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Appel à contributions : "Les stars du petit écran", revue Télévision

APPEL À PROPOSITIONS D’ARTICLES

“Les stars du petit écran”, revue Télévision

La revue Télévision (Éditions du CNRS) prépare un dossier thématique sur « Les stars du petit écran » pour une publication prévue en mars 2015

Le terme de star est ici entendu dans une acception large (pas restreinte aux comédiens) : les animateurs, les speakerines, les journalistes, les candidats de la téléréalité, etc.

L’appel concerne les chercheurs issus de plusieurs disciplines : histoire, sociologie, anthropologie, sémiologie, économie, sciences de l’information et de la communication, droit.

Parmi les pistes possibles, le dossier s’intéresse aux thèmes suivants :

Les formes spécifiques de la starification à la télévision

La télévision comme machine à produire une célébrité d’une nature très particulière . Qu’est-ce qu’une star de télévision ? À partir de quel moment peut-on parler de star ? Qui fait la star ? La star est-elle construite par l’émission ? Par la chaîne ? Le public ? Comment se construisent les carrières à la télévision ? Les modes de consécration des stars ont-ils évolué avec le temps ? Quel rôle joue la presse télévisuelle dans la starification ? Les « stars » se reconnaissent-elles à leur comportement ? Ont-elles un traitement télévisuel spécifique ? Sont-elles attachées à une chaîne ou peuvent-elles migrer d’une chaîne à l’autre, être reçues dans des émissions qui ne sont pas les leurs ?

Les stars de la télévision sur le marché du travail

D’où viennent les stars de télévision, comment se construisent leurs parcours, y a-t-il des schémas de carrière ? La starification télévisuelle est-elle dangereuse pour les comédiens voulant se faire reconnaître dans des secteurs plus « légitimes » comme le cinéma ou le théâtre ? Comment se négocient les transferts de la télévision vers la radio, le cinéma, le théâtre, et inversement.

La vie sociale et économique de la star

Les revenus des stars de la télévision, les contrats, la marge de manœuvre des dirigeants face aux stars. Les obligations de promotion vis-à-vis du public. Comment les stars sont-elles perçues et acceptées par les autres professionnels du petit écran ? Y a-t-il un modèle universel de la starification télévisuelle ou différentes cultures télévisuelles qui ont chacune leurs stars privilégiées ?

La star et son public de téléspectateurs

Les liens particuliers des téléspectateurs aux stars du petit écran. Les formes d’appropriation de la star à travers les produits dérivés et les pratiques fans. Qu’est-ce que le public attend d’une star de télévision ? Comment la star interagit avec son public ?

Les responsables du dossier sont Dominique Pasquier (sociologue, directrice de recherche au CNRS) et Myriam Tsikounas (historienne, professeur à l’Université Paris 1). Les projets peuvent leur être envoyés aux adresses mails suivantes :

Les propositions, qui seront examinées en double aveugle par des membres du comié de rédaction et des chercheurs extérieurs à celui ci, ne devront pas dépasser 1000 mots (environ 6.000 signes, deux pages et demie). Elles indiqueront de façon précise les méthodes utilisées (corpus étudié ou terrain réalisé) et les pistes de recherche qui seront développées dans l’article.

Calendrier

Envoi des propositions : avant le 1er septembre 2013 ;

Réponse des organisateurs aux projets d’articles : 30 octobre 2013 ;

Date limite de réception de la première version des articles : 1 mai 2014 ;

Articles définitifs : 15 octobre 2014.

Colloque international: "When the West/ern meets the South/ern" (19/04/2013)

colloque international

When the West/ern meets the South/ern

Vendredi 19 et samedi 20 avril 2013

Ce colloque international “When the West/ern meets the South/ern”est organisé par le CHCSC et le Laboratoire histoire et dynamique des espaces anglophones (HDEA-CATI , EA4086) de l’Université de Paris-Sorbonne.

Date :
Vendredi 19 et samedi 20 avril 2013

Lieu :
Auditorium – Bibliothèque Universitaire
45 boulevard Vauban
78280 Guyancourt
Responsables scientifiques :
Claire Dutriaux (Université Paris IV-Sorbonne)
Taïna Tuhkunen (UVSQ).

Contact : taina.tuhkunen@uvsq.fr

Entrée libre, dans la limite des places disponibles.

Présentation
Le dernier film de Quentin Tarantino Django Unchained (2012) en témoigne, comparés aux westerns, les récits filmiques sur le Sud états-unien sont souvent présentés comme des films d’un « mauvais genre ». Pourtant, tout aussi profondément que les récits sur le Far West, les grands récits et les représentations canoniques du « Sud profond » (Deep South) ont influencé notre vision de l’histoire et de la culture américaines. – Pourquoi fallut-il donc attendre le western imprégné de southern (ou vice versa), film provocateur et parodique de Tarantino, pour voir à quel point les codes, mythes, motifs et typologies du southern sont capables de se croiser et d’interagir avec les caractéristiques génériques du western ?
C’est l’une des questions qui seront débattues, en avril 2013, par des spécialistes américains, anglais et français du cinéma américain lors du colloque international « Quand le Western rencontre le Southern » à l’Université de Versailles Saint-Quentin-en-Yvelines. Transatlantique et transdisciplinaire, à cheval entre études filmiques et études littéraires, entre l’histoire et la politique, cette rencontre constituera un premier pas important vers la création d’un réseau international pour encourager l’exploration interdisciplinaire de cette fascinante problématique émergente, marquée autant par les mots « clivages » et « croisements » que par celui d’« hybridation ».

Presentation
As shown by Quentin Tarantino’s latest film, Django Unchained (2012), compared to westerns, motion pictures on the American South are often presented as films of a “bad genre”. However, like the movie scenarios on the Far West, the great narratives and quintessential representations of the Deep South have also profoundly affected the vision we have of American history and culture. Why, then, did we have to wait until the release of Tarantino’s parodic and provocative western-soaked southern (or vice versa) to realize to what extent the codes, myths, motifs and typologies of the western genre can interact and overlap with the generic traits of the southern?
This and related questions will be debated by American, British and French specialists of American cinema at the April 2013 international symposium “When the West/ern meets the South/ern” at the University of Versailles Saint-Quentin-en-Yvelines. Transatlantic and transdisciplinary, the encounter between film and literary studies, history and politics will constitute a major step towards the creation of an international network to enhance further explorations of this fascinating interdisciplinary object of study marked by the idea of “splitting”, as well as by notions of “crossing” and “hybridization”. 

> Programme


Friday, April, 19,  2013

9h Welcome address
9h15-10h45 “Origins odf the Western and the Southern”

Chair: Jacques Pothier (UVSQ)

9h15-10h: Lauric Guillaud (Université d’Angers): “The Literary Roots of Southern Westerns.”
10h-10h45: Julie Assouly (Université d’Artois): “The Wandering Character in the Coen Brothers’ Films: from Southern Gothic to Western”.
10h45-11h Coffe Break
11h-12h30 “Generic Conventions fo the Western and the Southern”

Chair: Claire Dutriaux (Université Paris-Sorbonne)
11h-11h45: Gilles Menegaldo (Université de Poitiers), “Western as a Mode of Expression for the North/South Conflict inGreat Day in the Morning (Jacques Tourneur, 1956): Mythologies and Generic Conventions.”

1h45-12h30: Anne-Marie Paquet-Deyris (Université de Paris Ouest Nanterre la Defense), “Glorious Basterds in Tarantino’s Django Unchained: When the West Crosses the South.”
12h45-14h15 Lunch
14h15-15h15 Keynote Address
Susan Courtney (University of South Carolina), “Split Screen Nation: Moving Images of the West, the South and the USA at Midcentury”.
15h15-16h45 “Confederates go West I”

Chair: Anne-Marie Paquet-Deyris (Université Paris Ouest Nanterre La Défense)
15h15-16h: John Dean (UVSQ), “Southerner Meets Yankee in the American Western Movie: Cross-cultural Clash and Social Blending?”

16h-16h45: Zeenat Saleh (Université de Franche-Comté Besançon), “In-betweenness in Samuel Fuller’s Run of the Arrow, (1957).”
16h45-17h Coffee Break
17h-18h30 “Confederates go West II”

Chair: Lauric Guillaud (Université d’Angers)

17h-17h45: Michael Barton (The Pennsylvania State University at Harrisburg), “When Secesh Went West: The Confederate Presence in the Ford Trilogy and the Meanings Thereof.”
17h45-18h30: Donna Spalding Andréolle (Université du Havre), “Revisiting (the) West: the Hero as Mediator of West/South-ern Confrontations in Wild Wild West (Barry Sonnenfeld, 1999).”
19h Dinner

Saturday, April 20,  2013

10h-11h30 “Genre and Gender in the Western and the Southern”
Chair: Gilles Menegaldo (Université de Poitiers)

10h-10h45: Sarah Hatchuel (Université du Havre), “Raoul Walsh, between the Western and the Southern: Pursued (1947),Silver River (1948), Colorado Territory (1949).”
10h45-11h30: Taïna Tuhkunen (UVSQ), “Irving Cummings’s Belle Starr (1941), or How Hollywood Turned the AntebellumSouthern Belle into a Western Bandit Queen.”
11h30-12h30 Keynote Address
Christian Viviani (Université de Caen), “Passée la porte, il n’y a rien que du vent : Southern et Western, du désenchantement au crépuscule”.
12h30-14h Lunch
14h-16h15 “Racial Frontiers”

Chair: Sarah Hatchuel

14h-14h45: Spero T. Lappas (The Pennsylvania State University at Harrisburg), “Defending Tom Robinson: Atticus Finch on the American Moral Frontier in To Kill a Mockingbird (Robert Mulligan, 1962).”
14h45-15h30: Jacques Pothier (UVSQ), “Tarantino: Unchaining Uncle Tom and Nigger Jim.”
15h30-16h15: Claire Dutriaux (Université Paris-Sorbonne), “Rosewood (John Singleton, 1997): Regenerating African-Americans and the South through Western-style Violence.”
16h15-16h30 Coffee Break
16h30-18h “Overlapping Typologies”

Chair: Taïna Tuhkunen (UVSQ)

16h30-17h15: Lee Broughton (University of Leeds), “Alfonso Brescia’s Days of Violence (1967): a ‘Spaghetti Southern’ Par Excellence.”
17h15-18h: Hervé Mayer (Université de Paris Ouest Nanterre la Defense), “The South between two Frontiers: Confederate Cowboys and Savage Rednecks.”

> Consulter le programme complet [PDF – 673 Ko]
> Télécharger l’affiche [PDF – 1 Mo]

Offre emploi : Senior Research Officer

The Institute for Culture and Society is currently advertising for the position of Senior Research Officer.

Senior Research Officer Institute for Culture and Society Ref 338/13

Are you passionate about successfully managing research projects? Are you looking for an opportunity to advance your career in research administration?

As a leading research institute, the Institute for Culture and Society (ICS) at the University of Western Sydney (UWS), investigates transformations in culture and society in the context of contemporary global change. We champion inter-disciplinary, engaged and collaborative research in the Humanities and Social Sciences for a digital age. Details about our research program can be found on our website, http://www.uws.edu.au/ics

We seek to appoint an experienced Senior Research Officer to manage and coordinate a range of research activities on behalf of Institute researchers and across all of our research programs and themes.

You love to manage a variety of research activities and the excitement of juggling multiple projects simultaneously. You have a keen analytic ability and are a great organiser with extraordinary logistical and time management skills, with a good understanding of database maintenance and research-related information technology.

You are a great communicator and can successfully prepare ethics applications, research disseminations, management reports and briefing papers including conference presentations and journal articles. You are budget focused and have a detailed knowledge of the rules and regulations pertaining to research in the Australian Higher Education system.

Your relevant research experience and demonstrated understanding of research administration in the Humanities, Arts and Social Sciences will be well regarded.

This is a full time, ongoing position based at our Parramatta campus.

Remuneration Package: HEW Level 7 $87,875 to $94,819 p.a. (comprising Salary $74,255 to $80,123 p.a., 17% Superannuation, and Leave Loading)

Position Enquiries: Terry Fairclough, 9685 9698 or email t.fairclough@uws.edu.au

Closing Date: 29 April 2013

To view a position description or to apply, please see the University of Western Sydney current vacancies listing.

Call for papers : Rethink Participatory Cultural (Aarhus, 14-16 nov. 2013)

Call for Papers for the Interdisciplinary Conference

Rethink Participatory Cultural Citizenship

When is citizen participation socially transformative?
Aarhus University (AU), Denmark, 14.11.-16.11.2013

Keynote speakers: Leah Lievrouw (US), Femen (Ukraine), Chris Kelty (US),
David Graeber (UK) (tbc), Cathy Lang Ho (US)

In recent years studies of aesthetic, urban and digital culture have focused on and praised the political potential of user-driven production often referred to by means of concepts such as DIY urbanism and participatory culture, co-creation, produsage, creative place-appropriation, everyday creativity, participatory planning, social production and social entrepreneurship. And while the first generation of promoting the creative city was based in the ambition of supporting (and capitalizing on) individual creativity, we now see a growing interest in collective creation of cultural content. But how do we understand and support collective creation, and what new challenges does this change bring forth?

The found city, opportunistic tactics, spontaneous interventions, and the emergent process of the everyday are being broadly celebrated in studies of urban space (Cuff and Sherman 2011, Stickels 2011, Lang Ho 2012, Chase, Crawford and Kaliski 2008). And for more than a decade the internet has been invested with high hopes in terms of democratic activation and empowerment of non-institutional voices (Jenkins 2006, Fenton 2008, Bruns 2008, Gauntlett 2011, Lievrouw 2011), but also over time with concerns regarding the type of democratic interaction and citizen voicing enabled by the internet (Hess 2009, Couldry 2010). Since the 1990s with the rise of relational art (Bourriaud 1998) we have also seen a strong artistic interest in participation and collaboration as a politicised working process with artists such as Francis Alÿs, Walid Raad and the curator Hans Ulrich Obrist as its front figures. Claire Bishop has recently named this art movement “participatory art” (Bishop 2012)! In these artistic practices, the artist is less a producer of objects and more a co-producer of situations and relational or dialogical art practices (Kester 2004, 2011), often in active collaboration with what was previously known as the passive audience/spectator.

This participatory turn of contemporary cultural analysis and theory has nevertheless not always clearly addressed what “positive political change” might mean and how to evaluate the political potentials and/or impacts of a certain cultural activity including non-professional or vernacular production. Therefore the conference RETHINK Participatory Cultural Citizenship wants to address, explore and discuss the effects of projects where citizens act as agents of change in e.g. urban, digital and aesthetic spaces.

The conference focuses on a range of urgent challenges to the understanding and future development of urban, digital and aesthetic participatory civic cultures. These include:

  1. How do we develop frameworks to evaluate the potentials of participation, and how do we design/enable participatory processes, which have this potential to a satisfying degree?
  2. How can we use participatory cultural processes as an effective critical practice? And what does “effective” mean?
  3. To what extent can participation in itself be of political value in terms of enabling active citizenship, and is it meaningful to suggest that the amount of participation motivated by a certain event constitutes a measure of its success? Or could the increasing sum of citizen voices, for instance online, in itself threaten genuine political interaction?
  4. What is the trade-off between present and future participations? How can bottom-up cultural initiatives e.g. become anchored within the long-term planning of spaces, cities and institutions, and should proper political participation even result in lasting changes of spaces, discourses, policies or institutions? And if so, how should future participatory projects relate to these lasting results of previous projects
  5. How and to what extent is political or cultural participation threatened by institutional and/or economic strategies trying to profit from the work of users? Or could the intertwinement of fundamentally diverse agencies and agendas really be perceived as an opportunity for profound citizen empowerment?

When submitting your abstract please point out which of the above mentioned five challenges your paper is addressing. To collectively investigate them we invite papers from across the fields of e.g. cultural studies, architecture, geography, entrepreneurship, experience economy, media studies, political science, philosophy, art studies and sociology. We also invite practitioners to explore and present viable methods for individual citizens to become proactive in their involvement with their city, their neighborhood, and the surrounding world. The exploration can take place during and/or the results can be presented at the conference.

Thematically papers could deal with a range of issues and actual projects related to e.g: the formation of social movements, protest movements, creative online/offline activism, mobilization, social inclusion, artivism, urban planning, critical urban interventions, digital democracy and inclusion, the politics of aesthetic experience, relational aesthetics, contested spaces related to culture driven urban regeneration, DIY urbanism, the concept “participatory culture”.

After the submission deadline the organizers will, together with local organizations, creative activists and invited international researchers experiment with different ways of integrating the presentations and sessions in different political and cultural settings in Aarhus (e.g. by inviting a relevant audience of decision-makers or possible collaborators, by formulating a common task to be solved or discussed). In other words sessions will be staged in a way that increases their ability to affect both the academic community and the actual surroundings of the conference.

Please submit your abstract proposals (max 300 words) to norcs@hum.au.dk. Deadline for submission of abstracts: June 20, 2013.

The conference is funded by RETHINK 2017 and is the first in a series of conferences leading to Aarhus being European Capital of Culture in 2017: http://www.aarhus2017.dk/english

Main organizers: Louise Fabian, Department of Culture and Society, AU; Carsten Stage, Department of Aesthetics and Communication, AU; Jan Löhmann Stephensen, AU IDEAS Pilot Centre The Democratic Public Sphere, AU; Birgit Eriksson, Department of Aesthetics and Communication, AU; Dorthe Refslund Christensen, Department of Aesthetics and Communication, AU.

Call for papers : Feminist Theory and Pop Culture

Call For Papers for Feminist Theory and Pop Culture

Forthcoming in 2015 from Sense Publishers

Contact:  Adrienne Trier-Bieniek, Ph.D., Editor. adrienne.mtb@gmail.com

Deadline for Submissions:  June 15, 2013

Deadline for Chapters:  April 30, 2014

Book Information

Feminist Theory and Pop Culture examines the ways that entertainment and media are often examples of feminist theory, particularly when used to understand and challenge gender stereotypes.  This book is a culmination of multiple authors who each connect an aspect of popular culture with feminist theory, demonstrating how feminism is part of day-to-day media/social life while also giving students examples of how feminist theory is present in their favorite genres of pop culture. Each chapter will provide in-depth examples of how feminist theory is represented in popular culture as well as contain key words and theories throughout the chapter so that the reader will see which theoretical perspective the author is working from and what key terms will be associated with this perspective. This text would provide the opportunity for feminist theory to be accessible and culturally relevant to students, particularly considering how present in the media is in student’s day-to-day lives.  Contributors should be able to balance applying terms and feminist theory with areas of, or instances of, popular culture within their chapter.

The idea for this book was born from incidents at the 2012 Comic Con.  During the festival there were widespread reports of women being fondled and sexually objectified by men in attendance.  One aspect of this objectification can presumably stem from the over-sexualized images of women in comic books. Feminist theory could easily be applied to this incident via the male gaze to connect privilege, power and pop culture at Comic Con in general, or the ways women are represented in comic books in particular.  A chapter which focused on these topics would give the students a tangible example (Comic Con) of a feminist theory (e.g. the male gaze) and a theorist (e.g. Laura Mulvey) to connect feminist theory “the real world.”  Another example would be to consider the aspects of intersectionality, masculinity and/or “The Other” as they relate to the recent controversies surrounding Seth MacFarlane’s hosting of The Oscars. The sexual references, dismissal of rape scenes in film as opportunities for women to “show their boobs”, and sexualization of Quvenzhané Wallis via comments by MacFarlane and The Onion.  Other examples could include the examination of television shows, women’s representation in music, addressing reality television, addressing film or a specific performance in a film, representations of women in comics/animation/costume play, the emergence of strong female characters, etc.  All ideas are welcome but theoretical perspectives should fit with the CFP categories below

CFP Categories

  • Feminist Standpoint Theory; The “Outsider Looking In”: Black Feminist Thought; Intersectionality and Feminist Theory;
  • Masculinities and Feminist Theory; The Second Sex/The Other and Simone de Beauvior; Feminist Theory and Work;
  • Feminist Theory and Violence Against Women; Feminist Activism and Feminist Theory

Submission Requirements

Proposals should include the main ideas to be addressed as well as the feminist theoretical framework and terms you will be working from.  All disciplines are welcome.  Please send 400-500 word abstracts as well as a short CV to Adrienne.mtb@gmail.com by June 15, 2013.  Questions can also be addressed to this email.  Please only submit abstracts which fit with the CFP category above.  Selected authors will be notified by July 15, 2013 and chapters will be due April 30, 2014.  Final chapters should be between 18-20 pages, including references.

About the Editor

Adrienne Trier-Bieniek is a qualitative researcher whose primary interest lies in the impact pop culture has on shaping ideas about gender. Her forthcoming book Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos will be released in June from Scarecrow Press and focuses on how women have used music as a means of healing/emotional support.  Her research can be found in the journals Qualitative Research and Humanity & Society as well as in the book The Art of Social Critique edited by Shawn Bingham, as well as The Orlando Sentinel, where she has been a guest columnist. She is the co-editor, along with Patricia Leavy, of the forthcoming book Gender and Pop Culture: A Text-Reader to be released from Sense Publishers in 2014. Adrienne is currently a faculty member at Valencia College and can be found at www.adriennetrier-bieniek.com.

Adrienne Trier-Bieniek, PhD

adrienne.mtb@gmail.com

www.adriennetrier-bieniek.com <http://www.popculturefeminism.com>

Call for papers : Media Spaces of Gender and Sexuality, Media Fields Journal

CFP: Media Spaces of Gender and Sexuality

Media Fields Journal

University of California, Santa Barbara

This issue of Media Fields investigates the connections between media, space, gender, and sexuality, seeking conversations that center on these interrelations and negotiations. We invite papers that raise questions of how media spaces construct gender, and how gender, in turn, constructs media spaces; how spaces condition and are conditioned by gender performances and sexual practices; and how gender legibility limits (or allows) access to various media spaces.

Film and media scholarship historically came of age through its study of the relationship between gender, sexuality, and media. Much has been written about the status of women as objects of the cinematic gaze, as well as about the status of female and queer-identified subjects as media producers. Yet in more recent times, issues of gender and sexuality have once again become marginalized in academic discourse, revealing the need for new explorations that coincide with the impact of the “spatial turn.” In this age of conflict, dissent, surveillance, and migration—when the study of media is often also the study of the precariousness and dynamism of the spatial—it is particularly important to trace the interconnections between space, media, and gender.

We seek scholarship that deals with space in a range of ways: essays might discuss online spaces that allow for specific negotiations of gender or sexuality, or with gender embodiment in physical spaces of various scales, from the very local (the living room, for example) to the global. Essays might also draw upon feminist interventions into Marxist/historical materialist theories of space, as well as engaging the intersections between gender, race, and class. These important intersections exceed the label, “identity politics”—a label that we feel is now often deployed in order to debunk the continued relevance of gender and sexuality to any scholarly conversation. While we do indeed call for political approaches to gender and space—essays informed by the agendas of feminist and queer activism—we stress that gender and sexuality are not merely areas of special interest, but are instead structuring principles of discrimination that permeate our lives on a number of registers.

Thus, our approach is multivalent. We invite submissions that consider this complexity, possibly addressing the following topics:

  • Transnational Queer and Feminist Media: How are flows of bodies, labor, capital, and images gendered and sexualized?
  • Queering Questions of Scale: How does heterosexism delimit notions of nation, state, and the transnational?
  • Gendered Spaces of Conflict and Dissent: How do media contribute to the gendering of the different spaces of war and dissent as well as of the subjects who are involved?
  • Gender, Sexuality, and Online Spaces: How are social media practices and spaces gendered and sexualized?
  • Queer/Feminist Gaming: representations of gendered and sexualized spaces in mainstream video games, gendered geographies of video game production,  gendered spaces of gaming culture
  • Spaces of Surveillance: How is surveillance fundamentally gendered, sexualized, and spatialized? How does voyeurism continue to bolster certain experiences of space and place?
  • Gendered Infrastructures: How are media infrastructures gendered, and why does this matter?
  • Gender, Sexuality and Access: How do gender and its legibility (e.g., normativity) result in certain types of access to particular spaces?

We are looking for essays of 1500-2500 words, digital art projects, and audio or video interviews exploring the relationship between gender, sexuality, and space. We encourage approaches to this topic from scholars in cinema and media studies, anthropology, architecture, art and art history, communication, ecology, geography, literature, musicology, sociology, and other relevant fields.

Feel free to contact issue co-editors, Hannah Goodwin and Lindsay Palmer, with proposals and inquiries.

Email submissions, proposals, and inquiries to submissions@mediafieldsjournal.org by May 30th, 2013.

Colloque "Voyez comme on chante! Films musicaux et cinéphilies populaires en France (1945-1958), 11-12 avril, Toulouse

Colloque “Voyez comme on chante! Films musicaux et cinéphilies populaires en France (1945-1958), 11-12 avril, Toulouse.

Genre délaissé par la critique, le film musical français des années 1950 frappe pourtant par sa vitalité et son succès auprès d’un vaste public. Les revues de cinéphilie populaire de l’époque témoignent de cet engouement pour les films musicaux à la française, mais aussi pour des sons et des spectacles venus d’ailleurs, importés par les cinémas hollywoodien, italien ou britan- nique. Ce colloque se propose d’explorer ce genre mal connu et son foisonnement qui exprime la complexité des échanges entre cinéma et scène (de l’opérette, du cabaret et du music-hall), radio, industrie du disque, puis télévision, dans un contexte de mutations technologiques et de tensions entre tradition et modernité. Sous leurs dehors de pur divertissement, les films musicaux sont à l’image du cinéma populaire dans la France de l’après-guerre et des années 1950 : ils articulent l’ancien et le nouveau, le local et l’exotique, et sont le site de négociations générationnelles et identitaires

PROGRAMME

Jeudi 11 avril

Matinée | modératrice : Natacha Laurent

9h30-10h30 • Ouverture

Natacha Laurent, présentation du colloque Zoom Arrière
Raphaëlle Moine et Sébastien Layerle, introduction
Delphine Chedaleux, « Quand vous ne les voyez pas… écoutez-les ! » Cinéma, musique, chansons et cinéphilies populaires dans Cinémonde (1946-1958)

Pause

10h45-13h • Un genre « vedette » : l’opérette

Phil Powrie, Luis Mariano et l’exotisme ordinaire
Geneviève Sellier, « Le chéri des midinettes » : Luis Mariano dans le courrier des lecteurs de Cinémonde (1949-1956)
Laurent Creton et Kira Kitsopanidou, Le genre « opérette » et la production française en Cinémascope des années 1950 : le cas du film Le Chanteur de Mexico (Richard Pottier, 1956)

Après-midi | modérateur : Christophe Gauthier

14h30-16h45 • À la française ?

Chantal Meyer-Plantureux, Le burlesque musical « à la française » : Robert Dhéry, Gérard Calvi et les Branquignols
Michel Chion (conférence filmée), Les films d’orchestre swing après 1945 : une joyeuse survie
Thomas Pillard, Une « curieuse rencontre ». La « francisation » du musical hollywoodien dans Folies-Bergère (Henri Decoin, 1956)

Vendredi 12 avril

Matinée | modérateur : Pierre Molinier

9h15-12h30 • Des musiques venues d’ailleurs

Jean-Marc Leveratto, La popularisation de l’opéra par le cinéma en France. La réception du Verdi (1953) de Raffaello Matarazzo dans les années 1950
Jean-François Baillon, On connaît la chanson : musicalités du cinéma britannique dans la mémoire populaire de la France d’après-guerre

Pause

Camille Gendrault, Un vent de mambo sur les écrans français. Usages et réception d’un rythme venu d’ailleurs
Jean-François Brieu, « Un vent de folie souffle d’Amérique du Nord… ». La déferlante rock’n’roll sur le cinéma français (1954-1958)

Après-midi | modératrice : Gwénaëlle Le Gras

14h10-16h15 • Au-delà du film musical : les films à chansons

Ginette Vincendeau, Les scènes de cabaret dans le film policier des années 1950
Sébastien Layerle, La ronde des « petits lieux de minuit ». Scènes de cabarets dans trois « comédies-poursuites » des années 1950
Raphaëlle Moine, Edith Piaf : une chanteuse réaliste dans le cinéma français des années 1950 ?

16h15 • Conclusion : Geneviève Sellier

Organisé dans le cadre du programme ANR Cinépop50,
« Cinémas et cinéphilies populaires en France (1945-1958) » avec le soutien de l’IRCAV (Université Paris 3).

Lieu

La Cinémathèque de Toulouse | 69 rue du Taur – 31000 Toulouse Réservations : 05 62 30 30 10 | accueil@lacinemathequedetoulouse.com

Contacts

Sébastien Layerle : sebastien.layerle@univ-paris3.fr Raphaëlle Moine : raphaelle.moine@univ-paris3.fr

Projections

Pour accompagner ce colloque, des films musicaux français seront présentés dans le cadre du 7e festival Zoom Arrière : Casino de Paris, Le Chanteur de Mexico, Cherchez l’idole, Étoile sans lumière, Nous irons à Paris, Oh ! Qué mambo !. Retrouvez le détail de la programmation
sur www.lacinemathequedetoulouse.com et dans le programme tiré-à-part.

Call for papers : Contemporary Television Series: Narrative Structures and Audience Perception

Call for chapters : Contemporary Television Series: Narrative Structures and Audience Perception

 

Overview of the Book:

This book seeks to provide the readers with new perspectives on the current research in Contemporary Television Series – narrative structures and audience perception.

Scope of the Book:

The study of television series is simultaneously social scientific, humanistic, and professional in orientation. Accordingly, this book welcomes submissions from scholars and practitioners in any disciplinary field. We seek contributions from researchers and practitioners in communication studies and allied fields (e.g., media studies, telecommunications, journalism, sociology, anthropology, cultural studies). Contributions may follow any methodological approach, including, but not limited to, quantitative, qualitative, mixed methods, rhetorical, interpretive, case study, discourse analytic, and critical analytic approaches, among others. Submissions from both established and emerging scholars are welcomed.

Topics

Contributions may include, but are not limited to:

  • Classical and post-modern TV series;
  • Thematic TV Series (historical, medical, science fiction, medical);
  • TV Series inspired from reality;
  • Stardom, Fandom and Fan clubs related to TV series;
  • Audience reception of TV series-patterns of consumption;
  • TV series and new media;
  • Globalization in the production and distribution of TV series.

The articles should be submitted as an email attachment in MS Word to the editors with “YourLastName – TV Series” as the title. Please include a short biography and your affiliation along with the proposal. The articles (3,000-5,000 words) should adhere to APA Style.

Review and Publication Process

Articles are sent to 2 reviewers for review. The reviewers’ recommendations determine whether a paper will be accepted / accepted subject to change / subject to resubmission with significant changes / rejected.

The deadline of submitting the articles is 1st of July 2013.

For inquiries, please contact the editors from the University of Bucharest:

Appel à contributions : Traverser le fantasme écranique, revue Écranosphère

Appel à contributions : Traverser le fantasme écranique, Ecranosphère

Au cours des 20 dernières années, les études cinématographiques et médiatiques se sont graduellement (re)tournées vers les séminaires plus tardifs de Lacan, mettant de l’avant une théorie du cinéma qui délaisse les questions plus idéologiques, liées à l’identification et au dispositif, pour s’intéresser notamment à l’apport du Réel dans le déraillement du sentiment de subjectivité. Ceci a mené vers le déploiement d’une psychanalyse du cinéma qu’on pourrait qualifier de contemporaine, qui va au-delà de la simple analyse des univers narratifs et de leurs significations pour s’intéresser aux phénomènes liés à la spectature et à la subjectivité. Des concepts phares, tels le regard, le désir et le genre, ont été réarticulés; d’autres, tels la différence sexuelle, l’objet a, le Réel, la jouissance et le fantasme, ont émergé au sein du champ d’études. Certaines de ces notions méritent encore aujourd’hui une attention poussée.

Largement laissé pour compte dans la psychanalyse du cinéma des années 1970, le fantasme dans sa conception lacanienne occupe une place croissante au sein des écrits plus récents. Régulièrement pensé comme un écran servant à voiler l’impossibilité de l’objet a, le fantasme sert à protéger le sujet contre le trauma de la carence du grand Autre—que ce soit par le biais de déités polythéistes et monothéistes, ou par la dissémination d’artéfacts culturels et consuméristes. Lacan en vient d’ailleurs à voir dans la traversée de cet écran la possibilité pour l’analysant de délaisser la logique du désir pour celle de la pulsion.

Cette notion de traversée du fantasme, mentionnée uniquement à la fin du séminaire XI, a entre autres été récupérée par Slavoj Žižek à plusieurs reprises à travers son opus, permettant de la concevoir dans une perspective fort propice aux études filmiques et médiatiques. Repensée par Žižek, la traversée du fantasme ne concerne plus que le fantasme fondamental; les fantasmes culturels et sociaux peuvent également être traversés, menant vers une radicalité potentielle dans l’expérience de la spectature. Ultimement, cette notion permet de repenser nos relations avec la technologie, plus spécifiquement avec les écrans dans leur dimension fantasmatique.

Dans le contexte numérique et hypermédiatique qui est le nôtre, la notion du fantasme comme écran revêt donc une importance renouvelée. Le retour vers les théories de Lacan permet alors de proposer le fantasme comme « un des concepts fondamentaux de la psychanalyse » (Castenet, 2007), menant vers de nombreuses contributions sur le rôle des images-écran dans la détermination de la subjectivité. Dans cette veine, André Nusselder exploite pleinement l’idée selon laquelle le fantasme agit comme un « médium entre l’objet et le sujet » (2013), ce qui lui permet de proposer l’idée du fantasme comme interface (2009), et ainsi de mettre de l’avant une théorie proprement écranique du fantasme. Ce dernier semble de toute évidence occuper une place capitale dans nos sociétés fondées sur les technologies de la représentation et de la communication.

C’est donc dans cette perspective conceptuelle que la revue Écranosphère cherche des propositions d’articles pour constituer un numéro thématique sur la traversée du fantasme écranique, sur ses manifestations, sur ses effets, et sur les diverses façons dont elle peut être pensée au travers du paradigme des études cinématographiques et médiatiques.

Les sujets possibles peuvent inclure – mais ne sont aucunement limités – aux exemples suivants :

  • Le fantasme culturel et médiatique comme interface écranique, voilant un Réel traumatique;
  • La traversée d’un fantasme écranique spécifique dans une œuvre, un corpus ou un genre;
  • La radicalité de la spectature en lien avec la traversée du fantasme;
  • Les considérations théoriques et conceptuelles liées à l’idée de la traversée du
    fantasme écranique;
  • Le rôle du regard, en tant qu’objet a, dans la traversée du fantasme médiatique;
  • La question du genre et de l’identité sexuelle dans la traversée de fantasmes
    culturels et/ou médiatiques;
  • Toute considération de nature féministe, historique, transmédiatique, épistémologique ou sociologique portant sur la traversée du fantasme écranique.

Les propositions doivent parvenir à Louis-Paul Willis (louis-paul.willis@uqat.ca) au plus tard le 30 juin 2013. Les articles de 40,000 signes (espaces et notes compris) seront à remettre au plus tard le 30 novembre 2013.

    New thematic section from Culture Unbound: “Objectification, Measurement and Standardization”

    New thematic section from Culture Unbound: “Objectification, Measurement and Standardization”

    http://www.cultureunbound.ep.liu.se/current-volume.html

    Culture Unbound: Journal of Current Cultural Research has published a new thematic section entitled “Objectification, Measurement and Standardization”. It is edited by Tord Larsen and consists of eight articles that give a range of interdisciplinary perspectives on how contemporary trends towards increasing quantification of social life relates to issues of governmentality, management, education and technological innovation. Subjects of the different articles range from quantification of insanity in nineteenth century asylums, via norms of listening in the early recording industry to late capitalist logistics, and the simulacra of neoliberal ‘managementality’.

    Featured articles are:

    • Tord Larsen, “Introduction: ‘Objectification, Measurement and Standardization’”
    • Theodore M. Porter, “Funny Numbers”
    • Alexandra Hui, “Sound Objects and Sound Products: Standardizing a New Culture of Listening in the First Half of the Twentieth Century”
    • Jens Røyrvik & Petter G. Almklov, “Towards the Gigantic: Entification and Standardization as Technologies of Control”
    • Emil André Røyrvik & Marianne Blom Brodersen, “Real Virtuality: Power and Simulation in the Age of Neoliberal Crisis”
    • Nigel Rapport, “Towards Moral and Authentic Generalization: Humanity, Individual Human Beings and Distortion”
    • Maria Røhnebæk, “Standardized Flexibility: The Choreography of ICT in Standardization of Service Work”
    • Marte Fanneløb Giskeødegård, “The Right Kind of Feedback: Working through Standardized Tools”
    • Haakon Aasprong, “Recreating the Banana Grower: The Role of Private Certification Systems in the Windward Islands Banana Industry”

    In addition to this we have also published a new separate article by Christoffer Kolvraa, “The Father on Display: The House of Jean Monnet and the Construction of European Identity”

    You can access all articles for free at: http://www.cultureunbound.ep.liu.se/current-volume.html

    Culture Unbound: Journal of Current Cultural research is an open access e-journal that seeks to be a forum for contemporary, cutting edge cultural research from a wide range of disciplinary and interdisciplinary areas. We also welcome new article manuscripts in all areas of cultural research, as well as proposals for future theme sections.

    Martin Fredriksson
    Executive Editor
    Culture Unbound
    Martin.fredriksson@liu.se

    Association internationale pour la recherche en Littératures Populaires et Cultures Médiatiques / International Research Association in Popular Literature and Media Culture