Please find below the latest information ahead of DWFTH-IV: 23rd to 25th May 2018.
The programme is available to download here: DWFTH4 Provisional Programme 2018. Please note, as it is provisional, it is still subject to change.
In addition, REGISTRATION is now open. Click here for a direct link to the University of Southampton online store. The options are in a list form, so here is some clarification:
1. Full standard registration (all 3 days, including buffet dinner on the 23rd): £165
2. Full unwaged registration (all 3 days, including buffet dinner on the 23rd): £85
*please note the unwaged rate is for those who are unemployed, on part-time hourly paid contracts, and students
3-5. Day rates: £85 (for those who have obligations that keep them from attending the full 3 days – please choose the day you will be attending)
6. 2 Day registration: £160 (for those who have obligations that keep them from attending the full 3 days but will be there for 2 days)
Any queries may be addressed to: email@example.com
Dr Shelley Cobb, Dr Linda Ruth Williams, Dr Natalie Wreyford
For WFTHN members, please see below a statement from MeCCSA regarding the USS pension dispute between UCU and UUK.
As an association representing the interest of university students, teachers, and researchers in our field, we wish to express our strong support for those of our members currently taking strike action in opposition to proposed changes in their pension arrangements. The health and diversity of our field are already unduly dependent on the goodwill and commitment of many people in unacceptably precarious employment conditions. To diminish their pension rights further would be to the detriment of both staff and students in this field as in others. The threat to pension arrangements is thus a direct hazard to the academic vitality and vigour of the field we represent, and in the interests of all our members we oppose the projected changes and support the continued opposition to them.
(With apologies for any cross-posting).
This is a call for book proposals, either monographs or edited collections, on women’s labour in the entertainment industries from 1960 on. The desired manuscript length is 250-300 pages. The series conceptualises ‘entertainment industries’ broadly, and is inclusive of film, television, support industries, gaming, streaming platforms, digital content, etc. Similarly, although the series title singles out women and women-identified workers, projects that focus on trans and non-binary labor histories are very welcome.
> Please be aware that the scope of the series does not include histories of labourers who work(ed) in front of the screen, nor does it include histories whose primarily chronology is pre-1960.
> Please contact series editor, Dr. Alicia Kozma firstname.lastname@example.org with questions and/or for proposal guidelines. See also flyer below:
The Women Over 50 Film Festival (WOFFF) is an international film festival aiming to redress the age and gender imbalance older women face in the film industry. Our next festival will be on 22 – 23 September 2018 at Depot, Lewes.
WOFFF aims to increase the conversations between generations and this year is introducing a Student Prize.
Prizes for the winning student film will include:
- £200 cash
- a winner’s certificate
- the film screened as part of the WOFFF Best of the Fest UK Tour in cinemas and community venues around the country
Student submissions are free to enter. Full details on how to submit your film are available here.
Everyone is eligible to submit a film to Women Over 50 Film Festival. There’s no upper or lower age limit and it’s not only open to women. As long as your short film centres on a woman over 50, or part of your core creative team is female and over 50, your film is eligible. Please see further details on our website here.
This is a notification of a call for papers regarding a two-day conference at Northwestern University about all things Bette Davis, from the industries that created her to the actress herself as an industry. Davis remains emblematic of the historical era of Classical Hollywood Cinema (1929-1960), the aesthetic practices we describe as modernist, and the political practices we describe as feminist. What would it mean to read Bette Davis as modernist? How does Davis operate as a node that allows us to think about the reach of mass culture in shaping (and historicizing) early twentieth century conceptions of femininity, sexuality, embodiment, and agency?
An actress unafraid to play unlikeable women, Davis regularly wrested directorial and production power away from men, earning her the title of “the Fourth Warner Brother” and transforming her from star to auteur. While there is a significant body of work on Davis in film and media scholarship, she has only made a few appearances in literary and cultural studies, primarily in feminist and queer discussions of this period, as in Lauren Berlant and Theresa de Lauretis’s readings of Now, Voyager. This conference seeks to build on that work, exploring the many ways in which Davis was central to mass and popular culture during Hollywood’s Golden Age.
Send proposals of approximately 150 words to Julia Stern: e-mail: email@example.com.
Possible topics include
- Smoking (as an industry/as an aesthetic/as a politic)
- Melodrama and the woman’s film
- Modern femininity
- Davis and/as drag
- Davis and literary adaptations (Maugham, Hellman, Strachey, Prouty)
- Davis on Broadway (Ibsen, Williams, Sandburg)
- The artist vs. the contract system
- Gay iconicity
- Material artifacts—publicity materials, costumes
- Immaterial artifacts: the persistence of Davis in the internet age
- Davis’s make-up artists/costume designers (Perc Westmore, Orry-Kelly, Edith Head etc.)
- Davis’s directors (William Wyler, King Vidor, Irving Rapper, Edmund Goulding, Joseph Mankiewicz, Robert Aldrich, etc.)
- Davis and racial representation
- Davis and whiteness
- Davis and the historical imagination
- Davis and WWII