CFP: World Records, Volume 1 – The Documentary Camera

Bringing together the voices of scholars, critics, makers, and curators, the inaugural volume of World Records offers a space to ask and to explore:  What is a documentary camera?  What do cameras do and how do we know?

The increasing number of cameras, the number of individuals and spaces exposed to their effects, and the massive volume of photographs and video generated by those cameras and then shared, posted, streamed, installed, and screened across the globe suggests that it might be time to re-evaluate these questions and return to a set of first principles.  Within the field of documentary, the camera is often thought of as a key tool of transparency in a democratic politics of publicity, one where the camera aids in making publics by making public that which remains hidden.  But a contemporary surplus of recording devices produces as many dilemmas as it may resolve: it might be said to produce not more democracy but more suspicion, and their ubiquity comes at a time when many are experiencing more precarity than stability.

We solicit papers and abstracts on questions that help to explore and expand upon the contradictions of our present social and technological moment by addressing questions including, but not limited to, the themes listed below.

Social and Technological Conditions
In our “24/7” culture, as described by Jonathan Crary, new media might be defined by the increased demands that emerging technologies like the camera place upon our bodies.  At the same time, we can challenge what’s so new about new camera technologies by exploring the larger social and economic narratives, demands, and goals that are set in motion and inscribed into industrial and production processes long before the technologies that absorb those narratives appear in the marketplace.

·         Relationship between developments in new camera technologies and documentary discourses of access, intimacy, and publicity.

·         Augmented and virtual reality technologies and the politics and aesthetics of immersion.

·         Emerging camera technologies and their relationship and challenges to agency as a superintending concept of documentary study.

·         Explorations of recent nonfiction projects realized through the implementation of very particular camera technologies.

·         Explorations of films and filmmakers that situate these questions in the larger frame of documentary history.

Cameraless and Imageless Documentary Studies
According to Ariella Azoulay, the photograph is but one of a number of outcomes in the “event of photography,” a phrase that she uses to refer to the nearly endless possibilities catalyzed by the presence of a camera in a social space.

·         Explorations of the social and political effects of the presence of the documentary camera outside of the images that the camera produces.

·         Recent and historical cinema practices that elide traditional cinematic apparatuses.

What Can Cameras Do?
In recent years, many media makers have increasingly described their work as “mapping spaces” rather than “revealing” or “recording.”

·         What are the implications for the primacy of the camera as documentary turns to the charting of invisible flows?

·         Studies of projects that frame personal recording devices, privacy, and empowerment.

·         Explorations of projects that frame and rework the perspectival assumptions built into camera optics.

Deadline for electronic submission of 3,500 – 4,500 word essays formatted in Chicago Style, short abstract, brief bio, and bibliography is March 10, 2017. Please prep submissions for anonymous review.

Alternately, the deadline for electronic submissions of 500 word abstract, brief bio, and sample bibliography is February 20, 2017 with notification by March 20, 2017.

Bookmark the permalink.

Comments are closed

  • Archives