‘Regional Film and Audiovisual Archives in the 21st Century’ – July 27-29, 2017, Northeast Historic Film Summer Symposium, Bucksport, Maine, USA
Twenty-first century regional moving image archives discover and collect increasingly diverse audiovisual artifacts that represent increasingly diverse media-making populations. This year we seek to bring together archivists, collectors, scholars, and practitioners involved with regional AV archives—and regional AV collections within a general archives—to consider best practices in expanding the reach and content of the regional moving image archive. Both “real world” and aspirational presentations are welcome.
Calling upon the regional moving image archive community internationally, we hope to create an atmosphere for sharing case studies, developing collaborative initiatives, discussing what works and what doesn’t, and screening representative material from the world’s regional film and AV archives.
Some topics to consider, and all others are welcome:
–Ways of affirming regional moving image identity
–How to raise money for general day-to-day activities
–How to put together a publication project highlighting your archive’s material
–How to set up a research scholarship? Benefits/drawbacks
–How to identify sources of income
—Cataloging nontheatrical/home movies for maximum benefit
–Stock footage sales, advantages and adventures
–Dealing with vendors on a small scale
–Scholarship that foregrounds regional material: methodologies and outcomes
–Regional material as capsules of broader cultural trends
–Teaching with regional moving image materials
Please send a 250-500 word abstract outlining your presentation idea and a brief cv via e-mail to: firstname.lastname@example.org. The Summer Symposium Program Committee is: Jennifer Jenkins, University of Arizona; Audrey Amidon, National Archives and Records Administration; Liz Czach, University of Alberta; Dino Everett, University of Southern California; Heidi Holmstrom, National Archives and Records Administration; and Devin Orgeron, North Carolina State University. We are happy to discuss your presentation ideas with you in advance of a formal submission. The Symposium Program Committee will begin reviewing proposals on March 15, 2017 and will finalize the program by April 10, 2017.
We are delighted to announce the launch of the BAFTSS Amateur Cinema SIG.
Alan Sidi’s ‘Tribe of the Sun‘ (1972), held by the Yorkshire Film Archive – “an extremely rare film of the alternative community that settled on the uninhabited Dorinish island off Co Mayo, owned by John Lennon and given custodianship to Sid Rawle, ‘King of the Hippies’, in 1970” (bfi player).
Until 7 December 2016: Archivio Aperto 2016, IX Edition of the Amateur and Family Film Festival, Bologna.
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 email@example.com and firstname.lastname@example.org 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.
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.
The House of Alijn (Ghent, BE) is hosting an exhibition titled “Homeless Movies” until 15th January 2017.
Harry Ransom Centre, University of Texas at Austin, holds a copy of Norman Bel Geddes’s 1931 film of “Hamlet” production.