[eccr] CFP: The Future of Chinese Cinema

>-Apologies for cross-postings-
>
>Call for Papers: "The Future of Chinese Cinema"
>1-3 April 2006, University of New South Wales, Sydney, Australia
>****************************************************
>
>Convenors:
>
>Dr. Olivia Khoo, School of Media, Film and Theatre, UNSW
>
>Dr. Sean Metzger, Department of English and Theatre, Duke University, USA
>
>
>Confirmed participants include:
>Rey Chow, Andrew W. Mellon Professor of the Humanities at Brown 
>University, USA.
>Chris Berry, Professor of Film and Television Studies at Goldsmiths 
>College, UK.
>
>
>
>
>The School of Media, Film and Theatre, and the Faculty of Arts and Social 
>Sciences at the University of New South Wales, will be hosting an 
>international symposium to explore the future of transnational Chinese cinema.
>
>
>
>After the devastation of the Asian economic crisis, the uncertainty of the 
>Hong Kong handover and the events at Tiananmen Square in 1989, the period 
>of the 1990s and beyond has seen the emergence of a number of fresh new 
>works from the region's filmmakers. China's entry into the World Trade 
>Organization in 2001 has ushered in a whole set of film industry reforms, 
>including the major step of allowing independent film companies to produce 
>films no longer requiring affiliation with any official government studio. 
>Several new independent production and distribution companies have 
>appeared, aiming to compete with State-owned film studios. A new urban 
>cinema is emerging in the PRC and there is also a thriving documentary 
>scene for the first time. The film industries in Taiwan and Hong Kong have 
>also been greatly affected by the reforms taking place in the PRC, 
>especially as the last decade has witnessed a strengthening of the 
>connections and exchanges taking place between the Mainland, Hong Kong and 
>Taiwan (in terms of personnel, co-financing, and the use of locations). 
>These changes in the filmmaking climate in Greater China over the last few 
>years have meant that the landscape of contemporary Chinese culture, and 
>its cinema, is changing.
>
>
>
>In this symposium, we will investigate the specifics of these changes and 
>connect them to the historical antecedents that have preceded and enabled 
>these shifts. Such historicization requires work not only on contemporary 
>Chinese cinema, but also on the particular movements of actors and 
>directors in the larger Chinese diaspora that have laid the foundations 
>for China's now more obvious transnational cinematic practices. How, for 
>example, did the movement of actors, directors and producers in the 
>previous decades create a network for the emergence of such a cinema? In 
>what ways does the cinematic industry prior to 1949's transition to state 
>ownership anticipate the cinema of today? What has been the role of 
>Chinese diasporic communities in creating both the notion and actual 
>practice of transnational Chinese cinema? This symposium will bring 
>together a number of fresh new perspectives on the future of transnational 
>Chinese cinema in order to comment on its continued global efficacy.
>
>
>
>Possible topics for discussion:
>
>* The independent film scenes emerging in Greater China, including the DV 
>revolution.
>
>* The new Chinese documentary movement.
>
>* Films by marginalized sectors of the Chinese community, especially women 
>and queer filmmakers.
>
>* The role of international film festivals in the exhibition of Chinese films.
>
>* The relationship between Chinese cinema and other Asian film cultures, 
>such as those in Japan, Korea and Southeast Asia.
>
>* Diasporic Chinese filmmakers.
>
>* The sustaining problems of film piracy in the region and questions of 
>the distribution of Chinese cinema to Australia and other parts of the world.
>
>* Migration and its effects on the historical and current practice of 
>Chinese filmmaking.
>
>
>
>Please send a brief curriculum vitae and a one-page summary of your 
>proposed paper by 1 September 2005. Successful applicants will be notified 
>by 1 November 2005 and full papers (5000-8000 words) are due 15 February 
>2006. Successful applicants will be granted a return economy airfare to 
>Sydney plus contributions to other expenses. Approximately 12 places will 
>be available. See 
><http://www.arts.unsw.edu.au/research/conferences/chinese_cinema.html>http://www.arts.unsw.edu.au/research/conferences/chinese_cinema.html 
>for more information or contact Dr. Olivia Khoo: 
><mailto:(o.khoo /at/ unsw.edu.au)>(o.khoo /at/ unsw.edu.au)
>
>
>--
>Dr. Olivia Khoo
>School of Media, Film and Theatre
>University of New South Wales
>Sydney NSW 2052
>AUSTRALIA
>
>Ph:+61-2-9385-7735
>Fax:+61-2-9662-2335
><mailto:(o.khoo /at/ unsw.edu.au)>(o.khoo /at/ unsw.edu.au)

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Carpentier Nico (Phd)
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