NEW REVIEW OF FILM AND TELEVISION STUDIES
"FRENCH PHILOSOPHY OF CINEMA" (MARCH, 2010)
CALL FOR PAPERS
DEADLINE FOR ABSTRACTS: 30 NOVEMBER 2008
Perhaps no writer has had as much impact on cinema studies over the last twenty years as Gille Deleuze, whose Cinéma I: l'image-mouvement (1983) and Cinéma II: l'image-temps (1985) have left an indelible mark on recent configurations of film and media studies, philosophy, and history. However much Deleuze has been cited in Anglo-American discourse, his innovative approach did not burst forth from an intellectual vacuum, nor did his methodology conclude with his death. Jean Louis Schefer's 1980 work, L'Homme ordinaire du cinéma, offered a prelude to Deleuze's re-conceptualization of cinema's role in twentieth-century history, and Deleuze's radical work concerning modern constructions of subjectivity and the popular symbolic has been extended and reconfigured in Jacques Rancière's ongoing development of the philosophy of aesthetics. In each of these cases, and in other examples of what one might call "French Philosophy of Cinema," these writers have provided us with breakthroughs in understanding the role of cinema in the evolution of audio-visual media, the repercussions of cinema's widespread importance in the Twentieth Century, and the relationship between film form and narrative content.
In order to develop an understanding of the wider relevance of this movement, the New Review of Film and Television Studies invites 200-word abstracts for a special issue. Topics might include, but are not limited to:
--the role of cinema and the moving image in French philosophy and the role of philosophy in French film theory; --the legacy of French aesthetics in international moving image studies; --the application of French philosophy of cinema to other methodologies of cinema studies, such as: narrative cognition; apparatus theory; national cinema(s); digital media; genre and auteur
studies; problems of race, class, gender, and sexuality; theories of
affect and sensation....
--the use of cinema philosophy in order to bridge theoretical gaps between formalism and realism, semiotics and phenomenology, etc.
--French philosophy of cinema and the re-reading of cinema history, directors, and individual films, as well as possible applications of relevant concepts to contemporary cinema and film texts;
Please send 200-word abstracts no later than November 30, to Hunter Vaughan at hvaughan@wustl.edu, or contact me with any questions. Papers, not to exceed 9,000 words, will be due July 1 2009 and should be formatted according to our Chicago standards, as found at out 'instruction for authors' page: www.tandf.co.uk/journals/journal.asp?issn=1740-0309&linktype=44
"FRENCH PHILOSOPHY OF CINEMA" (MARCH, 2010)
CALL FOR PAPERS
DEADLINE FOR ABSTRACTS: 30 NOVEMBER 2008
Perhaps no writer has had as much impact on cinema studies over the last twenty years as Gille Deleuze, whose Cinéma I: l'image-mouvement (1983) and Cinéma II: l'image-temps (1985) have left an indelible mark on recent configurations of film and media studies, philosophy, and history. However much Deleuze has been cited in Anglo-American discourse, his innovative approach did not burst forth from an intellectual vacuum, nor did his methodology conclude with his death. Jean Louis Schefer's 1980 work, L'Homme ordinaire du cinéma, offered a prelude to Deleuze's re-conceptualization of cinema's role in twentieth-century history, and Deleuze's radical work concerning modern constructions of subjectivity and the popular symbolic has been extended and reconfigured in Jacques Rancière's ongoing development of the philosophy of aesthetics. In each of these cases, and in other examples of what one might call "French Philosophy of Cinema," these writers have provided us with breakthroughs in understanding the role of cinema in the evolution of audio-visual media, the repercussions of cinema's widespread importance in the Twentieth Century, and the relationship between film form and narrative content.
In order to develop an understanding of the wider relevance of this movement, the New Review of Film and Television Studies invites 200-word abstracts for a special issue. Topics might include, but are not limited to:
--the role of cinema and the moving image in French philosophy and the role of philosophy in French film theory; --the legacy of French aesthetics in international moving image studies; --the application of French philosophy of cinema to other methodologies of cinema studies, such as: narrative cognition; apparatus theory; national cinema(s); digital media; genre and auteur
studies; problems of race, class, gender, and sexuality; theories of
affect and sensation....
--the use of cinema philosophy in order to bridge theoretical gaps between formalism and realism, semiotics and phenomenology, etc.
--French philosophy of cinema and the re-reading of cinema history, directors, and individual films, as well as possible applications of relevant concepts to contemporary cinema and film texts;
Please send 200-word abstracts no later than November 30, to Hunter Vaughan at hvaughan@wustl.edu, or contact me with any questions. Papers, not to exceed 9,000 words, will be due July 1 2009 and should be formatted according to our Chicago standards, as found at out 'instruction for authors' page: www.tandf.co.uk/journals/journal.asp?issn=1740-0309&linktype=44
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