Archives par mot-clé : film studies

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

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


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 ?”

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

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.

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

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

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

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

Parution : The Traumatic Screen

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.

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:

For submission guidelines and to view Transformations online go to:

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)

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  (

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

Call for papers : HOMER Workshop (June 19 2013) & NECS 2013 International Conference (June 20-22 2013), Prague

(for the workshop see below)


Submission Deadline: January 21, 2013

The History of movie-going, exhibition and reception or HOMER Group was founded in June 2004 by an international group of cinema scholars to promote the understanding of the complex phenomena of cinema-going, exhibition, and reception, from a multidisciplinary perspective. HOMER has organized panels, conferences and workshops, with the  ‘Cinema in Context’ conference in Amsterdam (April 2006) and the ‘The Glow in their Eyes’ conference  in Ghent (December 2007) as highlights. Since then, the field of ‘new cinema history’ has grown substantially. This body of research has achieved critical mass and methodological maturity. It defines itself a social history of a cultural institute and aims to identify film as a cultural artifact consumed by a variety of audiences. ‘New cinema history’ addresses wider societal, political and other forces in historicizing film spectatorship, cinema-going and exhibition.

The time is right to review the current state of research in the history of movie-going and film exhibition and distribution. For this year, HOMER has joined forces with the major European film and media studies organization NECS, which is so kind to integrate a number of HOMER panels into their 2013 international NECS conference, i.e. HOMER@NECS 2013.

We support the submission of individual papers or pre-constituted panel proposals from HOMER members and interested non-members, as we seek to bring together scholars dealing with these subjects from all over the globe. The growing number of case studies in local film history increases the need for comparative studies of cities, regions, and nations, while the relationship between micro and macro history(ies) is becoming a major issue for the field. The analysis of patterns and networks in film culture also calls for special attention to methodology. We aim to bring European perspectives on cinema-going and film exhibition into dialogue with US, Australian, African, South American and Asian research.

Possible topics for papers are e.g.:

  • Film exhibition, cinema-going and film experience in relation to theories of imperialism, post-colonialism, diaspora, etc.;
  • Long term tendencies such as the rise of cinemas in rural and urban environments, the boom of cinema-going, the decay and subsequent closure of many (provincial and neighborhood) cinemas and the rise of multiplexes;
  • Tensions between commercial and/or ideological film exhibition, between urban and rural areas, and between provinces and regions;
  • Institutional developments, geographical location and programming trends;
  • Audiences and film experiences in urban and rural contexts;
  • A comparative international perspective on cinema-going and exhibition;
  • Representations in films of cinema-going, film exhibition, film culture(s);
  • Reflections on methods: How to reconcile/combine large scale analysis with in depth case study? How to compare national or regional research/databases on exhibition and cinema-going?
  • The “top down” forces of industry, commerce and ideology vs. “bottom up” forces of experience;
  • Contesting concepts of public and private space in media experience;
  • Cinema’s integration into to the metropolitan experience of modernity, vs. its role in the construction of community in less urbanized and rural areas.

We explicitly invite non-HOMER scholars who are working on the mentioned topics and want to share their research with international colleagues. As with the Ghent conference a selection of papers presented at the conference will be published in an edited volume in 2014 (publisher to be confirmed) HOMER@NECS 2013 will be also preceded by a one day HOMER workshop (practical information on the workshop follows below).

Practical information

You can submit an individual paper proposal or a pre-constituted panel proposal. Panels may consist of 3 to 4 speakers with a maximum of 20 minutes speaking time each. All presenters are obliged to provide a title, an abstract of maximum 150 words, 3 to 5 key bibliographical references, name of the presenter and institutional affiliation, plus a short panel rationale (150 words max.) in case of a preconstituted panel.

Please submit all individual paper or panel proposals by Monday January 21, 2013 to You will be notified of acceptance shortly thereafter.  Please note that HOMER papers and panels should not be submitted via the NECS online submission system, but via e-mail to Lies Van De Vijver, as they will be reviewed separately by the HOMER 2013 programming team.


Submission Deadline: January 21, 2013

Please email all inquiries to

To bring together HOMER members and other interested scholars, HOMER@NECS 2013 is preceded by a one day HOMER workshop. If you are interested in the topics of the CFP, you are kindly invited to participate. The workshop does not consist of formal paper presentations (as the conference will), but of informal discussions on methods, approaches, possibilities for collaboration and an overview of the field.

The aim of the meeting is to discuss the state of the art of the research done by members of the HOMER project and rethink the organizational status of HOMER as a network.

We kindly request your participation by answering six questions (see below). Please answer these questions briefly (max. 10 lines each), but thoroughly to give an accurate picture of your research (stages) today. These answers will be bundled to give an overview of current research. Key-note Richard Maltby will open the discussion on the state of the art during the HOMER workshop.

Provisional program:

  • 10:00   Welcome and general introduction by Daniel Biltereyst (Ghent U.) and Philippe Meers (U. of Antwerp)
  • 10:30   Key note by Richard Maltby (Flinders U.)
  • 11:00   Discussion on the State of the Art  (based on information on projects provided by participants)
  • 12:30   LUNCH break
  • 14:00   Discussion continued
  • 14:30   General comments and conclusion
  • 15.00   Discussing HOMER: organization, visibility, joint projects, etc.
  • 16.15   Coffee break
  • 16.30   Closing discussion
  • 17:00   End

Please submit your participation proposal by Monday January 21, 2013 to You will be notified of acceptance shortly thereafter.

We look forward to seeing many of you in Prague!

The HOMER programming team

  • Daniel Biltereyst
  • Philippe Meers
  • Clara Pafoort-Overduin
  • John Sedgwick
  • Judith Thissen
  • Daniela Treveri-Gennari
  • Lies Van De Vijver

HOMER workshop June 19, 2013

  • Title
  • Promoter
  • Funding body
  • Funded research period
  • Researcher(s)
  • 1. Describe your research SUBJECT.
  • 2. Describe the main OBJECTIVES of the research.
  • 3. Describe the PERIOD your research is focused on.
  • 4. Describe the geographical REGION your research is focused on.
  • 5. Describe your research METHODOLOGY.
  • 6. Describe, if possible, the main OUTCOME / RESULTS of the research and mention PUBLICATIONS.