Tous les articles par Langlet Irène

Appels

Call for papers : Porn Studies

Call for Papers : PORN STUDIES

The editors, Feona Attwood (Middlesex University) and Clarissa Smith (University of Sunderland), and Routledge are pleased to announce the launch of a new journal devoted to the study of pornography.

Porn Studies is the first dedicated, international, peer-reviewed journal to critically explore those cultural products and services designated as pornographic and their cultural, economic, historical, institutional, legal and social contexts. Porn Studies will publish innovative work examining specifically sexual and explicit media forms, their connections to wider media landscapes and their links to the broader spheres of (sex) work across historical periods and
national contexts.

Porn Studies is an interdisciplinary journal informed by critical sexuality studies and work exploring the intersection of sexuality, gender, race, class, age and ability. It focuses on developing knowledge of pornographies past and present, in all their variations and around the world. Because pornography studies are still in their infancy we are also interested in discussions that focus on theoretical approaches, methodology and research ethics. Alongside articles, the journal includes a forum devoted to shorter observations, developments, debates or issues in porn studies, designed to encourage exchange and debate.

Porn Studies invites submissions for publication, commencing with its first issue in Spring 2014. Articles should be between 5000 and 8000 words. Forum submissions should be 500-1500 words. Book reviews should be between 800 and 1500 words. Submissions will be refereed
anonymously by at least two referees.

In the first instance submissions, queries and suggestions should be sent to: editorspstudies@gmail.com

Website coming soon: www.tandfonline.com/rprn

Appels

Call for papers : Branding TV : Transmedia to the Rescue!

CALL FOR PAPERS: Branding TV: Transmedia to the Rescue!

special-themed edition of Networking Knowledge: Journal of the MeCCSA-PGN

Guest Editor: Benjamin W. L. Derhy (University of East Anglia / Université Paris Ouest)

Journal Editor: Matthew Freeman (University of Nottingham)

Deadline for Abstracts: 10 June 2013

The television world is changing: as films and programmes become brands on their own – derivable in a variety of ways – and as technology has evolved so much that even the concept of narrative has been affected, marketing strategies have changed forever.

Transmedia storytelling is ‘a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience’ (Jenkins, 2006, 95-6). Though both a challenge and an opportunity for conventional industry production methods, it represents a marketing goldmine. Indeed, the rise of transmedia platforms – offering the possibility to create websites, mobile games, alternative reality games, interactive exhibitions, e-books, e-comics, webseries, etc. – and the increasing involvement of the audience have provided marketers with a whole new range of possibilities to boost both brand recognition and profits: rather than selling the show to networks, they now sell the story directly to consumers.

Rather than ‘reducing’ Transmedia storytelling to the augmenting effect it has had on the concept of narrative as a result of its ability to create an immersive environment, this special issue seeks to discuss the wide range of economic perspectives available to a Film/Television brand due to this very same immersive environment. The transmedia phenomenon has, so far, mostly been approached from an either textual or participatory perspective, but rarely so from a multidisciplinary perspective encompassing the marketing aspect. Providing insight on this topic through contributions from researchers in media, communications and cultural studies, but also in marketing, would enrich our collective understanding of Transmedia storytelling thanks to complementary viewpoints, in the hope of offering a more holistic approach.

Branding TV: Transmedia to the Rescue! welcomes articles from postgraduates and early career researchers of 5,000 to 6,000 words.

Areas of interest include (but are not limited to):

  • The textual and creative impact on Transmedia strategies
  • The technological, creative or financial limits of Transmedia strategies
  • The relationship of Transmedia storytelling with promotional and branding strategies
  • The differences between Transmedia branding and franchising
  • Study cases or historical examples of Transmedia strategies
  • The relationships between marketers and screenwriters and other practitioners
  • The cultural impact of such strategies to society
  • The relationships between marketers and participatory cultures
  • The reception of such practices by fan communities
  • Future developments of Transmedia practices

Please send abstracts (up to 300 words) along with a 50 word biography by June 10, 2013 to Benjamin W. L. Derhy (B.Derhy-kurtz@uea.ac.uk) and Matthew Freeman (aaxmaf@nottingham.ac.uk). Articles are due on October 15, 2013. Feel free to contact the editors for further information.

Appels

Call for chapters : Anthology on Afrofuturism 2.0

Call for chapters for an anthology on Afrofuturism 2.0

Afrofuturism, is a transnational, diasporic, and cultural aesthetic that interrogates the past, present and future in literature, technology, art, or music, and challenges Eurocentric motifs of identity, time and space. While this approach has grown in the past decade, there has been limited engagement with Afrofuturism’s relationship to the discipline of Africana studies, or Africology.

We are soliciting scholarly research, theoretical essays, and applied studies that explore how the concept of Afrofuturism is related to Africana Studies for an anthology.

Manuscripts addressing the following themes will be given priority:

  • The intersection of race, gender, sexuality, and technology in human interaction (i.e., examining identities, in communications and new technologies).
  • Afrofuturism as philosophy and its impact on religion among African/Diapora communities (ie., metaphysics, theology, philosophy of science and ethics).
  • The confluence between Afrofuturism, the environment, bio-sciences, transhumanism, and cyborg manifestations.
  • The interstices of time, place, space, and home as metaphors for an Afrofuturist perspective or politics, especially in relation to neoliberal rhetorics of post-racialism, open data movements, radical transparency, crowd sourcing and other forms of political expression in the age of what some call “zombie” or “disaster” capitalism.
  • Afrofuturism in relation to other futurisms; such as Rastafuturism, Chicanafuturism, Occidental futurism or Techno-Orientalism.
  • Theories of Afrofuturism that explore aesthetics, literature, music, graphic arts, and performing arts, including graphic novels, sequential art, manga and anime.

Authors are to submit a 250-300 word abstract for consideration by the editors by June 10, 2013. Authors of accepted abstracts will be notified by July 10. Final submission will be due by October 30, 2013.  Final submissions may not exceed  25 pages and must include: (1) detachable title page with names of author(s), academic position, institutional affiliation, full address, telephone number, fax number, and email address.  All manuscript submissions must conform to the current Chicago Style format.

Queries and abstract submissions should be addressed to:  Reynaldo Anderson, co-editor, Department of Arts and Sciences Room 208, Harris-Stowe State University, Saint Louis, MO, Email: andersor@hssu.edu Office:  314-340-3691; and Charles E. Jones, co-editor, Department of Africana Studies, 3264 French Hall P.O. 210370 University of Cincinnati, OH, 45221-0730 e-mail: jones3cl@uc.edu 404-435-7429.

Colloques et séminaires, LPCM - activités membres

Colloque: Le statut culturel de la bande dessinée : ambiguïtés et évolutions

Le colloque international : “Le statut culturel de la bande dessinée : ambiguïtés et évolutions – The Cultural Standing of Comics : Ambiguities and Changes”, jeudi 2 et vendredi 3 mai à Louvain-la-Neuve (Collège Erasme – Salle du Conseil).

L’événement est organisé par le Groupe de Recherches sur l’Image et le Texte / GRIT (UCL), avec l’aide du Fonds National de la Recherche Scientifique / FNRS, de l’Institut des Civilisations, Arts et Lettres / INCAL (UCL), du Service culturel de l’Ambassade de Pologne en Belgique et de l’ASBL « Lire, apprendre, étudier avec l’image et le texte ».

Continuer la lecture de Colloque: Le statut culturel de la bande dessinée : ambiguïtés et évolutions →

Appels

Call for paper, The Other Western, Transformations

Call for papers : TRANSFORMATIONS, Issue 24

The Other Western

This issue of Transformations seeks submissions from scholars in film and related fields concerning the ‘other’ Western. The ‘other’ Western is the possibilities implied by the Western itself, and how these possibilities might lead in other directions, other pathways. From its beginnings in the silent era, the film Western has always been at the forefront of innovations in cinematography, mise-en-scene, film style and the development of techniques of narration and characterisation. For Jim Kitses, the genre of the Western is a vital structure through which flow a myriad of themes and concepts. As such the genre can provide filmmakers with a range of possible connections and the space in which to experiment, to shape and define the kinds of effects and meanings they are working towards. (Kitses, Horizons West, New Edition, 2004, p. 10)

The classical Western has been at the centre of the mythologizing of the American project: the taming and conquering of the frontier and the justification of the colonial will against indigenous peoples. The violence of Westerns poses questions concerning the right of land ownership in laws and principles embodied in certain character types and events, reaching into broader issues of politics and identity, and the paradoxes of freedom, individuality and the destiny of peoples beginning to emerge in modern, industrializing new world formations. In this issue we are looking for readings that challenge, re-appraise and subvert this classical position, either by examining the classical Western itself – its hidden contours, narrative aporias and excessive mise-en-scene for instance – or by looking at other ways in which the Western genre and formats have been, and continue to be used in different cultures and social terrains.

Some possible focal points include:

  • Modifications to the Western as a hybrid form;
  • The Western as a global or world cinema phenomenon;
  • New media experimentation with the Western format;
  • Silent era Westerns and questions of the archive;
  • Historical re-readings of the Western: its meanings, themes and cinematic innovation;
  • The politics of the Western: challenging founding myths and stories;
  • Race and the Western: revisions;
  • A re-appraisal of the feminine in the Western;
  • The Western mise-en-scene: counter-images;
  • The Western writes back: responses to the Western from the margins;
  • New readings of violence in the Western.

We are seeking abstracts of no more than 500 words in the first instance, setting out the focus, general argument and conceptual terrain, as well as the films, television, new media or other textualisations of the Western you will be addressing.

Abstracts due: 1 June, 2013
Authors Notified: 15 June 2013
Papers due: 15 September 2013
Please send abstracts and any other correspondence to either Grayson Cooke or Warwick Mules at the following email addresses:

Grayson.Cooke@scu.edu.au
w.mules@bigpond.com

For submission guidelines and to view Transformations online go to:
http://www.transformationsjournal.org/journal/

Parutions

Publication : Making Culture, Changing Society, Tony Bennett

Making Culture, Changing Society

By Tony Bennett

Published 21st March 2013 by Routledge

Making Culture, Changing Society proposes a challenging new account of the relations between culture and society focused on how particular forms of cultural knowledge and expertise work on, order and transform society. Examining these forms of culture’s action on the social as aspects of a historically distinctive ensemble of cultural institutions, it considers the diverse ways in which culture has been produced and mobilised as a resource for governing populations.

These concerns are illustrated in detailed case studies of how anthropological conceptions of the relations between race and culture have shaped – and been shaped by – the relationships between museums, fieldwork and governmental programmes in early twentieth-century France and Australia. These are complemented by a closely argued account of the relations between aesthetics and governance that, in contrast to conventional approaches, interprets the historical emergence of the autonomy of the aesthetic as vastly expanding the range of art’s social uses.

In pursuing these concerns, particular attention is given to the role that the cultural disciplines have played in making up and distributing the freedoms through which modern forms of liberal government operate. An examination of the place that has been accorded habit as a route into the regulation of conduct within liberal social, cultural and political thought brings these questions into sharp focus. The book will be of interest to students and scholars of sociology, cultural studies, media studies, anthropology, museum and heritage studies, history, art history and cultural policy studies.

Contents

Introduction. Part I: Culture: Veridical, Material, and Compositional Perspectives 1. After Culture? 2. Making Culture, Organising Freedom, Changing Society 3. Civic Laboratories: Museums, Cultural Objecthood, and the Governance of the Social Part II: Anthropological Assemblages Inter-text 1 4. Making and Mobilising Worlds: Assembling and Governing the Other 5. Collecting, Instructing, Governing: Fields, Publics, Milieus Part III: Governing through Freedom: Aesthetics and Liberal Governance Inter-text 2 6. The Uses of Uselessness: Aesthetics, Freedom, Government 7. Guided Freedom: Aesthetics, Tutelage and the Interpretation of Art Part IV: Habit and the Architecture of the Person Inter-text 3 8. Habit, Instinct, Survivals: Repetition, History, Biopower 9. Habitus/Habit: Freedom/History. Afterword. References.

Author Biography

Tony Bennett is Research Professor in Social and Cultural Theory in the Institute for Culture and Society at the University of Western Sydney. His work has had a defining influence on contemporary debates in cultural studies and cultural sociology. Making Culture, Changing Society builds on and extends his distinctive perspective on the relations between culture and society developed in his The Birth of the Museum; Culture: A Reformer’s Science; and Pasts Beyond Memory.

Subjects

  1. Sociology & Social Policy
  2. Social Theory
  3. Cultural Theory
  4. Social & Cultural Anthropology
  5. Theory & Political Sociology
  6. History
  7. Media & Film Studies
LPCM - activités membres

Exhibition : De fotoroman in alle staten – The Photo Novel Inside Out – Le roman photo dans tous ses états

Exhibition/exposition/tentoonstelling : The Photo Novel Inside Out / Le roman photo dans tous ses états / De fotoroman in alle staten

Tentoonstellingszaal Centrale Bibliotheek, Leuven (Belgium)

8-05-2013 — 31-07-2013

Texte en français ci-dessous. Nederlandse tekst hieronder.

“Photo-novel … You said photo-novel?”

From the sofa of the more or less 50-year-old housewife, to the walls of the Leuven Central Library, the photo novel lays itself bare from May 8 to July 31 2013.

The photo-novel, undisputed star of women magazines in the fifties and sixties, is an often unknown and underestimated phenomenon. In its golden age however, the photo novel has moved a lot of people: euphoria, anxiety, laughter and tears, even addiction for the biggest fans but also mockery, contempt, indignation, or simple avoidance from others. “Off with his head!” haters exclaim. Fallen star today? Defeated icon? You be the judge!

The photo novel celebrated its sixty-fifth birthday last year and has had a long career as diversified as the range of the above mentioned reactions. Just like a chameleon that adapts to any kind of environment, the photo novel has adopted many different forms, from the traditional installment melodramas in magazines, to the artistic experiments from renowned names such as Duane Michals or Sol Lewitt, published in art books, or exhibited in galleries. Sixty-five years of largely neglected but fruitful and surprising exchanges with literature, photography, television, advertising, street theater, and especially with cinema.

Our exhibition “The Photo novel inside out” will offer you a unique opportunity to discover all these aspects of the genre. Almost the entire exhibition is based on material from the private collection of Jan Baetens, a specialist when it comes to the photographic novel. In the context of the Year of France in KU Leuven, special attention will be paid to the status of the photo-novel in the publishing history and the popular culture of this country.

So, come to our exhibition and discover the fun and colorful world of the photo novel.

“Roman-photo… Vous avez dit roman-photo?!”

Du canapé de la ménagère de plus ou moins 50 ans, aux murs de la Bibliothèque centrale de Louvain, Le roman-photo, dans tous ses états, s’expose, du 8 mai au 31 juillet 2013.

Star incontestée de la presse féminine des années 1950-1960, le roman-photo est un phénomène souvent méconnu et sousestimé. A ses heures les plus glorieuses, il aura ému bien des lecteurs : euphorie, angoisse, rires et larmes, voire dépendance des accros du genre, mais aussi moqueries, mépris, indignation, ou simple ignorance des autres. “Qu’on lui coupe la tête!” s’écrieront ses détracteurs les plus passionnés. Star déchue aujourd’hui? Icône vaincue? A vous d’en juger!

Le roman-photo, c’est soixante-cinq ans d’une carrière aussi riche que l’éventail des réactions mentionnées. Véritable tout-terrain de la culture, il a revêtu toutes les formes, des traditionnels mélodrames publiés par épisode dans les magazines, aux expérimentations artistiques de grands noms comme Duane Michals ou Sol Lewitt, déclinées dans les livres d’art, ou exposées dans les galeries. Soixante-cinq ans d’échanges fructueux et surprenants, mais souvent négligés, avec la littérature, la photographie, la télévision, la publicité, le théâtre de rue, et surtout le cinéma, invité de marque de notre exposition.

L’exposition “le roman-photo dans tous ses états” vous offrira l’opportunité unique de découvrir toutes les facettes du genre. La quasi-totalité des pièces exposées, provient de la collection privée du professeur Jan Baetens, éminent spécialiste du sujet. Dans le cadre de l’année de la France à la KUL, une attention particulière sera portée au statut du roman-photo, dans l’histoire éditoriale et la culture populaire de ce pays.

Venez donc faire un tour dans l’univers drôle et coloré du roman-photo !

“De Fotoroman … Zei u net Fotoroman?”

Van op de sofa bij een vijftigjarige huisvrouw naar de muren van de Centrale Bibliotheek in Leuven geeft de Fotoroman zichzelf aan u bloot van 8 mei tot 31 juli 2013.

De Fotoroman, de ster van de vrouwenbladen in de jaren vijftig en zestig, is vandaag de dag onbekend en onbemind. Tijdens zijn inmiddels vervlogen glorietijden lokte de Fotoroman echter vele diverse reacties uit: euforie, angst, geluk, verdriet en zelfs verslaving bij de grootste fans, maar ook spot, verachting en minachting bij anderen. Is de Fotoroman een vallende ster vandaag? Een verslagen icoon? Bezoek onze tentoonstelling en beslis zelf!

De fotografische roman heeft een lange en rijke carriëre achter de rug. Net als een kameleon paste hij zich aan aan verschillende contexten. Het genre nam verschillende vormen aan, van traditionele melodrama’s in vrouwenbladen tot artistieke experimenten in kunstboeken. Vijfenzestig jaar lang stond de Fotoroman ook in interactie met literatuur, fotografie, televisie, straattheater en voornamelijk de cinema.

Onze tentoonstelling “De Fotoroman in alle Staten”biedt u de unieke kans om al deze aspecten van het genre te ontdekken. Onze collectie is overwegend gebaseerd op de privé-verzameling van Jan Baetens, een expert op het gebied van de fotografische roman. Het dient ook opgemerkt te worden dat in de context van het Frankrijkjaar aan de Katholieke Universiteit van Leuven speciale aandacht zal worden besteed aan de status van de Fotoroman in de populaire cultuur van Frankrijk.

Kortom, breng onze tentoonstelling een bezoekje en ontdek de wondere wereld van de Fotoroman

Read More / plus d’informations / meer informatie :

  • https://www.facebook.com/De.fotoroman.in.alle.staten
  • http://bib.kuleuven.be/ub/ub-cultureel/tentoonstelling-de-fotoroman-in-alle-staten
Parutions

Parution: «Si tu vas à Rio…» La musique populaire brésilienne en France au XXe siècle

Parution

«Si tu vas à Rio…»

La musique populaire brésilienne en France au XXe siècle

Anaïs Fléchet, enseignant-chercheur au Centre d’histoire culturelle des sociétés contemporaines publie «Si tu vas à Rio…»  La musique populaire brésilienne en France au XXe siècle aux éditions Armand Colin.

Longtemps ignorés des Européens, les rythmes du Brésil ont connu un fort engouement dans la société française et suscité de véritables modes musicales tout au long du XXe siècle. Dès la veille de la Première Guerre mondiale, la maxixe fait son apparition dans les dancings parisiens, bientôt suivie par les Saudades du Brésil de Darius Milhaud et les Choros d’Heitor Villa-Lobos. Samba, baião, bossa nova, chanson engagée et tropicalisme sont ensuite venus enrichir le paysage sonore français et ont donné lieu à des transferts culturels complexes entre les deux rives de l’Atlantique.
Comment ces musiques brésiliennes sont-elles parvenues dans l’Hexagone et que nous apprend leur réception sur la société de l’époque ? Quelles pratiques rythmiques et instrumentales ont été adoptées, adaptées et revendiquées par les musiciens français ? Comment écoutait-on le monde avant les « musiques du monde » ? Autant de questions auxquelles cet ouvrage, à la croisée de l’histoire culturelle et de l’histoire transnationale, se propose de répondre.
En retraçant l’itinéraire de la musique populaire brésilienne en France, en interrogeant les médiations qui ont permis ces circulations musicales et en déconstruisant les imaginaires du Brésil qui y sont associés, c’est aussi le cadre plus général de la mondialisation culturelle qui est ici interrogé.

Anaïs Fléchet est maître de conférences en histoire à l’université de Versailles Saint-Quentin-en-Yvelines, membre du Centre d’histoire culturelle des sociétés contemporaines et chargée d’enseignement à Sciences Po Paris.

« Si tu vas à Rio… »  La musique populaire brésilienne en France au XXe siècle • Anaïs Fléchet • Armand Colin • Collection Recherches • 392 pages • ISBN : 9782200277253 • 25 €.

Contact éditeur : Irène Nanni 01 44 39 42 21 inanni@armand-colin.fr

Sommaire

Partie I : La révélation d’un nouveau monde sonore : 1905-1940
1. Premiers échos du Brésil
2. Passeurs culturels et médiations musicales
3. Un art sauvage ?

Partie II : Le rêve exotique : 1945-1959
4. Le Brésil en chansons
5. Quand samba rime avec coca-cola
6. Un exotisme populaire

Partie III : Brésil, nouvelle vague
7. Le chant feutré de la bossa nova
8. Les relais de la culture de masse
9. L’art de bien entendre

Épilogue
Entretiens
Caetano Veloso, Rio de Janeiro, 23 avril 2005
Pierre Barouh, Paris, 11 septembre 2003
Chico Buarque de Hollanda, Rio de Janeiro, 7 mai 2004
Georges Moustaki, Paris, 30 août 2004
Violeta Arraes Gervaiseau, Rio de Janeiro, 24 mai 2005
LPCM - activités membres, Parutions

Parution: Comicalités

Comicalités. Etudes de culture graphique

Comicalités. Etudes de culture graphique vous propose deux nouveaux articles.

Le premier d’entre eux s’intéresse aux représentations sexuées des cómics femeninos publiés sous la période franquiste, tandis que le second explore les dimensions spatiales et temporelles de l’écriture autobiographique de Michel Rabagliati au sein de la série Paul (résumés plus bas).
– « L’image de la femme dans les cómics femeninos des années 1960-1970 en Espagne : conflit identitaire ou schizophrénie de genre » de Tatiana Blanco Cordón ;
– « La série Paul de Michel Rabagliati : récits d’espaces et de temps » de Sylvie Dardaillon et Christophe Meunier.
Première publication de notre nouvelle thématique (« Représenter l’auteur de bandes dessinées »), ce dernier article sera très prochainement rejoint par d’autres travaux ainsi que par les premières livraisons de nos appels à communications (« L’Allemagne : quelle(s) image(s) ? » et « Raconter à l’heure numérique ») qui restent, nous vous le rappelons, toujours ouverts.

Colloques et séminaires, LPCM - activités membres

Conférence: Pepe, Rogas, Santamaria… Les inspecteurs des fictions policières italiennes

Dans le cadre du Festival International du Film Policier de Liège

Le séminaire de l’imaginaire, la BiLA présente:

“Pepe, Rogas, Santamaria… Les inspecteurs des fictions policières italiennes”

par Luciano Curreri (ULg).

Pepe, Rogas, Santamaria… Trois fonctionnaires de la police italienne qui sortent de trois romans: Il commissario Pepe (Ugo Facco De Lagarda), Il contesto (Le contexte) de Leonardo Sciascia, La donna della domenica (La femme du dimanche) de Fruttero & Lucentini.

Trois romans (respectivement de 1965, 1971, 1972) devenus films grâce à trois metteurs en scène de premier plan: I

– Il commissario Pepe (Le fouineur) d’Ettore Scola (Trevico, Avellino 1931), paru dans les salles en 1969;

– La donna della domenica (La femme du dimanche), de Luigi Comencini (Salò, Brescia 1916- Rome 2007), en 1975;

– Cadaveri eccellenti (Cadavres exquis), de Francesco Rosi (Naples 1922), en 1976.

Face à la standardisation d’une bonne partie de la littérature policière et du cinéma de nos jours, ces trois romans et ces trois films marquent une sorte d’âge d’or du “giallo” italien, où se mêlent avec raffinement la quête classique du meurtrier et la déconstruction du genre, la réalité et l’imaginaire de toute la péninsule, la comédie des moeurs et l’engagement, la lutte contre le pouvoir obscur des démocraties occidentales et la ruse de la culture populaire italienne de cette époque si terrible, mais si féconde, entre la seconde moitié des Sixties et les années de plomb.

Après, avec l’assassinat d’Aldo Moro (1978), l’été des massacres (l’attentat de la gare à Bologna et la tragédie d’Ustica en 1980), la chute du mur de Berlin en ’89, les scandales politiques et l’opération “Mains propres” et la soi-disante deuxième république italienne des années quatre-vingt-dix, les choses vont changer…

Le conférencier:

Le Professeur Luciano Curreri enseigne la langue et la culture italienne au sein du département de langues et littératures romanes de l’Université de Liège.

Jeudi 25 avril, à 12h00, à la Bibliothèque des Chiroux, Place des Carmes, 4000 Liège.