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GERMAN-CFP-L  January 2003

GERMAN-CFP-L January 2003

Subject:

CFP: Global Cinema (2/15/03 & 4/15/03; journal issue)

From:

Stefani Engelstein <[log in to unmask]>

Reply-To:

German Studies CFP Forum <[log in to unmask]>

Date:

Mon, 20 Jan 2003 11:19:12 -0600

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (88 lines)

>
>From: Kelvin Wareen <[log in to unmask]>
>
>CALL FOR PAPERS
>A Special Issue on Global Cinema
>
>Abstract Deadline:     February 15, 2003 (optional)
>Submission Deadline:   April 15, 2003
>For Publication:        2003
>World Order is currently seeking articles and reviews
>for a special issue on "Global Cinema" exploring the
>artistic, social, cultural, political, and spiritual
>issues raised by film around the world. Submissions
>may consider a range of issues (from thematic or
>aesthetic aspects of a film, including the films
>style, to issues of spectatorship and authorship, to
>film editing and post-production and sound mixing)
>that arise in the study of moving images -- including
>mainstream and nonmainstream film, documentary, museum
>installations, and so on.
>
>The editors welcome articles or reviews from any
>perspective, but we especially solicit manuscripts
>touching on:
>
> Film as subject for criticism: critical studies or
>reviews of a single film, a movement, a director, or a
>series of films (for example, films with a common
>theme, the decades three most important, and so on).
>
> Cinema in national, transnational, and diasporic
>context: studies of film from a particular country
>(Mexican, Iranian, French, Indian, Canadian, American,
>Chinese, and so on); the impact on the character of
>contemporary cinema by increasingly globalized and
>transnational financing, production, distribution, and
>viewing; the social, cultural, and political
>ramifications of films transnationalization, such as
>its potential for contributing to worldwide solidarity
>and/or reproducing global power inequalities.
>
> Film in a production context: The function of the
>camera, including depth of field, motion, portraiture,
>lighting, color, narrative structure, and composition;
>the relationship of film production aspects to
>narrative structure; the role of music or sound.
>
> Film as a cultural artifact: film in sociopolitical
>and/or historical contexts; film outside the
>mainstream; film as product of and creator of culture;
>the impact of film from one culture on a different
>culture; and so on.
>
> Film as art: its power, nature, possibilities, and
>responsibilities, particularly as a medium of
>engagement with topics of urgent social interest (such
>as war and peace, racism, immigration, poverty,
>gender, religious persecution, spiritual longing,
>sexuality, and so on).
>
> Top ten lists of films: the editors will give a gift
>subscription to World Order and will publish the lists
>that are the most creatively, insightfully,
>instructively, amusingly, or otherwise fascinatingly
>compiled.
>
>World Order is a scholarly, but general interest,
>quarterly publication. For a copy of the World Order
>style sheet for preparing a manuscript (and other
>tips), send an e-mail to <[log in to unmask]>, or write
>the address below.
>
>Submissions to the journal will be subject to external
>blind peer review if they fall outside the expertise
>of the editorial board or upon request by the author.
>
>Manuscripts (in Word or WordPerfect) should be sent to
><[log in to unmask]> or to World Order, Dr. Betty J.
>Fisher, Managing Editor, 4516 Randolph Road, Apt. 99,
>Charlotte, NC, 28211-2933, USA
>
>World Order has been published quarterly since 1966 by
>the National Spiritual Assembly of the Bahs of the
>United States, and is intended, to stimulate,
>inspire, and serve thinking people in their search to
>find relationships between contemporary life and
>contemporary religious teachings and philosophy.
>

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