Archived News can be found on our new Archived News Page.

IAMHIST Master-class: Film, Radio and Television as historical evidence: uses, problems and current issues
Date: 9:30 am Friday January 18th 2008,
Location: British Universities Film and Video Council, 77 Wells St., London -- not far from Oxford Circus tube.

Are you a graduate student, post-doc, or young professional currently working on a project in which you engage issues concerning historical film, radio or television footage or 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 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 on bio to IAMIST president Nick Cull cull@usc.edu

Program of the day
09:30-10:00 Registration and coffee
10:00-10:30 Welcome and introduction of the experts 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
16:00-17:00 Concluding remarks
17:00-18:00 Drinks

Jan-Christopher Horak has been named director of the UCLA Film and Television Archive
Variety has just posted the news that Jan-Christopher Horak has been named director of the UCLA Film and Television Archive:
www.variety.com/article/VR1117977003.html?categoryid=13&cs=1

Moving Image Archiving and the Academy
A MeCCSA Practice Section One-Day Conference Saturday, 15 March 2008, University of Leeds
Call for Papers
Confirmed keynote speakers:
Professor Charles Barr (Washington University in St. Louis) Professor Nicholas Pronay (University of Leeds)

For over three decades, British universities have played a pivotal role in helping to preserve and curate our audiovisual heritage, as well as researching the cultural and historical significance of archival moving images. From the establishment of the Slade Film History Register in 1969 and the East Anglian Film Archive in 1976, the higher education sector has supported and nurtured the archives themselves. Many landmark journals and monograph series which pioneered the interpretation of film and television as cultural form and primary historical evidence have their roots in British universities. They also provide research and interpretation related to other collections, the Mitchell and Kenyon project being a prime example.

Following on from MeCCSAs Future of Screen Heritage symposium held in September, we should now reassess the nature of the institutional and intellectual links which exist between our film archives and our universities, and to explore how they might develop and strengthen. The conference is intended to explore the role, contribution and requirements of the sector (actual and potential), including what requires funding now and in the future, rather than strategies for achieving such funding.

We therefore invite proposals for papers or presentations of 15 minutes in this area. Possible topics include, but are not limited to:

The ways in which archival moving images are used in HE research and teaching;
Scholarship related to the theory and practice of moving image preservation and restoration;
The impact of new technologies on archival practice and policy;
The role of HE institutions in training moving age archivists;
Case studies exploring the practices and development of moving image archives situated within HEIs;
Academics and public policy related to archival practice, e.g. copyright and legal deposit;
The role of academics in researching, writing and presenting archive-based TV history programmes.

Please submit abstracts of up to 300 words, indicating any special audio-visual requirements, to:

Dr. Leo Enticknap
Institute of Communications Studies
Houldsworth Building, 3rd Floor
University of Leeds
Leeds
LS2 9JT
United Kingdom
Tel. +44 (0) 113 343 5853
Fax. +44 (0) 113 343 5808
Email: ldge@enticknap.net or l.enticknap@leeds.ac.uk

Deadline for Submissions: Monday 7 January 2007

With support from the British Universities, Film and Video Council, and the Media, Communications and Cultural Studies Association, Practice Section (MeCCSA Practice).

British Film Institute
The British Film Institute has been awarded a substantial grant. Details can be found at:
http://media.netpr.pl/notatka_86809.html

The British Film Institute award: a cautionary voice..
"This comment was posted on the Association of Moving Image Archivists website by Leo Enticknap, with reference to the announcement of the grant to the BFI"

'This is certainly encouraging news, but it's by no means the end of the battle.

If I remember the gist of Ruth Kelly's presentation at the Roehampton Screen Heritage Symposium that 25m will patch up the leaky roof and install air handling plant which will bring most of the existing storage space within SMPTE temperature and humidity specs ... UNLESS there are unhelpful strings attached, e.g. they've got to use some of it for digitisation for access (which the initial reports so far aren't telling us).

Long-term acquisition and restoration issues remain to be resolved, however. I'm still worried that the BFI have sold this bid to the Government on the basis that it'll put an end to the BFI's preservation problems. I suspect they've been doing that for political reasons rather than because they believe it themselves, having concluded that this was the only way they were ever going to be able to make progress. But from what I've heard and the people I'm in regular contact, I feel on relatively safe ground in saying that after the staffing cuts at Berko following the last round of revenue funding cost-cutting, if another Mitchell and Kenyon collection turned up tomorrow, the BFI would not be able to restore it in-house (at least, not in anything like a sane timescale). They simply don't have the staff or infrastructure any more. And as Ruth's presentation pointed out, a significant proportion of the acetate holdings will already have reached the autocatalytic point - i.e. it needs remedial restoration work doing on it NOW, and simply upgrading the storage facilities won't in itself save it.

My fear is that any attempt to make this point will now be met with: 'Well we already gave you twenty five million ... how much more do you want?!'. It's the usual arts funding problem: money for big capital projects is relatively easy to come by in Britain now (though with the 2012 Olympics officially set to guzzle 9bn and in reality set to guzzle a lot more, probably, how long that statement remains true is anyone's guess), but the revenue funding to carry on the core activity needed to sustain the BFI - and the English regional archives - is an entirely different kettle of fish.

Still, this is definite and welcome progress - big congratulations to Ruth, Darren, Andrea and all who have worked so hard on the planning and lobbying to get this far.'

Leo Enticknap
Lecturer in Cinema
Institute of Communications Studies
University of Leeds
http://ics.leeds.ac.uk
www.enticknap.net

CFP: 'Animation and Documentary' panel at SAS conference (July '08)
Call for proposals for a panel on Animation and Documentary for the 20th Society for Animation Studies annual conference ('Animation Unlimited' Bournemouth U.K., July 17-20, 2008).

Papers are sought on any topic that engages with the broad area of 'Animation and Documentary'. Historical and theoretical perspectives are equally welcome, as are papers that deal with the related topic of realism in animation.

Please email honess@usc.edu with questions or paper proposals by 24th December.

Justifying War: Propaganda, Politics and War in the Modern Age
An international conference organised by the School of History at the University of Kent and Department of History, University of Durham
8-10 July 2008 - to be held at the University of Kent, Canterbury, Kent, United Kingdom

Call for Papers
In the modern age, propaganda has become synonymous with warfare, the battle for hearts and minds occupying a central position within military and civilian planning. This conference intends to promote a broader, comparative approach to the themes of justifying war and the ‘just war’, drawing on social, political, military, cultural and economic studies from the Napoleonic Wars of the 19^th Century through to the current war in Iraq.   While the conference is mainly historical in focus, there is naturally a contemporary resonance between the experience of past efforts to justify war and more recent activities, notably in the Middle East and Eastern Europe.  We would like to encourage interdisciplinarity, especially the cross-fertilization of history with the wider military and media communities. Scholars will have the opportunity to compare and contrast studies drawn from such diverse chronological, thematic and methodological positions to test the inception and development of the concept of justifying war in the modern era. This will be the first major international conference of its kind to explore these issues and will, we hope, identify further research synergies forming the basis for future collaboration.

Topics may include, but are not limited to, the following: 

• historical case studies of attempts by individuals, groups and nations to justify conflict;
• the media representation of the early stages of war in single nation and comparative contexts;
• the relationship between justifying war, propaganda and public opinion;
• the nature of propaganda and its ability to articulate war aims within democratic and authoritarian nations and between nations, religions, ethnicities and cultures;
• military and civilian conceptions of war aims;
• the politics of justifying war and the construction of national policy, identity and myth;
• theories of ‘just war’ and their translation into propaganda;
• the memory of war, memorialisation and the concept of the ‘just war’.

Proposals (no more than 300 words in length) should be submitted, together with a short CV, by 10 December 2007 to either Professor David Welch, School of History, Rutherford College, University of Kent, Canterbury, CT2 7NX, United Kingdom (D.A.Welch@kent.ac.uk) or Dr Jo Fox, Department of History, DurhamUniversity, 43 North Bailey, Durham, DH1 3EX, United Kingdom (J.C.Fox@durham.ac.uk).

NATIONAL FILM PRESERVATION FOUNDATION AWARDS PRESERVATION GRANTS T0 17 ORGANIZATIONS
Contact: Jeff Lambert (415-392-7291, lambert@filmpreservation.org

San Francisco, CA (October 23, 2007)-Let There Be Light (1946), John Huston's controversial Signal Corps documentary chronicling the treatment of psychologically scarred World War II combat veterans, is among the 72 films to be preserved through grants announced today by the National Film Preservation Foundation. Among the other preservation projects receiving support are home movies of the Elvis Presley band on tour in Hawaii; a biography of Japanese American poet Lawson Inada; Leo Beuermann (1969), the Academy Award-nominated short profiling a fiercely independent, disabled man in Lawrence, Kansas; studies by poet Weldon Kees for his meditation on Point Reyes; works by silent cinema pioneer Alexander Black; local ads from the 1940s discovered in a Tennessee movie theater; Idaho mining films from the late 1920s; and The Lead Shoes (1949) by Sydney Peterson.

"As a veteran of World War II, I am thrilled to learn that John Huston's Let There Be Light will be restored," said Del Reisman, an 8th Air Force bombardier and past president of the Writers Guild of America, West. "This film is a remarkable testament to the struggle of G.I.'s to recover from terrible wounds delivered to their minds as well as their bodies."

Special grants were awarded to the three largest film preservation graduate schools in the United States to enable students to work with noted cinema preservationists on significant projects. Among the works to be saved through these collaborations are The End of the Road (1919), one of the first anti-VD films aimed at American women; six films from Hollis Frampton's Hapax Legomena series; and a medley of news stories from the Hearst Metrotone News Collection. Participating students will receive hands-on preservation experience and write about what they have learned.

The NFPF programs preserve and make accessible historically and culturally significant motion pictures that are unlikely to survive without public support. The grants distribute federal funds authorized by The National Film Preservation Foundation Act of 2005 and secured through the Library of Congress as well as preservation services contributed by public-spirited laboratories and postproduction houses. Donating services in 2007 are: Audio Mechanics, BluWave Audio, Chace Productions, CinemaLab, Cineric, Inc., Colorlab Corp., DJ Audio, Film Technology, Inc., Monoco Digital Film Labs, and Triage Motion Picture Services.

The summer grant recipients are:

Anthology Film Archives (New York)
Chicago Film Archives (Illinois)
Country Music Hall of Fame and Museum (Tennessee) Folkstreams (Virginia)
George Eastman House (New York)
Lincoln City Libraries (Nebraska)
Mississippi Department of Archives and History (Mississippi) National Archives and Records Administration (Washington D.C.) New York University (New York)
Pacific Film Archive (California)
Tennessee Archive of the Moving Image and Sound (Tennessee) UCLA Film & Television Archive (California) University of Idaho (Idaho)
University of Kansas (Kansas)
University of Pennsylvania (Pennsylvania) University of Vermont (Vermont)
Visual Communications (California)

The National Film Preservation Foundation is the nonprofit organization created by the U.S. Congress to help save America's film heritage. Since starting operations in 1997, the NFPF has provided film preservation support to 167 institutions in 44 states, the District of Columbia, and Puerto Rico. The NFPF is the charitable affiliate of the National Film Preservation Board of the Library of Congress. For the complete list of projects supported by the NFPF, visit the NFPF Web site: www.filmpreservation.org.

Women and Silent Cinema
Please find below information regarding two forthcoming events focusing on women and silent cinema.

Firstly, the 11th Silent British Film Festival RATS, RUFFIANS AND RADICALS: THE GLOBALISATION OF CRIME AND THE SILENT BRITISH FILM (Nottingham Broadway, 3-6th April 2008) will feature a special panel session on Women and Silent Britain. This panel, which is separate from the main festival theme, will offer an introduction to/update on the activities of two projects: the International Women Film Pioneers and the recently-formed British Women's Film History project. The panel will also include short presentations highlighting recent research and issues related to the study of women and silent cinema. The event is still in its early stages of planning but we are keen to hear from anyone who would be interested in being part of this session either by presenting a short paper or by contributing to an open panel discussion. Possible topics could range from studies of individuals to practical research-related issues. We would also welcome any other suggestions.

Please contact Clare Watson and Nathalie Morris (University of East Anglia) at:
womenandsilentbritain@hotmail.com with a brief outline of your proposal no later than January 31st 2008.

Secondly, this is a reminder that the deadline for abstracts for the Fifth International Women and the Silent Screen Conference is 15th December 2007. The conference is to be held at Stockholm University in June 2008. Fuller details are given below. This is the first time the conference has been held in Europe since 1999 so it is a good opportunity for British and European-based researchers to present their work to a wider audience.

WOMEN AND THE SILENT SCREEN Call for Papers
The Fifth International Women and the Silent Screen Conference will be held at Stockholm University, Sweden, 11 - 13 June 2008. The conference will include archival screenings, as well as keynote addresses and scholarly panels related to women and cinema during the first four decades of film history.

The historical and theoretical issues include the roles of women as directors, screenwriters, producers, distributors and actors, but also as filmgoers. Women and the Silent Screen V invites its participants to scholarly exchange in the open and dynamic spirit that has characterised the four previous conferences in Utrecht, Santa Cruz, Montreal and Guadalajara. The Stockholm conference takes place at the Department of Cinema Studies, located in the Film House in the capital city of Sweden, with the excellent archival resources and screening facilities of The Swedish Film Institute. Abstracts (200 - 300 words) together with a paper title and a two-line biographical statement should be submitted by December 15, 2007, to wss@mail.film.su.se For more information visit the conference website at www.film.su.se/pub/jsp/polopoly.jsp?d=3177&a=25369 Enquiries can be directed to the conference coordinator Sofia Bull at wss@mail.film.su.se

FOCAL International Awards 2008 in association with AP Archive
16 Awards to celebrate the use of footage archive images in the creative media!
SUBMISSIONS DEADLINE – 21 December 2007
- Have you supplied, licensed, researched, or used archive or stock footage in any type of production premiered in 2007?
-  Is the production’s use of footage worthy of an award?
- Have you handled, restored or preserved remarkable archive or stock footage in 2007?
- Is there a particular individual worthy of an award for their footage research in a 2007 production, or, for their overall services to the footage archive industry?

If so, then we invite your Submissions NOW!
FOCAL International home page www.focalint.org
FOCAL International Awards submissions forms www.focalint.org/focalawards.htm
FOCAL International Awards Rules www.focalint.org/awardsrules.htm
FOCAL International Awards Categories www.focalint.org/awardscategories.htm

The FOCAL International Awards 2008 in association with AP Archive will be presented on 21 May 2008 at the Royal Lancaster Hotel, London.
 
Hosting the event will be Lord (David) Puttnam CBE, Chair of FOCAL International Patrons
FOCAL International
office: +44 (0)20 8423 5853
fax: +44 (0)20 8933 4826
email: info@focalint.org
www.focalint.org <http://www.focalint.org> for News, Members Directory,
Footage Finder, Researcher Finder, Facility Finder services & more.
FOCAL International Awards 2008
CLOSING DATE FOR SUBMISSIONS: 21 December 2007 www.focalint.org/focalawards.htm

CINEFEST Willy Haas Award 2007 goes to Roel Vande Winkel and David Welch
CineFest, the ‘International Festival of German Film Heritage’ organised by Cinegraph and the Bundesarchiv-Filmarchiv, annually presents its Willy Haas Award. This award goes to an important international print and DVD publication – not older than two years – on German cinema, chosen from five previously nominated titles. The award is named after the German author, film critic and screenwriter who was born in Prague and died in Hamburg.

The Willy Haas Award is presented by an international and independent jury. In 2007, the members of the jury were Peter von Bagh (Helsinki), Jan-Christopher Horak (Los Angeles), Kay Hoffmann (Stuttgart), Anne Jespersen (Copenhagen) and Günter Krenn (Vienna).

The Willy Haas Award 2007 for books was won by Cinema and the Swastika. The International Expansion of Third Reich Cinema. This book, published by Palgrave in 2007, was edited by Iamhist members Roel Vande Winkel and David Welch. It features contributions from several other Iamhist members, such as Brett Bowles, David Culbert, Jo Fox and Paul Lesch.

The other nominees were:
Bilder vom Norden. Schwedisch-deutsche Filmbeziehungen, 1914-1939 by Patrick Vonderau.
Das Auge des Dritten Reiches. Hitlers Kameramann und Fotograf Walter Frentz by Hans Georg Hiller von Gaertringen.
European Cinema: Face To Face With Hollywood by Thomas Elsaesser.
Fantômas. Beiträge zur Panik im 20. Jahrhundert by Thomas Brandlmeier.
The Lost One: A Life of Peter Lorre by Stephen D. Youngkin.

The Willy Haas award for DVD’s was won by Die Klassiker von Lotte Reininger (Absolut Medien).
The other nominees were:

Alexander Kluge – Sämtliche Kinofilme. (Edition Filmmuseum / Zweitausendeins)
Douglas Sirk: Angelockt / Schlingen der Angst. (Kinowelt/Arthaus).
Ernst Lubitsch Collection. (Transit Classics, Friedrich-Wilhelm-Murnau-Stiftung)
Kampf um Norwegen (Norsk Filminstitutt)
Oskar Fischinger – Ten Films. (Center for Visual Music Los Angeles)

Television Under Dictatorships: Call for Submissions
Scholars from various fields have often written about the strategic value of media control to repressive regimes, but very little has been published concerning the specific television cultures and programmes that have developed in such political contexts. In particular, little attention has been given to the wide range of programme forms, genres and texts that have been broadcast under dictatorships. This lack of attention may have perpetuated the view that such television has been constituted by a stream of broadcasts of military parades, personality cults and propagandised ‘news’ content. Yet television may also have included other programmes such as soap opera and serious drama, documentary, talk, entertainment, music and sport. Television produced under repressive regimes has also been thought of as of low quality, with little aesthetic merit, and lacking in intellectual or artistic value because it was constrained by tight controls and censorship. This too overlooks the diversity and complexity of television programming and production.

We are therefore seeking contributions to an internationally-based and historically-focused edited collection that begins to explore a number of these television forms and issues. We are interested in contributions that address questions that include, but are not restricted to, the following:

* What types of programmes and genres were shown (parades/ personality cults/ news/ soaps/ drama/ entertainment/ music etc.)?
* Was there a distinctive aesthetic/ textual character to the television programmes shown? (If there was, how might this be attributable to the political context rather than cultural/ national variation? What was the relationship between the political context and production practices?)
* What were the cultures of viewing under such regimes? (For example, how closely aligned were such programmes to audience tastes and interests? To what extent were audiences ambivalent or resistant? Could certain programmes be interpreted as subversive?)
* How much influence did foreign television systems or foreign-originated programming have on the character of television?
* How was television implicated at times when the nation came together (state rallies, for example) or fractured apart (revolution, civil war, etc.)?

We envisage a series of case studies about television in particular states under dictators, military juntas or one-party rule, and involving any time-period from the birth of television to the mid-1990s. Although we recognize that authors will need to place television within a national institutional/ regulatory context, the main focus of the book will be on accounts of television content/ programme texts, aesthetics, production practices and audience experience, whether in relation to everyday life, ‘media events’ or at moments of particular crisis. We welcome contributions covering television in Europe, the former Soviet bloc, Africa, the Middle East, Asia, South America or any other part of the world.

Interested scholars should e-mail a proposal (250 words approx.), together with a biographical note, to Rob Turnock (Royal Holloway, University of London, rob.turnock@rhul.ac.uk) or Peter Goddard (University of Liverpool, P.Goddard@liverpool.ac.uk) by 19 November 2007. We would normally expect finished articles to be submitted within 12 months from when the proposal is approved.

Shakespeare Project
The British Universities Film & Video Council (BUFVC) would be keen to hear from any film, television or radio archive with holdings relating to Shakespeare. The BUFVC is currently hosting a project aims to create a database of all of Shakespeare on film, television and radio, from conventional interpretations of his plays through to adaptations, allusions, parodies and documentaries. This is a three-year project, with the finished database to be published online in Summer 2008. An interim version with limited features can be seen now at www.bufvc.ac.uk/shakespeare.

As part of this project, we are contacting film and television collections worldwide to ask if they can provide us with records of their Shakespeare-related holdings. We are chiefly interested in the productions that relate to a particular country, but if the archive has rare copies of other titles we would be interested in those too. It is our intention not only to produce as comprehensive a listing as possible, but to indicate to users which titles are in current distribution and which are preserved in archives around the world. We would be most grateful if any interested archives could help, either by providing a specific listing or else pointing our researchers to an online or offline catalogue. Please send any information to Olwen Terris, Senior Researcher, BUFVC, 77 Wells Street, London W1T 3QJ, email shakespeare@bufvc.ac.uk.

CFP: The Sword of Judith: A Multidisciplinary Conference
Proposals are invited for papers examining any aspect of the book or figure of Judith, for a multidisciplinary conference to be held at The New York Public Library, April 17-18, 2008. Contributions are welcome from scholars working in any field, including but not limited to Bible, ancient history and archaeology, classics and semitics, fine and performing art history, medieval and modern literature in all languages, and gender studies. Papers that address the Judith narrative in its larger contexts are particularly welcome. A private website and wiki technology will enable scholars to circulate their work-in-progress before and after the conference. Research grants are available and all travel expenses and accommodations will be paid for invited participants.

The conference is part of the Judith Project, an effort to loosen the grip of disciplinarity through collaborative scholarly practice. Organized around the biblical/apocryphal text and figure of Judith, the Judith Project will offer scholars the opportunity to pursue their own research agendas on Judith, as part of a year-long technology-enabled team effort. It will also leave, as an online legacy, a searchable corpus of digital images, accessible via the non-profit ARTstor library, and, as a central point of bibliographic reference, a comprehensive register, on The New York Public Library's website, of literature related to the Book of Judith and its iconography across the ages.

Up to thirty university- or operating foundation-administered grants are available from the Judith Project's sponsor, the Brine Family Charitable Trust, offering from $6,000 to $11,000 for research on the Judith theme. Submissions should include the scholar's CV and a proposal limited to a maximum of 1,500 words. Grant request submissions must include the administering institution's name and address, the name of the department/program chair or director, a detailed pro forma budget request, and the e-mail address of the institution's administrative contact. US institutions should supply federal tax identification number and nonprofit designation. Grant requests require the signature of the department chair/program director. Budget proposals can include up to 20 percent departmental allocation. Please direct all submissions to Judith2008@rarewildflower.org.

SUBMISSION AND PUBLICATION TIMELINE
November 30, 2007: Proposal submission deadline. December 31, 2007: Papers selected and applicants notified by e-mail. December 31, 2007: Launch of Sword of Judith participants' website. January 15, 2008: Grants remitted for university- and foundation- administered grants.
March 21, 2008: Completed papers must be ready to be posted on the conference website.
April 17-18, 2008: "The Sword of Judith" conference at The New York Public Library.
August 31, 2008: All final entries for publication must be submitted by e-mail. On receipt of the publishable final paper, the remaining 30 percent of the research/production stipend remitted. Work submitted after August 31 will not be eligible for the final payment or publication.
Fall 2008/Winter 2009: Publication of "The Sword of Judith" conference volume.

Call for Nominations: SAA Waldo Gifford Leland Award
Have you read a great new book about archives? Have you come across an exceptional finding aid for a newly-processed archival or manuscript collection? Have you encountered a documentary publication that is head and shoulders above the rest? If you have, why don't you consider nominating it for the Waldo Gifford Leland Award?

The Leland Award subcommittee of the Society of American Archivists invites you to nominate a monograph, finding aid, or documentary publication published in North America in 2007 for the Waldo Gifford Leland Award. (Please note: periodicals are not eligible.) The prize is awarded each year to encourage and reward "writing of superior excellence and usefulness in the field of archival history, theory, and practice."

Established in 1959, the award honors American archival pioneer Waldo Gifford Leland, president of the Society of American Archivists in the 1940s and one of the driving forces behind the founding of the National Archives.

More information and nomination forms can be found at www.archivists.org/recognition/index.asp. The deadline for applications is February 28, 2008. Please help us to recognize the best in our profession!

Call for Papers/ APPEL DE COMMUNICATIONS IASPM-Canada 2008
CALL FOR PAPERS - IASPM-CANADA ANNUAL CONFERENCE
Brock University, St. Catharines, Ontario - May 9-11, 2008
Popular Music & Popular Culture: Intersections & Histories
The conference title has a deliberately wide remit to encourage numerous and diverse interpretations of relationships between popular music and popular culture. Proposals are encouraged in, but not limited to, the following categories:

Collectors and collecting
Film and popular music
Gaming and popular music
Genre histories
Histories of popular music studies
The Internet and popular music
Intertextuality
Musicals
Music videos
Nation and popular music
Popular music and/in fiction
Popular music and identity
Popular music and/on television
Popular music archives
Popular music biography
Popular music canon(s)
Popular music pedagogy
Popular music's star system
Sound recording
Technology and popular music
Technological histories
What makes popular music “popular”?
Writing popular music's history

Deadline for Proposals: Friday, January 25, 2008. Please send a 250- word proposal and a brief biographical note (preferably in PDF) to one (or both) of the program co-chairs:
Nick Baxter-Moore: nick.baxter-moore@brocku.ca, Scott Henderson: shender@brocku.ca
The program committee plans to notify all prospective presenters by February 25.

APPEL DE COMMUNICATIONS - COLLOQUE ANNUEL DE IASPM-CANADA
Brock University, Ste.Catharines, Ontario - 9-11 mai 2008
Musique Populaire & Culture Populaire: Intersections & Histoires
Notre thème de colloque est volontairement large afin d'encourager les nombreuses et diverses interprétations des relations entre la musique populaire et la culture populaire. Les propositions de communication dans les catégories suivantes sont encouragées, mais elles peuvent en déborder:
Collecteurs et collections
Film et musique populaire
Jeux vidéos et musique populaire
Histoires de genres musicaux
Histoires de l'étude de la musique populaire
Internet et musique populaire
Intertextualité
Comédies musicales
Vidéoclips
Nation et musique populaire
Musique populaire et/dans la fiction
Musique populaire et identité
Musique populaire et/à la télévision
Archives de musique populaire
Biographie de musique populaire
Canon(s) de musique populaire
Pédagogie en musique populaire
Célébrités et musique populaire
Enregistrement sonore
Technologie et musique populaire
Histoire de technologies
Qu'est-ce qui rend la musique populaire «populaire»?
Écrire l'histoire de la musique populaire

La date limite pour soumettre vos propositions est le vendredi 25 janvier 2008. Veuillez envoyer une proposition de 250 mots et une brève note biographique (préférablement dans le format PDF) à un (ou aux deux) co-officier(s) de la programmation: Nick Baxter-Moore: nick.baxter-moore@brocku.ca, Scott Henderson: shender@brocku.ca. Le comité de programmation entend avertir les futurs/res conférenciers/ières le 25 février 2008.

Extended Deadline: The Film Archive and Cinematic Heritage
In order to be consistent with other SW/TX PCA/ACA divisions, I am extending the deadline for proposals to November 30.
CFP: The Film Archive and Cinematic Heritage Abstract/Proposals by 30 November 2007
The 29th Annual Meeting of the SW/TX PCA/ACA Albuquerque, NM February 13-16, 2008
Hyatt Regency Albuquerque 330 Tijeras
Albuquerque, NM 87102
Phone: 1.505.842.1234
Fax: 1.505.766.6710

Panels are being formed for presentations about the meaning of the film archive—both past and present--, film preservation/restoration, film collecting, digital archiving and other practices of creating and maintaining cinematic history and heritage by way of archiving “frames" of mind. We welcome the participation of archivists, film curators, graduate students, and scholars.

If your work does not focus on the film archive and cinematic heritage but fits within the broad range of areas designated for the SW/TX Popular &American Culture Association, please consider submitting a proposal to another area.

Inquiries and/or abstracts of 250 words may be sent to Janna Jones at the email or physical address below. Please include a 50-100 word bio with your abstract. Both the abstract and the bio are due by November 30, 2007.

Janna Jones
School of Communication
PO Box 5619
Northern Arizona University
Flagstaff, AZ 86011-5619

janna.jones@nau.edu

Further details about the conference (listing of all areas, accommodations, registration etc.) can be found at http://www.h-net.org/~swpca/index.html

MORE NEWS can be found on NEWS PAGE 2.

ARCHIVED NEWS
Report on the Berlin conference (1999) [in German]
Report on IAMHIST XIX - CHANGING IDENTITIES IN FILM AND TELEVISION (2001)
Report on IAMHIST XVIII - HISTORY AND TELEVISION (1999)
New Italian Archive