Journées d’études à l’Institut national d’histoire de l’art, Paris 22 et 23 mars 2015
(English Version Below)
«Western : Rien de plus exotique pour un Européen que ce terme qui évoque les paysages de l’Ouest américain, parcourus de cow-boys et d’Indiens. »
Continuer la lecture de L’Ouest américain: une appropriation française
Cet ouvrage pose deux questions relatives aux « matières de l’Ouest » : (1) S’est-il façonné en Europe une imagination propre des Grands Espaces et, si oui, quelles en furent les principales options éthiques, esthétiques et narratives ? (2) Qu’est-ce qui singularise les thèmes, les intrigues et les personnages privilégiés de cette écriture européenne par rapport à l’imagerie — surexploitée depuis Hollywood — impliquant le cow-boy, le shérif, ou encore les squatters et settlers de la Conquête de l’Ouest ? Continuer la lecture de Parution : Luca DI GREGORIO “Wilderness et Western”
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:
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/
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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. |
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| 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 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 Chair: Jacques Pothier (UVSQ)
9h15-10h: Lauric Guillaud (Université d’Angers): “The Literary Roots of Southern Westerns.” 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.” 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).” 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.” 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).” 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).” Chair: Taïna Tuhkunen (UVSQ)
16h30-17h15: Lee Broughton (University of Leeds), “Alfonso Brescia’s Days of Violence (1967): a ‘Spaghetti Southern’ Par Excellence.” > Consulter le programme complet [PDF – 673 Ko] |
Cinematic representations of the North American West, from the silent era to the present, have played an important role in one of the United States’ core cinematic genres and in the viewing lives of generations of North Americans. The Western tradition, however, with its well-worn tropes, readily identifiable characters, iconic landscapes, and evocative soundtracks, is not limited to the United States. Western, or Western-inspired films have played a part in the output of numerous national film traditions, including Asia, Central and Eastern Europe, and Latin America. Considerations of these films, however, have been decidedly U.S.-centric, with discussions of international Westerns typically limited to a small number of Eurowesterns and their directors.
This collection of essays seeks to broaden the scholarly conversation about Westerns by considering films beyond the Hollywood and Spaghetti Western traditions. The editors seek contributions that address a wide range of international Westerns, including their significance, meanings, and reception in their the national industries which gave them form. How do Westerns not made in the U.S. use the genre for their own purposes? Through what innovations or adaptations is that achieved? In what ways do these films challenge or support the idea of national literatures and cinemas? How do their narratives negotiate nation, narrative, genre, and their intersection?
Possible topics include, but are not limited to:
• El Topo and the Mexican Weird West
• Filming The Devil’s Backbone: The Border Frontier
• Genre Mash-ups in Asian Westerns: Dynamite Warrior
• The Good, the Bad, and the Samurai Tradition
• Sounds of the Frontier: Eurowestern Soundtracks
• Eurowestern Film Cycles: Django Rides
• Exploring the Ostern: White Sun of the Desert
• Karl May on Screen: The German Frontier Tradition
• Her Majesty’s West: Carry On, Cowboy
• Sholay and Frontier Independence
• The “Northern”: Hollywood North, or Something Else?
Please note: Essays dealing with the Spaghetti Western tradition should approach it from a fresh perspective, not yet represented in the substantial scholarly literature.
Acceptance will be contingent upon the contributors’ ability to meet these deadlines, and to deliver professional-quality work.
Publication timetable:
Aug 15, 2012 – Deadline for Abstracts
September 30, 2012 – Notification of Acceptance Decisions
Feb 1, 2013 – Chapter Drafts Due
April 30, 2013 – Chapter Revisions Due
May 30, 2013 – Final Revisions Due
July 1, 2013 – Delivery to Publisher
Please submit your abstracts of 500-1000 words and a brief (1-page) CV via email to both of the editors by August 15, 2012:
Cynthia J. Miller – cynthia_miller@emerson.edu
A. Bowdoin Van Riper – bvanriper@bellsouth.net
The frontier has long been framed as a landscape of life and death, but few scholarly works have ventured into the realm where the two become one, to explore portrayals of the Undead in the West – the zombies, vampires, mummies, and others that have lumbered, crept, shambled, and swooped into the Western from other genres. This sub-genre, while largely a post-1990 phenomenon, traces it roots to much deeper hybrid traditions of Westerns and horror or science fiction, and yet, also shows ties to the recent Western renaissance.
This volume, a companion to our forthcoming Undead in the West: Vampires, Zombies, Mummies and Ghosts on the Cinematic Frontier, will focus on the blending of the Western genre and the undead in media other than film: comics, graphic novels, gaming, new media, and literature. Scholarly explorations of material culture and fandom will also be considered.
Some questions to consider:
– What happens when traditional frontier figures, settings, symbols, and ideologies encounter these characters that defy the laws of nature?
– How are Western archetypes subverted or accentuated when confronted by the undead?
– How do zombies, vampires, and the like, affect our understandings and interpretations of the West, and vice-versa? Might these hybrid Westerns function as the new anti-Western, or do the undead facilitate a return to tradition?
– In what ways do undead Westerns consciously use the undead elements of the plot to comment on the nature of traditional Western heroes and villains?
– In what ways do these genre mash-ups revitalize the Western for a new generation of audiences and fans?
Please send your 500-word abstract to both co-editors, Cindy Miller (cynthia_miller@emerson.edu) and Bow Van Riper (bvanriper@bellsouth.net).
Publication timetable:
June 15, 2012 – Deadline for Abstracts
July 15, 2012 – Notification of Acceptance Decisions
Dec. 1, 2012 – Chapter Drafts Due
March 15, 2013 – Chapter Revisions Due
April 15, 2013 – Final Revisions Due
May 1, 2013 – Delivery to Publisher
Acceptance will be contingent upon the contributors’ ability to meet these deadlines, and to deliver professional-quality work.
Nineteenth-Century American Literature and Popular Culture – MPCA/ACA
Deadline for receipt of proposals is April 30, 2012
The MPCA/ACA is seeking paper proposals that address any aspect of 19th century American popular culture for our annual conference. The 2012 conference will be held in Columbus, OH from October 12-14.
We are especially interested in papers that focus on literature and/or culture from a specific critical perspective; however, no particular approach is required. Possible topics include (but are not limited to):
– Literature
– Book History/Print Cultures
– Dime novels
– Politics
– Sports
– Religion
– Westward expansion
– Native Americans
– Women in popular culture
– Entertainment
– The Gothic
Those interested should review the information here (http://mpcaaca.org/columbus-2012/2012-cfp/) to include relevant details on their submission entry. Submissions should be made electronically via our online submission system (http://submissions.mpcaaca.org/). Deadline for receipt of proposals is April 30, 2012.
Any inquiries about this specific topic should be directed to the area chair, Patrick Prominski, Department of English, Michigan State University – promins2@msu.edu.
For more information on the conference and the MPCA/MACA, please visit the mpca website http://www.mpcaaca.org/
Marginalia Hors-série
Billy the Kid
Marginalia est un bulletin bibliographique qui recense les études sur les littératures et le cinéma populaires. Il est réalisé par Norbert Spehner.
Le dernier numéro est consacré aux études portant sur la figure populaire de Billy-the-Kid. On peut le télécharger gratuitement (ainsi que les autres volumes) à l’adresse suivante: http://marginalia-bulletin.blogspot.com/
Table ronde
Du Western américain au western italien :
Représentations et transductions de la violence
Jeudi 12 janvier 2012 de 17h à 19h30 Université de PARIS OUEST NANTERRE
LA DÉFENSE Bât V (derrière le Centre Sportif) GRAND AMPHI V
À l’occasion de la parution du numéro 50 de “La Tribune Internationale
des Langues Vivantes” intitulé :
Transductions : du Western américain au Western italien
(Sous la direction de Gius GARGIULO)
Table ronde animée par Gius GARGIULO (U.F.R. L.C.E., Département d’Études Cinématographiques, labo
MoDyCo/CNRS de l’Université de Paris Ouest Nanterre-La Défense)
avec la participation de Didier BOTTINEAU (Chargé de Recherches CNRS au
labo MoDyCo/CNRS de l’Université de Paris Ouest Nanterre-la Défense)
Jean-René LADMIRAL (Université de Paris Ouest Nanterre-la Défense)
Florence Lautel-RIBSTEIN (Université d’Artois, Rédactrice en chef de
“La Tribune Internationale des Langues Vivantes” et Présidente de SEPTET.)
Après un doctorat à l’École pratique des hautes études sous la direction de Roland Barthes, Paul Bleton s’est installé à Montréal en 1972. Il y a certes enseigné au collège Stanislas et à l’université Mc Gill, mais c’est à la TELUQ (Télé-université) que s’est déroulé l’essentiel de sa carrière de professeur. Depuis 1982, il y a publié plus de vingt manuels sur la communication écrite et l’argumentation, la linguistique, la philosophie du langage et les industries de la langue, la communication non-verbale et la communication interculturelle, la littérature de jeunesse, la bande dessinée et la littérature de grande diffusion. Son dernier manuel porte sur le roman d’amour. Continuer la lecture de Paul Bleton (Université TELUQ, Canada)
