Society for Cinema and Media Studies
March 2-5, 2006
Vancouver, Canada

The SCMS Caucus on Class ( ) is sponsoring
the following calls for papers.  Please send 150-word proposals, plus brief
bibliography and bio statement, to the listed contact person by August 20, 2005.

"The Canadian Imaginary: Paradise in the North or Cheap Labor Market?"
This panel examines the place of Vancouver and other Canadian filmmaking
centers in terms of their relationship to Hollywood television and film
production over the past decade.  Vancouver, where The X Files, The
Sopranos, and many other television series have been filmed has been seen as
a cheap location stand-in for more expensive, because more union-based,
shooting in the United States, particularly in New York.  Toronto, the other
major Canadian filmmaking city, has seen a wholesale migration of Hollywood
production in the wake of the recent Screen Actors Guild strike by actors in
commercials.  The panel would also look at, from the Canadian perspective,
the effect of these industry trends on the heavily government financed
Canadian independent scene both in film and on Canadian television.  The
panel also explores the Hollywood/Canadian relationship in terms of screen
image. What is the effect on the concept of the veracity of location
shooting when "Vancouver" substitutes for "America," and, on the Canadian
side, what does it mean to have Canadian locations effaced and presented as
literally a part of the U.S.?
CONTACT:  Dennis Broe - [log in to unmask]

"Materialism and Cinema"						
The popularity of Deleuze in cinema studies is coincident with a
philosophical return in the field to phenomenology, especially as inspired
by Heidegger.  Papers are sought which instead examine the application of
materialist philosophy to the screen.  What might a materialist theory of
film look like and signify in the age of transnational capitalism?  How
would it differ from the cognitivist approaches of Bordwell and of Anderson,
the analytic approaches of Allen, Smith, and Wartenberg, and the
aestheticist approaches of Carroll and of Plantinga?  How might it negotiate
the Althusserian approaches of the 1960s-70s?
CONTACT:  Terri Ginsberg - [log in to unmask]

"Argentine and Latin American Post-Crisis Cinema: From Memories of
Underdevelopment to Strategies of Revolt"
The economic crisis that nearly bankrupted Argentina also coincided with the
emergence of Argentine cinema as a major force in world filmmaking.  This
panel will examine that cinema and its relationship with the crisis as well
as expanding to note the ways in which an entire block of Latin American
countries, including Venezuela, Bolivia, Brazil and Ecuador, are now
governed by leaders seeking different solutions to neoliberal expansionism.
What impact has this had on the cinema and other forms of media expression
in the region?  In what ways have these developments in Argentina and in
other countries influenced one another and bolstered critical film and media
making in the region?
CONTACT:  Susan Ryan - [log in to unmask]

"The Crisis of Academic Labor, Part V: Structural Determinants and Organized
Responses to the New McCarthyism"
This workshop explores the economic and political grounds of the "New
McCarthyism" facing academia and taking the form of highly organized
campaigns against academic freedom by conservative think tanks and
philanthropies.  Presentations are invited which analyze the systemic
structural determinants of these phenomena and their affects on film and
media studies, both in terms of institutional and ideological reaction and
critical response and resistance.
CONTACT:  Kelly Dolak - [log in to unmask]  
"The Journey of a Thousand Miles Begins with a Single Cell Phone:
Recent Chinese and East Asian Cinema and the Socialist-Capitalist Tradition"
The Chinese transition from a socialist to a market economy has effected
rapid changes in the country in the last 20 years and exacerbated
contradictions that were already pronounced in the Chinese system.  This
panel examines the ways in which Chinese filmmakers have mapped those
contradictions in the last decade as they comment wryly on the process of
directly overlaying a socialist propaganda model with a market propaganda
model.  The panel would look at how filmmakers are addressing these
contradictions both in documentary and fiction films, as in the fiction work
of filmmakers such as Jia Zhangke (The World) and the documentary work of
Wang Bing, whose 14-hour chronicle of the transformation of a Chinese town,
West of the Rails, reworks the concept of documentary.
CONTACT:  Pat Keeton - [log in to unmask]

"Filling the Void:  How Docs, Blogs, Zines, and Other Online Media Are
Redefining Journalism"
While mainstream media grows more economically consolidated and politically
conservative, social issue documentaries like Fahrenheit 9/11 and Supersize
Me have achieved surprising box office success and received extensive
critical attention.  Other critical documentaries (e.g. Uncovered: The Whole
Truth about the Iraq War) have reached audiences through links to
progressive political organizations.  This panel seeks papers exploring the
ways in which contemporary documentaries-as well as other forms of
alternative, online distribution (websites, blogs, online journals, etc.)
and exhibition venues-are explicitly engaging political discourse.  How has
the "new journalism" influenced documentary technique and challenged that of
corporate and mainstream media?  How are online distribution and alternative
exhibition venues related to the politics of such films/videos?  Are there
significant differences from political documentary strategies of the 1930s
and 1960s?
CONTACT:  Christopher Sharrett - [log in to unmask]

"Class Issues in Reality Television"
The rising popularity of reality television has transformed television
programming, yet important questions remain about the genre's representation
of class as well as its influence on modes of production in the television
industry.  Papers are sought which explore the ideological dimensions of
this televisual genre.  Are reality shows more "democratic" because "real"
people volunteer to take part?  How might a class analysis broaden our
understanding of shows like Wife Swap and The Apprentice?  What are the
implications for labor relations in the industry and for other televisual
genres as editors come increasingly to serve as producers, and producers as
CONTACT:  Yasmin Nair - [log in to unmask]

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