CfP: Mothers of Invention: Parenting and/as Filmmaking Practice

MOTHERS OF INVENTION: PARENTING AND/AS FILMMAKING PRACTICE, co-edited by Corinn Columpar and Sophie Mayer.

In 1983, E. Ann Kaplan famously called second-wave feminist film culture a movement created by daughters “unwittingly…repeat[ing] the patriarchal omission of the Mother.” By way of what Charlotte Brunsdon has called disidentification, several scholars and practitioners associated with more recent varieties of film feminism, from its third wave to its “post” incarnation, have, unwittingly or not, followed suit. Swimming against this tide, Mothers of Invention invites contributors to help construct a feminist genealogy of a different sort, one that foregrounds the relationship between acts of production on the one hand and those associated with reproductive and caring labour on the other. More specifically, it seeks to build on the ground-breaking industry research already underway at the Raising Films campaign in the UK and Moms in Film in the US in order to create an interdisciplinary edited collection that considers the role that parenting, as both a theme and a diversified practice, plays in film and media cultures.

Mothers of Invention welcomes essays about fatherhood and film and media, but the balance of the volume will be weighted toward mothers and female carers, particularly those from communities that have been historically under-represented, marginalised, and/or excluded from film and moving image practice. As much as the film and media industries, especially at the commercial end, present a challenge for all people with caring responsibilities, those who identify as female remain disproportionately responsible for caring and domestic labour. It is precisely the nature of this challenge – as well as the acts of creative invention and innovative resistance it has inspired – that are of interest to this volume. Indeed, works as diverse as Mary Kelly’s Post Partum Document (1973-79), Agnès Varda’s Daguerréotypes (1976), Arnait Video’s Before Tomorrow (2008), and Sophie Hyde’s 52 Tuesdays (2013) incorporate parenting and caring labour into both their narrative content and their artistic practice and thereby contribute to a transnational and transgenerational body of work has yet to be considered through the lens of feminist parenting studies.

We invite contributions on historical and contemporary global moving image practices, across the spectrum from industrial to artisanal and concerning all key production roles. We are open to a wide range of approaches, from close readings of film and media objects to industrial analyses to studies of circulation and spectatorship, and we welcome work from a variety of disciplines, including the following: film, television, and/or media studies; cultural and creative industries; women and gender studies; moving image practice-based research; media anthropology; and cultural studies. Finally, following Lisa Baraitser’s definitional essay ‘Mothers Who Make Things Public’ (2009), we use the term mother to “denote anyone who both identifies as female and performs primary maternal work, with a ‘child’ being understood as the other whom such a ‘mother’ elects, names and claims as her child,” and carer to denote anyone who performs primary physical and emotional work unremunerated for a partner, parent, sibling, other family member, or friend.

Please submit a 500-word proposal and brief biographical note to corinn.columpar@utoronto.ca and sophie@sophiemayer.net by 1 August 2017.

We anticipate that finished essays will be approximately 6000 words in length, including notes, and we plan to send out acceptances of proposals by the end of September 2017.

Feel free to email us prior to the deadline with any questions.

Call for Contributions: Encyclopaedia of Gender, Media and Communication

Encyclopaedia of Gender, Media and Communication

 

A small team of us are working with Wiley Blackwell to develop the first ever Encyclopaedia of Gender, Media and Communication which constitutes the latest project in the ICA series of Sub-disciplinary Encyclopaedias of Communication. We hope you agree that this will be an exciting and important contribution to the field. While there are several handbooks and edited collections which focus on many of the gendered aspects of media, culture and communication, an encyclopaedia which maps the broader landscape is currently missing: our project intends to remedy that lack. The project is obviously ambitious and we will not be able to please everyone or include everything, but we have identified around 250 potential index entries and would be pleased if you would take a look and see if there is a topic about which you would like to write. We are keen that the encyclopaedia is as inclusive and broad-based as possible and we are therefore seeking a mix of established and less experienced contributors, from all parts of the global research community.

The topic list is not exhaustive and if you think there is a significant omission about which you like to write, then please let us know your suggestion. You will also see that there are a few entries where we are actively seeking suggestions for entries on specific people (eg filmmakers and political leaders), particular films and media representations in particular regions – all indicated on the attached list in *green font*. As an editorial team, with our various experiences of researching and writing on aspects of the gender-media relationship, we are mindful of issues such as intersectionality, fluid sexual identities and stereotypes. You will see that in the list, we continue to use certain terms (eg women, men, disability, age, race, LGBTQ, trans) in order to mark out the parameters for the topics to be discussed and in this way, hope to make the /Encyclopaedia/ a useful and useable resource. Where appropriate, we encourage you to develop a critical approach to the use of these labels in the entries which (we hope!) you will write. The /Encyclopaedia/ is focused on gender (albeit itself a rather contested category) so all contributions must engage with this central theme, either privileging one ‘identity’ category or else adopting a comparative or intersectional approach.

If you are interested in accessing the headword list, please click here <https://www.dropbox.com/s/o69un2qtc5x93xc/GenderMediaComm-Encyclopaedia-topic-list.docx?dl=0>.

If the broad ambitions of the project sound appealing, please read on.

*Timescale* – we expect the three-volume /Encyclopaedia/ to be published in 2019 so working backwards, we would expect to receive first drafts of entries in autumn 2018 for shorter entries and spring 2019 for longer ones.

*Style* – an encyclopaedic entry is a *summary* of the research on a particular topic and is thus more a literature review than an opportunity to talk about an original piece of research although you can obviously do this in a modest way.

*Length *– entries will be of different lengths, ranging from long overview essays of around 10,000 words down to smaller entries of around 2000 words. We have identified a suggested length for each entry in the topic list but if you would like to write more or less, then please suggest an alternative length.

*Payment* – contributors will be paid in books and online access to the /Encyclopaedia/ for a specified length of time, currently 24 months from publication and for as long thereafter as you are prepared to provide updates: for long essays (10,000 words) = $350 worth of Wiley-Blackwell books; mid-length essays (4,000 – 8,000 words) = $250; short essays (2,000 – 4,000 words) = $150; and very short essays (1,500 – 2,000 words) = $100.

*Next steps* – if you are interested in writing an entry, please provide: 1) a <200-word synopsis of what you intend to cover, key authors, themes, etc. and   2) a <150-word biographical statement to include current affiliation and your job title.  We anticipate that a number of topics will attract multiple expressions of interest and in such cases, we will make decisions taking account of the overall balance of contributors in order to have the most diverse group of scholars. If that happens, we may suggest an alternative but related topic to you.

*Deadline* – please send your synopsis and biog by 29^th May 2017, to the Associate Editor identified with the sub-section of the /Encyclopaedia/ in which you potential topic appears. We will aim to get back to you by 1^st August 2017.

Thanks very much for getting to the end of this email and we hope to hear from you soon.

Kind regards

The Editorial Team//Encyclopaedia for Gender, Culture and Communication/

Karen Ross (Editor)

Ingrid Bachmann (Associate Editor)

Valentina Cardo (Associate Editor)

Sujata Moorti (Associate Editor)

Marco Scarcelli (Associate Editor)

Women in the Media Industries: Inputs & Influences

 Women in the Media Industries: Inputs & Influences

  10 April 2017

De Montfort University, Leicester

A Women’s Network Event organised by Dr Gamze Toylan, Lecturer in Media & Communication at De Montfort University.

Funded by MeCCSA Women’s Media Studies Network & Leicester Media School, De Montfort University.

This event focuses on women working in the media industries and how their inputs influence production processes and outputs – what we see on our screens and how they are made. We will be bringing together media professionals  and academics to talk about their professional roles and practices, as well as to discuss their research on media industries that focus on gender and inequalities in cultural production industries.

The event will revolve around panel discussions with the aim of developing exchange of ideas in a non-hierarchical set-up. Each panel (with 3 participants in each) will be an hour long with a Q&A session at the end. We have a wonderful group of speakers who are from a range of backgrounds (TV, radio, film and digital game design) and working in different capacities. The speakers include:

Anne Morrison: BAFTA Deputy Chair

Nainita Desai: Music Composer for Film & Television and one of 2016 BAFTA Breakthrough Brits

Judy Ducker: Established Prop/Production Buyer for Film & Television

Dr Kate Murphy: Former Senior Producer for Radio 4 Woman’s Hour and Senior Lecturer in History at Bournemouth University

Joanna Bostock: Broadcast Journalist, BBC Radio Leicester

Dr Bridget Conor: Senior Lecturer in Culture, Media and Creative Industries, King’s College London

Dr Alison Harvey: Lecturer in Media & Communication, University of Leicester

Dr Natalie Wreyford: Research Fellow at University of Southampton and Senior Development Executive in the British film industry

For more information and to book a place please go to the link below:

https://www.eventbrite.co.uk/e/women-in-the-media-industries-inputs-influences-tickets-31837670329 

* This is a free event but a place needs to be booked.

Dr Gamze Toylan

Lecturer in Media & Communication

Leicester Media School, Faculty of Technology

De Montfort University

gamze.toylan@dmu.ac.uk

Remembering Annie Hall: A One Day Conference

Remembering Annie Hall: A One Day Conference
University of Sheffield
31st May 2017
 
Confirmed plenary speaker: Professor Annette Kuhn (Queen Mary, University of London)
 
CALL FOR PAPERS
 
Since its release on 27th April 1977, Annie Hall has established itself as a key film for Woody Allen’s career and the history of romantic comedy more generally. At the 1978 Academy Awards, it won Oscars for Best Film, Best Director, Best Screenplay, and Best Actress. In addition to its central place in Allen’s oeuvre (film critic Roger Ebert called it “just about everyone’s favorite Woody Allen movie”), it is regularly cited as one of the greatest film comedies. In 2015 it was voted the funniest screenplay ever by the Writers Guild of America.
 
To mark the fortieth anniversary of the film’s release, the University of Sheffield is hosting a one-day conference to consider the importance of Annie Hall and its cultural influence. We are particularly interested in conversations stimulated by revisiting the film in the current political climate of President Trump’s government. To that end we welcome papers on all aspects of the film, including its reception and reputation. 
Suggested topics may include but are not limited to the following:
 
 Annie Hall and “New Hollywood”
 Annie Hall as an auteur film
 Annie Hall as (auto)biography
 Annie Hall and fashion
 Annie Hall and feminism
 Annie Hall and whiteness
 Annie Hall and film genre
 Annie Hall and film theory
 Annie Hall and psychoanalysis
 The role of art, transformation and performance
 Representations of the city
 Representations of migrant experience
 Representations (or non-representations) of race
 Romance and sex
 Music and voiceover
 The problem of the Hollywood ending
 Thinking about Annie Hall as (or as not) a Woody Allen film
 Thinking about Annie Hall as a Diane Keaton film
 Annie Hall in 1977 versus Annie Hall in 2017
 Allen’s influences in Annie Hall and/or the influence of Annie Hall today
 Thinking about Annie Hall in the age of Trump
 
Proposals for 20-minute papers (maximum 200 word abstracts, plus a short biographical note of no more than 50 words) are due by 31st March 2017, and should be sent to Annie.Hall@sheffield.ac.uk.
 
We encourage proposals from anyone with an interest in Annie Hall, including established academics, graduate students and independent scholars.
 
There is a conference website: anniehallat40.wordpress.com

CfP: A Tribute to Mary Tyler Moore

Women & Television Comedy: A Tribute to Mary Tyler Moore

From her roles as Laura Petrie to Mary Richards, Mary Tyler Moore brought a modern, sophisticated woman to the situation comedy who was educated, independent, and assertive. Not only were The Dick Van Dyke Show (1961-1966) and The Mary Tyler Moore Show (1970-1977) critical and commercial successes, but they were also landmark series in the development of the U.S. sitcom. These series critically engaged with contemporary women’s issues and pushed the boundaries of female representation; Laurie Petrie presented a wife who was in many ways her husband’s partner and equal, while Mary Richards embodied the single, independent working woman of the 1970s. Through Moore’s iconic comedy, feminism found a home on primetime television, laying the groundwork for the future of funny women on television.

This Special Issue of Flow serves not only to reflect on the legacy of Mary Tyler Moore as a producer, star, and icon, but also to consider the continuing role, influence, and politics of women in sitcoms, and in comedy more broadly. In the Age of Trump, we might also think about the power of comedy to serve as a vibrant space for feminist discourse and activism. We welcome submissions that consider any of the following topics related to Moore and her legacy:

– The Dick Van Dyke Show, its importance and its influence
– The Mary Tyler Moore Show, its importance and its influence
– Television wives and mothers
– Family sitcoms
– Gender in workplace comedies and workplace families
– Quality television and the MTM Style
– Women in situation comedies or comedy more broadly
– Feminism and primetime television
– Moore and stardom
– The politics of TV comedy
– Women’s TV roles and Women’s Movements
– Domesticity and Domestic TV Spaces/Roles
– Clothing, style, and feminism

To be considered for inclusion in this Special Issue, please send completed short essays of 1000-1500 words, along with at least three image (.png) or video files and a short author bio, to Selena Dickey at flowjournaleditors@gmail.com by Monday February 13.  The Special Issue will be published at flowjournal.org on Monday February 20.