Month: July 2019

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CFP: Domitor Conference, “Crafts, Trades, and Techniques of Early Cinema”

Call for papers: The 2020 Domitor Conference – “Crafts, Trades, and Techniques of Early Cinema”

Deadline for proposals: September 22, 2019

Deadline for Student Essay Award: September 15, 2019 (see bottom of this post for more info)

The conference will take place at Cinémathèque française and the Fondation Jérôme Seydoux-Pathé in Paris, France, on June 12-15, 2020

From Domitor’s website:

On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and techniques that, while not always represented on screen, shape our experience of it.

Long part of Domitor’s mission, this reevaluation of the skills and practices that defined the cinema in its early decades aims to gain a better understanding of the medium in its varied industrial and professional aspects. The art, techniques, and gestures of craftspersons – such as performers, camera operators, editors, directors, designers, engineers, projectionists, programmers, and critics – like those of the factory or laboratory worker, had to be developed in their new specificity and in relation to existing cultural and technological forms.

Courtesy of the Oregon Historical Society.

We are interested in discovering how the industrialization of cinema, professionalization of workers, and standardization of techniques, alongside developing technologies, led to the creation (or at times, the diversion or subversion) of norms, legitimizing certain skills, crafts and techniques at the expense of others. Such fluctuating practices and professions, and their accompanying discourses and representations, merit further historical inquiry across hierarchies, divisions of labor, and lines of class, gender, race, ethnicity, region, and nation.

For the full CFP, click here.

We are pleased to share the call for submissions for the Domitor 2019 Student Essay Award. If you are currently enrolled in an undergraduate or graduate program, or have received a degree after January 2019, please consider submitting your paper. And if you teach scholars, archivists, or artists, please spread the word to your students. The deadline is September 15, 2019, and the award consists of a $500 prize and assistance with its publication in a professional film historical journal. Please find details attached and on our website: https://domitor.org/awards/.

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CFP: Journal of Screenwriting, Special Issue: Female Screenwriters

The Journal of Screenwriting is calling for articles for a special issue with a focus on female screenwriters, to be published in August/September 2020.

Deadline: October 4, 2019

The Journal wants to emphasize the importance of female screenwriters across eras, genres, mediums. This importance may arise from an analysis of bodies of work, from individual scripts written by women, or from case studies where female screenwriters have worked collaboratively to express screen stories. Articles may also include women’s work behind the scenes in advocating for/promoting greater gender equality within screenwriting milieux. Articles on female screenwriters from diverse cultural backgrounds are encouraged.

Articles may include (but are not limited to) the following topics:

•Female screenwriters in silent cinema

•The influence of female writer(-directors) in contemporary culture

•Case studies on individual screenwriter’s work, collaborations between women, or on how women-centred stories have been brought to the screen

•Historiography of manuals and screenwriting pedagogy where this reflects the work of female screenwriters

•National and global tendencies with regard to women within screenwriting – relations, influences, cultural transfers

•Censorship and women’s stories and women’s writings

•Biographies of female screenwriters of any era

•Female screenwriters within writing partnerships

•The work of female screenwriters within script production (e.g. as showrunners, script editors or consultants)

•The question of a female voice within screenwriting

In the first instance, please email abstracts of up to 400 words and a short biography, no later than Friday, October 4, 2019, to both of the editors of this special issue:

Rosanne Welch: rosanne@welchwrite.com

Rose Ferrell: rosieglow@westnet.com.au

Completed articles of between 4000 and 8000 words should be sent by end January 2020 via the Journal of Screenwriting’s web page, where you can also access information on the journal’s house style: https://www.intellectbooks.co.uk/journals/view-journal,id=182/

Peer review and acceptance/rejection will be completed by end of May 2020. Rewrites will be due by end of July 2020.

The Journal of Screenwriting is an international peer-reviewed journal published three times annually by Intellect, and is abstracted and indexed by Thomson Reuters: ISI Web of Knowledge, MLA and FIAF. It explores the nature of writing for the screen image; this includes not only writing for film and television but also computer games and animation. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice.

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Book Talk: Specters of Slapstick and Silent Film Comediennes, Bryant Park, NYC, August 5, 2019

 

Maggie Hennefeld (University of Minnesota) will discuss her recent book  Specters of Slapstick and Silent Film Comediennes with Scott Adlerberg, as part of the Reel Talks program at Bryant Park in New York City. 

Date: Monday, August 5

Time: 12:30-1:45pm

Location: Bryant Park, Reading Room

This event is free and open to the public. Books are available for purchase at the event and for signing by the author. Stick around for a Q&A.

For more information, click here. 

Frame enlargement Florence Turner  in Daisy Doodad’s Dial (Turner Films, 1914). Courtesy of the Library of Congress.

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CFP: Doing Women’s Film and Television History V – “Forming Histories/Histories in Formation”

 

The conference Doing Women’s Film and Television History is back for its fifth edition, and will be held at Maynooth University, May 20-22, 2020!

Deadline for proposals: October 11, 2019

From the conference website:

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

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

Visit the website for the conference and follow its Twitter account for updates.

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