Archives par mot-clé : film studies

Colloques et séminaires

Colloque : Et pour quelques notes de plus… Hommage à Ennio Morricone (1928-2020) (Université d’Évry)

Laisser un commentaire

Colloque, projection et prestations musicales : Et pour quelques notes de plus… Hommage à Ennio Morricone (1928-2020)

Lundi 22 mars 2021, 13h30 – 19h30
Mardi 23 mars 2021, 9h30 – 17h30

Université d’Évry, Amphi Audio Bâtiment 1ers Cycles
 
Organisé par Chloé Huvet, Université d’Évry

Afin de respecter la jauge Covid de l’Amphi Audio, le nombre de participants est limité et l’inscription est obligatoire pour assister au colloque. Pour vous inscrire, veuillez contacter Mme Chloé Huvet à l’adresse suivante : chloe.huvet@univ-evry.fr

PROGRAMME

LUNDI 22 MARS 2021 :

13h15 – Accueil des participants

13h30 – Présentation du colloque et introduction

14h – « Entre Mission et Vatel, la musique patrimoniale chez Ennio Morricone : relire les musiques anciennes par la musique de film »
Julien Ferrando (Aix-Marseille Université) en visio 

14h35  – « Focale sur le duo Morricone/Tarantino : le huis-clos musical des Huit Salopards, entre western et thriller psychologique »
Cécile Carayol (Université de Rouen)

Continuer la lecture de Colloque : Et pour quelques notes de plus… Hommage à Ennio Morricone (1928-2020) (Université d’Évry) →

Appels, Colloques et séminaires

Appel à contributions : Sport et Cinéma. La technique à l’épreuve du réel (Bibliothèque Francophone Multimédia de Limoges)

Laisser un commentaire

Colloque international : Sport et Cinéma. La technique à l’épreuve du réel

18 et 19 novembre 2021

Bibliothèque Francophone Multimédia de Limoges

Échéance des propositions : 1er juin 2021
 

Comme l’ont expliqué Patrick Diquet et Christophe Meunier (Les Origines sportives du cinéma, 2017), le sport a accompagné l’histoire du cinéma dès les premières images captées par Georges Demenÿ. Depuis, certaines disciplines sportives ont attiré l’attention des cinéastes par leur intensité et potentiel esthétique : l’athlétisme (ex. Les Chariots de feu d’Hugh Hudson, 1981), la boxe (Raging Bull de Martin Scorsese, 1980), le football (Pelé, naissance d’une légende de Michael et Jeff Zimbalist, 2016), le baseball (42 de Brian Helgeland, 2013) ou encore le basket-ball (Coach Carter de Thomas Carter, 2005). Avec le support des grands studios européens ou hollywoodiens, de nombreux longs métrages (comédie, drame, film noir, science-fiction) ont ainsi marqué de leur empreinte l’histoire culturelle, allant du burlesque (Sportif par amour, 1927) à la politique internationale (Rocky IV, 1985), de l’action pure (Rush, 2013) à l’économie du sport (Le Stratège, 2011), du drame historique (De l’ombre à la lumière, 2005) aux questions d’identité nationale (As One, 2012). En règle générale, ces films répondent aux besoins émotionnels d’un large public et aux nécessités commerciales d’un marché en expansion.

Continuer la lecture de Appel à contributions : Sport et Cinéma. La technique à l’épreuve du réel (Bibliothèque Francophone Multimédia de Limoges) →

Appels, Colloques et séminaires

Appel à contributions : ALGORITHMS IN FILM, TELEVISION AND SOUND CULTURES: NEW WAYS OF KNOWING AND STORYTELLING (Istanbul Bilgi University, en ligne)

Laisser un commentaire

Conference : Algorithms in Film, Television and Sound Cultures:New Ways of Knowing and Storytelling

April 29-30, April

Virtual Event

Abstract Submission Deadline (EXTENDED): March 15, 2021

Organized by: Istanbul Bilgi University, Faculty of Communication, Department of Film and Television

Venue: Virtual Zoom Event

Confirmed Keynote Speakers:

  • Christian Katzenbach (Alexander von Humboldt Institute for Internet and Society, Berlin)
  • Robert Prey (University of Groningen, Faculty of Arts)
  • Diğdem Sezen (Teesside University, School of Computing, Engineering and Digital Technologies, Department of Transmedia Digital Art and Animation)

Contemporary visual and sound cultures which increasingly rely on algorithmic analytics raise important questions on subjectivity and creativity in our ways of seeing and hearing, the ethics of the visual and the aural, the quantified self, the aesthetics and the provenance of the image. The use of algorithmic analytics to create media content, including films, series, trailers and teasers have proliferated with the advent of networking and digital streaming platforms. Digital data sets have become commodities in the global media industry. The knowledge obtained from digital data sustains the flow of knowledge on the users’ choices, governing production and consumption processes. Although algorithmic data appears to be computationally generated, it is bound with actors, networks, businesses and their ways of thinking and imagining the world. A line of research focuses on how the algorithmic calculation of taste data in film, sound and television have transformed and possibly subverted the mediums. Hence, algorithms are objects of critical cultural and political analyses.

Continuer la lecture de Appel à contributions : ALGORITHMS IN FILM, TELEVISION AND SOUND CULTURES: NEW WAYS OF KNOWING AND STORYTELLING (Istanbul Bilgi University, en ligne) →

Parutions

Parution : Création Collective au Cinéma, n° 3 : “Mais où sont passés les scénaristes ?”

Laisser un commentaire

Création Collective au Cinéma, n° 3 : “Mais où sont passés les scénaristes ?”

Introduction

Cahier Recherche

Jérôme Pacouret, Le déclassement des scénaristes (États-Unis, France, années 1910-1950).

Gabrielle Tremblay, Le scénario et le scénariste de cinéma au Québec.

Morgan Lefeuvre, Quelle place pour les scénaristes dans les coproductions franco-italiennes de l’après-guerre?  Continuer la lecture de Parution : Création Collective au Cinéma, n° 3 : “Mais où sont passés les scénaristes ?” →

Parutions

Parution : Quentin Tarantino and Film Theory. Aesthetics and Dialectics in Late Postmodernity

Laisser un commentaire

Frederico Pagello, Quentin Tarantino and Film Theory. Aesthetics and Dialectics in Late Postmodernity, Palgrave Macmilan, 2020. 

This book examines a set of theoretical perspectives that critically engage with the notion of postmodernism, investigating whether this concept is still useful to approach contemporary cinema. This question is explored through a discussion of the films written and directed by Quentin Tarantino, largely regarded as the epitome of postmodern cinema and considered here as theoretical contributions in their own right.  Each chapter first presents key ideas proposed by a specific theorist and then puts them in conversation with Tarantino’s films. Jacques Rancière’s theory of art is used to reject postmodernism’s claims about the ‘death’ of the aesthetic image in contemporary cinema. Fredric Jameson’s and Slavoj Žižek’s dialectical thinking is mobilized to challenge simplistic, ideological readings of postmodern cinema in general, and Tarantino’s films in particular. Finally, the direct influence of Carol Clover’s psychoanalytical approach to the horror genre on Tarantino’s work is discussed to prove the director’s specific contribution to a theoretical understanding of contemporary film aesthetics.

Federico Pagello is Research Fellow in the Department of the Arts at the University of Bologna, Italy. His work on contemporary American film, comics and television, as well as on late 19th and early 20th-century European serial narratives has been published in journals and edited collections in Italian, French and English.

Parutions

Parution : Lesbians on Television. New Queer Visibility & The Lesbian Normal

Laisser un commentaire

Kate McNicholas Smith, Lesbians on Television. New Queer Visibility & The Lesbian Normal, Intellect, 2020. 

The twenty-first century has seen LGBTQ+ rights emerge at the forefront of public discourse and national politics in ways that would once have been hard to imagine. This book offers a unique and layered account of the complex dynamics in the modern moment of social change, drawing together critical, social and cultural theory as well as empirical research, which includes interviews and multi-platform media analyses.

This original new study puts forward a much-needed analysis of twenty-first century television and lesbian visibility. Books addressing the representation of lesbians have tended to focus on film; analysis of queer characters on television has usually focused on representations of gay males.  Other recent books have attempted to address lesbian, gay and trans representation together, with the result that none are examined in sufficient detail – here, the exclusive focus on lesbian representation allows a fuller discussion. Until now, much of the research on lesbian and gay representation has tended to employ only textual analysis. The combination of audience research with analysis in this book brings a new angle to the debates, as does the critical review of the tropes of lesbian representation. The earlier stereotypes of pathological monsters and predators are discussed alongside the more recent trends of ‘lesbian chic’ and ‘lesbianism as a phase’. 

Kate McNicholas Smith is lecturer in television theory at the University of Westminster. Continuer la lecture de Parution : Lesbians on Television. New Queer Visibility & The Lesbian Normal →

Appels, Colloques et séminaires

Appel à propositions : Time and the Body in Film, TV and Screen Studies

Laisser un commentaire

BAFTSS Annual Conference 

7-9 April 2021 (online)​

Time and the Body in Film, TV and Screen Studies

Hosted  by the University of Southampton Centre for International Film Research (CIFR)

The 9th Annual BAFTSS conference will take place entirely online from 7-9th April 2021. It will be hosted by the University of Southampton Centre for International Film Research (CIFR), and takes as its theme ‘Time and the Body in Film, Television and Screen Studies’. In focusing on time and the body, the conference seeks to bring attention to two elemental components of the physical world, whose manifestation in moving image media is however always dependent upon technological, cultural and artistic determinants.

The conference invites submissions for papers or practice-based research on any aspect of time and/or the body, whether human, social or otherwise, in Film, Television and Screen Studies. These might include:

Continuer la lecture de Appel à propositions : Time and the Body in Film, TV and Screen Studies →

Parutions

Parution : The Traumatic Screen

Laisser un commentaire

Stuart Joy, The Traumatic Screen. The Films of Christopher Nolan, Intellect, 2020. 

The Traumatic Screen is a psychoanalytic study that considers the function and presentation of trauma in Christopher Nolan’s films. Using a methodological framework with references to Freud and Lacan, the author argues that Nolan’s films highlight the ways in which the cinema can provide specific insights into the nature of human consciousness.

Stuart Joy is a senior lecturer in film and television at Solent University in Southampton, UK. His research interests include contemporary film theory and practice, media and cultural theory, film history and gender representation in film and television.

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/

Appels

Call for papers : "Marking and Marketing Women: Sex, Violence, and Money in Film" (November 20-24, 2013)

CALL  FOR  PAPERS  “Marking  and  Marketing  Women:  Sex,  Violence,  and  Money  in  Film”

An  area  of  multiple  panels  for  the  2013  Film  &  History  Conference  on     “Making  Movies:  The  Figure  of  Money  On  and  Off  Screen”   November 20-­24, 2013

Madison  Concourse  Hotel  (Madison,  WI)   www.filmandhistory.org/The2013FilmHistoryConference.php

DEADLINE  for  abstracts:  July  1,  2013

AREA: Marking  and  Marketing  Women:  Sex,  Violence,  and  Money  in  Film

Whether  in  mainstream,  independent,  international  fiction,  or  documentary  films, images   and  narratives  of  sex—as  prostitution,  pornography,  sex trafficking,  or other  forms  of   sexual  marketing—coalesce  around  violence  against  women, marking  them  as   commodities.  And  yet  many  of  these films  struggle  to  promote the  agency  of  women  and   give  voice  to  victims,  often  turning  women  themselves into  agents  of  violence.  Are  such   contradictions  a  function  of  genre?  How  do thrillers,  action  films,  westerns,  and  romantic   comedies,  for  example,  shape  the narratives  of  sex toward  and  against  the  marking  and   marketing  of  women? Recently,  film  genres  such  as  action  movies,  thrillers,  and  horror   films  have featured  a more  varied  depiction  of  femininity  and  non-­conformist  gender   display.  When  does  sexual  or  gender  violence—either  by  a  woman  or  against  a woman— attract  the  audience,  and  why?  More  broadly,  what  cultural  or  historical conditions  shape   our  response  to  this  marking  and  marketing  of women  and violence?  What  racial  or   economic  conditions  shape  it?

This  area  will  explore  all  questions  related  to  the  sexualized  marking  and marketing  of   women  in  film,  television,  and  online  media.  Papers  that explore contemporary  films   about  “marked  women”  in  various  national  or  international cinematographies  are   especially  welcome.

Possible  topics  include,  but  are  not  limited  to,  the  following:

  • Surrogate  Sex  Workers:  The  Sessions  (2012)
  • Enemies/Lovers  in  War:  Full  Metal  Jacket  (1987)
  • Prostitution  and  Pimps:  Taxi  Driver  (1976);  Eyes  Wide  Shut  (1999)
  • The  Noble  Prostitute  and  the  Cinderella  Myth:  Pretty  Woman  (1990)
  • Houses  of  Pleasure  or  Pain:  Brothels  Across  Cultures:  La  Vie  En  Rose  (2007)
  • Pandora,  Pleasure  and  Perversion:  Famous  Seductresses  in  Weimar  Cinema
  • Sex  and  Addiction:  Prostitutes  in  Shame  (2011)
  • Happy  Hookers:  Monsieur  Ibrahim  (2003)
  • Male  Prostitutes  and  the  Margins:  Taxi  Zum  Klo  (1980)
  • Children  of  Prostitutes:  Born  Intro  Brothels  (2004)
  • The  Underbelly  of  Society  and  Musicals:  Moulin  Rouge,  Cabaret  and  Chicago
  • Nightclubs  and  drag:  La  cage  aux  folles  series
  • Drugs,  Teenagers  and  Prostitution:  Christiane  F.  –  Wir  Kinder  Vom  Bahnhof  Zoo  (1981)
  • Moral  codes  and  Britain:  Downton  Abbey  and  the  “Fallen  Women”
  • Sex,  Submission  and  the  Holocaust:  The  Night  Porter  (1974)
  • Exotic  sex  sells:  Salaam  Bombay  (1988);  Highway  Courtesans  (2005)
  • Erotica  or  Trade:  The  ugly  side  of  the  sex  industry  in  Film

Proposals   for   complete   panels   (three   related   presentations)   are   also   welcome,   but   they   must   include   an   abstract   and   contact   information,   including   an   e-­mail   address,   for   each   presenter.  For  updates  and  registration  information  about the  upcoming  meeting,  see  the   Film  &  History  website  (www.filmandhistory.org).

Please  e-­mail  your  200-word  proposal  by  July  1,  2013  to:

Karen  A. Ritzenhoff,  Area  Chair
2013  Film  &  History  Conference
“Making  Movies:  The Figure  of  Money  On  and  Off  Screen”
Central  Connecticut  State  University
1615  Stanley  Street   New  Britain,  CT   06050
Ritzenhoffk@CCSU.edu