CFP: When the Music Takes Over. Musical Numbers in Film and Television

University of Salzburg (Austria)
March 8-10, 2018
The conference is organized by the FWF (Austrian Science Fund) project “The Austrian
Music Film, 1912-1933” and the Department for Art History, Musicology and Dance Studies at the Paris Lodron University of Salzburg, in collaboration with the Kiel Society for Film Music Research.
Keynote Speakers:
Amy Herzog (Queens College, New York)
Richard Dyer (King’s College, London)
Musical numbers have served as constitutive elements of cinema since its early days in the socalled silent period. From the musical moments in silent films emerged the film musical as a specific genre. Musical numbers remain central components beyond generic categories and
have succeeded from early sound film musicals to recent TV shows.
In this conference we want to focus on “musical moments” in fictional film and television.
Musical numbers in fictional films have been analyzed according to their functions and their relation to the narration. Expanding these issues from numbers in (mostly) film musicals, Amy Herzog (2009, 7) defines “musical moments” as scenes or sequences that occur “when music, typically a popular song, inverts the image-sound hierarchy to occupy a dominant position in a filmic work. The movements of the image, and hence the structuring of space and time, are dictated by song.” If musical moments are not subjugated to the filmic narrative, the focus of their scholarly analysis is able to shift from narrative functions and motivations towards issues such as affect, performance, musical and filmic style and structure, visual musicality, configurations of cinematic time and space, gender construction, modes of audience address, reception, fan culture and more broader philosophical questions about the ontology of cinema. Examining “musical moments” can sharpen our view on cinema in general and can stimulate
new theoretical and methodological approaches in the field.
This international conference strives to establish a dialogue between researchers from various disciplines in order to develop new directions for the analysis and interpretation of one of the most crucial elements in filmmaking and one of the pivotal issues of film music research.
We invite proposals for individual papers, pre-constituted panels and poster presentations thatexplore the manifold research potentials of musical moments on screen(s).
Possible topics include, but are not limited to the following:
• Musical numbers in silent cinema
• Singing in silent cinema
• Dancing in silent cinema
• Performing gender in musical numbers
• Performing bodies
• (De)constructing star images with music numbers
• Inter- and transmedial aspects of performances in film
• Musical numbers in European cinema
• Non-western traditions (Bollywood, Brazilian musicals etc.)
• Ideological aspects: the utopian potential of musical numbers
• Negotiating different semantic systems: filmic representation of musical form (in
musical moments)
• Repetition and difference: musical numbers between affirmation and subversion
• Methodological and theoretical questions (musicological, philosophical, psychological
approaches etc.)
• Reception of musical numbers
• Musical numbers and fan culture
The deadline for abstracts is April 30th 2017. Individual abstracts should be no more than 300 words and should include a short biography (max. 250 words).

Panel proposals must include four individual abstracts or three abstracts and one respondent as well as an additional paragraph describing the focus of the panel, including a title. The chair should not be one of the panel presenters and if a panel does not include a chair, the conference committee will appoint one.

Submissions and formal inquiries should be made to
For further information, please refer to the conference website
Notice of acceptance: June 2017
A proceedings publication with a reputable academic publisher in an international, peer-reviewed series is envisaged.
Please note that we accept only in-person, original presentations. Video or Skype presentations are not possible. The conference language is English. We will collect a moderate conference fee to be paid at arrival in order to cover coffee breaks and conference material.

Call for chapters Reporting from the Wars 1850 – 2015. The origins and evolution of the war correspondent
Barry Turner. University of Lincoln (United Kingdom)
Daniel Barredo Ibáñez. Universidad del Rosario (Colombia)
Steven James Grattan. Universityof Leicester (United Kingdom)
*Call for Chapters*
*Proposals Submission Deadline: *
January 31, 2017
*Full Chapters Due: *
April 30, 2017
War reporting has made a massive impression on the public not only in how wars are fought but why they are fought. The ability of the public to ‘see’ what is happening at the front changed the public’s attitude to war in very many respects and even where a
war may be ‘popular’ the involvement of the press led to criticisms that have changed war almost in equal measure to the changes brought about by weapons technology.
The book will be a compilation of historical and contemporary stories of the war
correspondent and battlefield photographer from the earliest days of modern war reporting to the present. It will seek to determine the changes in style, method and practice of the work of the war correspondent and examine the changes in attitudes to, and how the public view war from the high point of imperialism to the present day jihad.
This book will be of interest to journalists, academics and students. By mixing historical
analysis with contributions from modern war reporters it will analyse such subjects as
the role of propaganda in winning over the public to support wars of aggression, the portrayal of war as entertainment, the use of technology in war reporting and the lives, and sadly often the deaths of those who take on this most dangerous and disturbing vocation. Since modern war reporting commenced following the inventions of the electric telegraph and the camera there have been many different approaches to how the news should be brought to the reader and later the listener and viewer. The military have had a volatile relationship with the press as conflicting interests always operated. On the one hand the military want their victories properly acknowledged while their failures as well hidden as possible. Military strategy needs secrecy but the press is about openness.
*Recommended Topics*
We are seeking chapters for this edited book that address (but are not limited to) the
following topics:

Theoretical and Critical Approaches to Reporting from the Wars

Reporting War: Analysis of Case Studies

Journalistic Culture & Reporting War

The Role of Propaganda on the Public during Wars

The Portrayal of War as Entertainment

The Use of Technology in War Reporting
*Submission Procedure*
Researchers and practitioners are invited to submit on or before January 31, 2017, a chapter
proposal of 100 to 200 words and short biography. Authors will be notified by February 15, 2017 about the status of their proposals and sent chapter guidelines.
Full chapters are expected by April 30, 2017.
*Important Dates*
January 31, 2017: Proposal Submission Deadline
February 15, 2017: Notification of Acceptance
April 30, 2017: Full Chapter Submission
June 30, 2017: Review Results Returned
August 15, 2017: Final Acceptance Notification
August 30, 2017: Final Chapter Submission
Inquires can be forward to Daniel Barredo Ibáñez, Universidad del Rosario (, Barry Turner, University of Lincoln, ( and Steven James Grattan, University of Leicester

Alphaville: Journal of Film and Screen Media CFP: Conference, film festival, and exhibition reports

Alphaville: Journal of Film and Screen Media
CFP: Conference, film festival, and exhibition reports
Alphaville: Journal of Film and Screen Media seeks reports for its two 2017 issues.
Potential contributors are invited to contact the Reports Editor to agree the submission of a conference, film festival or exhibition report. Submissions in MLA and Alphaville style, along with a short biographical note and contact information, will be due by 1 April 2017 and 1 October 2017 respectively. Reports should be 1,500-2,500 words in length and should be original, unpublished in print or electronically, and not under consideration elsewhere. Guidelines are available at:
Please contact the Reports Editor, James Mulvey, at:

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