, like their famous
> predecessors, have been accused of a penchant for escapism and
> ill-conceived inwardness.
>
> A similar area of tension can be observed in the fantasic today. Once
> again, the potential of recent speculative fiction as well as its critique
> seem to be indicating a core collection of romantic notions. Like at the
> end of the 18th century, romanticism and the fantastic provide a corrective
> to the frigid, mercantile rationality of a world that no longer knows any
> secrets. In light of contemporary political, economic and ecological
> distortions, speculative fiction is looking for ways of rethinking the
> world – and man’s place in it. And once again, the fantastic is accused of
> turning its back on hard facts and necessities to take refuge in
> sentimentalized other-worlds.
>
> Based on these findings, the conference will pursue two goals: First, it
> intends to take a critical look into the relationship of romantic ideas,
> poetics, and images to possible genealogies of the fantastic. What is to be
> gained by locating fantastic works in a romantic tradition? Does this
> dialogue facilitate a deeper understanding of the continued effect of
> romanticism or poetics of the fantastic? Second, the resilience of
> speculative fiction’s inherent capability for critique is to be scrutinized
> in reference to its romantic origins. Can the relation between fantastic
> worlds and everyday reality be conceptualized in a way that forgoes the
> dichotomy of critical realism and ahistorical escapism? Would it be
> possible to illustrate, using its stories, images, and audiovisual
> presentations, the untenability of accusations which label the fantastic as
> being politically reactionary and aesthetically conservative – or do the
> subversive moments in its poetics remain marginal?
>
>
>
> All contributions are welcome which examine the complex relationship
> between romanticism and specific implementations/ of the fantastic, its
> types and genres, protagonists, and media, on a theoretical, historical,
> and analytical level.
>
>
>
> Possible Topics:
>
> Universal poetry and worldmaking (atmosphere, synesthesia, science and art
> as modes of knowing and experiencing)
> Media of the supernatural: romantic concepts of media and their influence
> on the mediality of the fantastic
> Romantic conceptions of history and the faculty of historic imagination as
> driving forces of the fantastic (recourse to the Middle Ages)
> Fairy tales, myths, and legends as genres and modalities of fantastic
> narratives
> Traditions of gothic fiction in modern fantasy
> Updating gothic topoi in contemporary horror cinema (for instance ghosts,
> living dolls and possessed clerics in the Conjuring-franchise, or witches
> and religious mania in folk forror)
> The beautiful and the sublime, the gruesome and the grotesque as models
> for poetics of affect in horror and fantasy
> Romantic imagery and its influence on visual forms of the fantastic (art,
> comic, film, series, computer game etc.)
> Forms, practices and theories of the fantastic in the era of romanticism
> (ghost and witch lore, demonology, phantasmagoria etc.)
> Soundscapes which establish a quasi-natural stance beyond the human (as in
> Dark Ambient or Drone Metal)
> Poetics of fantasy as modes of magical thinking
> Romantic poetics and the becoming-fantastic of the ordinary
> Forms of romantic love in fantasy
> Fantasy as a form of political romanticism
>
>
> As usual at GFF conferences, there will be an open track for all lectures
> which are not directly related to the topic of the conference. Hence, we
> are open to further proposals.
>
>
>
> The GFF offers two scholarships of 250 euros each to students to help
> cover their travel expenses to the conference. Please indicate if you would
> like to be considered when submitting your abstract.
>
>
>
> Deadline for abstracts and short biographies (max. 2000 characters):
> January 1st-February 28th, 2018.
>
> Submission of constituted panels (3-4 speakers) is encouraged.
>
>
>
> Submission form: https://www.conftool.org/gff2019/
>
>
>
> For additional inquiries, mail to: [log in to unmask]
>
>
>
> Conference Board: Jun.-Prof. Dr. Jan-Hendrik Bakels, Regina Brückner,
> Jun.-Prof. Dr. Matthias Grotkopp, Dr. Tobias Haupts, Dr. Daniel Illger,
> Cilli Pogodda, Prof. Dr. Michael Wedel
>
> ----
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>


-- 


Alexandra Nakelski
Director of Programming/Film Scholar


www.manifestofilmfestival.org

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