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.
 

CFP: Polish Avant-garde in Berlin

Berlin, December 14 – 15, 2017
Deadline: Jul 30, 2017

[For German version please scroll down]

Polish Avant-garde in Berlin
Conference on the occasion of the 100th anniversary of the Polish
avant-garde movement

The conference is part of the festivities on the occasion of the 100th
anniversary of the Polish avant-garde movement that is being celebrated
in Poland throughout 2017. Thematically, it comprises the relations
between Polish artists of the avant-garde movement and their Berlin
counterparts in the first decades of the 20th century until present
time.

Berlin is one of the key places on the cultural map of transnational
avant-garde movements. It brought and continues to bring together
artists of different nationalities, beliefs and cultures, among them
(visual) artists, writers, poets, musicians, performing artists
(theatre), collectors, and art critics. During the first three decades
of the 20th century, the Berlin art scene was coined by the works of
such artists as Stanisław Przybyszewski, the founders and members of
the Poznan-based group BUNT, the members of the groups BLOK and
Formiści (Formists), innovative art theorists, poets and writers
(Tadeusz Peiper and Aleksander Wat) as well as already classical
avant-garde artists of international renown such as Henryk Berlewi and
Teresa Żarnowerówna. They were active members of the Berlin avant-garde
movement, they were inspired by it just as well as they brought with
themselves new, thus far unknown ideas and perspectives to
west-European cultures with regard to both form and iconography. Polish
artists continued to participate in the Berlin art scene even after the
Second World War, they worked and lived in Berlin and presented their
works – amongst others – on the Berlin Biennale. Here, names of
well-known artists need to be mentioned such as Katarzyna Kozyra, Jerzy
Kosałka, Paweł Althamer, Wilhelm Sasnal or Artur Żmijewski, curator of
the seventh Biennale.

The conference does not limit itself to topics from art history;
instead we would like to encourage interested scholars from different
fields to submit papers from literature, theatre, music and film
studies. Furthermore, the research questions do not require to be
chronologically confined.
With regard to the interdisciplinary understanding of the paradigm of
the Polish avant-garde movement in Berlin, we would like to examine the
following problems and research questions in particular:
– processes and causes that enabled the presence of representatives of
the Polish avant-garde movement in Berlin, such as the influence of
political events or social and cultural changes
– transfer, influence, adoption, rejection or modification of artistic
ideas
– contacts between German and Polish artists, their social and cultural
backgrounds
– participation of Polish avant-garde artists in exhibitions, concerts
and presentations
– German-Polish (Berlin) artist groups
– the reception of Polish avant-garde art in Berlin by art critics, the
press and the public
– Polish avant-garde in light of the Berlin art market
– can avant-garde art function as a carrier of national and cultural
distinctiveness, es-pecially abroad, or does it aspire a more
universal, transnational form?

Please submit your paper proposals as abstracts (250 words) in English
or German along with a short academic CV until July 30th, 2017, to:
malgorzata.stolarska-fronia@cbh.pan.pl
The conference will be held in German and English (no translation
provided), and is prelimi-narily scheduled for December 14th-15th, 2017.

—-

Call for Papers
Die polnische Avantgarde in Berlin
Tagung anlässlich des 100. Jubiläums der polnischen Avantgarde-Bewegung

Die Tagung reiht sich in die Feierlichkeiten zum 100. Jubiläum der
polnischen Avantgarde ein, die 2017 in Polen begangen werden.
Thematisch umfasst sie vor allem die Beziehungen zwischen den
polnischen Künstlern der Avantgarde und den Berliner Kreisen von den
ersten Jahrzehnten des 20. Jahrhunderts bis zur Gegenwart.

Berlin stellt einen der Schlüsselorte auf der Landkarte transnationaler
avantgardistischer Bewegungen dar. Es brachte und bringt immer noch
Kulturschaffende unterschiedlicher Nationalitäten, Glaubens und
Kulturen zusammen, darunter Künstler, Literaten, Dichter, Musiker,
Theaterschaffende, Sammler und Kunstkritiker aus Polen. In den ersten
drei Jahrzehnten des 20. Jahrhunderts machten insbesondere solche
Künstler auf sich aufmerksam wie Stanisław Przybyszewski, die Gründer
und Mitglieder der Posener Gruppe BUNT, die Mitglieder der Gruppen BLOK
und Formiści (Formisten), innovative Kunsttheoretiker, Dichter und
Schriftsteller (Tadeusz Peiper und Aleksander Wat) und heute schon
klassische Künstler der Avantgarde internationalen Ranges wie Henryk
Berlewi und Teresa Żarnowerówna. Sie alle waren aktive Mitglieder der
Berliner Avantgarde, sie ließen sich von ihr inspirieren und sie
brachten neue, in der westeuropäischen Kultur bislang unbekannte Ideen
und Perspektiven im Hinblick auf Form und Ikonografie mit sich. Auch
nach dem Zweiten Weltkrieg hatten polnische Künstler an der Berliner
Kunstszene teil, sie arbeiteten und lebten in Berlin und präsentierten
ihre Werke u.a. auf der Berliner Biennale. Hier sind solche Namen zu
nennen wie Katarzyna Kozyra, Jerzy Kosałka, Paweł Althamer, Wilhelm
Sasnal oder etwa Artur Żmijewski als Kurator der 7. Biennale.

Die Tagung soll sich nicht nur auf Themen aus der Kunstgeschichte
begrenzen, sondern Interessierte sind auch dazu eingeladen, Referate
aus der Literatur-, Theater-, Musik- und Filmwissenschaft einzureichen.
Die Forschungsprobleme müssen dabei keine genauen chronologischen
Zäsuren haben.

In Anbetracht eines interdisziplinären Verständnisses des Paradigmas
der polnischen Avant-garde in Berlin möchten wir den Blick insbesondere
auf folgende Probleme und Forschungsfragen richten:
– Prozesse und Ursachen, die die Präsenz polnischer Avantgardisten in
Berlin ermög-lichten, darunter der Einfluss politischer Ereignisse
sowie gesellschaftlicher und kultureller Veränderungen
– Transfer, Einfluss, Aneignungs-, Ablehnungs- oder
Modifikationsprozesse von künstlerischen Ideen
– Kontakte zwischen deutschen und polnischen Künstlern, ihre
gesellschaftlichen und kulturellen Hintergründe
– Teilnahmen polnischer Avantgarde-Künstler an Ausstellungen, Konzerten
und Vorstellungen
– deutsch-polnische (Berliner) Künstlergruppen
– Rezeption der polnischen Kunst der Avantgarde in Berlin durch die
Kunstkritik, Presse und Öffentlichkeit
– die polnische Avantgarde vor dem Hintergrund des Berliner Kunstmarkts
– kann die Kunst der Avantgarde als Träger nationaler oder kultureller
Besonderheit – insbesondere im Ausland – fungieren, oder strebt sie
eher nach einer universellen, transnationalen Form?
Bitte senden Sie Ihre Referatsvorschläge in Form von Abstracts (250
Wörter) in englischer oder deutscher Sprache sowie einen kurzen
wissenschaftlichen Lebenslauf bis zum 30. Juli 2017 an die
Emailadresse: malgorzata.stolarska-fronia@cbh.pan.pl
Die Tagung wird in deutscher und englischer Sprache stattfinden und ist
für den 14.-15. Dezember 2017 angesetzt.

CFP: Representing “Home”: The Real and Imagined Spaces of Belonging

CALL FOR PAPERS – ALL AREAS
Representing “Home”: The Real and Imagined Spaces of Belonging
The Hilton, Milwaukee City Center
Milwaukee, WI (USA)
November 1-5, 2017
DEADLINE for abstracts: June 1, 2017 (early decision) July 1, 2017 (general decision)

Film & History: An Interdisciplinary Journal invites paper and panel presentations in all topic areas for the annual Film & History Conference, to be held November 1-5, 2017, at the Hilton Milwaukee, in Milwaukee, WI (USA).

The 2017 Film & History Conference will explore all aspects of film—from production and distribution to exhibition and reception—that concern the representation of “home.” Perhaps the most familiar image on screen, “home” is a reflection of cultural ideals and a refraction of complex ideologies. It can be the easy site of privacy and belonging or the difficult site of pain and longing. What stories—of nations and ethnicities, of genders and classes, of technologies and economies—do films present in their depictions of “home”?  Is it a historical and ideological anchor, an aesthetic weapon, a psychological escape? When is the representation of “home” a critical doorway into a film, a genre, an artist, or a culture?

Please consult our website (www.filmandhistory.org) for current area CFPs and contact information.

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