[ecrea] CFP--Genre, Music and Sound

>Apologies for cross postings
>
>GENRE, MUSIC AND SOUND SERIES: VOLUME 6
>MOVIES, MOVES AND MUSIC: The Sonic World of Dance Films
>Edited by Dr Pauline Manley and Dr Mark Evans
>Published by Equinox, London
>
>About the Volume
>
>Over the last 40 years, while the musical film has faded from its 
>historical high-point to a more isolated and quirky phenomenon, the 
>dance film has displayed refulgent growth and surprising resilience. 
>A phenomena of modern movie-making, the dance film has spawned 
>profitable global enterprises (Billy Elliot), has fashioned youthful 
>angst as sociological voice (Saturday Night Fever, Footloose and 
>Dirty Dancing) and acted as a marker of post-modern ironic camp 
>(Strictly Ballroom). This modern genre has influenced cinema as a 
>whole in the ways bodies are made dimensional, in the way rhythm and 
>energy are communicated, and in the filmic capacity to create 
>narrative worlds without words.
>
>Emerging as a distinct (sub) genre in the 1970s, dance film has been 
>crafting its own meta-narrative and aesthetic paradigms that, 
>nonetheless, display extraordinary variety. Ranging from the 
>experimental, 'you are there' sonic explorations of Robert Altman's 
>The Company and the brutal energy of David La Chappelle's Rize to 
>the lighter 'backstage musical' form displayed in Centre Stage and 
>Save the Last Dance, this genre has garnered both commercial and 
>artistic success.
>
>Meanwhile, Bollywood has become a juggernaut, creating transportable 
>memory for diasporic Indian communities across the world. This is an 
>entire industry based on the 'dance number', where films are pitched 
>around the choreography, where the actors are not expected to sing, 
>but they must dance.
>
>This series of essays will investigate the relationship between 
>movement and sound as it is revealed, manipulated and crafted in the 
>dance film genre. It will consider the role of all aspects of sound 
>in the dance film, including the dancer generated sounds inherent in 
>Tap, Flamenco, Irish Dance and Krumping. Drawing on significant 
>post-War dance films from around world, this volume will finally 
>address this mainstream genre, where image and sound meet in a 
>crucial symbiosis.
>
>Requirements:
>
>Please send a 250 word abstract to the e-mail address listed below. 
>Abstracts would be due by August 15 2010.  Final articles would be 
>due mid January 2011.
>
>This volume will focus on the feature dance film rather music video 
>or musicals. We are especially interested in avant-garde, hip hop, 
>Bollywood and commercial 'backstage' dance films, but articles which 
>fall outside these categories are also encouraged.
>
>Finalised articles should be between 6000-8000 words.
>
>Please note that acceptance of the proposal does not guarantee 
>publication and all chapters will be subject to normal processes of 
>peer review. Please send proposals and further enquiries to
>
>Dr Pauline Manley
><mailto:(pauline.manley /at/ mq.edu.au)>(pauline.manley /at/ mq.edu.au)
>

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Nico Carpentier (Phd)
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Vrije Universiteit Brussel - Free University of Brussels
Centre for Studies on Media and Culture (CeMeSO)
Pleinlaan 2 - B-1050 Brussels - Belgium
T: ++ 32 (0)2-629.18.56
F: ++ 32 (0)2-629.36.84
Office: 5B.401a
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New Book:
Trans-Reality Television
The Transgression of Reality, Genre, Politics, and Audience.
Lexington. (Sofie Van Bauwel & Nico Carpentier eds.)
http://www.lexingtonbooks.com/Catalog/SingleBook.shtml?command=Search&db=^DB/CATALOG.db&eqSKUdata=0739131885
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European Communication Research and Education Association
Web: http://www.ecrea.eu
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E-mail: (Nico.Carpentier /at/ vub.ac.be)
Web: http://homepages.vub.ac.be/~ncarpent/
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