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The 10th Women and the Silent Screen Conference: 25-28 May 2019: SISTERS! – Proposal Extension & Keynote Announcement

On behalf of Women and Film History International and Eye Filmmuseum, Amsterdam, Netherlands

The 10th Women and the Silent Screen Conference hosted by the 5th Eye International Conference: Sisters!

We are proud to announce our keynote speakers:

Prof. Jacqueline Stewart: a professor at the Department of Cinema and Media Studies of the University of Chicago. Her research and teaching explore African-American film cultures from the origins of the medium to the present. Stewart’s research topics also include the archiving and preservation of moving images, and “orphan” media histories, including nontheatrical, amateur, and activist film and video.

Dr. Annette Förster: a media historian and film curator who specializes in women in film history. Förster was among the initiators of the first Women and the Silent Screen Conference which took place in Utrecht in 1999. Her acclaimed book Women in the Silent Cinema. Histories of Fame and Fate (Amsterdam University Press) was published in 2017.

Extension of deadline:

The deadline for the call for proposals has been extended to 7th December 10:00 am (CET). The committee looks forward to receiving your proposals at conference@eyefilm.nl.

More information on the CfP here: https://www.eyefilm.nl/en/call-for-papers-eye-international-conference-2019

 

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British Women Documentary Filmmakers 1930-1955: 5th April 2019

Posted on behalf of the symposium organisers.

Proposals are invited for a one-day symposium to be held at the London School of Economics on 5th April 2019. A pdf version of the call for papers can be found here.

As the work of filmmakers including Jill Craigie, Kay Mander and Marion Grierson testify, women have played a significant part in the early decades of British documentary and informational filmmaking. Women were a vital part of the war effort and this was apparent in the films made by the Ministry of Information as well as newsreels, documentaries and dramas. Women also worked behind the camera as directors, editors and scriptwriters on instructional and propaganda films. Yet much early British documentary history on Grierson and the Documentary Movement tends to elide the ways in which non-canonical works engage differently with questions of the nation, gender, class and identity and the ways in which form and content are linked to context of production.

This one-day symposium seeks to deepen understanding of women’s creative presence in British documentary filmmaking. Papers may explore individual films and filmmakers, as well as the industrial, social and historical contexts in which they worked. While WWII has been foregrounded in accounts of women’s participation in British film production, the day will consider a longer historical period including the innovations in documentary of the 1930s and the changing industry of the post-war period.

Topics and questions might include:

  • Women working within informational filmmaking
  • New approaches to women and non-fiction filmmaking in wartime and/or post-war period
  • How do emerging accounts of women’s role in the industry reshape standard accounts of documentary?
  • What can individual careers tell us about the obstacles and opportunities faced by women in the sector at different times within the period?
  • Does the study of women’s participation in film problematize dominant conceptions of ‘talent’, creativity and authorship?
  • The impact of distribution and reception on historical awareness of films by women
  • How can wider histories of women’s work during World War inform studies of women’s labour in film?
  • Feminist film historiographies and documentary film-making
  • Emerging methodologies for constructing women’s film histories

Please email abstracts of 300-500 words, 3-5 keywords and up to 5 key references to: gender@lse.ac.uk Deadline for submissions is 17.00 on 1 November 2018.

Please note:

  • The abstract should be in word format as an attachment with your Surname and Initials as the file name and please make sure you put BWDF in the subject line.
  • Please also include a 100 word bio.
  • Please include your NAME, EMAIL ADDRESS AND INSTITUTION (if any) on the proposal/abstract itself.
  • Any queries please contact: Kate Steward steward@lse.ac.uk

We will respond to submissions by 30th November 2018.

The symposium is funded by as part of the project, Jill Craigie: Film Pioneer, led by Lizzie Thynne (PI, University of Sussex) with Yvonne Tasker (Co-I, University of East Anglia) and Sadie Wearing (Co-I, LSE). We anticipate producing a journal issue from selected papers.

Harry Ransom Center Research Fellowships

On behalf of The Harry Ransom Center, The University of Texas at Austin.

The Harry Ransom Center invites applications for its 2019­-2020 research fellowships.

Ten dissertation fellowships and up to 50 postdoctoral fellowships will be awarded for projects that require substantial on-site use of its collections.  The fellowships support research in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history.

The Center’s film collections include the papers of producers David O. Selznick and Lewis Allen, director Nicholas Ray, actors Gloria Swanson, Robert De Niro, and Eli Wallach, screenwriters Ernest Lehman and Paul Schrader, acting teacher Stella Adler, special effects master Norman Dawn, and the Interstate Theatre Circuit, the Mad Men archive, among others. For more information about the Center’s film collections, visit www.hrc.utexas.edu/collections/film.

The deadline for applications, which must be submitted through the Center’s website, is November 15, 2018, 5 p.m. CST. Applicants, with the exception of those applying for dissertation fellowships, must have a Ph.D. or be independent scholars with a substantial record of professional achievement.

The fellowships range from one to three months, with stipends of $3,500 per month. Travel stipends and dissertation fellowships provide stipends of $2,000. International fellows receive an additional $500 stipend to offset visa and travel costs. Applicants will be notified of decisions on March 31, 2019.

Fellowship residencies may be scheduled between June 1, 2019, and August 31, 2020. During the fellowship, scholars will work on-site at the Ransom Center in Austin, Texas.

Fellows will become part of a distinguished group of alumni. Since the fellowship program’s inauguration in 1990, the Ransom Center has supported more than 1,200 research projects.

For details and application instructions, visit: ransom.center/filmfell

Questions about the fellowship program or application procedures should be directed to ransomfellowships@utexas.edu.

Save the Date: Remake. Frankfurt Women’s Film Days: 2-11 November 2018

On behalf of Kinothek Asta Nielsen:

Asta Nielsen in Die Suffragette (1913). Source: Deutsche Kinemathek Berlin

We’re happy to announce that the inaugural edition of Remake. Frankfurt Women’s Film Days, a new event presented by Kinothek Asta Nielsen, will take place in Frankfurt am Main from 2 -11 November 2018.
Curated by Gaby Babi
ć, Karola Gramann, Heide Schlüpmann

Remake. Frankfurt Women’s Film Days will be held regularly in the future. The event will provide a more extensive framework for the Kinothek’s work, increasing the visibility of past and present film work by women, and to encourage the screening of films in their original formats.

The Kinothek Asta Nielsen’s specific task is to make films which are relevant to awareness of, and reflection on, gender relations accessible to a wide audience. With this in mind, we are incorporating our previous work into a focussed event format.
 Remake. Frankfurt Women’s Film Days will have a thematic focus and will unfold in a mixture of festival and symposium.

Remake 2018 will celebrate double anniversaries: “100 years of women’s suffrage” and “50 years of feminist film work.”  The 2018 festival takes place in conjunction with the exhibit and event series “Votes for Women – The 100th Anniversary of Women’s Suffrage in Germany” presented by the Historisches Museum Frankfurt. Our historically-structured programme, extending from the suffragette films of the early 20th century to the present, will trace the legal system as it applies to women, the shift in female self-image that has gone along with it, and the ongoing debates about sexual politics in films. In the age of #MeToo and disputes over abortion rights these are topics that haven’t lost their relevance. In addition to this broad programme, Remake will launch a retrospective on the development of feminist film festivals. This year’s kick-off is an homage to the Women’s Event of the 1972 Edinburgh International Film Festival. A third element of our festival is a solo exhibition, dedicated to rediscovering and safeguarding the work of a woman filmmaker from the Rhein-Main region. This year, we feature the work of Recha Jungmann.

Remake. Frankfurt Women’s Film Days is supported by HessenFilm und Medien GmbH and the Women’s Department of the City of Frankfurt am Main.
Partners are the Deutsche Kinemathek – Museum für Film und Fernsehen, the Deutsches Filminstitut – DIF e.V. / Kino im Deutschen Filmmuseum, Schauspiel Frankfurt, the Historisches Museum Frankfurt, and Pupille – Kino in der Uni.


Further information on the festival concept, programme and venues will be published in early October 2018 on
 www.remake-festival.de where you can subscribe to our newsletter. 

Remake. Frankfurter Frauen Film Tage is funded by HessenFilm und Medien GmbH and the Frauenreferat der Stadt Frankfurt am Main (Women’s Department of the City of Frankfurt am Main).

The 10th Women and the Silent Screen Conference: 25-28 May 2019

On behalf of Women and Film History International and Eye Filmmuseum, Amsterdam, Netherlands

The 10th Women and the Silent Screen Conference hosted by the 5th Eye International Conference: Sisters!

Call for Papers and current information ca be found  here.

Women and the Silent Screen (WSS), an international conference held biennially, brings together research focusing on all forms of women’s presence in the earliest decades of motion picture history. After its first edition in Utrecht in 1999, the conference is coming back to the Netherlands to celebrate its twentieth year. The theme of the tenth conference (WSS X) is Sisters, taken both literally and figuratively within a wide range of theoretical and historical angles.

The Eye International Conference, held annually, explores contemporary archival and academic debates, catering to film heritage professionals, scholars, archivists, curators, and restorers. The conference includes panels and special screenings of (restored) films.

Further information and the call for papers will be announced in September.

Dates: Saturday May 25 to Tuesday May 28, 2019
Location: Eye Filmmuseum Amsterdam, The Netherlands

For any inquiries, you may contact conference@eyefilm.nl