This is the second [and last] call for papers for an panel on
to be held at the December 1996 MLA convention in Washington D.C.
Standard approaches to film theory take off from and are thus
predicated on the principle of continuity editing as the lingua
franca of film syntax and as the basis for patterns of audience
identification.  In a sense continuity editing has become the
touchstone of [almost] all film theory, even [or especially] for
those theories [Mulvey's for example] that want to undermine it.
But today, under the influence of many factors--perhaps most
obviously the kind of editing associated with MTV, in which
continuity plays a much smaller [if any] role--continuity editing
has stoppped being the default model for cinematic language
against which specific films could be measured.  This panel will
consider the implications of this change in Hollywood's practice
for the ways in which we talk about the principles or theories of
cinematic editing and cinematic meaning.
Proposals for papers, approaching this question from any angle,
and responding to it from any point of view, are invited.
Proposals--not complete papers--should be one to two pages in
length, and are due by the end of November.  Send proposals to:
Mike Frank/English Department/Bentley College/Waltham, MA 02154,
or, via E-Mail, to [log in to unmask]
For further information call 617.891.2948 [afternoons are best.]
To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L
in the message.  Problems?  Contact [log in to unmask]