vibramycin 500

News

Archivio Aperto 2016, IX Edition of the Amateur and Family Film Festival

Until 7 December 2016: Archivio Aperto 2016, IX Edition of the Amateur and Family Film Festival, Bologna.

CFP: Visualizing the 70s

CFP invites contributions on ‘Amateur media production in print culture, television, film/video’ for The Mise-en-scène of a Decade: Visualizing the 70s

Deadline for submitting a 100 word abstract and a 100 word bio: December 20, 2016. Possible topic areas include but are not limited to:

Afterimages of the Vietnam War, but also any other of the decades many anti-imperialist flashpoints (Nicaragua, China, Ireland, Grenada, etc.)
Moments between modernism and post-modernism in architecture and other arts, as well as residual and non-North American modernisms.
Visual cultures of computing and communication
Media archaeologies focused on the 1970s
Post-industrial landscapes and urban decay
Visual culture (or afterlives) of 1970s communisms (Soviet Union, Yugoslavia, China, Cuba, etc.)
Digital and visual effects technologies in popular and experimental media
Iconographies of 1970s unionism, GLBT activism, second-wave feminism, environmentalism, and anti-nuclear movements
Reflections on the historical ontology of 1970s visual culture. What are the many “auras” at work in these artifacts? How do they resonate with us affectively today?
Amateur media production in print culture, television, film/video 
Visual histories of East v. West and Global North/South.
Representations of inflation and inflationary panic, but also any of the other various “states of emergency” linked to the period (Oil Crisis, Three Day Work-Week, etc.)
Landscapes and iconographies of racial integration and segregation
Transnational histories charting visual flows and cross-cultural encounters or fusions.
Legacies and after-images of 1960s counterculture (Whole Earth Catalog, etc.)
Theoretical (but visually inflected) reflections on periodizing the 1970s.
Sexual cultures of the 1970s, from pornography to the singles scene
Aesthetics of 1970s state politics (iconographies of Nixon, Carter, Heath, Wilson, Trudeau)
Utopian images of the 1970s
Sitcoms, movies-of-the-week, mini-series, and other televisual forms.
Nightclubs, malls, arcades, and other cultural spaces and environments.
Present-day representations of the 1970s in popular culture (The Iron Lady, Inherent Vice, Tinker, Tailor, Soldier, Spy)
Vernacular and mass cultural architectural spaces—malls, shopping plazas, suburbs, retrofitted industrial shopping/entertainment zones
Present-day media culture of the 1970s (Pintrest, photo filters, Tumblr photography accounts, graphic design)
1970s imaginings of the future, but also present texts which fantasize alternate versions of the 1970s themselves.

Essays should be between 5000 and 8000 words in length and in keeping with Imaginations’ mandate pieces may include visual content as part of their argumentation rather than as simply supplemental material. Please send full submissions to pendakis@hotmail.com and nathanholmes@gmail.com including a 100 word abstract and a 100 word bio by December 20, 2016. Please include any images separately, as well as embedded in the submission, as high quality (300 dpi) files. Full Submissions will be due by April 2016.

China: Research on Amateur Cinema/Media

Research on Amateur Cinema/media in China by Kiki Tianqi Yu, Associate Professor in Cinema Studies, Institute of Cultural and Creative Industry, Shanghai – see list of recent articles.

Bergman – In her own ‘images’

Excerpts from Ingrid Bergman’s home movies have been included in Stig Björkman’s documentary Ingrid Bergman in her own words (2015).

Paying tribute to 16mm & 35mm

Celluloid” exhibition at the EYE Filmmuseum, Amsterdam, 17 September 2016 – 8 January 2017

“The lens of grief”

Smartphones footage, race and law in the US: ‘Progress and its discontents‘, The Economist, 16th July 2016, pp.36- 38.

CFP: Amateur Film and the Institution (Film History Special Issue)

See CFP below:

Film History – Special Issue: “Amateur Film and the Institution

Guest Editors: Enrique Fibla, Masha Salazkina (Concordia University)

Deadline for abstracts: October 15th, 2016

In recent years, Film Studies scholarship began to pay more attention to the effects that various non-theatrical film initiatives – such as educational, industrial, and other institutional productions – have had on the way modern life is ordered, experienced and imagined. Although amateur film initiatives have sometimes been included in such debates, their relationship to professional film expressions and institutions has not yet been explored in depth. Shifting discourses on the status of amateurism vs. professional aesthetics have shaped much of film criticism and theory, emerging with particular force at certain moments in history. Yet, usually deemed a mere hobby devoted to recording family gatherings and trips, amateur cinema’s rich history as a vernacular media form, with its own journals, circulation circuits, and particular relationship to actuality is yet to be fully explored. Likewise, the current amateur digital media explosion has gathered scholarly attention, but it remains to be articulated in relation to a more comprehensive history of vernacular media. Such histories can potentially allow for a new map and timeline of moving image production to emerge: countries or regions previously deemed peripheral for film history due to their lack of a strong film industry may become relevant to rethink the space that film occupies in cultural history globally.

With these ideas in mind, the Amateur Film and the Institution special issue looks to discuss the different implications of amateur cinema around the world in relation to the technological, social, cultural, and economic developments that marked its emergence in different contexts. A central task of the special issue will be to interrogate the relationship between amateur practices and broader film institutional developments and open a conversation by addressing a range of questions, such as: What role did amateur production play in the institutionalization of film? What kind of alternative institutions did amateurs create? How does the development of these practices and discourses impact our understanding of the history and geography of moving images?

We invite contributions from scholars and practitioners to submit paper proposal on the history of film amateur practices around the world. Topics may include, but are not limited to:

-Archival institutions and non-professional film
-Non-professional film movements, journals, and festivals
-Amateur pornography
-Political potential of amateur cinema
-Amateur filmmaking and experimental/avant-garde cinema
-Self-made productions and the contemporary digital culture
-DIY technologies and aesthetics
-Amateur film in relation to industrial and educational films
-Histories of critical debates about the status of “the amateur” in film and media
-New geographies of moving image history beyond commercial film
-The impact of the study of amateur cinema on film historiography

Send a 500-600 word abstract and a brief biographical note to enrique.fibla@concordia.ca  and salazkina.masha@gmail.com  by October 15th 2016. The editorial team will notify selected proposals by November 1st 2016. Completed manuscripts (up to 9,000 words) will be due February 1st 2017, and will be accepted for publication pending editorial and external readers evaluation. All submissions will be subjected to double blind peer review.

For further information on Film History journal submission guidelines see: http://www.iupress. indiana.edu/pages.php?pID=78& CDpath=4

In addition to scholarly articles, we invite submissions of relevant previously unpublished original documents on this topic, in English or in translation, to be included in the special issue.

Amateur footage and international journalism

See ‘How Internet connectivity, YouTube and amateur footage is changing international journalism‘ by Caroline Lees (RISJ,  26 May 2016)

‘Amateur Film. Meaning and Practice’

For those readers in the UK and Europe who haven’t yet bought a copy of ‘Amateur Film. Meaning and Practice’ by Heather Norris Nicholson (Manchester University Press, 2012), there is now an opportunity to buy it as part of MUP’s summer sale.  Quote promotional code: Summer16

 

“No Home Movie”

No Home Movie, dir. Chantal Akerman, 2015 – special screenings at the Institute of Contemporary Arts, London, 24 – 30 Jun 2016.

© 2012 Amateur Cinema Studies Network (ACSN)