Movement, a newly-launched NYU-affiliated media studies e-journal is currently seeking submissions for its premiere issue: Movement 1.1: The Future of Cinema
What the "future of cinema" will entail has been an issue hotly debated by filmmakers, critics and scholars alike throughout (and within the various inceptions of) film history. The Soviet montage theorists bemoaned the death of cinema as a visual medium when sound threatened to change it irrevocably; and twenty-five years later, movie producers saw the popularization of television as an equal if not greater threat. Likewise, filmmakers, critics, and scholars today (both optimistically and pessimistically) see new media outlets and technologies like Internet distribution and digital media as the last great wave that will finally obliterate the classical theatrical cinematic experience as we know it. Conversely, film theorist/historians like Thomas Elsasser argue that to call upon a "death of cinema" mistakenly presupposes cinema as a static, pure, and unchanging concept, when history shows that it has been anything but. As cinema has undergone continuous changes in technology as well as adaptations to modern spectatorial practices and new forms of visual media, it has never ceased to modify itself accordingly.
As a journal dedicated towards preparing tomorrow's media scholars for the future of cinema studies, *Movement*ndecries blind speculation regarding the future trajectory of cinema as experience, technology, or object of study (i.e., we are not here to dogmatically debate cinema's death or rebirth). Instead, the premiere issue of this journal seeks papers that aim to interrogate cinema as a concept with respect to changes and advancements in visual media technology and consumption. In tandem, *Movement *asks what the role of cinema studies is and should be with respect to such new technologies and alternative spectatorial outlets.
Papers may address any of the following questions:
What makes other visual media (digital video, Internet/home exhibition, computer-based art, image and text-based websites) "cinematic," and how far, if at all, do theories and formal approaches to cinema apply to these other forms of visual media?
What have been the changing definitions of cinema in film history/film studies history, and how does this context inform any advanced, contemporary definitions of cinema?
Is the theatrical film experience necessary to experience "cinema"?
How do DVD special features, distribution of deleted material, "directors' cuts," or the more recent "democratic" utility of reedited "mash-up" film clips on YouTube (and other sites) challenge the idea of the theatrical film as an authoritative homogenous text? Are these practices in any way revolutionary, or do they have historic predecessors and/or equivalents?
Experiencing various types of visual media simultaneously through multiple screens, frames, or windows all within the computer screen can be argued as a unique type of viewing practice different than viewing via home video or the attention-enveloping movie screen. Does the concept of multiple, simultaneous screens challenge traditional ideas of receiving visual information, and what implications does this have regarding advancements in media literacy?
What are the implications of the transition from analog to digital?
These questions can be treated as mere starting points. Submitted papers need not solely be limited to addressing these specific questions—any proposals related to the subject at large on topics not specifically addressed here are encouraged as well.
Please send 300-400 word abstracts addressed to Landon Palmer at email@example.com by September 22. You will be contacted by September 27 as to whether or not your paper has been chosen for publication.
*Movement* also welcomes abstracts submitted on any topic that that the writer may feel is compatible with the focus of the journal, as it may inspire the subject of an upcoming issue.
Movement mission statement:
Media, as history has shown, has never been a static concept. And as the form and definition of various media continue to change, "media studies" changes as well. *Movement*, simply put, is a journal dedicated towards looking to the future in studies of the moving image. *Movement* aims not only to conceptualize the future of "media," but also to examine how studies in visual media can be adapted to the ever-changing agents, consumers, and distributors of such media.
*Movement *was created by graduate students, and is intended as a voice for scholars of all ages to commentate, analyze, and speculate on the future of media. As audio-visual media becomes more complex and pervasive, understanding such media becomes more essential to perceiving the world around us. *Movement *welcomes papers that aim to develop a progressive understanding of contemporary visual media. This also means rethinking the past, and*Movement* encourages submissions that aim to expand or challenge established studies in order to develop a more complete understanding of the future of visual media.
Thursday, September 11, 2008
Movement, a newly-launched NYU-affiliated media studies e-journal is currently seeking submissions for its premiere issue: Movement 1.1: The Future of Cinema
Mixed Media, Mixed Messages: Media and Mediality in the Eighteenth Century
Call for Papers
The Center for Eighteenth-Century Studies at Indiana University is pleased to announce the eighth Bloomington Eighteenth-Century Workshop, to be held on May 13-15, 2009. The workshop is part of a series of annual interdisciplinary events that has been running since 2002, with 20-30 scholars presenting and discussing papers on a broad topic in a congenial setting.
Our topic for 2009 is "Mixed Media, Mixed Messages". In declaring an eighteenth-century "media revolution" most scholarship has focused on the circulation of new printed forms and the emergence of a public sphere. In this workshop we would like to go beyond well-established narratives of print culture, the effects of the printing press and the history of the book, to consider "the media revolution" - if there was one in the eighteenth century - in a wider sense. We are especially interested in the relationships between media, their differences, their limits, and their cultural, social, and/or political ramifications. How are messages affected when the medium changes? To what extent were eighteenth-century actors/agents/cultural producers aware of mediality and mediation, or of the implications of placing form above content? Did the eighteenth century witness a "media revolution"? How effectively can we, in the twenty-first century, assess the cognitive or affective impact and significance of messages first sent in the eighteenth century (and since transmitted through multiple media)?
Papers might address topics such as:
* the relationship between the textual and the visual
* the eye, the ear, and the voice (also inner voice)
* spatiality and temporality in different media
* the afterlife of Horace's ut pictura poesis
* pragmatic aspects of new media, such as new forms of teaching (e.g. Alphabetisierung), of reading, of circulation, of institutionalization
* intersections of new media with 18th-century religious practices and spirituality
* the global and local consequences of seriality, repetition and synchronicity
* the implications of media for running and experiencing empires
* the effects of media forms on information and narration
* how are media regulated, and how do media change regulation?
* remediation and a heightened sense of immediacy
* money as medium
The workshop format will consist of focused discussion of four to six papers a day, amid socializing and refreshment. The workshop will draw both on the wide community of eighteenth-century scholars and on those working in this field at Indiana University-Bloomington. The workshop will cover most expenses of those scholars chosen to present their work:
accommodations, travel (up to a certain limit), and most meals.
We are asking for applications to be sent to us by Thursday, January 8, 2009. The application consists of a two-page description of the proposed paper as well as a current CV. Please email or send your application to Dr. Barbara Truesdell, Weatherly Hall North, room 122, Bloomington, IN 47405, Telephone 812/855-2856, email firstname.lastname@example.org. Papers will be selected by an interdisciplinary committee.
For further information please refer to our website, http://www.indiana.edu/~voltaire/ , or contact the director of the Center, Dror Wahrman, Dept. of History, Indiana University, Bloomington, IN 47405, email@example.com.
Call for Proposals: PSFG/ATHE 2009
The Performance Studies Focus Group (PSFG) of the Association for Theatre in Higher Education (ATHE) invites session proposals for the 2009 Conference at the Marriott Marquis in New York City, 8-11 August on the conference theme of "Risking Innovation."
While the Performance Studies field has strived for innovation, we invite submissions that consider more deeply the notion of risk. What currently constitutes risk for us as scholars and as a field? Where does risk appear in our objects of study, methodologies, and personal investment in our work? In what way do institutional and disciplinary notions of power and control impact efforts to continue a legacy of innovation within Performance Studies? How can we apply risk to the presentation of our research at conferences, expanding possibilities for the communication of our discoveries to our broader community? What are the practical and pragmatic implications of our scholarship/practice? To approach these and many other questions, PSFG looks for panel submissions that combine the innovations of many fields and diverse scholars, challenging assumptions and raising awareness of how risk operates.
All session proposals are filed electronically directly to ATHE. The session proposal form, along with full explanations, can be found at www.athe.org. All session proposals have a deadline of 1 November. Please note that this year's conference has some changes in format and scheduling:
· We begin this year on a Saturday, and the conference runs through Tuesday evening.
· This year all sessions will be allowed to choose one complementary AV item, such as an LCD hook-up for a computer generated presentation (note: computers are not provided); choose this item at the time of your submission.
· Also due to the changed conference days, there will be no requesting specific days for presentations, and the majority of panels will be scheduled for Monday and Tuesday. All participants must be willing to attend the entire conference.
ATHE also accepts proposals for Multidisciplinary (MD) sessions. This year's conference is co-convened with the American Alliance for Theatre in Education (AATE). Multidisciplinary panels must be sponsored by three different groups: a combination of ATHE Focus Groups and at least one AATE network (akin to our Focus Groups). All MD session organizers must contact the Conference Planners of all three sponsoring groups before submitting their session directly to ATHE. If you would like to learn more about AATE Networks, go to: http://www.aate.com/networks.asp. If you would like to learn more about ATHE Focus Groups, go to: http://www.athe.org/getinvolved/focusgroups/index. All session proposals are due by 1 November.
While individual papers will receive consideration, submissions that pull together a strong panel of participants are preferred. With individual papers, the Focus Group Conference Planner will curate panels, attempting to match up related papers. In order to facilitate this process, these papers must be received directly by the Conference Planner Peter Civetta at
firstname.lastname@example.org, by October 15th. Individual paper proposals should include title, contact information, and an abstract of 250 words.
If you have any questions or concerns, feel free to contact:
PSFG Conference Planner
Kaplan Institute for the Humanities
2010 Sheridan Road
Evanston, IL 60208
P: (603) 491-2144
f: (847) 467-3978
Second Life Shakespeare Company: One's A Pawn of Time Press Release
Date: 09 September 2008
CONTACT: Maedin Tureaud
Beginning this Friday, September 12, the Second Life Shakespeare Company (SLSC) presents a modern play to open their Autumn 2008 season. The play, One's a Pawn of Time, is a fast-paced and clever one-act play about relationship drama that may arise through hasty time travel. Written by Mike Dederian, the play is directed by Rob Knop (Prospero Frobozz in SL) and will feature the voice actors of Second Life residents Jeremy Jester, Lorne Harlequin, Kinji Lockjaw, and Maedin Tureaud.
Performed in Second Life, most of the shows will be free to attend, and audience members will be required to turn on the voice feature in order to hear the dialogue, though microphones must be strictly turned off. Two of the shows, promoted as "very low-lag", will require a ticket fee to limit the audience size. Set in the confluence of 4 island simulators, the SL Globe theatre is ideally situated to accommodate large audiences and stage performances that are as low-lag as possible. In keeping with SLSC convention, the set, costumes, and avatars are custom-made for the play. Ina Centaur, artistic director at SLSC, confirms the tailoring of details: "The set for the production continues the RL tradition of preserving the structure of the Globe stage in set design and also our SL tradition of extravagance in visuals."
The custom features of the set continues with innovative on-stage advertising. As this is the first non-Shakespearean play produced by the SLSC, it has provided them a unique opportunity to experiment with interactive and dynamic advertising. Centaur also says, "The set is filled with details and interactive 'incognito' advertisements blended into the stage in the form of fake movie and rock band posters, newspapers, books, photos, and magazines, to amuse and inform those who zoom around and explore as only a virtual audience might." To arrange in-set advertising, contact Ina Centaur directly.
Director Rob Knop has directed in RL, but this will be his directorial debut in Second Life. He has been active in the Hamlet and Twelfth Night productions and got a taste for the possibilites available. He's also very keen on his choice of play, too: "This play bears some philosophical similarities to Second Life. Second Life combines game-like elements with social interaction and potential for serious creative discourse of real life. The play is light entertainment, with humorous dialog and a somewhat absurd situation, but being about time travel it challenges our assumptions about the linearity of reality... just as having our lives partly in Second Life challenges traditional assumptions about the single-threaded nature of our real-life identities."
Knop has more than just the actors to prepare; he will also be responsible for immersing the audience in the play. For audience members who choose to participate, he will be able to dynamically direct and move their cameras, real time, following the action as it unfolds. This allows the audience a "hands-free" experience, their view zooming around the stage and focusing on actors and events as necessary. Knop is encouraged by all of the innovative ways in which theatre in SL is expanding and becoming viable entertainment.
Maedin Tureaud, who will play Lucy for several performances, is excited by the prospect of seeing theatre in SL become prominent and well-attended events, and is enthusiastic about the possibilities available. "Theatre in SL is a unique and exciting opportunity to simultaneously reach audiences all over the world, specifically those people who are unwilling or unable to attend real life productions. The virtual stage presents engaging challenges, and this new platform for cultural and artistic events is bound to capture imagination and harness talent in the future as the virtual universe becomes ubiquitous."
Kinji Lockjaw, who also plays Lucy, is happy to admit that the biggest challenge for her is the fact that it's her first SL play. She remains positive though, and states, "I'm very excited about [...] getting to work under the direction of Prospero and working with such great actors," a sentiment expressed by the other three actors, as well. The fast-paced dialogue in the play ensures that the actors have achieved a good rapport with each other and will be able to generate energy on the SL stage, a crucial aspect of the real world stage, too.
Opening night performance of One's a Pawn of Time begins at 7pm SLT on Friday, September 12. Subsequent performances are:
* Saturday, Sept 13 at 11am
* Sunday, Sept 14 at 3pm
* Tuesday, Sept 16, at 1pm
* Fri, Sept 19, at 7pm *
* Sat, Sept 20 at 11am *
* Sun, Sept 21 at 3pm
*Ticket fee assessed
For more information on this and future productions, join the SL Shakespeare Company group in-world.
For playbills: http://playbills.SLshakespeare.com
For a web preview of our venue with SLurl: http://visit.SLshakespeare.com
TEACHERS, TEACHING, AND THE MOVIES: Representations and Pedagogy in Film, Television, and New Media
Call for Papers
March 26-28, 2009
Saint Mary’s College of California
This multi-disciplinary conference will focus on two growing areas in the fields of education and media studies:
1) The ways in which movies and television represent teachers and teaching,
students and learning and
2) How film, television, and new media function as pedagogical tools in the classroom. On the one hand, we are looking for papers that critically examine the cultural representation of teachers, students, and the educational setting.
At the same time, we are looking for papers that explore the ways that films, television, and new media open possibilities for new forms of pedagogy – their power as well as their problems and pitfalls.
Movies and television have a long tradition of taking school life and teachers as subjects for its stories. These stories have circulated powerful, though often uncomplicated, representations of teachers and influenced our sense of what meaningful educational experiences are supposed to look like and how good teachers teach. Such representations have also shaped our understanding of the dynamics of teacher-student relationships and the roles (positive and negative) that teachers play in the lives of students and the larger community. In short, the movies have become unlikely authoritative texts on what counts as good education. But have the stories that films tell about teachers become so formulaic that other more complex and realistic stories are unavailable to us in the popular culture? And have these representations migrated to the web, and, if so, in what form?
Complementing this emphasis on representations of teaching, the conference will offer panels that focus on the impact of film, television, new media (as information, education, and entertainment) on pedagogy. Can education, at every level, engage – some would say “resist” – the entertainment culture that dominates public discourse in contemporary society? How has increased media literacy affected curricula and what students bring to the classroom? Panels will explore the use of media and its effect on pedagogy within historical, cultural, social, and educational frameworks – from the first uses of radio in the early 1920s to the most recent experiences with multimedia and the internet.
Conference organizers see issues surrounding the use of media in education as closely linked to the representations of teachers on the screen and this conference will be an opportunity for those who work with the media in the classroom to discuss ideas with those who write on representations of the classroom in the media.
The conference will take place at Saint Mary’s College of California (in Moraga – 20 minutes east of Berkeley). The dates of the conference are March 26-28, 2009. Keynote speakers will be announced at a later date. Submitted papers will be reviewed by a multi-disciplinary committee comprised of scholars from relevant fields.
The organizers invite paper proposals from a range of disciplines (education, film studies, media and cultural studies, sociology, anthropology, psychology, history, English, American studies, communication, etc.). We are open to a wide variety of topics and approaches. Some possible questions include:
· How has Hollywood represented white and non-white teachers and students? How has it treated racial and ethnic issues in education? How has it represented male and female teachers and students?
· What is the theory and praxis of the role of film in the curriculum? How should films be used and not used in classrooms?
· Have cultural representations of teachers and teaching changed over time? Does, for example, the model of the good teacher change in films from the 50s to the 60s and 70s?
· How are teachers and teaching depicted in film from world cinema and global media? What can we learn from them?
· In what ways have the cinema’s depiction of teaching and schools affected our view of the education system and, in particular, the teaching profession?
Please send proposals of at least 250 words and no more than 500 words to Robert Bulman by October 1, 2008. Acceptance of papers will be announced in late December.
Saint Mary’s College of California
1928 St. Mary’s Road
Moraga, CA 94575