Print

Print


>
>From: [log in to unmask]
>Subject: CFP: Queer(ing) Melodrama (8/1/06; SCMS, 3/8/07-3/11/07)
>
>2007 Society for Cinema and Media Studies Conference
>Chicago, IL
>March 8-11, 2007
>
>I am currently seeking papers for the following panel:
>
>Queer(ing) Melodrama
>
>Recent theories of genre encourage thinking of melodrama not as a singular
>generic category, but as a sustained modality in all popular American films
>(among other national industries).  As such, melodrama would possess a
>democratizing potential for personifying social forces within a 
>visual realm, thus
>contesting the ideologies and binaries that produce cultural "others."
>
>Meahwhile, amidst a growing number of mainstream Hollywood "queer melodramas"
>such as The Hours (Daldry 2002), Far From Heaven (Haynes 2002), and Brokeback
>Mountain (Lee 2005), a nascent queer film theory engages the questions of
>queer spectatorship, the constitution of queer cinematic imagery, and the
>capacities of narrative cinema for establishing queer complicity and 
>resistance.
>
>This panel will examine the overlap of these two domains of critical thought
>to ask the question:  "Is melodrama queer?"  How might melodramatic tension,
>in its engagement of pathos and action, retrieve a queer subjectivity?  With
>the emphasis in melodrama on the corporeal, and its elemental 
>sadomasochism, how
>might a "queer" melodrama explicitly address issues of sexual desire. 
>Ideally, this panel will come to terms with the shared territories 
>of these two
>fields of interest, thus revealing the potentialities of melodrama 
>for conveying
>homoerotic energy.
>
>Among the possible isssues that can be examined are:
>
>Queer readings of established melodrama auteurs within classical Hollywood
>(Griffith, Minnelli, Sirk), international art cinema movements (Truffaut,
>Fassbinder, Almodovar), and in recent independent circuits (Campion, 
>Lee, Haynes).
>
>The (in)stability of gender performativity in queer melodrama, particularly
>surrounding questions of violent femininity and normative (hetero)sexuality.
>
>Genre hybridity and queer melodrama (particularly the fundamental presence of
>monstrous horror, musicality, noir paranoia, and comedy) as cultural process.
>
>The use (and misuse) of the concept of "excess" as a critical register for
>emotional legibility in queer melodrama.
>
>Discourses of stardom and star bodies as sites of queer intelligibility and
>cultural negotiation in melodrama.
>
>Papers that examine these issues and others are welcome from all critical
>perspectives.
>
>Send proposals as MS Word attachments with contact information to Mark C.
>Harper at
>
>[log in to unmask]
>
>by 1 August 2006
>
>Please note:  all individuals accepted to this panel MUST be registered
>online users of the (free and secure) SCMS website by August 15, 
>2006.  For more
>information, visit the web address:
>
>http://www.cmstudies.org
>
>

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