That the First World War helped create the future of the Middle East is more than a mere tautology; the war is considered by many to be *the* pivotal episode in the formation of the modern Middle East. Yet, as the centennial of the war approaches, it behooves us to also consider how the nations and peoples of the Middle East have remembered and looked back upon the war. Consequently, this panel seeks to understand what the First World War has meant to the Middle East in retrospect. Paper submissions are requested on any aspects of remembrance of the war in one or more countries of the Middle East or North Africa. Papers may focus on national or grassroots perspectives, public or private spaces, communal or individual recollections, the memorialization of particular events or broader re-imaginings of the past, or any combination therein. The focus of the panel will be refined in response to the nature of the proposals received.

Please send paper abstracts of 300-400 words to pherozeu@gmail.com by no later, and preferably earlier, than *February 5th, 2012*.

Thank you,

Pheroze Unwalla
PhD Candidate
Department of History
School of Oriental & African Studies
University of London

CINEJ Cinema Journal is a peer-reviewed semi-annually published international cinema journal. It is published by the University Library System, University of Pittsburgh, and is cosponsored by the University of Pittsburgh Press.

Cinema is the art of reminiscences and of storing, losing, finding, extracting, and re-visioning memory.

The history of cinema is full of films, directors, and movements firmly cemented in our collective unconscious, reminding us of memories that are lost, hidden, about to disappear, struggling to keep alive, and ready to come back again.

Films reflect our lives through our version of the truth through what we repress or prefer to remember.

Cinema helps to expand the boundaries of our memories. Remembering and forgetting and including as well as excluding our lived experiences are ways of coping with life-long effects of our early years and adolescence and our grief over lost loves. Our senses of ourselves as we remember our lives often conflict with what may have been suppressed. The cinematic journey in the history of humankind is about understanding the history of society and individuals and of repressing and remembering memories. The temptations to hide and forget and to bring back and expose are the major themes of this issue.

Some of the topics can be found below:

- Cinema and Social Memory
- Return of the Repressed: Films forgotten by film history
- Film Criticism and the Audience Memory
- Confrontations with the Past: The New Political Film
- Writing History with TV Series
- Hollywood/Green Pine Resurrected: The Remakes
- Personal History: Rites of Passage
- Cinema/City/Memory
- Witnesses of History: Documentaries
- Father/Memory/Rebellion
- My Beautiful Psychobiography: Filming Personal History
- Cinema and Social Archetypes
- Archive/Restoration/Nostalgia

Deadline for papers is April 1, 2012.

Please send a copy of your article to Murat Akser at masker@khas.edu.tr and also create your cinej account to upload your article for evaluation purposes. Please refer to this link for Author Submission Guidelines:

http://cinej.pitt.edu/ojs/index.php/cinej/about/submissions#onlineSubmission

Timisoara, Romania, 1-3 June 2012

Organizing Institution: Center for Eastern European Film and Media Studies, West University of Timisoara, Romania, contact email: ceefms@gmail.com

Plenary Speakers: Dina Iordanova, Professor of Film Studies and Provost, St. Leonard’s College, University of St. Andrews, Scotland, UK; Janina Falkowska, Professor of Film Studies, University of Western Ontario, Canada.

The third annual international conference, Small Cinemas, brings together scholars and professionals from around the world to discuss the regional, national and international reception and promotion of small cinemas. We are interested in papers focusing on the status and the particularities of small cinemas’ audiences, film criticism, film scholarship, governmental support, festival participation, marketing strategies, and media outlets. The conference organizers understand the notion of “small cinemas” to be fluid and plural, including both documentary and fiction, from the cinemas of small nation-states to the small “postage stamp” films of mobile devices; from the cinemas of ethnic and religious minorities to the productions of minors and so-called “minor” authors.

Presentations are invited on any aspect of the reception and promotion of small cinemas. Possible topics include, but are not limited to:

• The theorizing of styles, genres, new waves, and auteurship of small cinemas
• Journals, scholarly studies, collections, blogs
• Films in schools
• Stars and glamour
• Racial, ethnic, universal informed reception
• Internet, television and print media promotion
• Communal, regional, national, supra-national promotion
• Distribution, transmission, diffusion
• DVD sales and rental
• Dubbing and subtitling
• Co-productions, exports, imports
• Public and private financing
• Globalization and miniaturization
• Festivals

300-word abstracts and a short bio should be sent to Constantin Parvulescu ceefms@gmail.com. Submission deadline: 1 February 2012.

De la chute du mur de Berlin au 11 Septembre 2001

Le journal télévisé, les mémoires collectives et l’écriture de l’histoire

Katharina Niemeyer

De nombreux ouvrages portent sur l’histoire de et à la télévision. En revanche, la question de l’importance de ce média en tant qu’acteur spécifique de l’histoire ou en tant que constructeur des mémoires collectives reste souvent en suspens.

Cet ouvrage s’intéresse au lien qu’entretient le journal télévisé avec l’histoire, la mémoire et l’historiographie. Ancré dans une apparente démarche d’actualité, le journal télévisé est également la plateforme d’une expérience du temps présent historique. Les images de la chute du mur de Berlin et du 11 Septembre 2001 en sont des exemples.

L’analyse de ces deux événements et de leur commémoration montre que le journal télévisé intervient dans la construction des mémoires collectives et révèle également que la télévision s’insinue parfois dans le déroulement même de l’événement, devenant ainsi un acteur de l’histoire en cours.

De plus, les années 1990 sont marquées par de profonds changements sur les plans politique et médiatique. L’essor des nouvelles technologies permet au journal télévisé de proposer un direct encore plus performant. C’est ainsi que le 11 Septembre 2001 présente l’apogée tragique d’une évolution qui a commencé avec la chute du communisme. La télévision est prise en otage et raconte ainsi une tout autre histoire.

CONTENTS:

PRÉFACE

PROLOGUE ET REMERCIEMENTS

INTRODUCTION

I. DE L’INFORMATION À L’HISTOIRE
RÉFLEXIONS SUR LA TÉLÉVISION, LE JOURNAL TÉLÉVISÉ, LA MÉMOIRE ET L’HISTOIRE

·         La télévision entre métamorphoses et événements

·         La mémoire – de la phénoménologie bergsonienne au journal télévisé

·         La mémoire collective, les archives et l’éphémère

·         Les dimensions historiques du journal télévisé

II. LA CHUTE DU MUR DE BERLIN – DU DIRECT À LA COMMÉMORATION

LA CHUTE DU MUR DE BERLIN – UNE EXPÉRIENCE DU TEMPS PRÉSENT

·         Les différentes formes du direct

·         Un récit médiatique et historique

·         Entre récit et expérience historique du temps présent

LA CHUTE DU MUR – COMMÉMORATION, SOUVENIRS ET HABITUDES

·         L’actualité au coeur du journal télévisé – Une mise en scène
dominée par le «présent»

·         La mise en scène des témoignages et d’autres personnages

·         Une page très spéciale sur France 2 – L’actualité est sous le
signe du mouvement

·         Le 10e anniversaire de la chute du mur de Berlin

·         La mémoire omniprésente: la mort de Charles de Gaulle et la nuit
des pogroms de 1938

DIX ANNIVERSAIRES OU COMMENT LE JOURNAL TÉLÉVISÉ FABRIQUE LE SOUVENIR

III. LES MÉTAMORPHOSES MÉDIATIQUES ET POLITIQUES DANS LES ANNÉES 1990 ET LE
11 SEPTEMBRE 2001

TOUT DEMEURE AUTREMENT

·         La société de l’information – Une mise en scène des nouvelles
technologies

·         La brèche dans le mur, dans le récit médiatique et dans le monde
politique

LE 11 SEPTEMBRE 2001 – LE DIRECT QUI FRAPPE L’ÉCRAN

·         L’ennemi (in)visible et l’omniprésence de la fiction

·         Oscillations temporelles et expériences historiques

CONCLUSIONS ET PERSPECTIVES

BIBLIOGRAPHIE

IMAGING HISTORY: PHOTOGRAPHY AFTER THE FACT

Bruno Vandermeulen, Danny Veys (eds)

In archaeology, photography is mainly used as a technique for gathering data and evidence. Within the framework of the research project ‘(in)site, site-specific photography revised’ the relationship between photography and archaeology, or broader, history is explored. How do photographers visualize history? What is the importance of place, particularly the place that remains after the event took place? How do photographers or artists use photography to depict the past, when time has become ‘past time’? These articles and portfolios explore, both on practical and theoretical level, how history can be captured.

The research project is an attempt to redefine the traditional relationship between archaeology and photography in order to produce new forms of image making more adapted to contemporary visual culture. The project considers photography as a ‘mode of engagement’, a practice in which a picture is shaped and constructed by the photographer, not a practice in which a picture is mechanically taken. Thanks to this shift it becomes possible to take artistic input into account, for archaeological photography will be able to establish a dialogue with new forms of presentation and interpretation, and make them beneficial for both art and science.

With contributions by:

Pool Andries
Leen Engelen
Giovanni Fragalà
Henrik Gustafsson
Iro Katsaridou
Anastasia Kontogiorgi
Bruno Notteboom
Benjamim Picado
Marjan Sterckx
Johan Swinnen
John C. Welchman
Helen Westgeest

And photographs by:
Karin Borghouts
Carl De Keyser
Bart Michiels
Bruno Vandermeulen & Danny Veys

ASP – Academic & Scientific Publishers – IMAGING HISTORY: PHOTOGRAPHY AFTER THE FACT.

On the evening of September 11, 2002, with the Statue of Liberty shimmering in the background, television cameras captured President George W. Bush as he advocated the charge for war against Iraq. This carefully staged performance, writes Susan Brewer, was the culmination of a long tradition of sophisticated wartime propaganda in America.

In Why America Fights, Brewer offers a fascinating history of how successive presidents have conducted what Donald Rumsfeld calls “perception management,” from McKinley’s war in the Philippines to Operation Iraqi Freedom. Her intriguing account ranges from analyses of wartime messages to descriptions of the actual operations, from the dissemination of patriotic ads and posters to the management of newspaper, radio, and TV media. When Woodrow Wilson carried the nation into World War I, he created the Committee on Public Information, led by George Creel, who called his job “the world’s greatest adventure in advertising.” In World War II, Roosevelt’s Office of War Information avowed a “strategy of truth,” though government propaganda still depicted Japanese soldiers as buck-toothed savages. After examining the ultimately failed struggle to cast the Vietnam War in a favorable light, Brewer shows how the Bush White House drew explicit lessons from that history as it engaged in an unprecedented effort to sell a preemptive war in Iraq. Yet the thrust of its message was not much different from McKinley’s pronouncements about America’s civilizing mission.

Impressively researched and argued, filled with surprising details, Why America Fights shows how presidents have consistently drummed up support for foreign wars by appealing to what Americans want to believe about themselves.

An H-net review and an interview with the author have been published

Further details: Harper&Smith_Single_2011 (pdf: right-click ‘save as’ or simply double-click to view).

<http://www.gla.ac.uk/services/screen/>.

Students will be based in the School of Culture and Creative Arts at the University of Glasgow in Scotland (U.K.) and supervised by one or more members of the Screen editorial board as appropriate.

We are keen to attract the best candidates and therefore do not insist that the proposed research be restricted to a prescribed area of study. Nonetheless, prospective candidates may wish to consider Screen’s history and its ongoing intervention into the theoretical debates in film, television and other audio-visual media.

Topics might include:

*       Classic film theory and Screen theory today
*       Film theory and contemporary issues of spectatorship
*       Film/television history
*       Film/television aesthetics
*       How film theory can inform the study of world/diasporic/transnational cinemas
*       Film/television performance

The closing date for applications is Friday, 2nd March, 2012

To apply, please email screen@arts.gla.ac.uk<mailto:screen@arts.gla.ac.uk>, with the subject header “Screen Studentship Application”, and including the following information:

• A title and description for your proposed PhD project (500 words)
• A C.V. detailing your academic record to date and if possible a copy of your transcript (NB please indicate your status as a student i.e. E.U., International, UK)
• Two academic references

ONLY candidates with a good undergraduate degree, and who have (or are completing) an initial programme of post-graduate study (e.g. an M.A. or M.Litt.) will be considered.

Successful candidates will be notified via letter/email by Professor Karen Lury, and then asked to apply to the Graduate School in the College of Arts at the University of Glasgow. Details of that application process can be found here

<http://www.gla.ac.uk/colleges/arts/graduateschool/prospectivestudents/researchstudy/howtoapply/>.

We do not require students to apply to the University of Glasgow until they have been nominated for a Screen award. However, candidates who are hoping to secure other funding for their studies from the University of Glasgow should apply in the normal way.

If you would like to discuss your project and specific details relating to the award more informally, please email Professor Karen Lury, University of Glasgow at Karen.Lury@glasgow.ac.uk<mailto:Karen.Lury@glasgow.ac.uk>.

Heather Middleton – Journal and Conference Assistant

Direct line: +44 (0)141 330 5035
Fax: +44 (0)141 330 3515
Email: screen@arts.gla.ac.uk

Screen
Gilmorehill Centre
University of Glasgow
Glasgow
G12 8QQ
www.screen.arts.gla.ac.uk
Screen available online at http://screen.oxfordjournals.org

The 22nd International Screen Studies Conference is organised by Screen journal and will be programmed by Screen editor Karen Lury.

We invite papers on any topic in screen studies, i.e. cinema, television and digital media. Submissions for pre-formed three-person panels will be considered but not prioritised.

The deadline for proposals is Friday, 13th January 2012.

Please visit http://www.gla.ac.uk/services/screen/conference2012/ for full submission details.

‘Other Cinemas’ will be the subject of the plenaries and will form a strand running throughout the conference.

Confirmed keynote speakers:
Charles Acland (Concordia University), editor of Useful Cinema (2011)
Elizabeth Lebas (Middlesex University), author of Forgotten Futures: British Municipal Cinema 1920-1980 (2011)

Looking into the past and the future of cinema has inspired increasing academic interest in films and film-making practices that are generally considered to be outside the ‘mainstream’ of commercial cinema.
Screen wishes to encourage presentations that engage with these ‘Other Cinemas’. This might involve:

* ‘Amateur’ films;
* Educational cinema;
* Industrial films;
* Films produced for and distributed via different web platforms;
* Experimental or avant-garde work;
* ‘Sponsored’ films (municipal cinema, health films).

The deadline for proposals is Friday, 13th January 2012.

Please visit http://www.gla.ac.uk/services/screen/conference2012/ for full submission details.

Heather Middleton – Journal and Conference Assistant
Direct line: +44 (0)141 330 5035
Fax: +44 (0)141 330 3515
Email: screen@arts.gla.ac.uk
Screen
Gilmorehill Centre
University of Glasgow
Glasgow
G12 8QQ
www.screen.arts.gla.ac.uk
Screen available online at http://screen.oxfordjournals.org

Location: University of Southern California (Los Angeles)

Are you a graduate or doctoral student, post-doc, or young professional currently working on a project in which you engage issues concerning historical film, radio or television and issues in media history? Are you interested in presenting your project to a small group of experts and peers? Then this master-class of the International Association for Media and History may be just what you are looking for. Participants are expected to give a short introduction to their project and to prepare some central questions for discussion. Senior members of IAMHIST will engage with your paper and discuss sources and strategies for developing the project.

The day is designed to be a networking event for emerging scholars and media professionals and an opportunity to engage with leaders in the field in a less formal setting than an academic conference. There is no charge for attendance and lunch is included.

To apply for this event, send a 1-paragraph proposal of your project and one paragraph bio to IAMIST president Nick Cull and to Leen Engelen. Deadline is December 15th 2012.

To find out more about the International Association for Media and History or to become a member, visit the web site at www.iamhist.org or contact IAMHIST us at info-contact@iamhist.org.

Program of the day:

09:30-10:00 Registration and coffee

10:00-10:30 Welcome and introduction of participants

10:30-12:30 Presentations + discussion Part 1

12:30-13:30 Lunch

13:30-15:30 Presentations + discussion Part 2

15:30-16:00 Tea

16:00-17:30 Concluding remarks