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1. Call for Papers for Intersections between Italian, French and Francophone Cinemas

2. Call for Papers for an Edited Volume on Cinéma-monde

3. New Books

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1. Call for Papers for Intersections between Italian, French and Francophone Cinemas
Journal of Italian Cinema and Media Studies: Intersections between Italian, French and Francophone Cinemas
DEADLINE:  31 May 2015
Italian cinema is translational, transnational and rhizomatic. It is imported and exported, transferred, translated, adopted, adapted and re-interpreted. It is also both European and Mediterranean, moves in many directions constantly intersects with other cinemas and in particular with cinema in France and Francophone countries. Within such transnational framework, scholars are invited to engage in a methodological tension between studying national cinema and transnational critical approaches to Italian cinema, thus recovering these overlooked connections and re-composing them in a historic and aesthetic map, marked by cross-national dialogues and trans-generational exchanges.
JICMS intends to focus on the rising role that Italian cinema plays in the French and Francophone arenas, as well as on cooperation opportunities between Italian and foreign film industries. With this CFP, the Editor aims to shift the critical paradigm outside the inwardly focused field of Italian film studies and invites contributions that would further (1) explore the influence of Italian cinema in France and Francophone countries; and (2) investigate how it reaches beyond the imagined boundaries of its (pen)insularity.
Abstracts submitted to JICMS should be entirely original and unpublished, should not be under consideration by any other publisher, and should not have been published previously even in part by any other publication.
Interviews, events’ reports, independent and experimental artists’ biographies are considered. Proposals of English translations or edited versions of previously published works will not be considered.
Abstracts should be sent to the Editor, Flavia Laviosa ([log in to unmask]<mailto:[log in to unmask]>) by 31 May 2015, and should include the following information:
1)      A 500-word abstract outlining:
a) The topic
b) Critical approach
c) Theoretical bases of the proposed article.
The abstract should clearly state the goals of the article and provide a cohesive description of the objective of the argument. In addition to a 500-word abstract, authors should send:
2)      Relevant bibliography and filmography
3)      200-word biographical notes followed by a detailed list of academic publications
4)      The date of submission of the article, if the proposal is accepted, will be within 8   weeks from the official invitation to submit the article.

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2. Call for Papers for an Edited Volume on Cinéma-monde

Editors: Michael Gott (University of Cincinnati) and Thibaut Schilt (College of the Holy Cross)

The first cinema awards specifically dedicated to internationally produced francophone films were created in 2013, under the supervision of the Canadian-based Association Trophées Francophones du Cinéma (or ATFciné), with the assistance of filmmakers and organizers of film festivals and national film awards working in Belgium, Senegal, Quebec, and France. The initiative behind these film awards is unique in that it brings together a variety of film industries and national cinemas, and is inclusive in its definition of “francophone,” expanding the geographical limits of what is customarily considered the francophone world and formally recognizing an increasing number of films that combine French with many other languages. Such inclusivity extends to the academic realm. In a 2012 article, Bill Marshall calls for increased critical attention to develop the concept of “francophone film” in both French and Film Studies, “given the remappings necessary both in relation to the global and transnational turn in analysing film and in rearguard attempts to assert French and other cultural nationalisms that also take place” (51). For Marshall, francophone cinema, by decentering French-language cinema studies, “dramatically focuses attention on four elements: borders, movement, language, and lateral connections” (42).

This collection seeks to build on Marshall’s intervention and to extend the debate that erupted after the publication of the 2007 manifesto “For a littérature-monde in French” from literature to cinema. The manifesto prompted scholars and authors alike to examine the continued validity of the francophone discursive category. Though “francophone” was initially an optic through which to “de-center a model of French studies that was focused exclusively on the Hexagon” (Hargreaves, et al. 2), it also enabled a two-tiered dichotomy that often relegated literature and films made in France and those made in its former colonies to discrete categories. Moreover, to simply say “francophone” runs the risk of eliding both European French-language productions and diversity within the Hexagon that is not derived from the colonial or, as the manifesto signers argued, neo-colonial (Ibid. 2). Our collection examines contemporary cinema within a willfully broad “French-language” category and aims to further explore the opportunities and limitations of adopting the label of cinéma-monde (as opposed to transnational, Francophone, or World Cinema) as a critical framework. Cinéma-monde is not mapped exclusively along the boundaries of French-speaking countries, regions, or zones. It may be multilingual, or in some cases contain very little French, but hold some other connection to the world of French-language cinema. It might float within and across fluid margins.

We seek to expand the discussion of these concepts by analyzing films in which filmmakers, production teams, actors, and narratives are situated within and/or move to, from and through diverse regions of the French-speaking world. This includes Quebec, Belgium, the Caribbean, North Africa, Sub-Saharan Africa, and Southeast Asia, and transnational regional spaces within France that defy strictly national and linguistic categories. We will focus in particular on exploring the porosity of various kinds of borders in and around francophone spaces and the ways in which languages and identities “travel” in contemporary cinema. Cinéma-monde, as we understand it, is not simply cinema in French from outside of France. Nor does it exclude France. While the French market looms large in the production equation and Paris continues to exert a magnetic pull on filmmakers, France and its capital by no means represent the center of cinéma-monde. Thus we will consider how global production and reception of cinema allows us to “look sideways to lateral networks that are not always readily apparent,” a gesture that opens the door to an exploration of the “relationships among different margins” (Lionnet and Shih 1-2). The city of Montreal, for example, where the National Film Board of Canada has its headquarters and where the aforementioned Association Trophées Francophones du Cinéma is based, thrives as an ever more robust cinema hub, producing francophone films that are gaining significant attention outside the Quebec borders and are often co-produced with other francophone partner countries.

We invite your contribution, and request a proposal in the form of an abstract of 350-400 words, for chapters of 8,000 words that will focus on synergies among spaces and comparisons between films. We request that chapters based on formal analysis cover a minimum of two and, to allow for reasonably close readings, a maximum of four films. This limit does not apply to chapters focused on the economics of the industry, including production, distribution, film festivals, etc. A university press has already expressed strong interest in publishing the collection. Abstracts should be submitted electronically to both [log in to unmask]<mailto:[log in to unmask]> and [log in to unmask]<mailto:[log in to unmask]> by Monday, May 4, 2015. The final version of your chapter would be due in January 2016.

Possible topics include:

Geographic approaches (these are not exclusive, and chapters that explore connections between them are welcome)
-the Caribbean
-North Africa
-Sub-Saharan Africa
-Switzerland
-Quebec
-Belgium
-Regional filmmaking in the Hexagon or across national borders that cannot be strictly defined as “French”
-Lebanon
-Films that cover two or more of the above-mentioned regions (literally, via a road movie format, or less literally via juxtaposed narratives)
-“Francophone” Europe (a potentially broad category according to the criteria of the ATFciné and the membership in the Organisation internationale de la Francophonie; see Greece, Romania)
-“Hubs” of French-language cinema that are not demarcated by France (Montreal, Ouagadougou)
-International auteurs working in Paris or international auteurs not based in Paris but making films in French/in France (Aki Kaurismäki, Ursula Meier, Merzak Allouache, Amos Gitai, etc.)
-Directors whose work has intersected various francophone spaces
-Contemporary African auteurs such as Mahamat-Saleh Haroun and Abderrahmane Sissako

Thematic approaches
-Production, distribution, film festivals, economic approaches
-the politics of “francophone” cinematic distribution and promotion
-French actors/actresses of various ethnicities in global productions
-Non-French productions containing French dialogue in them
-French productions with little or no French in them
-French-language or multilingual travel cinema/road cinema

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3. New Books

De Vita, Philippe. 2015. Jean Renoir épistolier: fragments autobiographiques d'un honnête homme. Paris: L’Harmattan.
http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&isbn=978-2-343-04598-6

Fox, Alistair, and Michel Marie, Raphaëlle Moine, Hilary Radner, eds. 2015. A Companion to Contemporary French Film. Malden, MA: Wiley-Blackwell.
http://eu.wiley.com/WileyCDA/WileyTitle/productCd-1444338994.html

Gimello-Mesplomb, Fréderic. 2014. Objectif 49: Cocteau et la nouvelle avant-garde. Paris: SeguierPress.
http://www.editions-seguier.fr/livre/11335

Jeannelle, Jean-Louis. 2015. Films sans images: une histoire des scénarios non réalisés de La Condition humaine. Paris: Seuil.
http://www.seuil.com/livre-9782021190885.htm

Rollet, Brigitte. 2015. Jacqueline Audry: La femme à la camera. Rennes: Presses universitaires de Rennes.
http://www.pur-editions.fr/detail.php?idOuv=3768

Triollet, Christophe<http://www.editions-harmattan.fr/index.asp?navig=auteurs&obj=artiste&no=28619>. 2015. Le contrôle cinématographique en France: quand le sexe, la violence, et la religion font encore débat. Paris: L’Harmattan.
http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&isbn=978-2-343-05598-5

Yacavone, Dan. 2014. Film Worlds: A Philosophical Aesthetics of Cinema. New York: Columbia University Press.
http://cup.columbia.edu/book/film-worlds/9780231157698

Lübecker, Nikolaj. 2015. The Feel-Bad Film. Edinburgh: Edinburgh University Press.
http://www.euppublishing.com/book/9780748697977



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Phil Powrie
Professor of Cinema Studies
Executive Dean of the Faculty of Arts and Human Sciences
The Elizabeth Fry Building
University of Surrey
GU2 7XH

Email: [log in to unmask]<mailto:[log in to unmask]>
Executive Assistant: Linda Ellis < [log in to unmask]<mailto:[log in to unmask]> >/+44 (0)1483689445
Webpage: http://www.surrey.ac.uk/fahs/people/phil_powrie/index.htm
Chief General Editor Studies in French Cinema: http://www.surrey.ac.uk/sfc
Chair British Association of Film Television and Screen Studies: http://www.baftss.org/
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