Archives for September2015

Amateur Creativity: Interdisciplinary Perspectives

A two-day symposium on ‘Amateur Creativity: Interdisciplinary Perspectives‘, University of Warwick, UK, 17th – 18th September 2015

“Amateur creativity is enjoying renewed vitality in the twenty-first century, reflecting deep cultural changes. Amateur performers, critics, authors and musicians can reach global audiences through blogs, youtube, ebooks and many other forms of social media, a cultural practice set to increase as digital technology becomes increasingly accessible. There is a revival of interest in folk art and craft, with some amateur bakers, knitters and gardeners becoming TV celebrities and others turning their skills to guerrilla performance, slow art or political activism. Organisations that have long supported amateur creativity, such as the Women’s Institute, The National Allotment Society, The Embroiders Guild and National Operatic and Dramatic Society are thriving, with many gaining new and younger members. Diasporic communities often maintain links with the cultural traditions and heritage of ‘home’ through craft and different forms of performance, many of which exist outside the boundaries associated with professional activity in the West. Amateur creativity in the twenty-first century is redefining what it means to be a professional, with profound cultural consequences.

In the academy there is a resurgence of interest in amateur creativity, regarded as a vital alternative to the commodified creative industries and to forms of cultural practice that reflect only the tastes of the metropolitan élite. At the same time, the parameters of professional researcher are becoming porous, as amateur researchers are encouraged to gather data, shape research agendas and become co-producers of knowledge. The twenty-first century is set to loosen the idea of amateurism from its association with the ‘unprofessional’, and to reassert the significance of amateur creativity to communities, individuals and the wider ecologies of cultural participation.

This inter-disciplinary symposium aims to challenge perceptions of amateur creativity and contribute to debates about the cultural significance of the amateur through a consideration of key themes including: the boundaries between the amateur and professional, everyday creativity, methodological issues, amateur creativity and craft, amateur creativity and subjectivity, making spaces for creativity and the histories and heritage of amateur creativity….”

CFP: ‘ Home Video & Media Texts’

‘CFP “Home Video & Media Texts” – Post Script Special Issue
Editor: Richard Nowell

Despite exerting an almost unprecedented influence on audiovisual cultures across the globe, home video has inspired a relatively narrow range of scholarly inquiry. On the one hand, media theorists and historians have tended to consider how this multifaceted phenomenon facilitated changes to the structure and organization of national film industries, especially that of the United States. On the other, they have examined the responses of stakeholders such as fans, moral watchdogs, and state institutions, especially in the United Kingdom. By contrast, apart perhaps from hardcore pornography, comparatively little attention has been paid to the ways in which home video shaped the texts the media industries crafted and disseminated; not only films but also movie marketing campaigns, companies’ brand identities, and works of professional criticism, to name but a few. As a consequence of these tendencies, home video has come to occupy something of an exceptional position in media historiography insofar as it has yet to provoke the type of sustained, multi-directional analyses rightly devoted to other technologies and means of delivery, such as television, widescreen, multiplexing, DVD, and new media like the internet and mobile telecommunications. By shifting attention from industrial structures and the dynamics of various forms of critical reception toward home video’s affect on texts produced by the culture industries, this issue of Post Script hopes to contribute to the larger task of deepening understandings of the economic, aesthetic, and social impact of arguably the most important change in content delivery and consumption of the late twentieth century.

Accordingly, submissions of original essays are sought, which may cover, but are by no means limited to, the relationships between home video and:
– the types of film produced
– the types of film imported into a specific country or region
– the character of specific film genres
– trans-generic content
– the content of individual films and series
– the content of international co-productions
– multimedia collaborations and tie-ups
– marketing campaigns and strategies
– professional magazine and book publishing
– corporate or institutional branding
– public personae of media workers

Interviews with industry professionals relating to this topic are also welcomed.

Those interested in being considered for inclusion in this issue of Post Script should submit an abstract of 200-300 words along with an academic bio of around 100 words, to  no later than 30 September 2015. All acceptances will be issued within a couple of days of this deadline (if not sooner). Please feel free also to direct any general inquiries about this issue of Post Script to the aforementioned email address; a swift response is guaranteed.

Completed essays can be expected to be 7,500-8,000 words in length (including references and bibliography), with final drafts expected late summer 2016 (exact dates to be confirmed upon

Richard Nowell teaches American Cinema at the American Studies Department of Charles University in Prague. He is the author of Blood Money: A History of the First Teen Slasher Film Cycle (Continuum, 2011), the editor of Merchants of Menace: The Business of Horror Cinema (Bloomsbury, 2014), and has published essays in several volumes and journals including Cinema Journal, the Journal of Film and Video, the New Review of Film and Television Studies, and previous issues of Post Script.

POST SCRIPT is a refereed journal, publishing three times a year for the last thirty-four years, and is indexed by the Federation Internationale des Archives du Film (FIAF); The International Index to Film Periodicals; Film/Literature Index; MLA International Bibliography; An Index to Book Reviews in the Humanities; Gale, EBSCO, and, the International Index to the Performing Arts(Chadwyck-Healey). POST SCRIPT does not publish any work that has previously appeared in print with the possible exception of a translation of rare material not generally accessible to scholars.’

Conference: “Changing Platforms of Memory Practices” (Groningen)

Forthcoming Conference: “Changing Platforms of Memory Practices” (Groningen, the Netherlands), 10-12 September 2015. See program here

“Le Marseille des cinéastes amateurs”

On 8 September 2015: Le Marseille des cinéastes amateurs – “Une rétrospective des films réalisés par le «Club des Amateurs Cinéastes de Provence» à l’occasion d’une “Carte Blanche” à Cinémémoire proposée par le Comité du Vieux Marseille.”

© 2010 Amateur Cinema (Media) Studies Network