CFP: Rethinking Film Genres: East Asian Cinema and Beyond

The conference committee of “Rethinking Film Genres: East Asian Cinema and Beyond” has extended its deadline for abstract submissions to 10 May 2017.

Call for Papers

The University of Hull invites researchers and postgraduates to its conference “Rethinking Film Genres: East Asian Cinema and Beyond” (University of Hull, 14-15 September 2017)

Confirmed keynote speakers
Professor Chris Berry, King’s College London
Professor Michael Berry, University of California, Los Angeles
Professor Shaoyi Sun, Shanghai Theatre Academy

What is film genre? Does it still matter in today’s film production, distribution and consumption? How have some film genres become so closely associated with a nation or region, such as Chinese martial arts films, Japanese horror, and Korean melodrama? The fact that genre is widely discussed by the general public suggests that it is still important. However, the examination of genre theory and the scholarly discussion of genres have remained predominantly focussed on Hollywood and European cinemas, as exemplified by the work of scholars such as Thomas Schatz, Steve Neale, Barry Keith Grant, Rick Altman, Belén Vidal, and Antonio Lázaro-Reboll. Despite their rich screen culture and their influence within and beyond the Pacific region, East Asian cinemas remain underexplored. In today’s context of increasingly international filmmaking, we would aim to explore the ways in which film genres underpin cultural translation between East Asia and beyond.

As the theme of ‘ Rethinking Film Genres: East Asian Cinema and Beyond’ suggests, the conference intends not only to celebrate cinematic creativity through the interrogation of the narrative and aesthetics of film genres developed in East Asian (including mainland Chinese, Hong Kong, Macau, Taiwanese, Japanese, and Korean) cinemas, but also seek to expand scholarly discussion of the rich heritage and fast changing landscape of filmmaking of East Asian cinemas by examining the international co-production and cross-cultural consumption of film genres.

We therefore invite papers based on either theoretical research or on case studies to address any of following themes:
• Narrative, style and aesthetics of various genres of East Asian cinemas (including but not limited to Chinese, Japanese, Korean cinema)
• Film genres and local, regional, national and global identities of East Asian cinemas
• Cross-cultural consumption of East Asian film genres
• Fandom and East Asian film genres
• Creative professionals (e.g. stars, directors, producers, production designers) and film genres of East Asian cinemas
• Cross-border mobility (e.g. talents, finance, ideas) and the development of film genres in East Asian cinemas
• International filmmaking, coproduction and genre crossing between East Asian cinemas and other screen cultures
• Remaking and adaptation of East Asian films
• Sound, music and language (e.g. dubbing, subtitles, dialects) of East Asian film genres
• International distribution and exhibition of East Asian film genres
• Genre as a reflection of cultural flow, social economics, media policies, and political history
• Historical review of film genres in East Asian cinemas

This is not an exhaustive list of thematic strands that we hope to explore at the conference.  We particularly encourage submissions from those whose papers promote cross-disciplinary dialogue and critical debate in area studies, genre theory, film studies, media studies and cultural studies.

Please submit your proposal (maximum 250 words) for a 20 minute presentation, together with a short biography (maximum 50 words) and affiliation information to Dr. Lin Feng at Eastasiancinema@hull.ac.uk by 10 May 2017.

Decision of abstract acceptance will be released by the end of May.
The conference is to be held at University of Hull, 14-15 September 2017.

CFP: Archive/Anarchive/Counter-Archiv

Colleagues: Please see this updated CFP. Apologies for the cross postings.

 

CFP: Archive/Anarchive/Counter-Archive

Special issue #57 Public: Art/Culture/Ideas

 

Charles Merewether has pointed out that the archive in the modern era – official or personal – has “become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art” (Merewether 2006). Theorizations of the archive that have come from feminist and queer scholars have provoked a reconsideration of the authority given the archive and of what the archive contains—the archive is both a contested site and a medium, and, in some cases an artwork (Simone Osthoff 2009). We should not see anarchives or counter-archives as simply oppositional. Brett Kashmere (2010) sees the ‘counter-archive’ as growing out of the digital age. Even if early photography and MI challenged the stability of the archive creating defacto the counter-archive, as Paula Amad argues (2010), the “archival turn” of the 1990s is marked by the rise of ephemeral counter-archival and anarchival practices that bring a heterogeneity and different media and materials into archives along with performance tactics (Eichhorn 2013; Taylor 2003). In the LGBT2Q and feminist communities, archives emerge from collaborative processes that mirror the network and non-profit mode of collective feminist organizing (McKinney 2015), and non-institutional performative approaches to safekeeping history because archival institutions have historically overlooked their value. Counter-archives are ‘an incomplete and unstable repository, an entity to be contested and expanded through clandestine acts, a space of impermanence and play’, while in practice, the counter-archive ‘entails mischief and imagination, challenging the record of official history’ (Kashmere). Both Anarchives and counter-archives can be political, ingenious, resistant, and community based. They are embodied differently and have explicit intention to historicize differently, to disrupt conventional national narratives, to write difference into public accounts. Dylan Robinson has explained how indigenous archives require counter archival approaches that use the tools of art making as social practice to create 21st century indigenous approaches to archives (2017). Archive/Anarchive/Counter-Archive will locate new solidarities in these diverse approaches to history, archives and their activation. We seek critical speculations, scholarly essays and creative projects that engage with the changing nature of history in the age of the post-digital archive. This issue of Public: Art/Culture/Ideas will seek to learn from these new configurations.  Topics can include:

–Case studies of difficult and troubling archives or anarchives

–Theorizing the counter-archive in the 21st century

–Lost archives of diasporic cultures

–Living Archives

–Indigenous Archives

–New approaches to Activating the Archives through Performance

–Archives as pedagogies

–The material cultures of archives

–The generative capacity of archives

–Feminist and Queer Archives

–The database archive and memory

–Visual ecologies of the archive

–Total Archives

–mourning the archive

 

Abstracts 250 words: June 1st, 2017

 

Text and project deadline (3-6,000 words): September 1st, 2017

 

Please send proposal, c.v. and brief bio to: public@yorku.ca

 

PUBLIC: Art/Culture/Ideas is a peer-reviewed journal that explores the intersection of visual culture and critical studies. Since 1988, it has served as an intellectual and creative forum that focuses on how aesthetic, theoretical and critical issues intermix. In each themed issue, PUBLIC encourages a broad range of dialogue by bringing together artists, theorists, curators, philosophers, creative writers and historians. For further information, visit www.publicjournal.ca

 

CFP: Silent Cinema and the Transition to Sound

Phoenix Cinema, Leicester
as part of the 19th British Silent Film Festival, 13-17 September

The transition from silent to synchronized sound cinema in Britain between 1927 and 1933 was a period which changed British cinema as both industry and art form forever, but which has largely been overlooked by cinema historians.

This symposium, which will precede the British Silent Film Festival, will examine the transition from silent to sound across the cinema industry in terms of economics, employment, technology and infrastructure, as well as the shift in film form and style including its impact on production, distribution, exhibition, reception and critique.
We invite papers and presentations from a range of disciplines that help to advance our understanding of the film industry during this tumultuous period. We particularly welcome contributions which consider the transitional period in European cinemas along with Britain’s own international relationships to both Anglophone and non-Anglophone countries. We also invite papers that consider the role of music and sound in silent cinema, before the period of the transition to sound.

The symposium is part of the AHRC-funded project on British Silent Cinema and the Transition to sound (a collaboration between De Montfort University and the University of Stirling) and will precede the 19th British Silent Film Festival which will include four-days of screenings and presentations on the transitional period 1927 – 1933.

Possible topics include:
– technology and industry
– economics
– personnel
– film form, style and the impact of new production processes
– exhibition, reception, cinema-going and audiences
– cinema markets
– the transitional period’s impact and legacy
– music and sound in early cinema

Please send abstracts of 200-500 words to Laraine Porter at
lporter@dmu.ac.uk

Deadline for contributions: 31 July 2017.
 

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