CFP: Figurations of Intermediality in Film

Figurations of Intermediality in Film

XV. Film and Media Studies Conference inTransylvania
Cluj-Napoca, October 24-26, 2013.Deadline for proposals: 30 June, 2014.

CALL FOR PAPERS

Intermediality has emerged as one of the major theoretical issues of contemporary thinking about film bringing a fresh view upon the ways in which the moving pictures can incorporate forms of all other media, and can initiate “dialogues” between the distinct arts. The most important works on cinematic intermediality so far have targeted the notion of intermediality both as a general concept and as a specific rhetoric in the works of individual artists (like Peter Greenaway or Jean-Luc Godard). Surveying the current cinematic “landscape” we may encounter some astonishing films that seem to have been designed on the principle of dismissing a conventional, “self-effacing” style (to use Bordwell’s term for classical cinema) in favour of forging an explicitly intermedial visual rhetoric. From the experimental, avant-garde canon to some current examples of mainstream, “hypermediated” digital cinema, from painterly movies bordering on installation art (like Lech Majewski’s The Mill and the Cross or The Roe’s Room), to so-called “slow cinema” projects, such films challenge us in finding the adequate theoretical framework for analysis.

By organizing this conference we would like to initiate a wider discussion among scholars whose researches may be connected to the idea of inter-media relations in moving images and are engaged in deeper explorations into the poetics of intermediality in film. In doing so we wish to bring into the spotlight one of the key aspects of intermediality:the fact that intermediality as such always manifests itself as a kind of “figuration” in film through which medial differences are visibly and self-reflexively “re-inscribed” within the moving image, and that in general, philosophical terms, intermediality can even be conceived as belonging to the domain of the “figural” in the sense used by Lyotard, and elaborated by D. N. Rodowick in his book Reading the Figural (in which he claims the “figural” to be a kind of interface for media relations in film).

In the past few decades there have been several important theoretical works that have dealt with the ways in which moving images operate within a network of interrelated media and with instances in which the boundaries between individual media and arts have been effectively blurred through techniques that enable the features of one medium to resurface within another, and which may offer theoretical vantage points for analyzing possible figurations of intermediality. We may list here studies re-evaluating cinema’s connections to traditional forms of visual arts (e.g. Angela Dalle Vacche’s, Susan Felleman’s, Belén Vidal’s, Steven Jacobs’s works on cinema and painting, or theoretical analyses of the figuration of the tableau vivant in cinema in seminal books by Brigitte Peucker, Pascal Bonitzer, Joachim Paech, etc.), but also the recent studies referring to the relationship of cinema and photography (e.g. Damian Sutton, Garrett Stewart, Régis Durand, David Campany, etc.), and implicitly to the relationship of stillness and motion within cinema, along with analyses of the connections between cinema, video and installation art (e.g. Raymond Bellour, Yvonne Spielmann, etc.).

In the context of shifting paradigms in film poetics from stylistic patterns of modern or postmodern cinema towards what we may term as “post-media cinema,” the figural aspects of intermediality also manifest new forms that may require a search for further theoretical perspectives for identifying and interpreting techniques that figurate intermedial relations. In doing so, perhaps, we should also keep in mind that although intermediality often occurs as a form of aesthetic detachment or as some sort of hypermedia ornamentalism, such figurations can also insist on “tangibility,” or, as Brigitte Peucker reminds us in her book, The Material Image. Art and the Real in Film (2007), on “the merger of representation with reality,” both through establishing the viewers’ intimacy with the medium and through the performative potential of such figures to produce an increasingly haptic cinema, a cinema of “sensual excess” in which the “body” of the medium and the mediation of bodies and sensations sometimes become intertwined in ways that may suggest a rethinking of the figurations of intermediality from the perspective of phenomenology or visual anthropology, and so on. As such, intermedial figurations may be conceived as open to a wide range of philosophical, aesthetical, ideological, historical, and media theoretical interpretations that we hope papers presented at this conference will explore.

Proposals are invited to address (but are not limited to) the following questions either from a theoretical point of view or through concrete analyses:

·   Intermediality and the figurations of intermediality in film from a theoretical perspective:

a) theories of intermediality and intermedial figurations (film and media theoretical, philosophical approaches, psychoanalysis, visual anthropology etc.);

b) intermediality and the concept of “the figural” and “figuration” as discussed by Lyotard, Deleuze, Rodowick, etc.

·   The rhetoric of intermedial cinema, art theoretical and aesthetical considerations: figuration and (dis)figuration, mise-en-abyme and embedding, intermediality and metalepsis, the tableau vivant in cinema, possible trans-medial “adaptations” of traditional rhetorical figures/tropes (e.g. ekphrasis, hypotyposis, etc.),

·    Intermediality and inter-sensuality in film: figures that merge “hypermediacy” with “immediacy,” the represented and sensed body as a site of intermedial figurations, etc.

·    Remediated images as figurations of intermediality and post-mediality: recontextualization as/and remediation, reframing, media collage, remix, etc.

·    Figurations of intermediality as imprints of (and meditations upon) history and time, cultural and personal identity or intercultural exchange:

a) relating the rhetoric of intermediality to the specific personal, cultural, historical, ideological contexts, ideas and artistic paradigms in which they occur;

b) the poetics and politics of intermediality in the cinema of Eastern and Central Europe.

Confirmed keynote speakers:

¢     Brigitte Peucker (Yale University, USA), author of Incorporating Images: Film and the Rival Arts (1995), The Material Image: Art and the Real in Film (2007), currently working on a book titled Aesthetic Spaces: The Place of Art in Film.

¢     Eivind Røssaak (National Library of Norway), author of The Still/Moving Image: Cinema and the Arts (2010), and editor of the volume Between Stillness and Motion(2011).

We invite both proposals for individual papers and pre-constituted panels. Panels may consist of 3 or 4 speakers. The time for presentations is limited to maximum 20 minutes, followed by a 10 minute debate.

Deadline for the submission of proposals: June 30, 2014.

We will notify you about the acceptance of your proposal by: July 7, 2014.

Submission of proposals: please download the submission form from our website, complete and send it as an attachment to the following address:2014.intermedia.figurations@gmail.com.

CFP: Hybridity and the News: Hybrid Forms of Journalism in the 21st Century

 

Hybridity and the News: Hybrid Forms of Journalism in the 21st Century

4-5 December 2014
Brussels Institute for Journalism Studies – Brussels Platform for Journalism
Vrije Universiteit Brussel (VUB), Belgium
Deadline for proposals: 30 June 2014

Plenary speakers
Geoffrey Baym (University of North Carolina Greensboro)
Ian Hutchby (University of Leicester)

The essence of journalism has never been easy to define, but in the 21st century hybrid forms of
news and current affairs journalism seem to be the rule rather than the exception. Therefore, this
conference wants to explore different types and aspects of hybridity, not only related to the content
that is conveyed, but also to the forms and genres that are applied, and to the practices of creating
and experiencing journalism. Several authors have argued that the conventional boundaries between
news and entertainment, between public affairs and popular culture, and between factual and
fictional modes, have become increasingly porous. Moreover, mainstream media have long lost their
monopoly on the news and journalists have integrated the information exchange of the social media
in their daily routines. Many journalists do not want to be dependent on news managers and editors
and start their own news initiatives.

This conference aims to question narrow, uniform conceptions of journalism, and to move beyond
traditional binary oppositions between hard and soft news, (rational) knowledge and (emotional)
experience, objectivity and subjectivity, the sober and the ludic, expert and non-expert, or fact and
fiction, which have stifled the debate on the implications of journalism’s multiple and ever-changing
faces. In doing so, we want to walk the thin line between journalism and entertainment, journalism
and literature, journalism and advertising, and follow the journalists’ wanderings and ponderings in
defining their course and their identity in the changing media world. The role of social media and
alternative media in this process will be a special point of interest.

Inspirational literature:

Baym, Geoffrey (2009). ‘Real News/Fake News: Beyond the News/Entertainment Divide’ in Allan, S. (ed.) The
Routledge Companion to News and Journalism Studies, New York: Routledge, 374-383.
Hutchby, Ian (2011). ‘Doing Non-neutral: Belligerent Interaction in the Hybrid Political Interview’, in Ekstrom,
M. and Patrona, M. (eds.) Talking Politics in the Broadcast Media, Amsterdam: Benjamins, 115-134.

Our institute is part of a linguistics department but we welcome submissions from all relevant
disciplinary backgrounds approaching topics including but certainly not limited to:

· hybrid forms and hybrid genres (e.g. the hybrid political interview, confessional journalism,
graphic journalism, fake news and hoaxes, docufictions)
· the borderline between entertainment and journalism (e.g. satire, humor and irony,
infotainment)
· the borderline between literature and journalism (e.g. literary journalism, storytelling)
· the borderline between advertising and journalism (e.g. lifestyle journalism, advertorials)
· social media and journalism
· alternative vs. mainstream media

All papers will be published in the electronic proceedings of the conference and we are planning to
publish a selection of the papers in a volume and/or a special issue.
As there will be separate panel sessions for PhD students, novice researchers are also invited to
participate.

The venue for the conference will be the campus of Vrije Universiteit Brussel (VUB), located 20 minutes by train from the city centre.

Conference fee (including pre-conference reception, lunch, coffee):
€ 100 (regular participants), € 50 (PhD students).
Dinner will be organized on Friday 5 December and charged separately.

Please send a proposal of no more than 300 words together with a short biography (c. 100 words) to
hybrijou@vub.ac.be by 30 June 2014. Decisions will be announced by 15 August. Questions about
any aspect of the conference should be addressed to hybrijou@vub.ac.be

CFP Workshop Re-Imagining (the) Olympics

Deadline:  28 June

Workshop: Re-Imagining (the) Olympics
Tuesday 2nd September 2014
Mansfield College, Oxford, United Kingdom

Call for Participation

The Olympic and Paralympic Games are a globalised phenomenon. The Games are a multi-billion dollar industry, a mega event, a showcase for professionalism and internationalisation; yet, also, these events have changed significantly from the origins of the modern Olympic movement in the nineteenth century, in which ideologies of amateurism, nationalism and masculinity played a strong part. The modern Olympic Games of today, and those of 1896, are in turn shaped by myths and historical debates about the meaning and purpose of the original, ancient Olympic Games. Those debates help people understand the importance or otherwise of the Olympic Ideal, and contribute to the reimagining of the Games and the Olympics – past, present and future. This workshop will bring together practitioners involved in the modern-day events to reflect on their experiences alongside academics interested in the history, philosophy, sociology and aesthetics of the Olympics.

This workshop will follow the principles and aims of Inter-Disciplinary.Net (IDN). IDN was set up to bring academics and practitioners together to discuss research, ideas, good practice and best practice: to help individuals to think critically and think with an inter-disciplinary lens. This workshop intends to bring people involved in working on the meaning and purpose of the Olympics together, whether they are academics or practitioners, dedicated supporters or strong critics, to share ideas and to try to solve some of the issues the movement faces as it develops into the twenty-first century.

Purpose:
To bring together practitioners and academics to look at how the Olympic movement has developed, the re-imagining of Olympism, and the problems and challenges facing the Olympics movement – and the opportunities

Audience:
Development Officers and Managers from any relevant NGB/IGB organisations Staff from previous bidding organisations Campaigners Academics

Themes:
The use of the ancient Olympics in modern history Modern Olympics histories Olympics as Aesthetics The Olympic Philosophy Amateurism and Professionalism The Olympics Industry Mega-events management and policy Globalization and Internationalization Counter-Olympic campaigns Olympic bidding. What is its future? Olympics and sustainability. What are the economic, social and environmental implications for the Olympic Movement?

We invite expressions of interest for people thinking of attending and for them to send a statement of their interest and experience/expertise and/or an abstract to the organising chairs by Friday 27th June 2014 – abstracts will be considered for sessions and individual papers, but you can attend without delivering a paper (unlike Sport 3):

Karl Spracklen: K.Spracklen@leedsmet.ac.uk <mailto:K.Spracklen@leedsmet.ac.uk>
.
Rob Fisher: olympics1@inter-disciplinary.net <mailto:olympics1@inter-disciplinary.net>

Schedule:
The day will begin with registration between 8.30 am and 9.30am Tuesday 2nd September 2014 and will be followed by a series of presentation sessions and workshops. Refreshments and a 2 course sit-down lunch will be provided. After the final workshop and summation of the days discussions and the event will end with a wine reception.

Registration Fee: 95GBP. This Includes:
-conference registration fee
-discounted rate off any Inter-Disciplinary Press or Fisher Imprints publications -access to the conference project initiative support materials -morning coffee break with coffee, tea, fruit juice, fresh fruits, cakes
-2 course waiter served lunch
-afternoon coffee break with coffee, tea, fruit juice, fresh fruits, cakes -Wine Reception
Organisers:
Karl Spracklen: Leeds Metropolitan University Rob Fisher: Inter-Disciplinary.Net

Organising Committee:
Dikaia Chatziefstathiou, Canterbury Christ Church University Anne-Marie Cook, Inter-Disciplinary.Net Stephen Wagg, Leeds Metropolitan University

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