CFP Doing Women’s Film and Television History V: Forming Histories/Histories in Formation (10/11/19; Ireland 5/20-22/2020)

Of potential interest:

Doing Women's Film & Television History 5

Discussion published by Elif Sendur on Thursday, July 25, 2019  

https://networks.h-net.org/node/14467/discussions/4352586/doing-womens-film-television-history-5

Doing Women’s Film and Television History V: Forming Histories/Histories in Formation

 

20th-22nd May, 2020, Maynooth University, Maynooth, Co. Kildare, Ireland

Keynote: Kasandra O’Connell, Irish Film Archive

 The fifth biennial Doing Women’s Film & Television History conference invites proposals from researchers and practitioners engaged in the exploration, uncovering, archiving and dissemination of women’s roles in film and television, as well as wider media, both in the past and today. The theme of this conference - ‘Forming Histories/ Histories in Formation’ – aims to foreground issues pertaining to the production, curation and archiving of women’s histories in film and television as well as the methods for, and approaches to, producing and shaping these histories as they form. More particularly, much can be learned from the diversity of practices, experiences and narratives of women’s film and television history as they pertain to:  national, transnational, world and global histories; neglected, peripheral or hidden histories; organisations such as museums, archives and universities; collectives, groups and movements such as #MeToo; local communities and community media; emergent forms and platforms; and historical approaches to women’s reception of film and television as well as historicising current practices and experiences of reception, fandom and consumption.

This three-day conference casts the net wide so that it can capture a range of experiences, practices, industries, nationalities and voices that are situated in relation to women and their histories. The conference provides a platform for those working in and researching film, television and media more generally as well as those invested in the production of these histories and narratives of the past and as they materialise. 

We invite papers that can provide added richness to the theme of ‘Women in Film & Television,’ and are, in addition, especially interested in the following areas:

• International and comparative perspectives on women in film and television
• Histories of women’s creative practice, production and technical work and film/cinema and television work more generally in various national, regional, or local contexts; transnational film and television; migration and diasporas
• Approaches to histories of women’s indigenous production, including Third Cinema and grassroots film and television production
• Representations of women in historical film and television
• Female audiences, reception, fandom of film and television
• Considerations of methodological and theoretical approaches to the study of women in film and television and their audiences
• Archival research methods and approaches including feminist archiving practices
• Use of recently established or historically neglected women’s media archives
• Artefacts and ephemera in women’s archives: moving image, photographic and digital media, scripts, merchandise, etc. 
• Considerations of how gender intersects with race, class, ethnicity, in relation to film and television production, reception or representation
• Revisiting production and labour through the lens of #MeToo and #TimesUp, including historical formations of, and historicising, such movements
• Changing meanings of women and womanhood as reflected and shaped by the interventions of women in film and television as producers, critics, and campaigners.
• Teaching women’s film and television history; feminist pedagogies; the politics of education and training; women’s experiences of moving from education to employment in film and television

We welcome papers on subjects outside of these areas and that enhance the interpretations and meanings of ‘Doing Women’s Film & Television History.’

Please submit proposals of 250 words along with the paper’s title and a 50-word biography. Presentations should be no longer than 20 minutes, including clips and images. We welcome pre-constituted panels of three to four presenters (with panel title and abstract of 150 words), proposals for roundtables or workshops and presentations from researchers, practitioners, creatives and industry professionals. Deadline for proposals Oct 11th 2019. Email: dwfthv@gmail.com

We are pleased to make available a number of bursaries for Irish and international postgraduate students, early career researchers (within one-year of permanent contract) and those on part-time or zero-hour contracts. These will help support travel and accommodation to the conference. In order to apply, please submit to dwfthv@gmail.com a 250-word abstract along with a 300-word statement that includes: an indication of the relevance of your paper to the conference themes; reference to the intended output of the research; details of your current employment/student status. The deadline is Oct 11th 2019 and please use “Bursary application” in the subject line.

Hosted by

Department of Media Studies, Maynooth University

Women’s Film and Television History Network- UK/Ire

Organising and programming committee

Mary Immaculate College, Limerick

Maynooth University

Queen’s University Belfast

University College Cork

University College Dublin

CFP Audiences and Paratexts (Issue of Cinephile) (9/15/19)

Of potential interest:

CINEPHILE 14.1 "AUDIENCES AND PARATEXTS"
Elif Sendur's picture Discussion published by Elif Sendur on Thursday, July 25, 2019  0 Replies
CINEPHILE 14.1 | AUDIENCES AND PARATEXTS | CFP

 https://networks.h-net.org/node/14467/discussions/4352585/cinephile-141-audiences-and-paratexts

Deadline for draft submissions: September 15th, 2019


Following popular application of Gérard Genette’s literary term “paratexts” to film, paratexts here signifies those peripheral items emerging from and encircling a primary (filmic) text. Critically, film paratexts mediate the relationship between audience and film by shaping reputations, expectations and adding meaning to its consumption. While traditional examples of film paratexts range from movie reviews to advertisements and promotional material, digital and cultural shifts have driven new iterations, shaping modern cinematic reception and engagement. This evolving influence of paratexts on film culture and consumption demands attention, aligning with calls for media literacy in response to this proliferation of technology.


Cinephile 14.1 aims to interrogate this shifting landscape by considering digital, cultural, or historical forces mediating film reception and film culture more generally. While audience and reception studies have flourished in recent decades (Janet Staiger; Barbara Klinger; Linda Williams) and paratextual analysis has rigorously investigated fanfictions and trailers (Henry Jenkins; Jonathan Gray; Chuck Tryon; Keith M. Johnston), analysis of the interrelation of paratexts and audiences in today’s technological landscape requires further investigation.


Cinephile 14.1: Audiences and Paratexts invites scholarship that thoughtfully expands beyond the screened object to consider the meaning and meaning-making roles of contextual and paratextual factors. Special preference will be given to papers discussing film, television, and motion picture media. Possible topics can include (but are not limited to) any of the following:


– Film reception and audience studies

– Internet film cultures: blogging, social media, etc.

– Streaming sites (Netflix, Amazon Prime, Mubi, Hulu, etc.), film culture and audience behaviours

– Technology and film-watching; interactive cinema, virtual reality, 4DX, Dolby Atmos, etc.

– Film promotion: advertisements, trailers and branding

– Cultural differences in film promotion, consumption, reception

– Fandom; fan-fiction, cosplay, fan content

– Reputation and reception; movie reviews, public discourse

– Marketing, endorsements and product placements as film promotion



We encourage submissions from graduate students, postdoctoral researchers, and established scholars. Papers should be between 2,000-3,500 words, follow MLA guidelines, and include a detailed works cited page, as well as a short biography of the author. Submissions should be directed toward SUBMISSIONS@CINEPHILE.CA and general inquiries toward INFO@CINEPHILE.CA.



Submissions are due by September 15, 2019.



—

Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. Previous issues have featured original essays by such noted scholars as Lee Edelman, Slavoj Žižek, Paul Wells, Murray Pomerance, Ivone Marguiles, Matt Hills, Barry Keith Grant, K.J. Donnelly, and Sarah Kozloff. Since 2009, the journal has adopted a blind review process and has moved to annual publication. It is available both online and in print via subscription and selected retailers.


Incoming editor: Jemma Dash



http://cinephile.ca/

Coming Soon: Vikings and the Vikings: Essays on Television’s History Channel Series

Now available for pre-ordering from McFarland:

Vikings and the Vikings: Essays on Television’s History Channel Series
Edited by Paul Hardwick and Kate Lister
https://mcfarlandbooks.com/product/vikings-and-the-vikings/

Format: softcover (6 x 9)
Copyright Date: 2019
pISBN: 978-1-4766-7374-5
eISBN: 978-1-4766-3843-0
Imprint: McFarland
Not Yet Published
$39.95


Vikings and the Vikings is an excellent and wide-ranging exploration of a television series which has more successfully summoned the world of the Vikings for modern audiences than any which has preceded it. From a range of critical viewpoints, the book explores the ways in which past and present representations of “Vikings” converge in the show’s richly textured dramatization of the rise and fall of Ragnar Loðbrók—and the exploits of his heirs—creating what for many viewers is a “true” representation of the age. From the show’s sources in both saga literature and Victorian revival, to its engagement with contemporary concerns regarding gender, race, and identity, via setting, sex, society and more, this first book-length study of the History Channel series will appeal to fans of the show, Viking enthusiasts, and anyone with an interest in medievalism in the 21st century.


Paul Hardwick is a professor of English at Leeds Trinity University, where he leads the creative writing programs and teaches medieval literature. He has published widely on the art and literature of the Middle Ages, with a particular focus on misericords and animal iconography, and on medievalism.

Kate Lister is a lecturer in the school of arts and communication at Leeds Trinity University. She has published in the medical humanities, material culture, Victorian Studies, and Neo-Medievalism. She is a columnist for inews and won the Sexual Freedom Publicist of the Year Award in 2017.

Out Now: Medieval Art and the Look of Silent Film

McFarland has finally released Lora Ann Sigler's book Medieval Art and the Look of Silent Film: The Influence on Costume and Set Design. Full details follow.


Medieval Art and the Look of Silent Film: The Influence on Costume and Set Design
Lora Ann Sigler
https://mcfarlandbooks.com/product/medieval-art-and-the-look-of-silent-film/

Format: softcover (7 x 10)
Pages: 235
Bibliographic Info: 104 photos, appendices, glossary, notes, bibliography, index
Copyright Date: 2019
pISBN: 978-1-4766-7352-3
eISBN: 978-1-4766-3441-8
Imprint: McFarland
$55.00

The heyday of silent film soon became quaint with the arrival of “talkies.” As early as 1929, critics and historians were writing of the period as though it were the distant past. Much of the literature on the silent era focuses on its filmic art—ambiance and psychological depth, the splendor of the sets and costumes—yet overlooks the inspiration behind these.

This book explores the Middle Ages as the prevailing influence on costume and set design in silent film and a force in fashion and architecture of the era. In the wake of World War I, designers overthrew the artifice of prewar style and manners and drew upon what seemed a nobler, purer age to create an ambiance that reflected higher ideals.


Content:

Acknowledgments v
Preface 1
Introduction 5
One—Setting the Stage 7
Two—Staging the Set 43
Three—The Web We Wove 65
Four—The Weave We Wore 103
Five—Taking It to the Seats 122
Six—Living It Up: In the Hills 136
Seven—Keep the Home Buyers Turning 143
Eight—More Play for Less Pay: Women
in Film Production 156
Epilogue: That’s About the Sum of It 173
Appendix A. Mechanization and the Aftereffects of World War I 181
Appendix B. Audrey Munson: The “Girl of Dreams” 184
Appendix C. Purveyors of Fantasy: Erté and Georges Barbier 186
Appendix D. Critical Wit: James Laver 192
Appendix E. Siegfried Kracauer, Lotte Eisner and the Rise of the Nazis Hypothesis 194
Glossary 197
Chapter Notes 201
Bibliography 215
Index 221


About the Author:

Lora Ann Sigler is professor emerita of art history at California State University. She lives in San Pedro, California.