MEDIATED PASTS: VISUAL CULTURES AND COLLECTIVE MEMORY

Following on from the success of last year’s postgraduate conference, ‘New approaches to gender, film and television’, as well as the recent publication of Cinema, Television and History (2014, Newcastle-upon-Tyne: CSP), developed from papers given at the research centre’s inaugural postgraduate conference, De Montfort University’s Cinema and Television History (CATH) Research Centre is delighted to announce its third annual BAFTSS-funded postgraduate conference:

 

MEDIATED PASTS: VISUAL CULTURES AND COLLECTIVE MEMORY

A postgraduate conference

Wednesday 4th June 2014, De Montfort University, Leicester, UK

Keynote speaker:

Dr. Amy Holdsworth,

Lecturer in Film and Television Studies (University of Glasgow)

Author of Television, Memory and Nostalgia

(2011, Basingstoke: Palgrave Macmillan)

Collective cultural memory, which according to José van Dijck is concerned with the “communal reservoir of relevant stories about our past and future” (2007: 8), has received a great deal of academic attention over the past two decades. More and more, these studies have focused on the impact of media on this ‘reservoir’, be it via collectively remembered images or via contemporary media that depicts the past retrospectively, as evidenced by the work of van Dijck and Amy Holdsworth (2011), among several others. Visual media – whether film, television, video games, photography or online media – have played an increasing role in the formation of cultural memory since 1950, and especially since the digital age, as screen cultures and media technologies have proliferated and diversified at an exponential rate.

De Montfort University’s Cinema and Television History (CATH) Research Centre has been an active contributor to research on the relationship between media and cultural memory through its participation in the BECTU Oral Histories Project and in the Leverhulme-funded Hollywood and the Baby Boom project. As such, the CATH Centre’s third annual postgraduate conference will seek to explore the role of visual media in shaping collective memories, especially since the Second World War. How have transformations in media impacted on people’s relationships to the past? Can new media sources now be accepted as valid historical evidence?

We welcome papers that address these and other related issues by engaging with visual media such as film, television, video games, online cultures and photography. Possible topics include, but are not limited to:

– The uses of nostalgia, retro and ‘heritage’ in post-war screen cultures;

– Media representations of history, such as documentaries and docu-dramas;

– The impact of media coverage of historical events on collective memory;

– The role of digital technologies in enabling easy access to archival material and the effect of this phenomenon on our relationship to the past;

– The impact of globalisation on cultural memory.

Abstracts of 200-300 words for papers of 20 minutes, plus a short biography, should be sent to cath.postgrad@gmail.com by Wednesday 30th April 2014. For up-to-date information, please visit http://cathpostgrad.wordpress.com/conference-2014/.

 

We are also delighted to announce that the conference has received a BAFTSS funding award to assist delegates with travel, accommodation, and/or registration costs. Awards will be offered as 2 x £125 for delegates attending from outside the UK, OR as smaller bursaries of up to £50 for those travelling within the UK.

Information on Cinema, Television and History: New Approaches can be found here: http://www.c-s-p.org/flyers/Cinema–Television-and-History–New-Approaches1-4438-5379-8.htm

 

Cinema and Television History (CATH) Research Centre Postgraduates

 

Room 3.06J

School of Media and Communication

Clephan Building

De Montfort University

The Gateway

Leicester

LE1 9BH

 

e: cath.postgrad@gmail.com

w: http://cathpostgrad.wordpress.com/

Call for papers – EARLY FILM THEORY RE-VISITED: HISTORICAL PERSPECTIVES

Deadline for Abstracts: 1 May 2014

The Historical Journal of Film, Radio and Television welcomes articles which
examine aspects of early film theory from a historical perspective.
Audio-visual culture has always been accompanied with ­and even shaped by ­
generalising ideas about its inherent characteristic and meaning. From the
early days of film, intellectuals, practitioners and scholars have been discussing the inimitable properties or communalities of different media. In
so doing, they focus on different aspects, including aesthetics, narrative
possibilities, the relation of audio-visual images to specific socio-cultural and political contexts and their eventual effects. Whilst film theories help to explain more general aspects beyond isolated case studies ­and thereby offer assumptions towards a more comprehensive understanding of filmic images they also play a role in the development of academic subjects and schools of thoughts. Given that all theories, regardless of their aim or scope, are the product of specific historical and ideological circumstances, it is important to take these contexts into consideration when using or referring to such thoughts. Ahistorical approaches, which tend at discretion to apply theories without acknowledging their origin or evolution to any past or contemporary film, ought thus to be questioned.

The theme issue of the Historical Journal of Film, Radio and Television explores the history of film theory. It looks specifically at theoretical ideas and debates up until the 1940s. Its wide focus invites original submissions on a variety of aspects. Articles that are based on primary sources (archival documents, contemporary journals, etc.) and/or the impact of theory are particularly welcome. Topics may feature analyses of select theorists, the development of schools of thought, film reception, the dissemination of theory (e.g. in trade and specialist journals or academic writing), approaches to media social theory and ways to implement theory into practice. Topics of film and cinema theory not included in the above list are also welcome. International perspectives and comparative approaches are strongly encouraged.

Please feel free to contact the guest editors Tobias Hochscherf
(tobias.hochscherf@fh-kiel.de) or Katharina Niemeyer
(Katharina.Niemeyer@u-paris2.fr) if you have any queries. A 150-250 word
proposal alongside a brief biographical note should be submitted to the
editors by 1 May 2014.

All final submissions are subject to the journal’s customary blind
peer-review process. The theme issue is to appear in print in summer 2016.

Call for submissions: Diffractions – Graduate Journal for the Study of Culture

Issue 3 – September 2014

SCREENING WAR

Deadline for article submissions: May 15 2014

If the Great War, whose centenary is commemorated this year, is often deemed as the birth of modern warfare, it is also the antechamber of modern war representation, laying the foundations of representational strategies that would become recurring in the visualisation of subsequent conflicts. Indeed, modern war is a product of both imaginary and material forces. As George Roeder has contended, war is a “way of seeing” (Roeder, 2006) couched in templates and prescriptions that organise the visual experience of war while at the same time containing the impact of its conduct. The visual mediation of war reflects ideological conceptions, manages anxiety and vents social fantasies. In fact, the recent visual history of war seems to mirror a growing demand for visibility, from Baudrillard’s claim that “the Gulf war did not take place” (Baudrillard, 1991) due to its contained imagery, to the pluralisation and dissemination of multiple images, from surveillance footage to soldier’s private videos, as the case of Abu Ghraib has shown not so long ago.

At the same time, this demand for visibility is often hampered by dynamics of opacity that regulate and obstruct the visualisation of war in spite of the proliferation of warfare images. In addition, as many authors have begun to argue, images themselves have become a central instrument not only for understanding war but also to actually waging war, replacing techno-war as the dominant warfighting model (Mitchell, 2011; Roger, 2013). With new logics of creation, consumption and reproduction emerging within a convergence culture, the conditions of seeing and showing war are nevertheless haunted by past conflicts and by visual reconceptualisations of them. This issue aims at reflecting upon the manifold ways war has been brought to the screen in various genres and at different historical moments.

Themes to be addressed by contributors may include but are not restricted to the following:

– Audiovisual representation of war past and present

– Artistic renditions of war

– Terror and spectacle

– Cyber war, surveillance, inside views of war

– Convergence, post-convergence and participatory culture

– Representations of captivity

– Visibility and opacity of war

– Violent images and images of violence

– Reporting war and the ethics of seeing

– Agency, resistance and citizenship

– War iconography across the ages

– War and (post-)memory

– War and gender

– Homefronts and homecomings

– Aftermath, conciliation and peacemaking

We look forward to receiving articles of no more than 20 A4 pages (not including bibliography) and a short bio of about 150 words by May 15, 2014 at the following address:submissions@diffractions.net.

DIFFRACTIONS accepts submissions in Portuguese, English and Spanish.

DIFFRACTIONS also accepts book reviews that may not be related to the issue’s topic. If you wish to write a book review, please contact us at reviews@diffractions.net.

Please submit your contributions according to the journal’s guidelines.

Find us online at www.diffractions.net and www.facebook.com/diffractionsjournal.

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