CFP: Sights & Sounds (University of Salford)

SIGHTS AND SOUNDS

INTERROGATING THE MUSIC DOCUMENTARY

UNIVERSITY OF SALFORD

4 - 5 JULY 2010

CALL FOR PAPERS

In the fall of 1894, W. K.L. Dickson assisted Thomas Edison in his experimentation with sound film. He shot a sequence in which one man plays a violin before the recording phonograph horn while two others dance. Might this be the first music documentary?

In the years since, numerous works have been produced that consist of narrative formulations of musical history; portraits of individuals or groups; replications of musical events; meditations on musical genres or transformative occasions. A number of these works have become renowned in their own right, such as D.A. Pennebaker’s Don’t Look Back (1967) or the Maysles Brothers Gimme Shelter (1970). Others have become as famous as the events they depict, including Steve Binder’s The T.A.M.I. Show (1964) Michael Wadleigh’s Woodstock (1970). Still more have placed a name and a face to previously unknown musicians, as did Paul Justman’s Standing in the Shadow of Love (2002) with Motown Records’ Funk Brothers. Some have provoked controversy as much as they have drawn audiences, like Ken Burns’ PBS series Jazz (2001). Some have attached a conceptual framework to a genre and a group and incorporated an argument about that material, including Julian Temple’s The Filth and the Fury (2000).

The conference will interrogate this body of film and welcomes submissions on works in any media: radio, television or film. We are interested in issues that include but are not limited to narrative strategy, visual articulation, ideological analysis, star imagery, gender dynamics, race, We are particularly interested in studies that challenge normative story-telling strategies, familiar and hence deflated visual approaches, or wish to topple canonic formations of musical production that have been perpetuated through their presentation in various media.

The conference will feature appearances by filmmakers (to be announced) and showings at the Cornerhouse Theatre, located in Manchester. We hope as well to commission selected papers from the conference for publication in a volume, the first such anthology of approaches to the genre of music documentary.

Deadline for submissions: December 14, 2009

Announcement of program: January 4, 2010

Please send proposals of no more than 500 words by e-mail to both of the following addresses

d.sanjek at salford.ac.uk b.halligan at salford.ac.uk

Conference Chairs:

David Sanjek, Professor of Music Ben Halligan. Senior Lecturer

Director, Popular Music Research Centre School of Performance

School of Music

University of Salford

CFP: Post-Punk Performance: the alternative 80s in Britain (Leeds)

POST-PUNK PERFORMANCE: THE ALTERNATIVE 80S IN BRITAIN

SCHOOL OF PERFORMANCE AND CULTURAL INDUSTIRES, UNIVERSITY OF LEEDS

9 SEPTEMBER 2009

CALL FOR PAPERS

The School of Performance and Cultural Industries is pleased to be hosting a one-day conference event called “Post-Punk Performance: the alternative 80s in Britain”.

Contrary to popular mythology, youth culture during the 1980s meant rather more than Spandau Ballet, Rick Astley, and Madonna. A quickly burgeoning ‘indie’ scene, born of the ruins of punk, set itself against the banality of the mainstream. Centred on music and synonymous with identity and self-expression, it offered a complex and layered network of alternatives for an increasingly politicised and self-aware generation of young people.

The purpose of this conference is to explore notions of ‘alternative’ music and performance in the post-punk era, circa 1978 – 1989. The ‘indie’ music scene of this period will serve as a lens through which to view core themes of liveness, fashion and visual identities, iconography, youth cultures and the socio-political context. The event will assess post-punk’s continuing and profound influence on the current scene, both in musical and performative terms. It will explore how post-punk is absorbed into the present and will be projected into the future.

In addition to contributions from academics and scholars, the event will invite label partners, musicians and influential journalists to exchange views and perspectives on the post-punk era and beyond. This framework offers unique opportunities to bring together the academy and industry, and to facilitate networking and discussion across these spheres.

A live performance event featuring poetry, comedy and music will follow the daytime proceedings. Acts to be announced.

Proposals might address one or more of the following themes:

• The frequency and velocity of musical genre development

• Liveness: performance authenticities

• Performance of style

• Visual identities: fashion’s relation to music and vice versa

• Transatlantic influence and exchange

• Alternative music, party politics and gender politics

• The past reconfigured for the present

• Song writing: structure and theme

• Media representation and music reportage

• Local scenes

• Record labels and musical identity

• Punk and post-punk: musical legacies and trajectories

The conference will be interdisciplinary. Therefore, we welcome contributions from a range of disciplines, including Music, Performance, Fashion and Textiles, Photography, Cultural Studies, Sociology, Film and Television Studies, Philosophy and Journalism.

Proposals should be submitted as a Word Document and should contain the following information:

 Name of Presenter

 Title of Paper

 Institutional Affiliation

 150 word biography

 500 word abstract

Please send your proposal electronically, together with a completed registration form, to Dr Philip Kiszely (P.Kiszely@leeds.ac.uk) by Friday 26th June, 2009. Acceptance will be confirmed by the end of July.

Cost: £125 (Includes conference proceedings, day conference, entry to evening event)

CONFIRMED SPEAKERS:

Paul Morley

Paul Morley wrote for the NME from 1977 to 1983. A leading figure in critical, journalistic and industry terms, he formed ZTT, helped guide Frankie Goes to Hollywood to pop stardom, and enjoyed considerable commercial success and critical acclaim in his own right through Art of Noise. His television work is extensive, and includes appearances on the Late Show, Whistle Test, and the recent Top Ten series on Channel 4. He now writes for Arena and Esquire, and his books Nothing and Words and Music are as essential as they are challenging reading.

Dave Haslam

Dave Haslam was DJ at the legendary Hacienda nightclub during the heady days of ‘Madchester’. His book Madchester, England not only captures the spirit of that remarkable era but also offers a penetrating cultural commentary on time and place. A subsequent book on the music and politics of the 1970s titled Not Abba: the Real Story of the 1970s suggests the breadth of his musical interest. Founder of Debris fanzine, he has written for a variety of publications including The NME, The Times, and The Guardian. He teaches music journalism at the University of Salford and the history and culture of Manchester at Manchester Metropolitan University.

CONFERENCE ORGANISERS: Dr Philip Kiszely (P.Kiszely@leeds.ac.uk), Alice Bayliss (A.Bayliss@leeds.ac.uk) and Michael Rose

For any further information, please contact Alice Bayliss on 0113 343 8715

CFP: International Journal of Performance Arts and Digital Media (journal)

INTERNATIONAL JOURNAL OF PERFORMANCE ARTS AND DIGITAL MEDIA
DANCING ACROSS FILM, TELEVISION AND THE DIGITAL SCREEN
CALL FOR PAPERS

The contemporary visual landscape is littered with images of performing bodies located in multiple screen contexts, from dedicated art dance film festivals through to prime time reality television shows. The potential for dance to achieve n-screen viewing figures scarcely imaginable in comparison to theatre dance audiences is evidenced by the YouTube clip, Evolution of Dance, a whirlwind demonstration of popular dance through the decades, which received 76.7 million hits. This special edition of the International Journal of Performance Arts and Digital Media explores both contemporary and historical enquiry into the production and reception of performing bodies across the film, television and digital screen. Possible questions that might inform this critical discourse regarding screen dance research are:

* What is the relationship between economics and screen dance production and how does the performing body operate as a vehicle of commercialisation and promotion within these sites?

* To what extent is screen dance shaped by the politics and policy of commissioning editors and executive producers and what relationship do guerrilla filmmakers have to this official framework of production?

* How do the multiple contexts for screen performance inform the aesthetics of dance on screen and how do they create different spectatorship experiences?

* What is the impact of new and extant film-making technologies on the performing body and how has this changed understandings of dance-making?

* How is dance mediated and re-presented in order to achieve popular appeal and in what ways does this reproduce or challenge cultural assumptions about dance?

* Given the global circulation of screen dance images, how are these representations understood within localised contexts of reception?

IJPADM is an interdisciplinary, peer-reviewed journal drawing contributions from a wide range of researchers and practitioners who are placed at the rapidly developing interface of new technologies with performance arts. Given the interdisciplinary nature of screen dance practice, proposals are invited from artists, scholars and professionals working across the fields of dance and performance studies, film, television and media studies, cultural studies, history and other related disciplines.

All papers must be submitted by 1st July 2009
Intended publication date: December 2009.

Details for submissions and notes for contributors can be found at:
http://www.intellectbooks.co.uk/journals.php?issn=14794713

All papers are to be submitted to Dr Sherril Dodds, Guest Editor.
Dr Sherril Dodds, Department of Dance, Film and Theatre Studies, University of Surrey, Guildford, Surrey, GU2 7XH (s.dodds@surrey.ac.uk)

General enquiries can be addressed to Dave Collins, Editor.

CFP: Post-Punk Performance: the alternative 80s in Britain (Leeds)

POST-PUNK PERFORMANCE: THE ALTERNATIVE 80s IN BRITAIN
A ONE DAY CONFERENCE
SCHOOL OF PERFORMANCE AND CULTURAL INDUSTRIES, UNIVERSITY OF LEEDS
9 SEPTEMBER 2009
CALL FOR PAPERS

The School of Performance and Cultural Industries is pleased to be hosting a one-day conference event called “Post-Punk Performance: the alternative 80s in Britain”.

Contrary to popular mythology, youth culture during the 1980s meant rather more than Spandau Ballet, Rick Astley, and Madonna. A quickly burgeoning ‘indie’ scene, born of the ruins of punk, set itself against the banality of the mainstream. Centred on music and synonymous with identity and self-expression, it offered a complex and layered network of alternatives for an increasingly politicised and self-aware generation of young people.

The purpose of this conference is to explore notions of ‘alternative’ music and performance in the post-punk era, circa 1978 – 1989. The ‘indie’ music scene of this period will serve as a lens through which to view core themes of liveness, fashion and visual identities, iconography, youth cultures and the socio-political context. The event will assess post-punk’s continuing and
profound influence on the current scene, both in musical and performative terms. It will explore how post-punk is absorbed into the present and will be projected into the future.

In addition to contributions from academics and scholars, the event will invite label partners, musicians and influential journalists to exchange views and perspectives on the post-punk era and beyond. This framework offers unique opportunities to bring together the academy and industry, and to facilitate networking and discussion across these spheres.

A live performance event featuring poetry, comedy and music will follow the daytime proceedings. Acts to be announced.

Proposals might address one or more of the following themes:

• The frequency and velocity of musical genre development
• Liveness: performance authenticities
• Performance of style
• Visual identities: fashion’s relation to music and vice versa
• Transatlantic influence and exchange
• Alternative music, party politics and gender politics
• The past reconfigured for the present
• Song writing: structure and theme
• Media representation and music reportage
• Local scenes
• Record labels and musical identity
• Punk and post-punk: musical legacies and trajectories

The conference will be interdisciplinary. Therefore, we welcome contributions from a range of disciplines, including Music, Performance, Fashion and Textiles, Photography, Cultural Studies, Sociology, Film and Television Studies, Philosophy and Journalism.

Proposals should be submitted as a Word Document and should contain the following information:

Name of Presenter
Title of Paper
Institutional Affiliation
150 word biography
500 word abstract

Please send your proposal electronically, together with a completed registration form, to Dr Philip Kiszely (P.Kiszely@leeds.ac.uk) by Friday 26th June, 2009. Acceptance will be confirmed by the end of July.

Cost: £125 (Includes conference proceedings, day conference, entry to evening event)


CONFIRMED SPEAKERS:
Paul Morley
Paul Morley wrote for the NME from 1977 to 1983. A leading figure in critical, journalistic and industry terms, he formed ZTT, helped guide Frankie Goes to Hollywood to pop stardom, and enjoyed considerable commercial success and critical acclaim in his own right through Art of Noise. His television work is extensive, and includes appearances on the Late Show, Whistle Test, and the recent Top Ten series on Channel 4. He now writes for Arena and Esquire, and
his books Nothing and Words and Music are as essential as they are challenging reading.

Dave Haslam
Dave Haslam was DJ at the legendary Hacienda nightclub during the heady days of ‘Madchester’. His book Madchester, England not only captures the spirit of that remarkable era but also offers a penetrating cultural commentary on time and place. A subsequent book on the music and politics of the 1970s titled Not Abba: the Real Story of the 1970s suggests the breadth of his musical interest. Founder of Debris fanzine, he has written for a variety of publications including The NME, The Times, and The Guardian. He teaches music journalism at the University of Salford and the history and culture of Manchester at Manchester Metropolitan University.

CONFERENCE ORGANISERS: Dr Philip Kiszely (P.Kiszely@leeds.ac.uk), Alice Bayliss (A.Bayliss@leeds.ac.uk) and Michael Rose

For any further information, please contact Alice Bayliss on 0113 343 8715

CFP: Music and Media IMS Pre-Conference (Amsterdam)

IMS PRE-CONFERENCE: LAUNCHING OF THE STUDY GROUP MaM (MUSIC AND MEDIA)
ORGAN PARK, AMSTERDAM
4 - 5 JULY 2009
CALL FOR PAPERS

Music and Media will be launched as an interdisciplinary and multidisciplinary IMS Study Group in a pre-conference preceding the joint IAML-IMS conference in Amsterdam, the Netherlands. The Study Group seeks to examine and explore diverse aspects relevant to the theme of ‘mediatizing music’. We are looking for perspectives from scholars engaged in the fields of musicology, media studies, film studies, theatre etc.

Papers, reports and works-in-progress are now invited for submission on issues related, but not limited to any of the following themes:

* the implications of mediatizing music for performance practice
* the implications of mediatizing music in terms of ´liveness´
* the way media have changed the compositional process
* the economics behind the mediatization of music
* (the functioning of) music in television and film
* (the functioning of) music in virtual worlds and games.

Papers will also be considered on any subject related to the above. Abstracts (of 300 words max.) should be submitted by Sunday 1st March 2009.

Abstracts in Word or RTF formats should be send to Emile Wennekes as follows:

-author(s), academic affiliation, e-mail address, title of the abstract, the abstract, technical requirements (piano, overhead, power point, etc).

The Organ Park, ‘Orgelpark’, is provided with modern audio/visual equipment and has a variety of musical instruments that can be used, including a grand piano.

Publication of the contributions in book form is under consideration.

ORGANIZING CHAIR:

Prof. Dr. Emile Wennekes, Department of Media and Culture Studies, Utrecht University, The Netherlands, emile.wennekes[at] let.uu.nl

INTRODUCTION:

Music plays an important role in media, both in old and certainly in new media: commercials, games, films, ring tones and the like. The other way around, media play an increasing role in music. They have changed the compositional process and characteristics of style; media severely influences performances, composing techniques, the way of recording and visualizing music. What are the theoretical and philosophical consequences of mediatized music? What are the economics behind these processes of mediatization? What role does the process of ‘remediation’(Bolter & Grusin, 2000), from LP to MP3 and 4, play? How has mediatization influenced performance practice, what was the ‘phonograph effect?’ (Katz, 1999). What do processes of mediatizing music mean in terms of ‘liveness’ (Auslander, 1999), ‘animated liveness’ (Wennekes, 2009) and/or ‘immersion’ (Grau, 2003)?


-Auslander, Philip, Liveness: Performance in a mediatized culture. (New York: Routledge, 1999).
-Bolter, Jay David & Grusin, Richard, Remediating: Understanding New Media (Cambridge: MIT Press 2000).
-Grau, Oliver, Virtual art: From Illusion to Immersion. (Cambridge: MIT Press, 2003)
-Katz, Mark, The Phonograph Effect: The Influence of Recording on Listener, Performer, Composer, 1900-1940. PhD Thesis University of Michigan, 1999.
-Wennekes, Emile, ‘Brief encounters of a third kind: First Life live concerts in Second Life concert venues’. In: Thea Brejzek, Wolfgang Greisenegger and Lawrence Wallen (eds.), Monitoring Scenography 2: Space and Truth / Raum und Wahrheit. Institute for Design and Technology (idt) Zurich: Zurich University of the Arts, October 2009.

CFP: Acting with Facts: Actors Performing the Real in British Theatre and Television Since 1990 (Reading)

'ACTING WITH FACTS’: ACTORS PERFORMING THE REAL IN BRITISH THEATRE AND TELEVISION SINCE 1990
An Arts and Humanities Research Council research project.
UNIVERSITY OF READING, DEPARTMENT OF FILM, THEATRE AND TELEVISION
FRIDAY 8 MAY 2009
CALL FOR PAPERS

The ‘Acting with Facts’ project, which began in October 2007, is concerned with actors’ contributions to the burgeoning field of documentary drama. The project team have already interviewed over twenty actors directly concerned with theatre and screen docudrama, as well as a number of actor trainers, writers and directors. The project also participated in a National
Theatre ‘Platform’ event in May 2008.

At the half-way stage of our work, we will host a one-day symposium at the University of Reading further to explore research issues through debate and dialogue with interested academic colleagues, actor trainers and people with direct experience of staging and screening docudrama and drama ‘based on’ fact. The symposium therefore has several aims:

• to present some initial findings
• to gather together other researchers in the field
• to have plenary presentations from industry and actor-training personnel.

Two sessions will be available during the day for parallel panels to present papers. We invite proposals of 250-300 words on any aspect of the challenges that actors face when performing the real. Papers need not exclusively address the project’s research questions, but we present them here as a guideline to our own work so far:

• What specific demands does factual drama make on actors’ competencies?
• How do actors respond to these demands in specific theatre and television practice?
• What comparisons and correspondences exist for actors between docudrama and fictional drama in theatre and television, given their likely involvement in both media?
• How has the making of television docudrama responded to the 1990 Broadcasting Act, increased international co-production, the digital revolution and accelerated social and political change since 1990?
• How has social and political change (nationally and internationally) provoked change in documentary theatre since 1990?
• What impact do ethical, institutional and practical constraints in both media (e.g. legal restrictions, marketability, cost) have on docudrama, and with what aesthetic consequences?
• How do existing theories (of form, genre, format and audience address) and the production of docudrama in theatre and television interact?

Closing date for Proposals: Monday 16th March 2009

Address for proposals and further enquiries: h.a.sutherland@reading.ac.uk
or send to:
Dr Derek Paget, Principal Investigator: ‘Acting with Facts’, Department of Film,
Theatre & Television, University of Reading, Bulmershe Court, Reading RG6 1HY.

CFP: The Nu-Romantic: Revealing the Developing Artistic Milieu in Film, Theatre & Television (Reading)

THE NU-ROMANTIC: REVEALING THE DEVELOPING ARTISTIC MILIEU IN FILM, THEATRE AND TELEVISION

UNIVERSITY OF READING

17 APRIL 2009

CALL FOR PAPERS

Romanticism was a cultural landscape characterised by the eternal oscillation between a ‘modern’ enthusiasm that had failed and a ‘postmodern’ irony that would soon falter. Now, years later, another scene marked by oscillations is taking shape.

Under the name of Nu-Romanticism (‘naked’ Romanticism) JAM 2009 aims to initiate a mapping of this evolving landscape. It offers a chance to explore and define the new forms of thought, conception and creation that follow the established pattern of Romanticism. We look to current theory and critical practice within Film, Theatre and Television to reveal new forms of oscillation, be they between Aesthetic and Narrative, between Spectatorship and Performativity, between the Sublime and melancholy, hope and failure.

JAM 2009, the seventh annual conference for postgraduates run by postgraduates at the Department of Film, Theatre & Television, welcomes proposals that investigate, question or put pressure on the notion of a re-emerging Romanticism within film, theatre and television. We invite postgraduates to consider the concept of a new or renewed Romanticism in relation to the following areas of discussion:

• Aesthetics

• Genre

• Form vis-à-vis Content

• Narrative

• Space, Place and Landscape

• Representation

• Spectatorship and Social Relevance

• Performance and Performativity

• Medium Specificity

• Postgraduate Practice

• New Technologies

CALL FOR PAPERS deadline: Friday 30th January 2009 Please send a 250-word proposal and a 100-word biographical note to Tim Vermeulen, Harper Ray and Reina-Marie Loader at jam2009@rdg.ac.uk

Journeys Across Media (JAM) is an annual one-day interdisciplinary conference organised by and for postgraduate students. It provides a discussion forum for current and developing research in film, theatre, television and ‘new media’. Previous delegates have welcomed the opportunity to gain experience of presenting their work, at different stages of development, in the active, friendly and supportive research environment of Film, Theatre & Television at the University of Reading. Non-presenting delegates are also very welcome. Supported by the Standing Committee of University Drama Departments (SCUDD) and the Graduate School in Arts and Humanities, University of Reading.

CFP: Internet Attractions - AHRC Workshop on Ephemeral Media (Nottingham)

INTERNET ATTRACTIONS: ONLINE VIDEO AND USER-GENERATED EPHEMERA

AHRC WORKSHOP ON EPHEMERAL MEDIA

UNIVERSITY OF NOTTINGHAM

23 - 24 JUNE 2009

CALL FOR PAPERS

DEADLINE FOR PROPOSALS – 10th DECEMBER 2008
http://www.ephemeralmedia.co.uk/

Key speakers: Professor Nick Couldry (Goldsmiths), Professor Barbara Klinger (Indiana), Hugh Hancock (Strange Company), Emily Renshaw-Smith (Current TV - to be confirmed)

The emergence of new media technologies in the 1990s and 2000s, specifically the rise of digital and Internet technology, has been linked to fundamental changes in the media environment, shaping newly emerging circuits of production and consumption and propagating a cultural landscape where media seem available everywhere and all the time. This AHRC-sponsored workshop examines a particular feature of our accelerated media world - the growth of the brief or ‘ephemeral’ texts that exist beyond and between the films, television programmes, and radio broadcasts more commonly isolated for analysis.

What does ephemeral mean? In the context of the workshop it connotes short-form media (i.e. texts that are no more than a few minutes long) but also media which are fleeting in the way they circulate, or that are often overlooked within mainstream academic study. ‘Ephemeral media’ offers a rubric to designate and explore some of the key strategies, forms and practices that are helping producers and publics alike to negotiate today’s fast-changing mediascape. More generally, it invites historical and theoretical reflection on the significance of screen ephemera - on those forms of screen culture that, whilst momentary, remain active components of media experience.

The first workshop in the series focuses on user-generated ephemera, in particular the proliferation of online video. The emerging digital media environment has created new opportunities for user-generated content to achieve broad distribution and so create a public of users. This has been typified, and enabled, by recent phenomena such as YouTube. The fleeting and competing nature of user-generated content has placed particular emphasis on the role of media performance - what can be understood broadly as a display of communicative competence for assessment by an audience. The workshop will examine the status and significance of user-generated ephemera (in particular online video) and the kinds of performance inscribed herein.

Questions under discussion might include: How is performance framed in user-generated ephemera? How is user-generated ephemera assessed and discussed by audiences? How does the temporality of circulation on the Internet shape the kind of publics that are convened around user-generated ephemera? How do ephemeral media performances represent national, regional, ethnic identity? How are questions of authorship understood in forms that frequently involve the reworking of existing material? What role do “gatekeepers” play in filtering the user-generated performances that are distributed to online audiences?

The workshop is interested in, but not limited to, the following media forms and issues:

* Production and genre – creative amateur practices, technologies, genres involved in making online video; the relation between amateur and professional media production
* Performance and address – styles of online acting, dance, musical performance; projections of gesture and voice within online video and other user-generated ephemera (e.g. webcams, online pornography, blogging)
* Sensory communication – the use of sound and image: audiovisual methods and strategies
* media environments - the relation of user-generated ephemera to continuities/changes in the media landscape; historical precursors to online video and user-generated ephemera
* Audiences – online communities and the construction of user hierarchies; questions of authorship and negotiation in “bottom up” forms of ephemeral media; dynamics of cultural borrowing and authorship in online remakes, mashups, and machinima
* Distribution and Intellectual Property - the role of gate keepers and cultural intermediaries; questions of censorship, policy and legislation relating to ephemeral media production, distribution and consumption
* critical methodologies – the means and possibilities of studying user-generated ephemera


The ephemeral media workshop is part of the AHRC’s ‘Beyond Text’ research programme and is designed to facilitate discussion in a small group environment. It can provide travel (up to £100), accommodation, and subsistence costs to all accepted participants. To apply for the workshop, please send a 250 word paper proposal and a short biography highlighting relevant research interests or publications to generalenquiries@ephemeralmedia.co.uk by 10th December 2008.

CFP: New Review of Film and Television Studies (journal)

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

Anglia Television and the History of ITV (Upcoming conference)

ANGLIA TELEVISION AND THE HISTORY OF ITV: PROGRAMMING, REGIONALISM AND THE TELEVISION ECONOMY
A conference organised by the School of Film and Television Studies at the University of East Anglia, in conjunction with the East Anglian Film Archive.
NORWICH
14 - 15 NOVEMBER 2008

Conference Organisers: Andrew Higson, Su Holmes and Brett Mills

Website: www.uea.ac.uk/ftv/angliatv

Speakers include: Charles Barr, Lez Cooke, Sylvia Harvey, Cathy Johnson, Jamie Medhurst, Caroline Merz, Barbara Sadler, Rob Turnock and Sherryl Wilson; and from UEA, Su Holmes, Mark Jancovich, Brett Mills, Tim Snelson and Andrew Higson; plus Jane Alvey and Richard Taylor from the East Anglian Film Archive; and past and present Anglia executives, including Mike Talbot and Graham Creelman

Anglia Television - now ITV Anglia - began broadcasting in the east of England in 1959, some four years after the launch of the ITV network. This conference will build on the current vibrant interest in television history, and especially the history of ITV, and will chart the story of the Anglia franchise, from 1959 to the present. Key issues to be explored will include the relationship between the regional and the national in British independent television history; Anglia's programme culture - the range of genres, series and programmes produced or commissioned by Anglia over the years; the institutional organisation of Anglia and its operation as part of the ITV network; and the issues involved in archiving a regional television collection. There will also be a series of related archival screenings, including quiz and game shows, drama, sitcoms, soap opera,
news and regional heritage programmes. The conference is funded through an AHRC grant.

For further details and the conference registration form, see our website: www.uea.ac.uk/ftv/angliatv Or contact the Conference Administrator, Antonella Palmieri, at a.palmieri@uea.ac.uk