1 - University of California, Los Angeles
Call for Getty Interns
Deadline: April 23, 2010
1. Graduate Division Survey
2. Digital Media Course Offerings in Spring
3. Spring 2010 Course: COURSE TITLE: EXIT UTOPIAS: CINEMA, VISIONARY ARCHITECTURE, RADICAL URBANISM
4. UCLA Summer Session A: Religion 140
5. Summer program at the Beijing Film Academy
Rolling admission will start on January 1, 2010.
7. TAships in LGBTS--Deadline Extended to April 12th!
8. 2010 Recognition Awards and Staff Scholarships
Deadline: April 23, 2010
9. CFP for Midwest Popular Culture/American Culture Conference
Deadline: April 30, 2010
10. CFP for Midwest Popular Culture/American Culture Association Conference
Deadline: April 30, 2010
11. Call For Papers-Mystery Science Theatre 3000
Deadline: April 31, 2010
12. Festival of (In)appropriation 2010 Call for Entries
Deadline: May 15, 2010
13. Updated CFP: Jane Austen: Contexts and Reception (6/1/10; 11/11-14/10)
Deadline: June 1, 2010
14. Call for Papers: “Teacher, Teach Me Love: The Student-Teacher Relationship in Film and Television” 2010 Film & History Conference: Representations of Love in Film and Television
Deadline: June 1, 2010
15. CFP: Chicks in Love: "Chick Lit" into "Chick Flicks"
Deadline: June 1, 2010
16. CFP: Women and the Post-Colonial Romance in International Cinema ‘Love in a Strange Land,' Women and the Post-Colonial Romance in International Cinema 2010 Film & History Conference: Representations of Love in Film and Television
Deadline: June 1, 2010
17. CFP: 2010 Film & History Conference: Representations of Love in Film and Television
Deadline: June 1, 2010
18. CFP: images of children/childhood
Deadline: June 1, 2010
19. CFP: Dangerous, Transgressive, and Unloved: The View from Way Outside
Deadline: June 1, 2010
20. CFP: Shakespeare In (and Out of) Love (6/1/10; 11/11-14-10)
Deadline: June 1, 2010
21. CFP: Tainted Love - Screening Sexual Perversities
Deadline: June 1, 2010
22. CFP: The Velvet Light Trap #68, Comedy & Humor
Deadline: December 15, 2010
23. 2011 IAMHIST-Michael Nelson Prize for a Work in Media and History
Deadline: Before September 30
24. CFP: Understanding Machinima
Deadline: December 30, 2010
25. ***Save the Date for Flow Conference 2010***
September 30th to October 2nd, 2010
26. Call for Contributors: German Autobiographical Non-Fiction and Experimental Filmmaking
27. Fulbright Scholar Opportunities in Film Studies
Job Opportunities
28. Professor of Creative Arts
29. Lecturer/Senior Lecturer in Film (1.0 FTE) x 2 Posts, Roehampton University, Department of Media, Culture, and Language
30. Two positions starting Fall 2010, Univ of Arizona
31. JOB POSTING: Lecturer in Women, Gender, and Sexuality Studies
32. Academic Job Posting: Associate Professor in Cinema Studies, University of Toronto Mississauga
33. Digital Film Production position
34. Full Time Summer Teaching Opportunities
Events
35. Center for the Study of Women-- DEVIL BUNNY
36. Teaching with Technology workshops
37. Archive Films: Bogart, Brazilian, Hepburn, Romanian!
38. "A Fugue and a Waltz: Performance, Technology,
and [Post-] Postmodern Engagement"
April 13, 2010
39. A Special Invitation to the American Civility Tour with NEH Chairman Jim Leach
April 7, 2010
40. 2010 Jay Sanders Film Festival
April 15, 2010
41. QUIXOTE at UCLA
April 16, 2010
42. Invitation Free Pierrot-Karina Master Class COLCOA 2010
April 21st, 2010 at 2:00pm
43. UCLA QUEER STUDIES CONFERENCE 2011
Friday and Saturday, October 8-9, 2010 Royce Hall
University of California – Los Angeles
44. Need Alumni authors as panelists @ Festival of Books
45. Fulbright Workshops
Programs
46. Producers Program Schedule Spring 2010
47. Master of Arts in Literary and Cultural Studies (MALCS)
48. CBS Diversity accepting applications
New Publications & Releases
49. Studies in French Cinema News (two new publications/Reader-Senior Lecturer post)
50. CHROMA: A Book of Color
51. Iconics 10
1. Call for Getty Interns
Deadline: April 23, 2010
FREEWAVES is offering two paid internships for undergraduates this summer through generous support from The Getty Grant Program.
FREEWAVES Multicultural Undergraduate Summer Internships 2010 are for 2 positions, Web Intern and Marketing Intern, both for 10-weeks, full-time, $3,500 gross salary in Hollywood.
In accordance with The Getty Grant Program, candidates must be:
* Members of underrepresented groups, particularly individuals of African American, Asian, Latino/Hispanic, Native American, and Pacific Islander descent
* Currently enrolled as undergraduates, who will have completed at least one semester of college by June 2010, and will not graduate before September 2010;
* Residents of or attending college in Los Angeles County. Students who have previously served as Interns for this program more than twice are not eligible for this internship.
***
Overview: From early June through August 2010, The Getty Multicultural Undergraduate Interns will undertake a variety of tasks, all entailing a high degree of computer literacy and communications competency. All of the tasks will be part of Freewaves long time initiative to disseminate the new media arts.
Location: Both internships are located at Freewaves' office at LACE (6522 Hollywood Blvd in Hollywood CA)
Marketing Intern
Marketing Intern Responsibilities: Provides promotional support for 2010 events, 20th anniversary book/dvd launch, DIY Video Fest initiative, and new web site.
- Video program at LACMA (June 26) - assist with marketing implementation
- Book/dvd project - assist with implementation & develop new marketing ideas
- DIY Video Fest initiative - outreach to student demographic
- Video component at Glow (September 25) - assist development of marketing plan
- Online marketing and optimization of Freewaves' new web site (in conjunction with web intern).
Requirements for Administrative Intern:
- Good writing skills
- Detail oriented, accurate, and thorough.
- Knowledge of media arts preferable.
- Good computer skills (will need to use/learn Word, FileMaker, Photoshop and the internet, including social media).
- Ability to work in a small, busy office with concentration.
- Ability to work independently.
Web Intern
Web Intern Responsibilities: Projects relate to both to the Freewaves web site (launching late spring/early summer) as well as enhancements planned for the future:
- Assist adding new content (videos to the back-end database), including compressing artist videos and preparing screen shots
- Work with Freewaves staff, technical advisors, programmer and designer to develop enhanced site pages and perform technical troubleshooting.
- Assist with site optimization.
- Produce written and visual materials for web site and related marketing efforts.
- General database maintenance.
Requirements for Web Intern:
- Knowledge of html, Dreamweaver and Flash preferred.
- Ability to code highly desirable though not required. (Java, Javascript, My SQL and/or PHP).
- Good writing and communication skills.
- Ability to work diplomatically in a team environment (in meetings, via email and on the phone).
- Detail oriented, accurate, and thorough including ability to troubleshoot own work for errors and functionality.
- Knowledge of media arts preferable.
- Knowledge of both Mac and PC environments required.
- Ability to work independently.
Freewaves strives to offer summer interns practical work experience and a range of assignments. Interns will be trained by and work under the supervision of Freewaves Director Anne Bray and Assistant Director Heidi Zeller.
In past years, Freewaves interns have developed skills in numerous software programs including:
- Filemaker
- Dreamweaver/HTML
- Excel and Word (advanced features)
- Photoshop
- Illustrator
- Video compression programs
******
How to Apply for this Internship:
First familiarize yourself with Freewaves' programs through its web site (). If the site and Freewaves interests you, forward a resum and a cover letter explaining reasons for interest and addressing how you meet the eligibility guidelines for the internship set by the Getty. If you are applying for the web internship, please send us URLs of your work (sites you've designed or worked on). We will be interviewing in late April/early May, and will contact you for an appointment if we are interested.
Email your application materials to:
Heidi Zeller, Assistant Director, at heidi@
By Friday, April 23, 2010.
----------------------------------
Freewaves
6522 Hollywood Blvd.
Los Angeles, CA 90028
323.871.1950
Freewaves is dedicated to the creative exhibition of innovative and culturally relevant independent new media from around the world. Freewaves facilitates cross-cultural dialogues by inventing dynamic new media exhibition forms at experimental and established venues.
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2. Graduate Division Survey
Very Important. Please Do Not Ignore.
In 2010-11 our department will undergo a comprehensive review by the Academic Senate's Graduate Council. An essential part of that review is student feedback. The Graduate Division is currently conducting an anonymous survey to gather your thoughts. If you have already completed the survey, we thank you for your response. If you haven't completed the survey, or only partially completed it, we encourage you to submit it by April 4th (extended deadline).
All students who have already completed or will complete the survey are automatically entered into a drawing for a $75 credit on your Bruin Card. Please share your opinions and help us improve the quality of our department. Access to the survey is via email invitation only. If you didn't receive an email invitation from the Graduate Division or a need reminder, please contact Eli Levy at feedback@gdnet.ucla.edu.
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3. Digital Media Course Offerings in Spring
The Department of Film, Television and Digital Media and the Center for Research on Engineering, Media and Performance announce three new digital media courses:
ALL COURSES ARE OPEN TO GRADUATES AND UNDERGRADUATES.
FTVDM 298A Section 6
**Interpretive Media Production for Public Space**
A research, production & exhibition experience at the Los Angeles State Historic Park
Instructor: Fabian Wagmister
Time: Fridays 2-5P, 1473 Melnitz Hall (downtown every other week)
REMAP, the Dept. of Film, Television and Digital Media (FTDVM), and the California Department of Parks & Recreation invite students to a multidisciplinary workshop exploring innovative media creation and exhibition approaches for the Los Angeles State Historic Park. Dedicated to the natural and social history of Los Angeles, this urban park offers a unique opportunity to experiment with new forms of social media, community experience, and historical memory, including locative narrative, interactive storytelling, interpretive databases, physical interfaces, mobile devices, Wi-Fi environments, etc.
This leading-edge collaboration between REMAP, FTVDM and the California Department of Parks & Recreation will enable students to probe the rapidly evolving convergence of media, digital technology and public space. Participants in this class will generate individual and collective interpretive media works to be publicly shown at the Los Angeles State Historic Park in the summer of 2010.
Enrollment in this class is limited; if you are interested or have any questions please write to Professor Fabian Wagmister (fabian@remap.ucla.edu)
FTVDM 298A Section 7
**Distributed Storytelling & Distribution as Storytelling**
Instructor: Jason Brush
Time: Tuesday 4-7P, Melnitz 2586B
Thursday 4-7P, Melnitz 2536
This course explores the use of new technologies-such as mobile phone applications, social networking platforms, and embeddable web video-as outlets for new forms of cinematic expression. Students will develop projects designed to be distributed over and experienced within evolving online venues that include the likes of YouTube, Facebook and Tumblr. The course will focus on both the craft of authoring for these venues and the artistic possibilities of a holistic approach to storytelling that incorporates both "content" and the online context in which it is experienced.
Jason Brush is Executive Vice President of User Experience Design at Schematic, a pioneering interactive design agency, where he directs the company's Interaction Design and Information Architecture practices. His work spans the Web, TV , and interactive environments, with an emphasis on evolving the dialectics of human-computer interaction. Recent projects have included ABC 's Emmy-award-winning full episode broadband video player, interfaces for Electronic Arts, Motorola, and Accenture's interactive touch screen walls in JFK and O'Hare international airports.
For more information, please contact Jason Brush (jbrush@).
FTVDM 298A Section 8
**Non-linear Location-based Content Laboratory**
Instructor: Jeff Burke
Time: Monday 4-7P, Melnitz 1473 / Final schedule tbd
In collaboration with REMAP, FTVDM, and the Nokia Research Center Hollywood, students in this course will create and produce original non-linear, location-based pieces for mobile phones in a collaborative, team-based process. Interface metaphors and story structures will be studied along with cinematographic and design techniques, exploring both the creation of compelling experience and general principles for non-linear and location-based storytelling.
Along with industry and UCLA researchers, writers, the cinematographer, and faculty advisors, students in the course will participate in both concept development and production, and will direct the pieces. A production budget will be provided and the resulting material will be jointly owned by the team.
Enrollment in this class will be limited to a small group of committed students; priority will be given to TFT students. Students must have prior production experience or graduate-level research background in media studies.
For more information please contact Jeff Burke (jburke@remap.ucla.edu), including a link to portfolio materials and summary of your background and interest in the course.
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4. Spring 2010 Course: COURSE TITLE: EXIT UTOPIAS: CINEMA, VISIONARY ARCHITECTURE, RADICAL URBANISM
COURSE DESCRIPTION
What theoretical propositions and conceptual genealogies do cinema and architecture share? How has cinema functioned as a critique of modernist architecture and urbanism, at the same time that radical urbanists and visionary architects have critiqued Modernism through highly "cinematic" formulations? Where, if at all, might we locate the aesthetic, political, and epistemological convergence of cinematic, urbanistic, and architectural utopianisms (and dystopianisms), especially those of the 1960s? This graduate seminar will begin by examining some of the foundational, recipriocal explorations in cinema and architecture in the avant-gardes of the 1920s and 1930s (Eisenstein, Le Corbusier). That history will form the basis of our considerations as we turn to the 1960s and the broad critique of both modernity and Modernist architecture and urban planning at the time, in the domains of architecture and cinema alike. The final two weeks of the course will then revisit the links between modernist architecture, urbanism, and cinema in the context of postmodernity and digital media. Readings in film theory, architectural theory, and post-structuralist "spatial theory" will accompany weekly analyses of distinctly "architectural" films together with plans, movies, and manifestoes by avant-garde architectural studios and art collectives such as Archigram, Superstudio, the Situationist International, the Metabolists, and others.
PROSPECTIVE SCREENING LIST:
WEEK 1 (MARCH 29 – 31)
No screening
WEEK 2 (APRIL 5 – 7)
Cavalcanti, Rien que les heures
Man Ray, Les Mystère du Chateau de Dé
Pierre Chenal, L’Architecture d’Aujourd’hui
Hans Richter, Die Neue Wohnung
WEEK 3 (APRIL 12 – 14)
Marcel L’Herbier, L’inhumaine
and
René Claire, A nous la liberté
WEEK 4 (APRIL 19 – 21)
Jaques Tati, Playtime
WEEK 5 (APRIL 26 – 28)
Michelangelo Antonioni, L’Eclisse or Red Desert
WEEK 6 (MAY 3 – 5)
Jean Luc Godard, Alphaville or 2 ou 3 choses que je sais d’elle
and
Georges Perec and Bernard Queysanne, Un homme qui dort
WEEK 7 (MAY 10 – 12)
Seijun Suzuki, Branded to Kill or Tokyo Drifter
and
Hiroshi Teshigahara, The Face of Another
WEEK 8 (MAY 17 – 19)
Jaques Demy, The Model Shop
WEEK 9 (MAY 24 – 26)
Tsai Ming-Liang, Good-bye Dragon Inn
and
Pedro Costa, Colossal Youth
WEEK 10 (MAY 31 – JUNE 2)
Program of short experimental films on modernist architecture
--
Greg D. Cohen
Andrew W. Mellon Postdoctoral Fellow in the Humanities
Lecturer in Cinema and Media Studies
University of California, Los Angeles
3347 McGowan Hall
cohen@humnet.ucla.edu
gdcohen71@
310.825.4089
617.909.9351 (cell)
________________________________________________________________
5. UCLA Summer Session A: Religion 140
Religion 140: Religion and the Cinema in Various Cultures
(flyer attached)
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6. Summer program at the Beijing Film Academy
Rolling admission will start on January 1, 2010.
Dear Colleagues,
I am repeating my message of December, in hope that you can announce to students in your classes this term, and continue to spread the word to colleagues, about the summer program at the Beijing Film Academy. The program is self-sustaining, and its financial health depends on the number of students enrolled. I appreciate your help.
If you wish to show a PowerPoint slide containing basic details in your class, it can be downloaded from .
My sincere thanks, Yomi Braester
SUMMER PROGRAM IN CHINESE FILM HISTORY AND CRITICISM AT THE BEIJING FILM ACADEMY, June 28-July 25, 2010
The Program will be take place on June 28 - July 25, 2010. Students worldwide are welcome to the program, administered through the University of Washington. 12 quarter credits are transferable to other institutions. The program is especially well suited for upper-level undergraduates who intend to continue their studies in Chinese cinema, and for graduate students and professors who plan to teach courses involving Chinese films. No knowledge of Chinese is required.
The courses will be taught by professors from outside Asia (including Chris Berry, Yomi Braester, and James Tweedie) and a variety of faculty from the Beijing Film Academy. The program also includes meetings with filmmakers. The program cost (including tuition and lodging) is $3,300 + registration fee. Rolling admission will start on January 1, 2010.
Visit our web site at for further details on curriculum and application procedures. Questions should be addressed to the program director, Professor Yomi Braester: yomi@uw.edu.
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7. TAships in LGBTS--Deadline Extended to April 12th!
Deadline extended to April 12th!!
Teaching Opportunities for Graduate Students 2010 – 2011
Lesbian, Gay, Bisexual, and Transgender Studies
Graduate students in any department or professional school are invited to apply. Applicants should have a background in LGBT/queer studies or women’s studies scholarship and/or relevant experience in community organizations or political action. Preference is usually given to applicants with prior TA or teaching experience, but those just beginning their TA careers are also encouraged to apply. Please note the specific requirements for each of the different courses. The application must clearly specify the course number and quarter for which it is designed.
Summer 2010 Session A
Teaching Fellowship: LGBTS/WS M114, Introduction to Lesbian, Gay, Bisexual, and Transgender Studies.
A graduate student teaches this course under the supervision of a faculty member. Applicants must present a detailed description and a syllabus of the course as part of the application. Applicants must have advanced to candidacy by June 30, 2010.
Teaching Fellowship: LGBTS 187: Out of the Closet and into the Vaults: LGBT Film and the Outfest Collection.
This combines work on UCLA’s Outfest film archives with attendance at the current Outfest film festival (which takes place the last ten days of Summer Session A). A graduate student teaches this course under the supervision of a faculty member. Applicants must present a detailed description and a syllabus of the course. They must show a thorough working knowledge of the Outfest Archives, have solid knowledge of queer cinema, and have a background in film studies. Applicants must have advanced to candidacy by June 30, 2010.
Fall 2010
Teaching Assistantship: LGBTS/WS M114, the Introduction to Lesbian, Gay, Bisexual, and Transgender Studies.
This course, an interdisciplinary survey with units on history, science, public affairs, and culture, introduces students to various ways in which sexuality and gender can be studied and also provides an opportunity to discuss issues that, for many undergraduates, are of great personal consequence. Graduate students hold sections while the course is taught primarily by a faculty member
Academic Year 2010 - 2011
Teaching Fellowship: LGBTS 187: Topic of your choice.
A graduate student teaches the course under the supervision of a faculty member. Applicants must present a detailed description and a syllabus of the proposed course as part of the application. Applicants must have advanced to candidacy by June 30, 2010.
To apply, please fill out the cover sheet available on the LGBTS website
humnet.ucla.edu/humnet/lgbts.
Please submit the following--
Cover sheet
Letter of Application
Description of course and a syllabus where required above
Curriculum Vitae
Transcript (unofficial is fine)
Evaluations from past teaching assistantships you have held (if available and in moderation)
1 or 2 brief letters of recommendation from professors other than your advisor.
Bring it to
146 Humanities Building or
Mail it to:
LGBTS TA Selection Committee
415 Portola Plaza, 146 Humanities
Los Angeles, CA 90095-1384
Or email it to
mcgraw@humnet.ucla.edu
You will receive an emailed confirmation of receipt.
The deadline for submission of applications is: 3pm Thursday, April 12th, 2010
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8. 2010 Recognition Awards and Staff Scholarships
Deadline: April 23, 2010
To: UCLA Staff and Faculty
Re: 2010 Recognition Awards and Staff Scholarships
In partnership with the boards of the UCLA Staff Assembly and the Administrative Management Group (AMG), I am pleased to announce this year's opportunities to recognize outstanding achievements by UCLA employees, including the Chancellor's Excellence in Service Awards.
The UCLA Staff Assembly is accepting nominations and applications for the following awards:
• Faculty/Staff Partnership Award
In recognition of the value of collaboration and collegiality, staff members are encouraged to nominate faculty members who actively develop and encourage faculty/staff partnerships.
• Staff Scholarships
Staff members may apply for scholarships in support of their career enhancement and professional growth. Each award covers the cost of education and training up to $500.
• Chancellor's Excellence in Service Awards
Four staff members will be honored for their outstanding service in one of the following categories: Sustainability, Diversity, Civic Engagement, and True Bruin. The awards are aligned with Chancellor Block's goals for the University and celebrate how the pursuit of excellence benefits the entire UCLA community. Each honoree will receive a $1,000 award, sponsored by the Chancellor's Office.
AMG will present an award to a staff member in recognition of excellence in management and leadership:
• The Excellence in Leadership (EXCEL) Award
This award will be presented to an individual who has had a significant and lasting impact on the people that he/she leads, while also making broad contributions to the campus. Campus Human Resources is sponsoring this award in memory of Jeanne Williams, who retired in 1987 following an exemplary career as a UCLA administrator and founding Assistant Dean of the School of Medicine.
Program criteria and application/nomination forms for the recognition opportunities sponsored by the UCLA Staff Assembly are available at .
Nomination forms and award criteria for the EXCEL Award presented by AMG are available at .
The deadline for nominations for the UCLA Staff Assembly and AMG Awards is April 23, 2010. Recipients of the scholarships and awards will be honored on June 9, 2010, at a special campus-wide ceremony jointly sponsored by the UCLA Staff Assembly, the AMG, and Campus Human Resources.
Please join us in recognizing the special contributions of UCLA employees.
Sincerely,
Lubbe Levin
Associate Vice Chancellor
Campus Human Resources
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9.CFP for Midwest Popular Culture/American Culture Conference
Deadline: April 30, 2010
CALL FOR PAPERS, ABSTRACTS, AND PANEL PROPOSALS ON PORNOGRAPHY Midwest Popular Culture Association/Midwest American Culture AssociationConference on Friday-Sunday,October 1-3, 2010
Sheraton Bloomington Hotel, Minneapolis South
7800 Normandale Blvd.
Minneapolis, Minnesota 55439
Telephone: 1-952-835-7800; Fax: 1-952-893-8419
Sendpaper, 250 word abstract, or panel proposal to: LauraVazquez, Pornography Area Chair Departmentof Communication NorthernIllinois University DeKalb,IL 60115 U.S.A. E-Mail: lvazquez@niu.edu
Telephone:(815) 753-7132 FAX: (815) 753-7109
Deadline for receipt of proposals is April 30, 2010.
Please include name, affiliation, address, and telephone number of each author/participant.
You must specify anyAV needs (DVD only) and any special scheduling needs with your proposal. Furtherinformation about the conference and the Midwest Popular Culture/AmericanCulture Association is available at the MPCA/ACA website:
Professor Laura Vazquez
Department of Communication
815-753-7132
Director of Reality Bytes: NIU's Student Film Festival
"Never doubt that a small group of thoughtful, committed citizens can
change the world. Indeed, it is the only thing that ever has.” Margaret Mead (1901 – 1978)
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10. CFP for Midwest Popular Culture/American Culture Association Conference
Deadline: April 30, 2010
CALL FOR PAPERS, ABSTRACTS, PANEL PROPOSALS
ON
FILM
MIDWEST POPULAR CULTURE/AMERICAN CULTURE ASSOCIATION
CONFERENCE
Sheraton Bloomington Hotel, Minneapolis South
7800 Normandale Boulevard
Minneapolis, Minnesota 55439
FRIDAY-SUNDAY
OCTOBER 1-3, 2010
Send paper, abstract (250 words) or panel proposal to:
Gretchen Bisplinghoff (Film Area Chair)
Department of Communication
Northern Illinois University
DeKalb, IL 60115 U.S.A. E-Mail: gbisplin@niu.edu
Telephone: (815) 753-7107 FAX: (815) 753-5930
Deadline for receipt is April 30, 2010.
Please include name, affiliation, address, e-mail address and telephone number of each author/participant. You must specify any AV needs (DVD only) and any special scheduling needs with your proposal.
Further information about the conference and the Midwest Popular Culture/American Culture Association is available at the MPCA/ACA website: ( )
Gretchen Bisplinghoff
Director of Undergraduate Studies
207 Watson Hall
Department of Communication
Northern Illinois University
DeKalb, IL 60115
(815) 753-7107
gbisplin@niu.edu
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11.Call For Papers-Mystery Science Theatre 3000
Deadline: April 31, 2010
Call For Papers-Mystery Science Theatre 3000
Book collection of Academic writings
Deadline for papers April 31st 2010 No exceptions!
We are still seeking proposals for a collection on MST3K, please note I do have a contract for this project. In the fall of 1988 on a small public access channel, KTMA, in the St. Paul/Minneapolis area of Minnesota, a bizarre show appeared. It featured two hand-made, robot appearing puppets and a man watching a movie and making comments to the screen. Little did its creator, Joel Hodgson, know that he had created a world-wide, popular culture phenomenon known as Mystery Science Theater 3000 (MST). The show lasted ten seasons, spawned a theatrical feature film. Twenty years later, the show still has fans the world over. The show also received a coveted Peabody Award for excellence, and was nominated for an Emmy Watching episodes of the show today, one still has to scratch his/her head and wonder how such a show could ever last one season, much least ten. However, when one delves deeper into the show, one discovers that it is one of the funniest, cleverest programs this side of Monty Python. Comedy is arguably the hardest type of material to write and be consistently good. But the team that wrote MST, along with head writer Mike Nelson, created something that lasts and is more popular ten years after the its cancellation. I am putting together a book that looks at MST and its cultural implication including the Internet and the creation of similar shows, Rifftrax and Cinematic Titanic, by the former MST writers and creators, who have kept the spirit of MST alive.
Some topics that could be discussed and some questions that might be answered include: Iriffs-and the rise of personalized riffing by "amateurs" The whole culture of riffing Freaks and Geeks MST3K connection The MST Hour and Mike Nelson's portrayal/mimicking of Jack Perkins MST, Comedy Central and the special Thanksgiving marathons Fan Culture and MST: The Misties (who are they and why)? The original Sci Fi MST Game Roger Corman and MST: A Match made in Heaven or Hell? Gender roles, Women and MST Frank Zappa and MST Comics and MST including Trace Beaulieu's stab at creating his comic Here Come the Big People MST precursors (Fractured Flickers and What's Up Tiger Lilly) Best Brains (the company which owns MST) and its relationship with the fans (e.g., sanctioning the fan made episode, MST3K-The Home Game,-the Sci-Fi Channel aired this movie during which on-line MSTies could make funny comments) The rise of "forgotten movies" which were used as MST episodes (e.g., Manos the Hands of Fate which is now more popular than ever, and has now been made into a musical-there is a documentary about the film which would never have happened were it not for its rediscovery via MST) The rise of B-Movie popularity as a result being on MST Christmas Movies and MST World Without End and MST LIVE Cinematic Titanic-Live Gigs which are more popular than ever-now selling out all over the country The cultural world of Riffing and the influence of MST The cast of MST today Cinematic Titanic compared with Rifftrax The recently made flash web cartoons of MST robots, and how these cartoons fit into the mythology of MST in 2009/2010 Jim Mallon and Kevin Murphy before MST working the film Blood Hook (an analysis of this film and whether one can find any direct connections between what would come later in MST) A Guide to Fan Made MST films Mike Nelson as head writer or why was a head writer needed for MST? The pre-MST comedy careers of Joel Hodgson, Mike Nelson, Bill Corbett, Mary Jo Pehl, and Trace Beaulieu The KTMA years compared to the Comedy Central Years compared to the Sc Fi Chanel years. Zombies and MST (a good topic in light of the popularity of Zombie studies) Movies that deserve the MST treatment but never received it. How Rifftrax can actually take good movies (e.g., Star Wars, The Dark Knight, and Halloween) and make them seem as though they deserved riffing all along? Mental Hygiene films and MST The legal battle between Best Brains and Mr. Sinus Theatre (the roots and causes of this battle) The post-MST career of Joel Hodgson. The Wheel and other failed experiments Why did MST become so popular ten years after its demise? Why did Rifftrax and Cinematic Titanic become so popular after the demise of MST? What were/are the cultural implications of the original invention exchanges in those early episodes of show? What are the differences in the styles of Mike Nelson and Joel Hodgson as hosts for the show? Why did Joel leave the show in 1993? Why weren't he and Jim Mallon not seeing eye-to-eye? The theatrical feature film attempt MST 3000 The Movie (trials and tribulations of getting director Jim Mallon's big budget version of MST to the screen) Jim Mallon's genius as producer/director/character The culture of MST and riffing in general Modern companies such as Laugh Tracks and MST influence on them Mike Nelson as musical composer The differences of Tom Servo and Crow (difference in style and tone) Actor Joe Don Baker and MST a perfect marriage Spy Movies and MST Monsters and MST Attempts at creating continuity within the "host segments"-what worked what didn't (the difference in continuity between Comedy Central episodes and Sc Fi channel shows) Cast Characters (e.g., Mad Scientists, Evil Mothers, and weird aliens) Which were the most consistently funny seasons? The hardcore statistical analysis found on websites by crazed fans (e.g., riffs per show and other weird statistical data-reasons for these weird statistical things) MST and the Web-how did the Internet help create such a rabid following? Popular music and MST Mary Jo Pehl, Bridgett Nelson, and the influence of women writers on MST MST fan culture and university culture The MST influence on the show Freaks and Geeks TV's Frank and MST and Frank Coniff's role in America's Funniest Home Videos A look at the influence of music on MST (one could hear a reference to an obscure British band like Hawkwind on the same show as one that might mention a household artist Brittney Spears or Johnny Cash for example) The "more" adult humor of Cinematic Titanic and Rifftrax compared to MST Compare and contrast the cancellation of MST from Comedy Central to that of Sc Fi Channel. Why were both attempts to save the show unsuccessful? Mike Nelson as a novelist, essay and children's book writer and general Pop Culture Guru Kevin Murphy At the movies??? Why did he do it? Bill Corbett as a playwright and performer MST and Tape Trading Culture (Keep circulating the tapes some of the MST episodes admonished the fans) compare this with Grateful Dead tape trading or other official sanctioned bootlegging. Why did this type of sanctioned bootlegging endear the fans but infuriate the "suits." The Shorts: Why are they some the best? The rarest episode of all: The MST CD-ROM video game. Good Idea or not: MST, and Rifftrax, sitcom, television, episode and cartoon riffing The lost episodes of MST: The Green Slime, Thunderbirds etc., Where are they? What were they like? Will we ever see them?? Crow, Tom Servo and the bots in Popular Culture: Non-MST appearances (which continue to this day) MST and the First Amendment to the Constitution: Why did the show always thank the authors of the First Amendment? How did the show use it? Did it push boundaries constitutionally??? KTMA and MST: Just how could a show like this get on cable access television in the first place? How did it become a movement? Were they are glimpses of the greater things to come in those earlier episodes or not? Torgo and Ortega: Cult Figures and MST why so popular with fans? The worse a movie is, the funnier and better an episode of MST: Why is that? During the early years of MST, it was watched by many families who gathered around the television to see each new episode. Why did it particularly resonate with children? Did the show project a sense of wonder that appealed to children? Given that many of the jokes were very sophisticated, how is it that children related to the show? Monty Python and MST-compare and contrast writing styles and ideas Paul Chaplin unsung writer on MST The MST writers were, and continue to be, masters of Popular Culture in all its forms (film, music, politics, etc.) Movie references and MST-cultural and historical implications MST terms and the vernacular (e.g., "Movie Sign", "Poopie", "Huzzah") and their adaptation into everyday language) What was Josh Weinstein's role in those early MST episodes and his post MST career as producer
These are just a few ideas off the top of my head about what one could write about. I'm sure there are plenty of others.
Essays should be 5,000-9,000 words including endnotes and bibliography. The editor will send out a style manual to potential writers at a later date (this must be followed exactly)
Please keep in mind that these essays will be Peer Reviewed, and any essay that is not up to standard may not see final publication. Submitting an essay does not necessarily mean it will make the final cut.
Please email me if you have any questions.
Robert Weiner
Humanities Librarian
Texas Tech University
Rob.weiner@ttu.edu
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12. Festival of (In)appropriation 2010 Call for Entries
Deadline: May 15, 2010
*********CALL FOR ENTRIES!*********
Los Angeles Filmforum invites film and videomakers to take part in the 2010 FESTIVAL OF (IN)APPROPRIATION!
WHO: All film and videomakers
WHAT: Call for entries for the Festival of (In)appropriation
WHEN: Entries must be received by May 15, 2010.
WHERE: Send submissions to Jaimie Baron, 10480 National Blvd. #308, Los Angeles, CA 90034
PRESENTED BY: Los Angeles Filmforum
Santa suit in July? Brussel sprouts for breakfast? Cat in the bathtub? Fish on a bicycle? All of these things are possible, but they are just "not done." At least, in our view, not often enough! Of course, the notion of what is "appropriate" always depends on context – the right time and the right place. What is permissible in one context may not be so in another. Indeed, the "inappropriate" is all about what is in the "wrong" place and at the "wrong" time, which is exactly where we think it should be. Mash-up, machinima, remix, collage, compilation, found footage, détournement – these terms all refer to films and videos that tear materials from one (con)text and place them in another, constantly questioning the limits of what is "appropriate. " At its best, this act of (in)appropriation may produce revelation that leads viewers to reconsider the relationship between past and present, here and there, truth and lie, intention and subversion.
With that idea in mind, Los Angeles Filmforum invites submissions for the 2010 Festival of (In)appropriation – our third festival! We are open to all works that appropriate film or video footage and repurpose it in "inappropriate" ways. We will consider both films and videos, including works that are made up entirely of found footage and those that only use small segments of appropriated material. We are especially interested in – but certainly not limited to – films that put history into question and films that explore the ways in which digital technologies are reconstructing our relationship to preexisting audiovisual materials. Particular consideration will be given to films that repurpose materials in an inventive way and to films that are under 20 minutes long. We will only accept work finished in 2008 or later.
The Festival of (In)appropriation will take place at in Fall 2010, specific date TBA.
Curated by Jaimie Baron and Madeleine Gallagher.
Guidelines:
• Submission deadline: May 15, 2010
• Please send all submissions in DVD format to: Jaimie Baron, 10480 National Blvd. #308, Los Angeles, CA 90034
• Submissions must be 20 minutes or less and must contain some form of "(in)appropriation. "
• Acceptable submission formats: DVD and VHS
• Acceptable exhibition formats: mini-DV, DV-Cam, 16mm film, 35mm film, DVD (but discouraged, since DVD is not a reliable projection medium).
• Please include: title, filmmaker, running time, a 30-word or less synopsis, and contact information (phone and email).
• No submission fee, but please send only good films!
Los Angeles Filmforum is the city's longest-running organization dedicated to weekly screenings of experimental film and video art, documentaries, and experimental animation.
For more information, please go to:
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13. Updated CFP: Jane Austen: Contexts and Reception (6/1/10; 11/11-14/10)
Deadline: June 1, 2010
Updated Call for Papers
Jane Austen in Film and History: Contexts and Reception
2010 Film & History Conference: Representations of Love in Film and Television November 11-14, 2010 Hyatt Regency Milwaukee uwosh.edu/filmandhistory
Third Round Deadline: June 1, 2010
AREA: Jane Austen in Film and History: Contexts and Reception
When filmmakers adapt Jane Austen to the screen, what happens to the text's finely articulated human relationships, to the audience's sense of love? How does production design or economics or star power re-shape Austen's melodramas and romances? How do Austen adaptations re-shape popular culture or period history? While proposals on all aspects of love in Austen films and adaptations are still welcome, we would like to especially encourage papers which broaden their look at Austen studies to include
a) Remaking Stardom: how Austen’s texts both reinforce and recreate Hollywood star images. Examples include Laurence Olivier (Pride and Prejudice, 1940), Gwyneth Paltrow (Emma, 1997), and Anne Hathaway (Becoming Jane, 2005).
b) Production Companies and Jane Austen: how particular production companies adapt Jane Austen to suit their specific house styles. Examples include the 1940 Pride and Prejudice adapted to the star-laden and expensively designed MGM house style of the late 1930s and early 1940s, or the Austen texts adapted to the Masterpiece Theatre style of studio-bound production in the 1970s and mid-1980s.
c) Marketing Austen: the role of publicity in marketing Austen adaptations; how pressbooks and other materials (interviews, articles as well as online material) remake history and sell it to international audiences (especially Americans); the significance of secondary materials (interviews, film websites)
d) Reception: how audiences and reviewers respond to Austen adaptations; how newspapers shape audience responses; changing cultural conditions and how they shape reviewers’ reactions; institutional forces and their effect on reviews (popular or quality newspapers, film magazines, fanzines).
e) Afterlife: Fan communities; Austen fan sites online; rewriting Austen on fansites; blogs and other forms of communication; the Jane Austen Society; DVDs – the significance of extended editions, “Director’s Cuts” and extras as a way of remaking Austen as well as improving marketing.; repackaging old films for contemporary audiences.
Please send your 200-word proposal by e-mail to the area chair:
Laurence J. Raw, Area Chair
Baskent University
Ankara, Turkey
Email: l_rawjalaurence@ (email submissions preferred)
Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (uwosh.edu/filmandhistory).
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14. Call for Papers: “Teacher, Teach Me Love: The Student-Teacher Relationship in Film and Television” 2010 Film & History Conference: Representations of Love in Film and Television
Deadline: June 1, 2010
November 11-14, 2010 Hyatt Regency Milwaukee uwosh.edu/filmandhistory
Third Round Deadline: June 1, 2010
AREA: Teachers and Students in Film and Television
From Goodbye, Mr. Chips (1969), to La Mala Educacion (2004), teacher-student relationships on film and television have been fraught with powerful emotions, from love and inspiration, to frustration and fear. While these relationships might immediately conjure up images of Gabe Kaplan’s “Mr. Kotter,” or Sidney Poitier’s “Mark Thackeray” the possibilities for discussion extend well beyond the classroom – from the gym in Million Dollar Baby (2004), to the temple in Kung Fu (1972), to special ops school in La Femme Nikita (1990).
This panel brings together presenters on film and/or television who will examine the emotional charge and cultural baggage showcased by treatments of the teacher, student, and “classroom.” It would be exciting to see, for instance, proposals to investigate the way selected films or television programs dramatize, sentimentalize, satirize, sexualize, problematize, or otherwise interrogate this clearly topical relationship; ideally, presenters would illustrate key insights using brief clips from the selected media. Additionally illuminating would be references to texts that advance a theoretical purchase on the teacher-student relationship in general and/or the commentary on this relationship that is evidenced by selected film(s) or program(s) in particular.
Possible topics include (but are not limited to):
* Teaching and the love of the subject (Dead Poet’s Society; October Sky)
* Teaching as “risky business” (The Man Without a Face; Dangerous Minds; The Substitute)
* The teacher as spiritual guide (Kung Fu; Harry Potter; The Karate Kid)
* A lifetime of students (Mr. Holland’s Opus; Goodbye, Mr. Chips)
* Prodigies and protégés (Good Will Hunting, August Rush)
* Teaching and Transgression (School of Rock, The Prime of Miss Jean Brodie)
Please send your 200-word proposal by e-mail to the area chair:
Suzanne Diamond, Area Chair
Dept. of English
Youngstown State University
One University Plaza
Youngstown, OH 44555
Email: sdiamond@ysu.edu (email submissions preferred)
Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (uwosh.edu/filmandhistory).
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15. CFP: Chicks in Love: "Chick Lit" into "Chick Flicks"
Deadline: June 1, 2010
2010 Film & History Conference: Representations of Love in Film and Television November 11-14, 2010 Hyatt Regency Milwaukee uwosh.edu/filmandhistory Third Round Deadline: June 1, 2010
AREA: Chicks in Love: “Chick Lit” into “Chick Flicks”
So called “Chick Lit” has been a publishing phenomenon at least since the 1996 publication of Helen Fielding’s Bridget Jones’s Diary. Since the identification of the genre, earlier works and writers have been classified as “Chick Lit,” including Terry McMillan’s Waiting to Exhale and as far back as the Brontes and Jane Austen. A genre featuring young women protagonists who struggle with romance, career, or both, “Chick Lit” is driven by narratives that seek to reconcile romantic longings with sense of self. This panel seeks to understand the relationship between “Chick Lit” and “Chick Flicks,” both widely conceived.
This area welcomes papers and panel proposals that examine all forms and genres that wrestle with adapting “Chick Lit” into “Chick Flicks.” Possibilities include, but are not limited to, the following films and television shows:
Julie and Julia
Sex and the City
Charlaine Harris’s Sookie Stackhouse Southern Vampire series The Devil Wears Prada The Notebook Bridget Jones’s Diary Divine Secrets of the Ya Ya Sisterhood Waiting to Exhale How Stella Got her Groove Back In Her Shoes Must Love Dogs Anywhere but Here Someone Like You
Please send your 200-word proposal by e-mail to the area chair (email submissions preferred):
Laura L. Beadling
University of Wisconsin Platteville
Humanities Department 309 Warner Hall
1 University Plaza
Platteville, WI 53818
beadlingl@uwplatt.edu
Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (uwosh.edu/filmandhistory)
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16. CFP: Women and the Post-Colonial Romance in International Cinema
‘Love in a Strange Land,' Women and the Post-Colonial Romance in International Cinema 2010 Film & History Conference: Representations of Love in Film and Television
Deadline: June 1, 2010
[Please note that this CFP is for a single panel, rather than a conference area, comprising multiple panels. Depending on the quality and volume of submissions, however, the organizer may be open to creating additional panels.]
Call for Papers
‘Love in a Strange Land,' Women and the Post-Colonial Romance in International Cinema 2010 Film & History Conference: Representations of Love in Film and Television November 11-14, 2010 Hyatt Regency Milwaukee uwosh.edu/filmandhistory
This panel looks at the way the Western constructs of romance have been exported or rewritten in the post-colonial cinema. A canonical cinematic plot structure parallels the goals of a sympathetic protagonist in the private sphere, often romance, with her struggles in a more public sphere. How does one condition the other? For instance, in I Dreamed of Africa, an intrepid European woman impulsively follows her new love to his African home. There, she struggles privately to fuse her life, his, and that of her son, while at the same time becoming involved in community debates over poaching, water rights, and land use. As she asserts herself in the public sphere, she becomes more confident and self-actualizing in the private sphere. Presenters may explore themes of Orientalism, `forbidden love, the exotic, the primitive, and other stereotypes, but papers are encouraged which also address contemporary issues of female subjectivity, sexual identity, caste/class race, Third World urbanism, eco-activism, indigenaiety, mass mediation, and transnationalism as these play a part in the dynamics of film narratives about romance. This panel explores both `problem films' -- those which unconsciously reproduce colonial relations in a new context -- and films which offer complex images of new kinds of social relations in a post-feminist, post globalized setting.
Suggestions for paper topics:
Histories of postcolonial cinema with an emphasis on romance
Feminist theorizing of the cinematic romance in a postcolonial setting
Intercultural comparisons of romance in film
Film criticism: studies of films displaying updated colonialist mentality (Out of Africa, Blood Diamond, etc.)
Film criticism: studies of films which implicitly or explicitly critique colonialist attitudes toward `romance in a strange land.' (Monsoon Wedding, Mississippi Masala, Wedding in Galilee, etc.)
Institutional studies of directors, genres or national cinemas in which themes of post-colonial romance figure prominently (contemporary Bollywood, Nollywood, etc.)
Please send your 200-word proposal by e-mail to the panel organizer:
Kevin J. Hagopian
Dept of Film/Video & Media Studies
18 Carnegie
Penn State University
University Park PA 16802
kxh24@psu.edu
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17. CFP: 2010 Film & History Conference: Representations of Love in Film and Television
Deadline: June 1, 2010
Call for Papers
2010 Film & History Conference: Representations of Love in Film and Television November 11-14, 2010 Hyatt Regency Milwaukee uwosh.edu/filmandhistory
Deadline Extended!! New Third Round Deadline: June 1, 2010
Keynote Speaker: Director and Film Theorist Dr. Laura Mulvey
Film & History invites proposals for individual papers, panels, and roundtables for our upcoming conference, "Representations of Love in Film and Television," to be held November 11-14, 2010, in Milwaukee, WI. Please see the categories of active topic areas, below.
The conference will look at how love — as psychology, as dramatic principle, as historical agent, as cultural stage, as ethical standard — has been represented in film and television. Questions about the nature of love define not just couples or parents and their children but whole communities and nations, shaping their religions, their economic policies, their media programming, their social values, their most powerful fears and ambitions. Love in each era defines the struggles worth enduring and the stories worth telling, from Gone With the Wind and Casablanca to Hamlet and Cleopatra, from The Jazz Singer and The Sound of Music to The Graduate and Boogie Nights, from Mr. Smith Goes to Washington and The Ten Commandments to Easy Rider and The Right Stuff, from The 400 Blows and Life Is Beautiful to Amelie and Muriel's Wedding. This conference will examine the aesthetic representations of love on screen and will assess their historical, cultural, and philosophical implications.
Areas currently open for paper and panel submissions include the following categories and topics. Please consult our website (uwosh.edu/filmandhistory), or email Director of Communications, Cynthia Miller, at cymiller@, for additional information.
Challenges and Difference in Relationships
• Different Bodies: Disability, Disfigurement, Illness or Impairment & Love
• Love, Marriage, and a Baby Carriage: Bonding and Parenthood in Film and Television
• Loving the Machine: Human-Machine Relationships in Film and Television
Love – In and Out of Place
• The Landscape of Love: Nature and the Environment in Film and Television
• Sex and Love in Asian Contexts
• The Intrusion of Love
Illustrated Love
• Love and Sex in the Graphic Novels of Alan Moore
• For the Love of the Fans: Fandom, Comics, and Film Adaptations
‘Til Death Do Us Part
• Love and Death - A Line of Flight
• Love at the End of Life
• Love in a Time of War.
Dangerous Liaisons
• Lovers on the Side: Tramps and Rogues in Film and History
• Vampire Love
• The Dark Side of Love: Love, Sex and Violence in Film and Video
Objects of Love
• Love and Food
• Things of Love and the Love of Things
• Cinephilia
• Hollywood’s (m)Otherly Love: (post)Freudian Readings and Approaches
Faith, Commitment, Devotion
• Agape: Faith, God, Mission
• Love Thy Leader: Charisma, Attraction and Love Toward Figures of Identification
• Pro Patria Mori: Patriotism in Film and Television
• Love and Commitment in the Fraternity/Sorority Film
• Citizen Love: Flag Wavers, Flag Burners
Love and Gender Traps
• An American Bromance: Homosocial Love in Film and Television
• Love and the Family Man
• 'Women and Children First': Gender and Ethics
• Sons of the Sheik: The Alpha Male in Love
Writers in Love
• Writers in Love/Writers and Love/Writing and Love in Film and Television
• Jane Austen in Film and History
Love is a Many Genre’d Thing
• L'Amour Noir: Fear and Danger in Romance (1920-1960)
• Blaxploitation Films: What's Love Got to Do with It?
• Lust in Space: Love in Science Fiction Film and Television
Little Screen, Big Love
• Love in the Golden Age of Television
• Reality-TV Love: Bachelors and Bachelorettes
• All in the Family: The Bonds of Family Affection on Television
• Taking Care of Business: Office Romance in Film and Television
Love Without Boundaries
• Across the Tracks: Love and Class in Film and History
• Affairs of Race: Interracial Relationships in Film and History
• Jewish-Gentile Romances: From Abie to Zohan.
Love, Sex, and the Rush of Adrenaline
• The Bond Girls: Sex and the Secret Agent
• Love and Violence: Action Heroes
• America's Love Affair with Movie Gangsters.
The Music of Love
• Listening to the Music of Love in Film and Television
• Jazz and Film, A Love Affair
• Performing Love/Loving Performance: Broadway Musical Motifs in Film and Television
A Time for Love
• Oysters and Snails: Love and Sex in the Ancient World on Screen
• Medieval Love and Sexuality in Film and Television
• Love (Early) American Style: Love and Lust in Films About Early U.S. History
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18. CFP: images of children/childhood
Deadline: June 1, 2010
CFP: Call for submissions to Red Feather Journal ()
Red Feather Journal invites critical and/or theoretical examination of the child image to further our understanding of the consumption, circulation, and representation of the child throughout the world’s visual mediums. Red Feather Journal welcomes submissions that examine the child image from a broad range of media’s: children’s film, Hollywood film, international film, television images of children or childhood, child images on the Internet, images of children/childhood in art, or images of children/childhood in any other visual medium. Some sample topics include, but are certainly not limited to: studies of images of children of color; child as commodity; images of children in Africa, Asia, Middle East, South America, etc.; political uses of the child image; children in film; children in advertising; visual adaptations of children’s literary works; child welfare images; children and war; or any other critical examination of the child image in a variety of visual mediums.
Red Feather Journal is a peer-reviewed journal that facilitates an international dialogue among scholars and professionals through vigorous discussion of the intersections between the child image and the conception of childhood, children’s material culture, children and politics, the child body, and any other conceptions of the child within local, national, and global contexts.
Red Feather Journal is published twice a year, February and September, and adheres to the MLA citation system. Authors are welcome to submit articles in other citation systems, with the understanding that, upon acceptance, conversion to MLA is a condition of publication. For more information, please refer to our website:
Interested contributors please submit the paper, an abstract, and a brief 50-word biography as attachments (Microsoft Word compatible) to debbieo@okstate.edu
Deadline for submissions for the fall issue is June 1st, 2010.
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19. CFP: Dangerous, Transgressive, and Unloved: The View from Way Outside
Deadline: June 1, 2010
Call for Papers
“Dangerous, Transgressive, and Unloved: The View from Way Outside” 2010 Film & History Conference: Representations of Love in Film and Television November 11-14, 2010 Hyatt Regency Milwaukee uwosh.edu/filmandhistory Third Round Deadline: June 1, 2010
AREA: Dangerous, Transgressive, and Unloved: The View from Way Outside:
This area invites papers that explore films and filmmakers offering dangerously alternative “points-of-view” to our dominant film and video culture. Rejected and distinctly *un-loved,* these views are deemed not simply subversive, but criminally dangerous to the central values of American Culture. Papers should examine the methods and meanings provoked by films and filmmakers representing such radical cinematic “points-of-view.”
The area is not limited to the traditional medium of film, but is open to similar examples in television, video, and new media.
Possibilities include, but are not limited to such topics as:
• Film and/or media works exploring or made by media makers from despised
communities (i.e., drug addicts, prison populations, sex-workers, pedophiles,
and practitioners of S & M, bondage, incest, etc.)
Possible films: Hard Candy; An Education; Born Into Brothels; 9 ½ Weeks;
My Lover, My Son: The Hamiltons; La Petit Lili; Trainspotting.
• The work of historically subversive media makers such as: Jack Smith,
Kenneth Anger, (Early) John Walters, Kathy Acker, Lizzie Borden, and
other film and media makers who challenged the line between art, the
offensive, and the pornographic.
• Dangerous and transgressive media that extends beyond the personal, to include
politically dangerous media, such as the use of offensive film or videos as
political discourse.
• Any and all papers that examine the various intersections of film and media art
and dangerous, transgressive topics in contemporary culture will be considered.
If we should NOT be talking about your paper topic, this is the area where we can talk about it.
Please send your 200-word proposal by e-mail to the area chair:
G. Tom Poe, Ph.D.
The Department of Communication Studies
The University of Missouri-Kansas City
202 Haag Hall
5100 Rockhill Road
Kansas City, Missouri, 64110
Email: poeg@umkc.edu
Tele: 816-235-1691
Fax: 816-235-5539
Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (uwosh.edu/filmandhistory).
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20. CFP: Shakespeare In (and Out of) Love (6/1/10; 11/11-14-10)
Deadline: June 1, 2010
Call for Papers
“Shakespeare In (and Out of) Love”
2010 Film & History Conference: Representations of Love in Film and Television November 11-14, 2010 Hyatt Regency Milwaukee uwosh.edu/filmandhistory Third Round Deadline: June 1, 2010
AREA: Shakespeare In (and Out of) Love
In A Midsummer Night’s Dream, Lysander proclaims that “The course of true love never did run smooth.” The young Athenian unknowingly targets a major source of dramatic tension in many of the plays: Shakespeare repeatedly explores the difficulties of finding, sustaining, and expressing love. Yet as Maurice Charney observes in Shakespeare on Love & Lust (2000), there exists no “single, coherent concept of love in Shakespeare.” While engaged by the ideas of Petrarch and Plato, the playwright never subscribes to one view of passion. Rather, his depictions of it vary over the course of his two-decade career, as he considers romantic idealization, erotic desire, filial affection, and Christian agape; and as he shifts from history to comedy, from tragedy to romance.
Filmmakers have again and again mined Shakespeare’s diverse representations of love for inspiration. This area invites papers that consider how Shakespearean film adaptations (broadly defined) treat love. Papers might respond to the following questions or branch out in alternative directions:
• What role do modern notions of romance play in marketing and promoting Shakespearean film adaptations?
• How do cinematic depictions of Shakespeare in the classroom license or exploit “forbidden love”?
• What role does music play in the representation of love in films such as Romeo + Juliet (1996) and Hamlet (2000)?
• How do the genres of the plays influence the handling of love in Shakespearean film adaptations?
• Do Kenneth Branagh’s Shakespearean comedies reveal a consistent take on Shakespearean love?
• How does cross-dressing in contemporary films like She’s The Man (2006) speak to attitudes on love and gender in
Shakespeare’s age—or in our own?
• What does Shakespearean love mean when envisioned in the cultural context of Bollywood films?
• How do Shakespeare’s notions of heterosexual and homosexual love relate in a film like Were the World Mine (2008)?
• How do portrayals of Shakespearean love differ in television (from Moonlighting to The Simpsons) and film?
• How is fandom (love of Shakespeare) characterized in films such as The Dresser (1983) and 10 Things I Hate About You
(1999).
• How do representations of Shakespeare as an historical figure, in films such as Shakespeare in Love (1998) or in
television shows such as Dr. Who, draw upon ideas about love from the early modern period?
Please send your 200-word proposal by e-mail to the area chair:
Noel Sloboda
Penn State York
1031 Edgecomb Avenue
York, PA 17403
Email: njs16@psu.edu (email submissions preferred)
Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (uwosh.edu/filmandhistory).
21. CFP: Tainted Love - Screening Sexual Perversities
Deadline: June 1, 2010
Call For Papers
Tainted Love - Screening Sexual Perversities
Original proposals are sought for an edited collection on the representation of
sexual perversities on screen. The screen has a long history of providing a
space in which taboo sexual practices and perversions have been played out
in multiple and diverse ways. Matters of taboo and perversity are too often
located within discourses of moral panic, degeneracy, deviance and disease,
which present those who enact such sexualities as modern folk devils. The
contemporary screen has explicitly and expressively interacted with such
discourses and debates.
The representation of paedophilia, incest, necrophilia, zoophilia,
intergenerational relationships, sadism, masochism, bondage, domination, kink
and fetish, and themes of obsession, addiction, and erotomania have been
foregrounded on screen. While the expectation may be that such social,
cultural and/or legal transgressions would be the exclusive terrain of art and
alternative cinemas, a significant move towards the mainstream is evident in
examples such as HBO’s Six Feet Under (2001-2005), Andrew Jarecki’s
documentary Capturing the Friedmans (2003), Nicole Kassell’s independent film
The Woodsman (2004), and Lee Daniels’ recent Oscar winner Precious (2009).
The screen is yet to be acknowledged and fully explored for its engagement
with such topics. Just as the screen is offering more challenging and thought- provoking approaches, critical studies needs to interrogate this area and
provide a coherent account of cinematic and televisual representations. The
aim of this collection is to explore the “perverse” beyond the limited and
negative semantic and discursive fields that constrict both meaning and
understanding. In order to move past binary distinctions of good and bad,
normal and abnormal, moral and immoral, Tainted Love seeks to critically
interrogate perverse sexualities and sexual perversities on screen that range
from condemnation and demonisation to representations that offer alternatives
to pathologising such sexualities.
Proposals are welcomed on, but not limited to, the following topics:
• socio-cultural/historical approaches
• critical/theoretical debates
• industry/institutional approaches: Hollywood, independent, television, world
and European cinemas, art, alternative and the mainstream
• genre: horror, comedy, documentary, pornography
• gender, sexuality and sexual deviance
• the eroticisation and sexualisation of childhood
• censorship and coding
• adapting the perverse from literature to film
• ethics and morality
• audiences and spectatorship
• authorship, stardom and performance
• the representation of paedophilia, incest, necrophilia, zoophilia,
intergenerational relationships, BDSM
• themes of sexual obsession, addiction and erotomania
Please send proposals of 250-300 words and a short biography to:
Darren Kerr Darren.Kerr@solent.ac.uk
and
Donna Peberdy Donna.Peberdy@solent.ac.uk
by 1st June 2010
Darren Kerr is a Senior Lecturer in film and television at Southampton Solent
University. He has published articles on screen violence, adaptation and sex
on screen. He is the co-editor of Hard to Swallow: Hard-core Pornography on
Screen (Wallflower Press forthcoming).
Donna Peberdy is a Senior Lecturer in film and television at Southampton
Solent University. Her research and publications focus on masculinity,
sexuality and performance in American cinema.
________________________________________________________________
22. CFP: The Velvet Light Trap #68, Comedy & Humor
Deadline: September 15, 2010
CFP: *The* *Velvet Light Trap* Issue #68
Submission Deadline: September 15, 2010
Comedy & Humor
Mainstays of the mass media and popular entertainment, comedy and humor serve as the sources of various pleasures and as the sites of complex negotiations of cultures, industries, aesthetics, and tastes. This issue of *The Velvet Light Trap* seeks articles on comedy and humor in a variety of contexts. Papers may address traditional forms undergoing change, new or emergent forms, or comedy or humor as a component of cultural discourses.
Possible topics for this issue include but are not limited to:
- forms and aesthetics of comedy (including emergent forms such as comic
blogs and web memes)
- comic genres (e.g. romantic comedy, the buddy comedy, animated comedy,
the sitcom)
- hybrid comedic forms (tragicomedy, dramedy, comedy-horror)
- media industries and comedy production
- comedy and/in politics
- humor and comedy in relation to race, gender, sexuality, class, or
other forms of identity
- humor, taste, and cultural capital
- nationally or culturally specific - or transnational/transcultural -
forms of humor or comedy
- comic stars and authors
- comedy albums or other audio recordings
- comedy and/for children
- historical studies of comedy
Papers should be between 6,000 and 7,500 words (approximately 20-25 pages double-spaced), in MLA style with a cover page including the writer's name and contact information. Please send one electronic copy of the paper (including a one-page abstract) saved as a Word .doc file suitable to be sent to a reader anonymously. The journal's Editorial Advisory Board will referee all submissions. For more information or questions, or to submit a manuscript electronically, contact Andrea Comiskey (acomiskey@wisc.edu), Liz Ellcessor (ellcessor@wisc.edu), Lindsay Garrison (hogangarriso@wisc.edu), or Jonah Horwitz (horwitz2@wisc.edu). E-mail submissions are due September 15, 2010.
*The Velvet Light Trap* is an academic, peer-reviewed journal of film and television studies. Graduate students at the University of Wisconsin-Madison and the University of Texas-Austin alternately coordinate issues. The Editorial Advisory Board includes such notable scholars as Peter Bloom, Mia Consalvo, David Desser, Yeidy Rivero, Joe McElhaney, Beretta Smith-Shomade, Darrell Hamamoto, Tara McPherson, Henry Benshoff, Joan Hawkins, Steve Neale, Aswin Punathambekar, Sean Griffin, Alisa Perren, Michael Newman, Radhika Gajjala, Richard Allen, and Michael Williams.
--
Lindsay H. Garrison
Ph.D. Student, Media & Cultural Studies
Department of Communication Arts
University of Wisconsin - Madison
6051 Vilas Hall
hogangarriso@wisc.edu
________________________________________________________________
23. 2011 IAMHIST-Michael Nelson Prize for a Work in Media and History
Deadline: Before September 30
The 2011 IAMHIST- MICHAEL NELSON PRIZE FOR A WORK IN MEDIA AND HISTORY
The IAMHIST-MICHAEL NELSON PRIZE FOR A WORK IN MEDIA AND HISTORY is a biennial prize awarded for the book, radio or television program or series, film, DVD, CD-ROM, or URL making the best contribution on the subject of media and history, which has been published or shown in the preceding two years. The prize, worth $1000, is dedicated to Michael Nelson, whose passion for media and journalism inspired IAMHIST throughout the years. For more information on Michael Nelson, please consult:
Submissions for the 2011 IAMHIST Prize for a Work in Media and History should reach the committee before September 30, 2010. The prize will be awarded for a publication or (multi) media contribution on the subject of media and history published or shown in between September 2008 - September 2010.
The prize was awarded for the first time in 2007, at the XXIInd IAMHIST conference in Amsterdam. The winner was Professor Wendy Webster (University of Central Lancashire), for her book ENGLISHNESS AND EMPIRE, 1939-1965 (Oxford University Press, 2005). Thanks to an especially strong field of entries, two winners were chosen in 2009: RECONSTRUCTING AMERICAN HISTORICAL CINEMA FROM 'CIMMARON TO 'CITIZEN KANE,' by Dr. Jennifer E. Smyth (University of Warwick), and VOICES IN RUINS: GERMAN RADIO AND NATIONAL RECONSTRUCTION IN THE WAKE OF TOTAL WAR, by Dr. Alexander Badenoch (Technical University of Eindhoven). Both works were cited by the prize committee as making outstanding contributions to the field, based on excellence of research, originality, accessibility, and scholarly usefulness.
Rules of the IAMHIST prize:
1. The prize of $1000 is awarded biennially.
2. Invitations for submissions and names of the winners will be published in the Historical Journal of Film, Radio and Television, on the IAMHIST website, on flyers, displayed in the universities of teaching members of IAMHIST, and by letters to appropriate bodies.
3. The prize will be awarded for the book, radio or television program or series, film, DVD, CD-ROM, or URL making the best contribution on the subject of media and history to have been published or shown in the preceding two years (which, for the 2011 prize, will be from September 2008 - September 2010).
4. Three copies of the work must be submitted to the IAMHIST prize sub-committee chair by 30 September of the year preceding the award.
5. The submitted work must be in the form of printed text, audio tape, VHS cassette, DVD or CD-ROM. It must be accompanied by back-up material, as appropriate, such as scripts and shot lists.
6. Works which are not in English must be accompanied by an English translation or an English synopsis.
7. The winner will be selected by a sub-committee of the Council of IAMHIST, under the chairmanship of IAMHIST Treasurer, Cynthia Miller.
Submissions should be sent to:
Professor Cynthia J. Miller
484 Bolivar St.
Canton, MA 02021 USA
Email: Cynthia_Miller@emerson.edu
24. CFP: Understanding Machinima
Deadline: December 30, 2010
UNDERSTANDING
MACHINIMA:
essays on
filmmaking in virtual worlds
Call for
Papers
Submissions
are invited for an edited book with the working title Understanding
Machinima: essays on filmmaking in virtual worlds. Machinima - referring to "filmmaking within a real-time, 3D virtual environment, often using 3D video-game technologies" as well as works which use this animation technique, including videos recorded in computer games or virtual worlds (see also ) - is challenging the notion of the moving image in numerous media contexts, such as video games, animation, digital cinema and virtual worlds. Machinima's increasingly dynamic use and construction of images from virtual worlds - appropriated, imported, worked over, re-negotiated, re-configured, re-composed
- not only confronts the conception and ontology of the recorded moving image, but also blurs the boundaries between contemporary media forms, definitions and aesthetics, converging filmmaking, animation, virtual world and game development. Even as it poses these theoretical challenges, machinima is expanding as a practice via internet networks and fan-based communities as well as in pedagogical and marketing contexts. In these ways, machinima is also transformative, presenting alternative ways and modes of teaching and commercial promotion, in-game events and, perhaps most significantly, networking cultures and community-building within game, virtual and filmmaking worlds, among others.
Divided
into these two sections - machinima (i) in theoretical analysis; and (ii) as practice - this first collection of essays seeks to explore how we can understand machinima in terms of the theoretical challenges it poses as well as its manifestations as a practice. We are primarily concerned with offering critical discussions of its history, theory, aesthetics, media form and social implications, as well as insights into its development and the promise of what it can become. How does machinima fit in the spectrum of media forms? What are the ontological differences between images from machinima and photochemical/digital filmmaking? How does machinima co-opt the affordances of the game engine to provide narrative? How may machinima, developed from the products of game and virtual world marketing, be used as an artistic tool? How is machinima self-reflexive, if at all, of the virtual environments from which they arise? What are the implications of re-deploying these media formats into alternative media forms? How does the open-source economy that currently defines much of global machinima relate it to broader cultural production generally?
In
particular, we are looking for essays that address (but not limited to) the following ideas:
*
History: context; definitions; culture; relationships to gaming and play; development of technology; hardware and games; archiving of play;
* Theory:
image; ontology; time; space; narrative; realism; spectatorship; subjectivity; virtual camera; materiality;
*
Aesthetics: poetics; play; visuality; détournement; remix; digital mashup; appropriation; recombinative narratives; audio and visual theory; spatiality; narrative architecture;
*
Contemporary media contexts: comparative media; machinima vis-à-vis video games, (digital) cinema, animation, virtual worlds; the visual economy of machinima versus film
*
Communities: Machinima as community-based practice and performance; user created content; online publishing; fan (fiction) communities; open source; cultural reflection
*
Pedagogy: digital literacy; teaching models and practices; student-centered learning; critical making; collaborative authorship; rhetorics; problem based learning;
*
Marketing: crowd sourcing; viral marketing; peer to peer sharing; commercials, trailer promotions; grass roots versus astro turf; serials and sequels.
Please
submit a 300 word abstract and a short bio via e-mail to understandingmachinima@ (NOT the address of the sender above) by 30 August 2010. We expect that final essays should not exceed 7,000 words and be due on 30 December 2010.
Jenna P-S.
Ng
James
Barrett
HUMlab,
Umeå University
Sweden
________________________________________________________________
25. ***Save the Date for Flow Conference 2010***
September 30th to October 2nd, 2010
*Save the Date: September 30th to October 2nd, 2010*
*
*Flow Conference 2010
*
*The University of Texas at Austin Department of Radio-TV-Film's biannual conference of television and new media
*
*AT&T Executive Education and Conference Center*
*University of Texas at Austin*
1900 University Avenue
Austin, TX 78705
Conference details and website to follow._______________________________
_____________________________________________________________
26. Call for Contributors: German Autobiographical Non-Fiction and Experimental Filmmaking
THE AUTOBIOGRAPHICAL TURN
in GERMAN NON-FICTION and EXPERIMENTAL FILMMAKING
(appearing in the book series "Screen Cultures: German FIlm and the
Visual," Camden House Press)
We have space to accommodate another 2-3 essays in an anthology
currently in progress and nearing completion. Please address any
Inquiries or proposals regarding work in progress to both editors. We
would be happy to send out a description of the project and discuss
the timeline for submissions.
Angelica Fenner
Associate Professor
German & Cinema Studies
University of Toronto
Angelica.Fenner@utoronto.ca
Dr. Robin Curtis
Freie Universität Berlin
"Synästhesie Effekte: Montage als Synchronisierung" Sonderforschungsbereich 447 - Kulturen des Performativen Robin.Curtis@fu-berlin.de
27. Fulbright Scholar Opportunities in Film Studies
The Fulbright Scholar Program and Fulbright Humphrey Fellowship Program are administered by the Institute of International Education's Department of Scholar and Professional Programs, which includes the Council for International Exchange of Scholars and Humphrey divisions.
For more information, contact us at scholars@ or 202-686-4000 or visit cies
Fulbright Scholar Program for US Faculty and Professionals for 2011-2012 is Open The Fulbright Scholar Program offers 22 awards in teaching, research or combined teaching/research in film studies, including three Fulbright Distinguished Chairs. Even better, faculty and professionals in film studies also can apply for one of the 175 "All Discipline" awards open to all fields.
What does Fulbright offer in film studies? Here are a few of the awards for 2011-2012:
South and Central Asia: Applications in the arts and humanities are welcome in many of these countries, including India and Pakistan. Distinguished chair awards also available.
Venezuela: Social studies and humanities opportunities available with specializations in film studies.
Kosovo: Grant opportunities available in teaching or teaching/research in film studies.
Faculty and professionals are also encouraged to participate in one of our weekly webinars, including a special March 25th session featuring Adam Grotsky, Executive Director of the United States-India Educational Foundation, on the expanding Fulbright opportunities in India. For more information, visit our website at cies/webinar.
The application deadline is August 2, 2010. U.S. citizenship is required. For more information, visit our website at cies or contact us at scholars@.
Victoria Lardner
Outreach and Public Affairs
Institute of International Education
Department of Scholar and Professional Programs
Council for International Exchange of Scholars
3007 Tilden St. NW, Suite #5L
Washington, DC 20008
202-686-4000 | 202-362-3442
scholars@ |
Job Opportunities
28. Professor of Creative Arts
Strategic Professorships
In 2010, Flinders University (Australia) will be making a number of key professorial appointments and now seeks expressions of interest from highly qualified and motivated individuals who want to be part of this important strategic initiative.
As a scholar of international standing, you will have an established track record of high quality research in your area of expertise and a proven commitment to excellence in both research and teaching. You will also be able to demonstrate experience in providing academic leadership and have an ability to stimulate others to publish, generate income and influence policy.
Your appointment will sharpen Flinders’ research profile and build critical mass by strengthening key activities in areas of particular research interest including, but not limited to:
* Biomedical Engineering
* Cancer
* Creative Arts
* Education
* Environment (including water)
* Indigenous Health
* Psychology
Energy, vision and an outstanding record in research (demonstrated by published work in top-ranked international journals and significant research grant
success) are essential. Evidence of credibility with research councils, and links with industry and government bodies are an advantage.
Appointments will be on a continuing basis, with an attractive remuneration package.
To discuss your interest in this outstanding career opportunity, contact Professor David Day, Deputy Vice-Chancellor (Research) without delay.
Phone: +61 8 8201 2683
Email: david.day@flinders.edu.au
--
Karen Vered, PhD
Head, Department of Screen & Media
Flinders University
260 Humanities Bldg.
GPO Box 2100
Adelaide 5001
South Australia
(61) 8 8201 3198 phone
(61) 8 8201 3635 fax
________________________________________________________________
29. Lecturer/Senior Lecturer in Film (1.0 FTE) x 2 Posts, Roehampton University, Department of Media, Culture, and Language
The Film programme within the Department of Media, Culture and Language at Roehampton University invites applications from suitably qualified candidates for two full-time (1FTE) without-term lectureships to complement the well-established Film team effective 1st September 2010. The successful candidates will have the ability to teach core introductory undergraduate modules in cinema history and criticism, film narrative and aesthetics, and textual analysis. An ability to teach in a range of other areas of film studies such as film theory, national cinemas, new media technologies, film adaptation, and silent cinema is also essential. An ability to teach in more specialised areas of film studies such as film journalism, film festival programming, and screenwriting, and/or the potential to contribute to the practical side of the BA Film programme is desirable. A completed or nearly- completed PhD, together with evidence of a track record of high quality research and/or very str! ong research potential, are essential.
Closing date: 21st April 2010
Interview date: Week commencing Monday 10th May 2010
For full details, see:
Dr Paul Sutton
Head of Media, Culture and Language
Roehampton University
London
SW15 5PH, UK
Tel.: +44(0)20-8392-3870
________________________________________________________________
30. Two positions starting Fall 2010, Univ of Arizona
1) Visiting Assistant Professor -- Media Industries
The School of Media Arts seeks an academic non-tenure-eligible Visiting Assistant Professor to teach media industries, starting in August of 2010. The successful candidate will join 11 faculty, several adjunct faculty, and 5 professional staff, be able to teach with distinction in the School's producing curriculum and participate in service activities as assigned.
For further info and application instructions, go to , Job #44921
2) Producer in Residence
The School of Media Arts seeks a Professor-of-Practice (Film/TV
Producer-in-Residence) for a non-tenure track renewable academic appointment, starting in August of 2010. The successful candidate must have the ability to teach, full-time in residence, in a program that bridges the academic and professional worlds of film and television, must have a strong record as a Creative Executive in the film/TV industry, be able to teach with distinction in the School's producing curriculum, and maintain an active professional profile while becoming part of the academic community.
For further info and application instructions, go to , Job #44923
As of July 1, 2010, Media Arts will be part of the new School of Theatre, Film & Television. Both of these positions will have the opportunity to contribute to the development of programs in this new School from its inception.
________________________________________________________________
31. JOB POSTING: Lecturer in Women, Gender, and Sexuality Studies
*The Committee on Degrees in Studies of Women, Gender, and Sexuality is
seeking applications for a Lecturer to teach up to two courses during
the '10-'11 academic year. *
Experience in LGBTQ history, Ethnic Studies, and/or intellectual focus
outside the United States preferred. Applicants must have completed all
requirements for the Ph.D. by the start of academic year 2010-'11.
Please submit a letter of application describing courses you would be
interested in teaching, an updated C.V., sample syllabi, and the names
of three references to:
Caroline Light
Director of Studies
Program in Women, Gender, and Sexuality Studies at Harvard
032 Boylston Hall
Cambridge, MA 02138
Preference given to applications received before *March 1, 2010*.
--
Amy N. Parker
Program Coordinator
Committee for Degrees in Studies
of Women, Gender, and Sexuality
Harvard University
G30 Boylston Hall
Harvard Yard
Cambridge, MA 02138
617-495-1448 (phone)
617-495-9855 (fax)
aparker@fas.harvard.edu
_______________________________________________________________
32. Academic Job Posting: Associate Professor in Cinema Studies, University of Toronto Mississauga
We would like to bring your attention to a new Associate Professor position in Cinema Studies at the University of Toronto Mississauga. You will find the posting below and online at:
As a respected leader in this academic field, we ask that you please consider passing this announcement along to any of your colleagues and/or former students who may be potential applicants for this position.
Thank you.
Associate Professor, Cinema Studies
Institute of Communication and Culture/Department of Visual Studies University of Toronto Mississauga
The Institute of Communication and Culture at the University of Toronto Mississauga (UTM) invites applications for a tenure stream appointment at the rank of Associate Professor. The expected start date of the position is July 1, 2010. The successful candidate will be appointed to the newly proposed Department of Visual Studies at UTM and also have a graduate appointment in one of the tri-campus departments.
We are seeking a candidate with an ability to teach foundational courses in global cinema and who demonstrates research and teaching excellence in his/her area of specialization. A general knowledge of contemporary cultural theory is required in addition to a sound grasp of film theory and wide-ranging interests in global cinema studies. The successful candidate will help to revise the undergraduate minor program and to design the curriculum for a new undergraduate major program, and previous administrative experience would therefore be beneficial. Evidence of excellence in teaching and research is necessary. Salary will be commensurate with qualifications and teaching. Ph.D. required.
With the transformation of the Centre for Visual and Media Culture and in alliance with the Blackwood Gallery, the Department of Visual Studies at UTM is scheduled to begin operation next year, serving as the academic home to undergraduate degree programs in Art History, Art and Art History, Visual Culture and Communication, and Cinema Studies. In addition to teaching undergraduate courses in the new Department, the successful candidate will potentially teach in the M.A. program of the Cinema Studies Institute and/or in another tri-campus graduate department in the School of Graduate Studies (e.g., Art, French, English, etc.). Such graduate teaching and supervision will be located at the St. George campus of the University of Toronto.
We strongly encourage you to submit your application online at:
If you are unable to apply online, please submit your application and other materials to the following address:
Professor Louis Kaplan
Chair, Cinema Studies Search Committee
Institute of Communication and Culture (ICC)
Room 3030 CCT Building
University of Toronto Mississauga (UTM)
3359 Mississauga Rd N
Mississauga, ON L5L 1C6
iccsearch@utoronto.ca
Applications should include a CV, a statement outlining current and future research interests, three writing samples (published or unpublished), and materials relevant to teaching experience. Applicants should ask three referees to send hardcopy, signed letters directly to the address above. All materials must be received by February 15, 2010.
The University of Toronto is strongly committed to diversity within its community and especially welcomes applications from visible minority group members, women, Aboriginal persons, persons with disabilities, members of sexual minority groups, and others who may contribute to the further diversification of ideas.
All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.
Websites: ; ;
--
Institute of Communication and Culture
CCT Building, Room 3030
University of Toronto Mississauga
3359 Mississauga Rd North
Mississauga, ON L5L 1C6
Phone: 905-569-4352 Fax: 905-569-4786
iccsearch@utoronto.ca
________________________________________________________________
33. Digital Film Production Position
The Department of Communication at Georgia State
University in Atlanta invites applicants for an anticipated lecturer position in digital filmstyle and/or new media production to begin in August 2010 pending budgetary approval. Lecturer positions are teaching and service-focused, annually renewable, connect to a potential promotion path, eligible for annual merit increases, and connect to a full benefits package. The position will include teaching undergraduates and M.A. students in film/video production and film studies (e.g., history, aesthetics, generic traditions, national cinemas), with a connecting service responsibility to coordinate departmental support for labs and production facilities. Terminal degree required. Applications should include a letter of application and CV, transcripts, three letters of recommendation, and evidence of teaching effectiveness. An offer of employment will be conditional upon background verification. A review of applications will begin December 15, 2009. Georgia State University is an Equal Opportunity/Affirmative Action employer. Women, minorities, and candidates from other traditionally under-represented groups are especially encouraged to apply. Address applications to Dr. Greg Smith, Search Chair, Department of Communication, Georgia State University, 663 One Park Place South, Atlanta, GA 30302-4000.
Greg M. Smith
Professor
Moving Image Studies Program
Department of Communication
Georgia State University
Office: 1052 One Park Place
(404) 413-5605
Fax: (404) 413-5634
Email: gsmith@gsu.edu
Mailing address:
Department of Communication
Georgia State University
P.O. Box 4000
Atlanta, GA 30302-4000
For Courier and Overnight Services (FedEx, UPS, etc.): Department of Communication One Park Place South Suite 1052 Atlanta, GA 30303
________________________________________________________________
34. Full Time Summer Teaching Opportunities
|Summer Teaching Opportunities |
|The Institute of Reading Development is seeking candidates for summer 2010 teaching positions. We seek applicants with an |
|undergraduate degree or higher from any discipline. We provide a paid training program and comprehensive on-going support. |
|Summer teaching positions with the Institute offer the opportunity to: |
|Earn more than $6,000 during the summer. Teachers typically earn between $525 and $700 per week while teaching. |
|Gain over 500 hours of teacher-training and teaching experience with a variety of age groups. |
|Help students of all ages develop their reading skills and ability to become imaginatively absorbed in books. |
|The Institute is an educational service provider that teaches developmental reading programs in partnership with the continuing|
|education departments of more than 100 colleges and universities across the United States. Our classes for students of all ages|
|improve their reading skills and teach them to experience absorption in literature. |
|We hire people who: |
|Have strong reading skills and read for pleasure |
|Have a Bachelor's Degree in any discipline |
|Are responsible and hard working |
|Have good communication and organizational skills |
|Will be patient and supportive with students |
|Have regular access to a reliable car |
|We welcome you to submit an online application and learn more about teaching for the Institute at our website: |
| |
|If this link does not work, please copy and paste it into your browser. |
|This Summer Reading Programs Publication was sent by the Institute of Reading Development |
|5 Commercial Boulevard Novato, CA, 94949, USA |
Events
35.
Exploring Metaculture with Devil Bunny
Performance by Gigi Otálvaro-Hermillosa
THURSDAY, April 8
Dodd 147 @ 6 pm
Join Devil Bunny in Bondage, AKA Gigi Otálvaro-Hormillosa, for an evening of performance, writing and video works, featuring a diverse cast of characters such as extraterrestrial, feminist heroes, cinematic gorillas in pink-ray, ethnotopic inverted minstrels, and supernatural mestizas that exist along various points of the time-space-culture continuum. The evening will end with an artist talk and Q & A.
Gigi Otálvaro-Hormillosa is a San Francisco-based interdisciplinary performance artist, video maker, cultural activist, curator and percussionist. Originally from Miami, she received her B.A. from Brown University where she created an independent concentration entitled “Hybridity and Performance.” She has collaborated with artists such as Pearl Ubungen, Guillermo Gomez-Peña, Gustavo Vazquez, Elia Arce and Afia Walking Tree. In 2002, she established her own arts organization, (a)eromestiza, which presents cutting edge video and performance works by queer artists of color. Awards include grants from the San Francisco Arts Commission, the Franklin Furnace Fund, and the National Association of Latino Art and Culture, among others. Her work in video, performance and writing has been presented nationally and internationally.
Organized by the UCLA Department of Women's Studies. Cosponsored by the Asian American Studies Center, the Center for the Study of Women, Samahang Pilipino, Kabalikat, Queer Alliance, and the Chicana/o Studies Research Center.
________________________________________________________________
36. Teaching with Technology workshops
The schedule for the Teaching with Technology Workshops is attatched to this e-mail.
________________________________________________________________
37. Archive Films: Bogart, Brazilian, Hepburn, Romanian!
|UCLA Film & Television Archive and the Hugh M. Hefner Classic American Film Program present |
|HERE'S LOOKING AT YOU, HUMPHREY BOGART |
|Friday, March 5 – Saturday, April 10 |
|Humphrey Bogart continues to exert a deep and lasting influence on the cinematic imagination and popular culture around the |
|world. As part of this special retrospective, Archive supporter Hugh Hefner, a cultural icon in his own right, has selected |
|his five essential Bogart films—and will appear in person to introduce one of them. Read more » |
|IN PERSON: Hugh Hefner, with The Maltese Falcon (1941) on March 25. |
| |
|ARCHIVE TREASURES: KATHARINE HEPBURN |
|Monday, March 8 @ 7:30 p.m. |
|Following a screening of A Bill of Divorcement (1932, George Cukor), director Mark Rydell (On Golden Pond), film critic Kevin |
|Thomas, UCLA Professor Robert Rosen and Charlotte Chandler, author of the new book "I Know Where I'm Going: Katharine Hepburn, |
|A Personal Biography," will discuss Hepburn's unique career. Read more » |
|IN PERSON: Charlotte Chandler, Mark Rydell, Kevin Thomas, Robert Rosen. |
| |
|BRAZILIAN FILMS OF THE 1950s |
|Friday, March 12 – Sunday, March 21 |
|The 1950s was a period of optimism in Brazil, and as part of a new focus on modernization, self-reliance, and cultural pride, |
|the Brazilian film industry sought to establish a studio system on Hollywood's model. The Archive presents a unique |
|opportunity to rediscover Brazilian popular cinema from the 1950s with 35mm prints from the Cinemateca Brasileira in São |
|Paulo. Read more » |
| |
|FAMILY FLICKS |
|Sunday, March 21 @ 11 a.m. / Sunday, April 18 @ 11 a.m. |
|The UCLA Film & Television Archive and the Hammer Museum have teamed up for a matinee screening series of new and classic |
|family-friendly films from around the world. Read more » |
|On March 21, experience Watership Down (1978), writer-director Martin Rosen's powerful adaptation of Richard Adam's allegorical|
|children's novel. |
|On April 18, we'll screen Time Bandits (1981), an astounding adventure through myth and history from the fertile imagination of|
|director Terry Gilliam. |
|FREE Admission! |
|Funding for this series was provided by the UCLA Arts Initiative |
| |
|ARCHIVE PREVIEW: HARMONY AND ME |
|Wednesday, March 24 @ 7:30 p.m. |
|Harmony and Me (2009, Bob Byington), is a "mumblecore" tale of heartbreak and recovery. The film insightfully mines the messy |
|stuff of relationships and displays a knack for both sharp one-liners and boiling comic situations down to their essence. Read |
|more » |
|IN PERSON: filmmaker Bob Byington. |
| |
|THE MOVIE THAT INSPIRED ME: DAVID FINCHER |
|Tuesday, March 30 @ 7:30 p.m. |
|Often imitated but never duplicated, "The Movie That Inspired Me" is an occasional series in which leading directors, actors, |
|writers and other filmmakers present films that have influenced their life and art. The Archive's Honorary Chairman and series|
|curator, Curtis Hanson, hosts. |
|Tonight's guest, David Fincher combines virtuoso style with a consummate mastery of film technology in films such as Se7en |
|(1995), Fight Club (1999) and Zodiac (2007). Most recently Fincher was nominated for an Oscar for The Curious Case of Benjamin|
|Button (2008). Fincher has selected Butch Cassidy And The Sundance Kid (1969, George Roy Hill) for the evening and we will |
|screen a print restored by 20th Century Fox and the Academy Film Archive. Read more » |
|IN PERSON: David Fincher, filmmaker Curtis Hanson (host). |
| |
|CONTEMPORARY ROMANIAN CINEMA |
|Friday, April 2 – Monday, April 19 |
|Fueled by a powerhouse of young talents who came of age during and after the Revolution of 1989, recent Romanian film, lauded |
|for its austerity, dark humor and engagement with the Communist past, has garnered numerous top prizes at international |
|festivals. Romania's international success bespeaks a compelling fervor for cinema that is evident in this selection of recent|
|festival favorites. Read more » |
|IN PERSON: filmmaker Ioana Uricaru (April 2); actor Jamie Elman (April 18). |
| |
|UCLA Film & Television Archive, the UCLA Asia Institute and the UCLA International Institute's Human Rights Film Series present|
| |
|ARCHIVE DOCUMENTARY SPOTLIGHT |
|Friday, April 23 @ 7:30 p.m. |
|The Archive is pleased to announce a new showcase for international documentaries, especially those focusing on contemporary |
|social issues. Please join us for Tibet in Song (2008, Ngawang Choephel), which tells of the repression of Tibetan traditional|
|music under Chinese occupation and of the many fighting to preserve Tibetan culture. Read more » |
|IN PERSON: filmmaker Ngawang Choephel. |
|Free Admission! |
| |
|UCLA Film & Television Archive, in association with Los Angeles Filmforum, presents |
|INTERSECTIONS: POETRY/FILM |
|Saturday, April 24 & Sunday, April 25 |
|In the 20th century, avant-garde and documentary filmmakers searching for new cinematic forms frequently turned to poetry as a |
|source of inspiration and to poets themselves as collaborators. As the UCLA campus welcomes the 2010 Los Angeles Times |
|Festival of Books, the Archive presents two nights of films exploring the intersection of mid-century poets and filmmakers and |
|the cross-pollinization between these artists of the page and screen. Read more » |
| |
|THE LEGACY PROJECT SCREENING SERIES |
|Friday, April 30 @ 7:30 p.m. |
|The Legacy Project is a collaborative effort bringing together the Archive and Outfest to preserve and restore queer film and |
|video. The 5th Anniversary celebration of the Project continues with Michelle Johnson's rollicking documentary Triple X |
|Selects—The Best Of Lezsploitation (2007) and director Barbara Peeters' lezsploitation classic Just the Two of Us (1975). Read |
|more » |
|IN PERSON: filmmaker Michelle Johnson. |
| |
|VENUE |
|The Billy Wilder Theater in Westwood Village, |
|10899 Wilshire Blvd., Los Angeles, CA 90024 |
|(corner of Wilshire & Westwood Blvds, courtyard level of the Hammer Museum). |
|TICKETS |
|FREE admission to "Family Flicks" on March 21 and April 18; |
|and "Archive Documentary Spotlight" on April 23. |
|Advance tickets for other programs |
|are available for $10 at cinema.ucla.edu. |
|Tickets are also available at the Billy Wilder Theater |
|box office starting one hour before showtime: |
|$9, general admission; $8, students, seniors and UCLA Alumni Association members with ID. |
| |
|PARKING |
|At the Billy Wilder Theater: |
|after 6 p.m., $3 in the lot under the Billy Wilder Theater. |
|Enter from Westwood Blvd., just north of Wilshire. |
|Before 6 p.m., $3 for the first three hours with Museum validation. |
|INFO |
|cinema.ucla.edu / 310.206.FILM |
38. "A Fugue and a Waltz: Performance, Technology,
and [Post-] Postmodern Engagement"
April 13, 2010
The Los Angeles Division of the
Academic Senate of the University of California
cordially invites you to attend the
108th UCLA FACULTY RESEARCH LECTURE
"A Fugue and a Waltz: Performance, Technology,
and [Post-] Postmodern Engagement"
to be given by
Robert S. Winter
Professor of Music
Presidential Chair in Music and Interactive Arts, UCLA
Tuesday, April 13, 2010
Lecture at 3:00 p.m.
Schoenberg Hall, UCLA Schoenberg Music Building
Reception immediately following
RSVP for reception by Monday, April 5, 2010
E-mail: specialevents@support.ucla.edu
Inquiries: (310) 794-6241
Click here for web-based invitation
________________________________________________________________
39. A Special Invitation to the American Civility Tour with NEH Chairman Jim Leach
April 7, 2010
Scott L. Waugh
Executive Vice Chancellor and Provost
and the
College of Letters and Science, School of the Arts and Architecture,
and School of Theater, Film, and Television
invite you to attend a lecture by
Jim Leach
Chairman, National Endowment for the Humanities
as he continues his American Civility Tour
Chairman Leach was appointed to his position by President Barack Obama in August 2009,
following 30 years of service in the U.S. House of Representatives
Wednesday, April 7, 2010
6:30 p.m.
Fowler Museum at UCLA
Reception immediately following program
RSVP by Wednesday, March 31, 2010
Email: eventrsvp@support.ucla.edu
Inquiries: (310) 825-4868
Parking is available for $10 in Parking Structure 4
Click here for a map
________________________________________________________________
40. 2010 Jay Sanders Film Festival
April 15, 2010
Colleagues:
Here's a friendly reminder to please encourage your students to submit their films for consideration for the 2010 Jay Sanders Film Festival. The JSFF screens student films from across the country as part of the Movie Gallery Student Film Competition. We accept all kinds of films, and have separate competitions for university and high school students.
More information can be found here:
You may also contact me with any questions!
Thanks,
Deron Overpeck, Ph.D.
Assistant Professor, Radio, Television and Film Program Department of Communication and Journalism Auburn University
_______________________________________________________________
41. QUIXOTE at UCLA
April 16, 2010
QUIXOTE, a Real-Time Animation film, with Michael York as the Voice of Don Quixote, will be screened here at home.
April 16, 2010 Friday at 4pm J. Bridges Theatre, Melnitz Hall, UCLA, Free
April 17, 2010 Saturday, Beverly Hills Film Festival, 11-1pm, Clarity Theatre, Beverly Hills, CA (Most likely will sell out) buy tickets on website:
(6th film on list)
“I thought the film was a brilliant achievement. I liked the selection of the scenes, the little boy, the sheep, the Merchants, and most of all the Puppets- that’s for me the highlight— to see Puppets doing Puppets is just wonderful. The technical effects and the idea that Don Quixote himself comes to realize that he was his own enemy all along is really very clever. And to pull all that off in 30 minutes is just darn remarkable. Cervantes would have loved it. “ —Dr. Howard Mancing, President,Cervantes Society of America
Purdue Professor
View trailer on site:
Hope many of you can come, thanks
Steven Ritz-Barr
42. Invitation Free Pierrot-Karina Master Class COLCOA 2010
April 21st, 2010 at 2:00pm
The first COL(COA master class will take place on April 21st, 2010 at 2:00pm in the Renoir theatre, at the Directors Guild of America, 7920 Sunset Blvd., Los Angeles, CA 90046.
The master class will consist of a historic digital screening of the restored film PIERROT LE FOU, written and directed by Jean-Luc Godard, followed by a discussion with Cinémathèque Française director Serge Toubiana and actress/New Wave icon Anna Karina. The screening will be an international premiere, as the restored film has only been screened digitally at the Cannes Film Festival and the Paris-based Cinémathèque Française.
This screening is open to all students of a higher education institution. Admission is free. COL(COA is not responsible for transportation and liability insurance outside of the DGA building.
Professors may reserve seats by contacting us at school@ and mention:
- “master class reservation” in the title of the email
- Where they teach
- How many students plan to attend
Students who wish to reserve individually may email their information at school@ and mention:
- Which school they attend
- The name of a relevant class and professor
The 14th annual COL(COA Festival, “A Week of French Film Premieres in Hollywood” will take place April 19-25, 2010. For more information go to
This educational program is produced by COL(COA, in association with ELMA (European Languages and Movies in America), with the support of California Language Teachers Association (CLTA/MCLASC), American Association of Teachers of French-Southern California (AATF-SC) and the Film & TV Office of the French Embassy in Los Angeles. In turn, COL(COA is sponsored by the Franco-American Cultural Fund (FACF), an international entertainment partnership between the Directors Guild of America (DGA), the Motion Picture Association (MPA), Société des Auteurs, Compositeurs, et Éditeurs de Musique (SACEM), and Writers Guild of America, West (WGAW).
________________________________________________________________
43. UCLA QUEER STUDIES CONFERENCE 2011
Friday and Saturday, October 8-9, 2010 Royce Hall
University of California – Los Angeles
This year’s UCLA QUEER Studies Conference welcomes talks or pre-planned panels dealing with any of the following diverse topics/questions/concerns:
• Queering trans-nationalism; queer & trans-nationalism
• Queer Globalization: On cultural and/or economic exchanges
• Queer politics and theories of migrations
• Queer translations: How “to do queer studies” in non-US contexts
• Between Sex and Gender: On the politics and poetics of trans/inter sexuality
• Does queer have a race; is race queer?
• The future of queer activism
• The ethical impetus of queer criticism
• Queer embodiment: Performance, Affect, Style
Proposals for individual papers should take the form of abstracts of not more than 300 words; panel proposals of less than 500 words and should include both a list of participants and paper abstracts.
Since one of the goals of the conference is to encourage the exchange of ideas across academic generations, we invite presentations by graduate students, undergraduate students and faculty scholars. Submissions from undergraduates should be accompanied by a brief letter from a faculty member highlighting the strengths of both the student and the student’s proposal.
Deadline for Proposals: June 25th 2010
Send abstracts and C.V.s to
lgbts@humnet.ucla.edu
Contact: Catharine McGraw (310) 206-1145 and email above
Catharine McGraw
Student Affairs Officer
Writing Programs & LGBTS
(310) 206-1145
146 Humanities Building
_______________________________________________________________________
44. Need Alumni authors as panelists @ Festival of Books
Dear Colleague,
Please see below request for faculty or alumni authors who are available and interested in participating on panels in the LA Times Festival of Books April 24-25, 2010. Please reply back to me ASAP if you are interested/avail w/ the following info: name/brief bio/book titles/brief description. Thanks, Teri Bond
Teri Bond
Director of Marketing and Communications
UCLA School of Theater, Film and Television
mail: Box 951622, LA, CA 90095-1622
delivery: Suite 202, East Melnitz, 225 Young Drive, UCLA
teri@tft.ucla.edu
o: 310-206-3235
m: 310-738-2077
tft.ucla.edu
The Festival of Books will take place on April 24-25. This year, the Times has given us a place at the table for planning panels etc. I need to know (quickly) if there are faculty/alumni in your area that are authors that you hope might be included. If so, do you know if they are definitely available/interested in participating? I would need names, brief bios and the recent books written with a brief description.
Their process is a fluid one – as new authors become available, they look to see if they might fit in a panel that's already being planned, or how something might be tweaked to include them. Obviously, with so many great authors out there, there isn't room for everyone that’s available, but this is a nice change in the process and I want to make sure we have an opportunity to take advantage of it.
Thanks all,
Carol
45. Fulbright Workshops
Dear SAOs,
Attached you will find a flyer for the Graduate Division’s upcoming Fulbright Fellowship Workshops.
Please distribute the flyer to all Graduate Students and Graduating Seniors.
Feel free to contact me with any questions, comments or concerns.
Thank you always,
Jozen
Jozen Tamori Gibson
Diversity Initiatives & Fellowships Coordinator
UCLA Graduate Division: Outreach, Diversity & Fellowships
1252 Murphy Hall, Box 951419
Los Angeles, CA 90095-1419
o: 310.206.8743 e: jgibson@gdnet.ucla.edu
f: 310.825.8099 (cover sheet needed)
gdnet.ucla.edu
Programs
46. Producers Program Schedule Spring 2010
[pic]
UCLA Producers Program
Schedule Spring 2010
PLEASE READ THIS FIRST:
ENROLLMENT INSTRUCTIONS
Please note that all Producers Program (PP) classes require PRE-ENROLLMENT. In order to attend any PP classes you must either enroll in the class directly or request a PTE number and enroll in the respective course PRIOR to the first day of class.
ENROLL WITHOUT PTE NUMBER
The following courses are now open to enrollment for FTV graduate students: FTV 294B, 297A and 289C. Please go to URSA to enroll.
ENROLL WITH PTE NUMBERS
All other courses require PTE numbers. Unless indicated otherwise, please send an email request to producers@tft.ucla.edu. Include the course number in the subject line. Please include your name and student ID in the body of the email. The TA for the class will respond with the PTE number. Please enroll before the first day of class.
MONDAY
FTV 294B. Tom Garvin. Entertainment Law, Business Practices, & Negotiation Strategies
Time: Monday, 7-9:50 PM
Location: Public Affairs 1246
OPEN TO ALL FTV – NO PTE NUMBER NEEDED
This course surveys the agreements used in a studio production, including agreements for literary submission and option, artist employment, director employment, writer collaboration, co-production, music rights license. Weekly lectures reference actual studio agreements to illuminate the potential consequences of each transaction. Lectures and course assignments include negotiation strategy exercises.
Instructor:
Tom Garvin has practiced law since 1979. He has served as a producer or executive producer on several international co-productions and has represented films that have won every major international film award.
TUESDAY
FTV 297A. Frederick Greene. “New Media Marketing 1: The Trailer”
Time: Tuesday, 7-9:50 pm
Location: Royce 162
OPEN TO ALL FTV – NO PTE NUMBER NEEDED
For more than nine decades, movie trailers have creatively and effectively sold feature films. As marketing and advertising, the movie trailer combines the one-two punch of a free sample presented to a repeat customer. This course is an introduction to the commercial art of the movie trailer and will study the current practice and industrial context of movie advertising. Students will be encouraged to edit their own movie trailers or compose visual presentations from found footage for their own projects.
WEDNESDAY
FTV 289C. Cathy Schulman/Rich Klubeck/Rena Ronson. “Independent Spirit”
Time: Wednesday, 7-9:50 pm
Location: Public Affairs 1246
OPEN TO ALL FTV – NO PTE NUMBER NEEDED
This course will offer key insights into the financing and distribution of the independent or “specialty” film. Instructors and frequent guest speakers will discuss five case studies of recent independent movies and examine how they were packaged, financed and produced. Past guests have included Jim Jacks (producer, “The Mummy 1 & 2”), Ron Yerxa (producer, “Little Miss Sunshine”), Geoff Stier (SVP, Paramount Vantage), Steve Gilulua (President, Fox Searchlight), Bob Berney (President, Picturehouse), and many others.
Instructors:
Cathy Schulman is the Oscar-winning producer of “Crash” and President of Mandalay Pictures. Among the movies she has produced are the documentary “Darfur Now,” “The Illusionist,” “Thumbsucker” and “Sidewalks of New York.”
Rena Ronson and Rich Klubeck are Co-Heads of the Independent Film Group at United Talent Agency where they focus on film finance and film packaging for independent and co-financed studio features as well as foreign sales and distribution strategies. Ronson was most recently co-head of William Morris Independent. Before joining UTA Klubeck was a producer (GARDEN STATE).
THURSDAY
FTV 296B. Ron Bernstein. “Who Represents Me: The Role of the Agent”
Thursday, 7-9:50 pm
Public Affairs 2270
OPEN TO ALL FTV – PLEASE REQUEST PTE NUMBER
This advanced course will look at how a book agent operates and an agent’s strategies in selling material. It will also look at the value of underlying rights, books, articles, true stories. There are thousands of books published every year and there are an endless number of true stories in the newspapers, on television and on cable, so why go after a particular story?
Instructor:
Ron Bernstein heads the Book Department at ICM. Clients include Cormac McCarthy and others.
--------------------------------------------------------------
FTV 498. Ben Harris. The Professional Internship Class
No class meetings.
This independent study course allows graduate students to receive units while interning in the entertainment industry. Course work consists of research on the field in which you are working using the trades, internet, and informational interviews. Students complete weekly journals documenting their work at their companies and the results of their research. The syllabus, learning agreement and liability waiver are available at the TFT Internship Office in 203 East Melnitz. For assistance in locating an internship visit: tft.ucla.edu/internships (4, 8, 12 units)
________________________________________________________________
47. Master of Arts in Literary and Cultural Studies (MALCS)
*Master of Arts in Literary and Cultural Studies (MALCS)*
Designed to introduce students to a wide range of cultural texts and to explore historical and contemporary issues within the context of modernity and globalization, *this two-year part-time MA programme offered by The Department of Comparative Literature* at the University of Hong Kong consists of eight courses taught over two evenings per week and a capstone project/dissertation at the end of the programme. Our courses adopt an interdisciplinary, cross-cultural, comparative approach emphasizing critical thinking about global culture. We analyze films, literary works, and other cultural texts through the theoretical perspectives of post-structuralism, deconstruction, psychoanalysis, feminism, Marxism, and post-colonial criticism. We have a particular commitment to China-West studies, the critical examination of the impact of colonialism on global culture, and to the exploration of Hong Kong culture, ranging from its literature and cinema to its constructed urban environment and beyond.
*Courses may include:*
Cultures between Art and Industry
Fabrications of Identity
The Art and Politics of Narrative
From Colonialism to Globalization
Modernity and its Paths
Questioning Sexual Difference
Hong Kong and Beyond
Dissertation Seminar
Postmodernism
Film and Popular Culture
Law, Literature and Film
Contemporary Chinese Societies through Literature and Film
*More information*:
Detailed information of the course and the Department of Comparative Literature can be viewed at
*Application:*
The regulations and application process to the University of Hong Kong can be viewed at URL:
The closing date for application is *March 1, 20**10*.
*Tuition Fee:*
$70,000 paid in two installments in two years
*Enquiries:*
General Enquiry No.: 2859-2760 & 2859-2869
Email: Dr. Gina Marchetti, Programme Chair (marchett@hkucc.hku.hk)
Ms. Fanny Chan, Programme Assistant (waifan.chan@)
_____________________________________________________________.
48. CBS Diversity accepting applications
CBS DIVERSITY INSTITUTE
WRITERS MENTORING PROGRAM
NOW ACCEPTING APPLICATIONS FOR
THE 2010 - 2011 SESSION
Applications are now being accepted for the eighth session of the CBS Diversity Institute's Writers Mentoring Program. Submission period is March 1, 2010 – May 3, 2010.
The Writers Mentoring Program helps aspiring writers to break in and move up in the business. Each participant is matched with two mentors - one is a senior level writer/producer on a CBS or CW primetime series, the other is a CBS, CW or Paramount TV creative executive. Participants meet regularly with their mentors for advice and support on improving their writing skills as well as career advice and guidance.
In its six years the Program has launched 31 careers in episodic television.
The primary focus of CBS' Diversity Institute Writers Mentoring Program is to provide access and networking opportunities for talented and motivated diverse writers – with a focus on writers of color. The program is based in Los Angeles. It begins in September 2010 and runs through May 2, 2011.
The Writers Mentoring Program is not employment and there is no monetary compensation. It is, instead, a structured program of career development, support, and personal access to executives and decision-making processes; with the goal of preparing aspiring writers for later employment opportunities in television.
For more information and an application visit and click on the Diversity tab.
New Publications & Releases
49. Studies in French Cinema News (two new publications/Reader-Senior Lecturer post)
1. Yosefa Loshitzky, /Screening Strangers: Migration and Diaspora in
Contemporary European Cinema
/
2. /Journal for Cultural Research/ (14:1, January 2010): Catherine
Breillat: Women, Sex, Violence, Cinema
3. Reader/ Senior Lecturer in French (Leicester)
**************************************
1. Yosefa Loshitzky, Screening Strangers/: Migration and Diaspora in
Contemporary European Cinema
"Loshitzky makes the crucial link between the political screening of
new immigrants by European governments and societies with the cinematic
screening of these immigrants by European directors, all the while
offering sensitive and thick readings of the films." ---Hamid Naficy,
/author of An Accented Cinema: Exilic and Diasporic Filmmaking / Yosefa Loshitzky challenges the utopian notion of a post-national "New
Europe" by focusing on the waves of migrants and refugees that some view
as a potential threat to European identity, a concern heightened by the
rhetoric of the war on terror, the London Underground bombings, and the
riots in Paris's banlieues. Opening a cinematic window onto this
struggle, Loshitzky determines patterns in the representation and
negotiation of European identity in several European films from the late
20th and early 21st centuries, including Bernardo Bertolucci's
/Besieged,/ Stephen Frears's /Dirty Pretty Things,/ Mathieu Kassovitz's
/La Haine,/ and Michael Winterbottom's /In This World, Code 46,/ and
/The Road to Guantanamo./
**************************************
2. Journal for Cultural Research (14:1, January 2010):Catherine
Breillat: Women, Sex, Violence, Cinema, Edited by Richard Rushton and
Lynsey Russell-Watts
'Introduction': Richard Rushton and Lynsey Russell-Watts
'Neither a Wife nor a Whore: Deconstructing Feminine Icons in Catherine
Breillat's /Une vieille maîtresse': /Douglas Keesey
/À ma soeur!:/ Erotic Bodies and the Primal Scene Reconfigured': Emily
Fox-Kales
'Contested Interactions: Watching Catherine Breillat's Scenes of Sexual
Violence': Catherine Wheatley
'Sexual Cartographies: Mapping Subjectivity in the Cinema of Catherine
Breillat': Adrienne Angelo
'Desublimating Desire: Courtly Love and Catherine Breillat': Lisa Coulthard
'Marginalized Males? Men, Masculinity and Catherine Breillat': Lynsey
Russell-Watts
'Acknowledgement and Unknown Women: The Films of Catherine Breillat':
Richard Rushton
'Breillat's Time': Sarah Cooper
**************************************
3. Reader/ Senior Lecturer in French, School of Modern Languages,
University of Leicester Ref: AHL00042
Applications are invited for a Readership / Senior Lectureship in French
in the School of Modern Languages, University of Leicester. Applicants
will have extensive research and teaching experience which is supported
by a relevant PhD. The successful candidate will have a native or
near-native command of French. The person appointed will have a strong
commitment to teaching and evidence of sustained research achievement.
Research interests should focus on contemporary cultural studies,
including film and literary theory. Closing date for applications:
midnight on 6 April 2010. The post is available from September 2010.
Informal enquiries are welcome and should be made to Professor Sharon
Wood by email on slw26@le.ac.uk
or by telephone on 0116
252 2683. For further information and to apply on-line, please visit the
following website:
--
Phil Powrie
Professor of Cinema Studies
School of Modern Languages
Jessop West
University of Sheffield
1 Upper Hanover Street
Sheffield S3 7RA Email: p.p.powrie@sheffield.ac.uk
Studies in French Cinema:
50. CHROMA: A Book of Color
A meditation on the color spectrum by Britain's most controversial filmmaker
CHROMA: A Book of Color
By Derek Jarman
University of Minnesota Press | 160 pages | 2010
ISBN 978-0-8166-6593-8| paperback | $18.95
"Chroma, with its rich blend of the philosophical and the personal,
the arcane and anecdotal, is a further reminder of Jarman's artistic
vision." -The Times (London)
"Chroma is a book with ambitions to be a poem, a diary, an
autobiography, a gay manifesto, a contribution to art history, a
confession, and a color chart. . . . In Chroma, white is the color of
the cliffs of Dover, as well as a young man's sperm. . . . Red is the
color of itchy blotches that AIDS sufferers want to scratch, the
color of blood, stop signs, Mrs. Jarman's lipstick. Blue, as we
already know, is the color of the infinity that awaits the dying
man." -The Sunday Times (London)
One of England's foremost filmmakers, Derek Jarman (1942-1994) wrote
and directed several feature films, including Sebastiane, Jubilee,
Caravaggio, and Blue, as well as numerous short films and music
videos. He was a stage designer, artist, writer, gardener, and an
outspoken AIDS and queer rights activist in the UK and the United
States. He is the author of several books, among them Modern Nature,
available from the University of Minnesota Press.
For more information, including the table of contents, visit the
book's webpage:
51. Iconics 10
The Japan Society of Image Arts and Sciences has just published the
10th issue of Iconics: International Studies of the Modern Image (ISSN
1345-4447), featuring articles by major scholars in English and French
on cinema and other modern image media. The table of contents is as
follows:
Pragmatism and the Interpretation of Films
- Martin Lefebvre
La Fin du Grand Sommeil de l'Introuvable Dame du Lac
- Marc Cerisuelo
Liquid Cinema and the Watery Substance of Vision
- A. L. Rees
Kinodrama and Kineorama: Modernity and the Montage of Stage and Screen
- Okubo Ryo
The "Eternal Virgin" Reconsidered: Hara Setsuko in Contexts
- Kanno Yuka
Strange Bedfellows: Hasumi Shigehiko and Oshima Nagisa on Sex,
Censorship and Cinema
- Ryan M. Cook
Where Did the Bluebird of Happiness Fly?: Bluebird Photoplays and the
Reception of American Films in 1910s Japan
- Yamamoto Naoki
Kneeling on Broken Glass: Psychoanalysis and Japan Film Studies
- Jonathan M. Hall
Iconics is published once every 2 years as the international journal
of the JASIAS and introduces articles in English, French and German.
The Society also publishes the journal Eizogaku twice a year in
Japanese. Iconics features refereed submissions from JASIAS members
and invited articles by major world scholars, as well one translated
article that was selected by the editorial board as the best piece
published in the previous two years in Eizogaku (Okubo Ryo's article
is that piece in Issue 10).
For a list of the contents of previous issues of Iconics, please
consult the JASIAS website:
Inquiries about acquiring single issues of Iconics or starting a
subscription, or about joining the JASIAS (Japan's largest film and
modern image media studies society), can be addressed to the JASIAS
office: jasias@nihon-u.ac.jp
................
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