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Amateur Cinema Studies Network News page 2

‘Turkowski’s ‘Margarete’’

See HMP article ‘Turkowski’s ‘Margarete’ at Noorderzon 2012

‘… multiple forms of first-person filmmaking…’

CFP: ‘Multivoicedness and European Cinema: Representation, Industry, Politics’ conference (University College Cork, Ireland, 10th – 11th November 2017).

European cinema has evolved from a homogenous and selective object of study, mostly shaped by frameworks of national industry, identity and culture, to a much more diversified field, reflecting the shift to a post-colonial, post-communist, post-national, globalised Europe. In the context of an increasingly diverse but also split society, in which social polarisation is on the increase due to the crisis of the Eurozone and the decline of the welfare states, and in which populism and nationalisms are on the rise, resulting in the strengthening of the Fortress Europe project, this conference aims to turn the spotlight on the less-represented and less-audible voices in European cinema in all its forms: fiction, documentary, mainstream, art house, independent, exploitation, art film. With an inclusive focus encompassing issues of production, distribution and reception, of representation and of form, of dissent and of control, the conference invites contributions that engage from a wide range of theoretical perspectives and methodological approaches with the politics of difference and with the representation and/or expression of alternative viewpoints in European films / in films made in Europe.

Keynote Speakers: Professor Ewa Mazierska (University of Central Lancashire) and Professor Chris Wahl (Film University Babelsberg Konrad Wolf)

Abstracts are invited on topics related to Multivoicedness in European Cinema, including but not limited to:
Multivoicedness in national and transnational European cinemas
Peripheries, borders, and grey areas: falling between the cracks, speaking from the margins
Ethics and/or aesthetics of alternative voices
Audiodescription, subtitling and dubbing of multivoiced films
Cultural and market negotiations: translating cultures, crossing borders
Participation, dissent, resistance: audiences, politics, and public discourse
Alternative European cinemas and the global market
Other voices: niche markets, new forms of consumption
Deterritorialising identities, becoming migrant/minoritarian
Polyglot cinema: speaking from multiple subject positions
Genders and genres: decentering and in-betweenness
Alternative film festivals and other cinemas
Speaking in tongues: the audiences of multivoiced films
Queering European cinema
Nonfiction and commitment: documenting the silenced subject
Speaking for oneself: multiple forms of first-person filmmaking
Transnational, cosmopolitan, global: what European cinema?
A continent in motion: multiple commitments, divided belongings
The “New Europeans” in films / making films
Margins of industrial practices, alternative forms of production, distribution and reception
Speaking parts: person, character, actor, star
The conference will also be the host to special panel sections prepared by the HoMER network (History of Moviegoing, Exhibition and Reception) and FFRN (Film Festival Research network).

Abstract submission: Please submit your abstract (max 300 words) along with key references, institutional affiliation and a short bio (max 150 words) or a panel proposal, including a panel presentation (max 300 words) along with minimum 3, maximum 4 individual abstracts.

Submission deadline: May 2nd 2017. 

Proposal acceptance notification: June 23rd 2017.

Please send your abstract/panel proposals to the conference email address: filmstudiesecrea@gmail.com

Submissions for the HoMER section should be sent to Daniela Treveri Gennari: dtreveri-gennari@brookes.ac.uk and submissions for the FFRN section should be sent to Skadi Loist: skadi.loist@uni-rostock.de. ECREA membership is not required to participate in the conference. Delegates will be required to contribute towards administrative and catering costs.

Conference details: The Conference is hosted and supported by the Department of Film and Screen Media, University College of Cork, Ireland: http://www.ucc.ie/en/filmstudies/

Conference organisers: Laura Rascaroli (University College Cork), Sergio Villanueva Baselga (Universitat de Barcelona), Helle Kannik Haastrup (University of Copenhagen), Anders Marklund (University of Lund), Gertjan Willems (Ghent University).

Conference email address: filmstudiesecrea@gmail.com

Conference website

L’amateur en cinéma…

Recent publication: L’amateur en cinéma. Un autre paradigme., Histoire, esthétique, marges et institutions.

Regional Film and Audiovisual Archives in the 21st Century

‘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: symposium@oldfilm.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.

BFI:’Home movies and amateur film’

Valuable research sources at BFI:’Home movies and amateur film

Happy New Year!

Searching the archive: Family Home New Year 1964

Launch of the BAFTSS Amateur Cinema SIG

We are delighted to announce the launch of the BAFTSS Amateur Cinema SIG.

Alan Sidi’s ‘Tribe of the Sun’

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).

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.

© 2012 Amateur Cinema Studies Network (ACSN)