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GERMAN-CFP-L  June 2005

GERMAN-CFP-L June 2005

Subject:

CFP: Feminism, Filmmaking, Fluidity (8/31/05; anthology)

From:

Megan McKinstry <[log in to unmask]>

Reply-To:

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

Date:

Thu, 16 Jun 2005 12:22:23 -0500

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (108 lines)

>
>From: [log in to unmask]
>
>Subject: CFP: Feminism, Filmmaking, Fluidity (8/31/05; anthology)
>
>Call for papers:
>
>
>(Un)Making the Cut: Feminism, Filmmaking, Fluidity
>Edited by Corinn Columpar and Sophie Mayer
>
>In creative response to Hollywoodís continued domination of the global film
>market, many alternate industrial practices have taken shape over the past
>couple decades, destabilizing certain entrenched 
>assumptions about not only the
>process of filmmaking, but also the very nature of film itself.  As a result
>contemporary cinema has come to be characterized by a fluidity that is
>unaccounted for in studies that take the conventions of classical cinema as
>normative; that is, with increasing frequency 
>people and/or products are moving
>between venues (gallery, theater, on-line, television, festival, and
>classroom), materials (celluloid and digital video), locales (including those
>in both the ìFirstî and ìThirdî Worlds), modes of production (studio-financed
>and ìindependentî, auteurist and collaborative), and artistic roles (actor,
>director, producer, and writer). Given the 
>extent to which such fluid practices
>have resulted from or been influenced by those women who, fuelled by economic
>and political imperatives, have struggled historically for access to cinematic
>means of production, they are implicated in a feminist practice defined by
>ongoing and contingent negotiation with and between a diverse range of
>theoretical models.
>        
>(Un)Making the Cut: Feminism, Filmmaking, Fluidity will be an anthology
>dedicated to the myriad ways in which women around the world are currently
>participating in the production process outside 
>Hollywood, thereby contributing
>to these flows, and the fruits that their labors are yielding aesthetically,
>commercially, and politically. Rather than assert isolation or ostracism, this
>volume looks to subvert the constant erasure of womenís engagement with cinema
>by investigating working relations (as well) as textual relations of
>affiliation and community.  Thus it has two methodological priorities.  The
>first is to forge a middle ground that militates against closure between, on
>the one hand, a critical practice grounded in close textual analysis that
>severs a film from the conditions of its production and circulation, often
>denying a filmís engagement with feminist and other politics, and, on the
>other, an auteurist approach that reads film, particularly that made by women,
>in terms of autobiography.  The second is concomitantly to expand discussions
>of the filmmaking process to incorporate the creative contributions of all
>involved  and thus to broaden the definition of what it means to be a woman in
>film beyond the masculinist director-centric model.
>        
>In the process, we seek to recognize and encourage definitions of ìwomanî that
>are equally fluid and demonstrate the emergence of trans/Two-Spirit cinema(s)
>and trans/Two-Spirit filmmakers, as well as others who trouble gender
>distinctions and identity formations, for such 
>definitions are an integral part
>of the contemporary incarnation of feminism in practice.
>
>Possible topics:
>ï those working in a transnational context and/or with an interstitial (Â la
>Naficy) mode of production
>ï women artists moving between multiple roles within filmmaking, and between
>filmmaking and other cultural forms (dance, photography, creative writing)
>ï collaborative relationships
>ï fluid boundaries between documentary and feature film, in both formal and
>production/distribution terms
>ï prominent producers and writers working in the ìindependentî sector or the
>context of a national cinema
>ï the new opportunities that have emerged in television, particularly due to
>specialty channels like HBO and Showtime
>ï womenís participation in the political economy of film festivals
>ï the ways women have negotiated the tension between the gallery and the
>cineplex, aesthetic/political imperatives and commercial ones
>ï womenís presence in on-line forums
>ï the ways that womenís work with moving images is contributing to, engaging
>with, and/or revisioning feminism and imbricated political movements (anti-
>racism, anti homophobia)
>ï a consideration of whether reading practices based in identity politics are
>still valid
>
>
>
>Submit: paper proposals of 500 words (max.) with 
>brief C.V., and a cover letter
>including institutional affiliation and postal and email contact details.
>
>Deadline: 31 August 2005
>Notification of acceptance: 31 October 2005
>
>Send proposals (as attachments) and CFP-related queries to: Corinn Columpar <
>[log in to unmask]> and Sophie Mayer <[log in to unmask]>
>
>Proposals may also be mailed to:
>Corinn Columpar
>Innis College
>University of Toronto
>2 Sussex Avenue
>Toronto ON M5S 1J5
>CANADA
>
>Please include an SASE or IRC if you would like a postal response.

*******************
The German Studies Call for Papers List
Editor: Stefani Engelstein
Assistant Editor:  Meghan McKinstry
Sponsored by the University of Missouri
Info available at: http://www.missouri.edu/~graswww/resources/gerlistserv.html

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