DWFTH4: CFP Deadline Extended

Due to popular demand, the proposal deadline for DWFTH4 has been extended to: Monday, November 13th 2017 (10pm GMT)

The decision date – 20 December 2017 – remains the same. If you have submitted already you should have received an email confirmation and any new submission will receive confirmation within three days. If you have not/do not receive confirmation, please email Shelley Cobb at s.cobb@soton.ac.uk

Please see ‘Upcoming Events‘ on this website for full details:
Doing Women’s Film and Television History IV:
Calling the Shots – Then, Now, and Next
May 23 – 25, 2018

University of Southampton, UK
Organising team: Shelley Cobb, Linda Ruth Williams, and Natalie Wreyford

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Film Research Seminars: Autumn 2017: University of Southampton

Film Research Seminars, University of Southampton
All seminars will take place in Lecture Theatre B, Avenue Campus.

Tuesday, October 17th, 4 – 6pm
Deborah Jermyn, University of Roehampton
‘How do you solve a problem like Nancy Meyers? Approaches to an ‘unworthy’ subject’

Tuesday, October 31st, 6 – 8pm
Ulrike Weckel, University of Giessen
‘Watching the Accused Watch the Results of Nazi Crimes: Observers’ Reports on the Atrocity Film Screenings in the Belsen, Nuremberg, and Eichmann Trials’
(Presented in partnership with Parkes and History)

Tuesday, November 14th , 4 – 6pm
Helen Wheatley, Warwick University
‘Television Death’

Tuesday, November 21st , 4 – 6pm
Lindsay Steenberg, Oxford Brookes University
‘Are you not entertained?: Mapping the gladiatorial impulse in visual culture’

Tuesday, November 28th , 4 – 6pm
Ginnette Vincendeau, King’s College London
‘Challenge or cosmetic makeover? The ‘feminised’ Parisian banlieue film’

Tuesday, December 5th , 4-6pm
Clive Nwonka, London School of Economics
‘Reconsidering Film and Cultural Studies’

All Welcome!
Contact Shelley Cobb: s.cobb@soton.ac.uk

Dr Shelley Cobb
Associate Professor of Film
University of Southampton
http://www.southampton.ac.uk/film/about/staff/sc1p07.page

Call for Papers DWFTH-IV: Calling the Shots – Then, Now, and Next

The call for papers is now available for:
Doing Women’s Film and Television History IV: Calling the Shots – Then, Now, and Next
May 23 – 25, 2018

University of Southampton, UK
Organising team: Shelley Cobb, Linda Ruth Williams, and Natalie Wreyford

As researchers of the AHRC-funded project Calling the Shots: Women and Contemporary UK Film Culture 2000-2015, we are proud to host the fourth International Doing Women’s Film and Television History conference in association with the Women’s Film and Television History Network – UK/Ireland.

Papers are invited on any aspect of women’s work in, consumption of, and relationship with film and television.

Proposals should be submitted to dwfth4@gmail.com before the 3 November 2017. Participants will receive a response from the selection committee before 20 December 2017.

Full details of the conference and the call for papers can be viewed and downloaded here (pdf) and here (Word document).

Confirmed Keynote Speakers

Professor Jane Gaines (Columbia University, USA)

Dr. Oluyinka Esan (University of Winchester, UK)

Dr. Rashmi Sawhney (Srishti Institute of Art, Design and Technology, India)

Professor Shelley Stamp (University of Santa Cruz, USA)

Professor Yvonne Tasker (University of East Anglia, UK)

The conference will also include screenings with practitioners and other industry professionals.

CFP: Doing Women’s Film and Television History IV

 Doing Women’s Film and Television History IV: Calling the Shots – Then, Now, and Next

University of Southampton, May 23 – 25, 2018

Organising team: Shelley Cobb, Linda Ruth Williams, and Natalie Wreyford

As researchers of the AHRC-funded project Calling the Shots: Women and Contemporary UK Film Culture 2000-2015 we are proud to host the fourth International Doing Women’s Film and Television History conference in association with the Women’s Film and Television History Network – UK/Ireland.

Details can be viewed and dowloaded here (pdf) and here (Word document)

The focus for DWFTH-IV is predicated on the idea of the contemporary as an historical formation. The conference will offer a space to think about the interconnectedness of the past, present and future in feminist historiography and theory, as well as across all forms of women’s film culture and film and television production. It will also consider women’s film and television histories and their relationships with the contemporary, framed and read historically, to reflect on our methodological, theoretical, ideological and disciplinary choices when researching and studying women and/in film and television. In addition to this theme, we are interested in proposals/panels on all topics related to women’s film and television history, from all eras and from all parts of the globe. We hope that DWFTH-IV will build on the successes of the previous conferences through new work on women, both historical and contemporary, and fresh thinking on what we mean by women’s film and television history.

 

Confirmed Keynote Speakers

Professor Jane Gaines (Columbia University, USA)

Dr. Oluyinka Esan (University of Winchester, UK)

Dr. Rashmi Sawhney (Srishti Institute of Art, Design and Technology, India)

Professor Shelley Stamp (University of Santa Cruz, USA)

Professor Yvonne Tasker (University of East Anglia, UK)

The conference will also include screenings with practitioners and other industry professionals.

Papers are invited on any aspect of women’s work in, consumption of, and relationship with film and television. The following is an indicative (and by no means exhaustive) list of possible topics:

  • women’s film/TV historiography: filling gaps or changing history?
  • history formulated as in medias res: how do we do contemporary history, and what are the implications of thinking of the historical in this way?
  • methodologies: archive searches, data collection (uses, limitations, difficulties collecting); interviews with practitioners; creative/cultural industrial approaches
  • the impact of social, economic and industrial conditions (including industry regulation) on women’s roles and creative practices
  • new ways of doing textual analysis of women’s films (rethinking feminist theory?)
  • the intersection of class, race, sexuality, disability and women both on screen and behind the camera
  • issues of archiving and preservation for women’s film and television
  • distribution and exhibition and broadcasting – finding and seeing women’s film and television
  • re-thinking women as ‘auteurs’ of film and television (directors, showrunners, producers, actors)
  • feminism & women’s film history; historicizing women’s film collectives of 1970s and 80s; feminist filmmaking today (and tomorrow?)
  • international and transnational contexts: connections, comparisons, collaborations, migration
  • crossing industry boundaries: film, television, theatre, radio, journalism, art, etc
  • practice-based research: directing, screenwriting, sound/set/costume design, etc

– the relationship between practice-based research and history

  • women audiences/viewers and women as fans
  • women campaigner/activists in film and television and for on-screen/off-screen change
  • women’s film criticism/women film critics
  • the uses of social media by women filmmakers/showrunners/actors/critics/fans/campaigners etc
  • digitisation in women’s filmmaking and future histories
  • ‘women’s cinema’ as critical category in post-feminist contexts
  • women’s independent filmmaking and/versus women’s mainstream (or blockbuster) directing
  • changing the curriculum: critical canons; pedagogies of women’s film and television history; teaching feminist history and theory; women’s film and television in core curricula
  • the relationship between film and television genres, their gendered affiliations and women’s involvement in their production
  • women practitioners’ negotiations of femininity and/or feminism in their working lives

Proposals for twenty-minute presentations must include the title of the presentation, a 250-word abstract and a brief biography the author(s). Pre-constituted panels of three speakers may also be submitted, and should include a 250-word panel rationale statement, as well as individual abstracts.Proposals from both established scholars and early career researchers including postgraduate students are welcomed.Proposals should be submitted to dwfth4@gmail.com before the (now extended) deadline of 13th November 2017 (GMT 10am). Participants will receive a response from the selection committee before 20 December 2017.

Calling the Shots: Women and Contemporary Film Culture in the UK, 2000-2015 is an AHRC funded research project, running from 2014-2018. Further details of the project can be found at:http://www.southampton.ac.uk/cswf/

 

 

CFP: Let’s Go to Work: The Legacy of Angel – A Slayage Special Issue

On October 5th 1999, the first episode of Angel – the spin-off to Buffy the Vampire Slayer – aired on the WB.  The television show ran for five seasons and ended with a bang – or at least with a dragon – on May 19th 2004. The story continued in comic book form, including Angel: After the Fall (IDW Publishing), Angel & Faith Season 9 and Angel & Faith Season 10 (Dark Horse Comics).  While the show has received critical attention in the form of journal articles in Slayage: The Journal of Whedon Studies, Critical Studies in Television, Refractory, and Intensities: The Journal of Cult Media, as well as a small number of booksthe series has never received the same level of critical attention as its parent-text Buffy as well as other Whedon/Mutant Enemy texts. Yet its aesthetic hybridity and horror pedigree, as well as its preoccupation with themes of redemption, masculinity, corporate evil, apocalypse, and the need to keep fighting the good fight in the face of seemingly insurmountable odds, make it increasingly relevant. More so than ever, Angel’s epiphany ‘If nothing you do matters, then all that matters is what you do’ speaks to the contemporary reality of our socio-political landscape.
The show’s 20th anniversary in 2019 is an ideal opportunity to reflect once again upon Angel, not only in terms of its significance as a series, but also the legacy and influence of the show, in terms of content, theme, and personnel.  The editors of this special issue – Stacey Abbott and Simon Brown –  thus invite proposals for papers on any aspect of Angel the television series and/or its comic-book spin-offs. As Angel tells his team as they face a horde of demons and monsters ‘Let’s go to work’.
Proposals may include, but are not restricted to:
·        Aesthetics and production contexts
·        Discussions of direction, editing, music, set design, and sound
·        Representations of the city
·        Examinations of key themes such as: masculinity, redemption, apocalypse, and/or Corporate Evil
·        Issues of gender
·        Angel as apocalyptic/post-apocalyptic fiction
·        Angel and genre (comedy, horror, Film Noir, melodrama)
·        The Angel finale
·        Angel in relation to other Whedon texts
·        Angel in relation to other vampire TV series (True Blood, Vampire Diaries, The Originals, The Strain, Penny Dreadful)
·        Angel and TV Horror
·        The legacy of the sympathetic/reluctant vampire
·        Angel: After the Fall, Angel & Faith, and other comics
·        Transmediality
·        Fandom
·        Legacy of the creators of Angel (e.g. Joss Whedon, David Greenwalt, Jim Kouf, Tim Minear, Jane Espenson, Steven DeKnight, Ben Edlund, Drew Goddard, Jeffrey Bell, Elizabeth Craft, Sarah Fain, Marita Grabiak)
·        Legacy of the cast
Please send a 200-300 word proposal and a short bio by the 15th January 2018 to Stacey Abbott (s.abbott@roehampton.ac.uk) and Simon Brown (simon.brown@kingston.ac.uk). Decisions will be made, and everyone will be notified, by the 12th February 2018. If your proposal is accepted please note that a first draft will be due by the 29th June 2018.