[ecrea] cfp: Cinema & Cie - International Film Studies Journal

Cin=E9ma&  Cie - International Film Studies Journal
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CALL FOR PAPERS
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Special issue:
"Nothing is more practical than a good theory." G=E9rard Genette and =
film theories
"Il n=92y a rien de plus pratique qu=92une bonne th=E9orie". G=E9rard =
Genette et les th=E9ories du cin=E9ma
(vol. XII, no. 18, Spring 2012)
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Deadline for Abstracts : October 15, 2011
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This special issue of Cin=E9ma&  Cie seeks to revisit from the =
perspective of film and media studies the less known works of G=E9rard =
Genette.
At first glance, the attention that film studies has dedicated to the =
work of Genette seems to be profound yet fragmentary in nature. Focusing =
on the relationships between Genette=92s research and film studies, what =
immediately comes to mind is Figures III (1972), mainly because of its =
key role in defining a method of film analysis based on Structuralism. =
Nowadays, almost every book on film analysis uses some of the categories =
proposed by Genette, and seeks to discuss them in light of some =
particular features of film narrative dynamics (which however have never =
ceased to be questioned).
In consideration of the above, it is rather surprising that due =
consideration has not been given to the clarifications and developments =
of the model proposed by Genette in Nouveau discours du r=E9cit (1983) =
and Fiction et diction (1991) and, more generally, to the whole series =
(that is to say, the general theoretical project) in which Figures III =
is placed; in fact, the first volumes (Figures, 1966 and Figures II, =
1969) of the Figures series, as well as the last (Figures IV, 1999 and =
Figures V, 2002), are far less known in film studies.
It is rather on the works between Figures III and Seuils (1987) that =
film studies has focused, even if with some exceptions and distortions. =
For instance, Introduction =E0 l=92architexte (1979), despite the =
enduring interest of film studies in the issue of genre, seems to have =
been almost entirely obscured by Palimpsestes (1982). Furthermore, we =
can hardly find in film studies any reference to Mimologiques: voyage en =
Cratylie (1976). Thus, it is essentially on Figures III, Palimpsestes =
and Seuils that film studies has focused: clearly, these works have been =
able to connect the research in the field of literary theory to the =
research that is being carried out in the field of film studies, and =
thus to draw on already existing widespread interests and to foster new =
research areas.
After Seuils, Genette=92s work is far less known in the film studies =
field. Apart from the case of Fiction et diction, Figures IV and Figures =
V, which we have already mentioned, it is the publication of the two =
volumes L=92Oeuvre de l=92art (Immanence et transcendance, 1994; La =
relation esth=E9tique, 1997) which seems to pass almost unnoticed. =
Although the two volumes have had a great impact on the field of =
Aesthetics, not even the ambiguous exclusion of cinema from a wide =
survey concerning the whole domain of arts, from photography to =
sculpture, from music to architecture, has aroused the interest of film =
scholars. What is more, it is in L=92Oeuvre de l=92art that Genette=92s =
research about the concept of transcendence (developed since the end of =
the 1970s, and mainly in the 1980s, with Palimpsestes and Seuils) seems =
to be fully theorized.
Finally, we have to mention M=E9talepse: De la figure =E0 la fiction =
(2004); while developing a category already proposed in Figures III, and =
widely discussing it within the field of cinema, it has scarcely been =
taken into account by film studies.
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This special issue of Cin=E9ma&  Cie will investigate primarily:
- In what ways Genette=92s less known works on Poetics and Aesthetics =
address cinema =96 or the audiovisual field; how his theoretical =
proposals about cinema provide us with specific skills for understanding =
cinema in its relationships with other forms of expression; how cinema, =
through the specific theoretical problems it can pose, offers a =
contribution to Genette=92s reflections.
- In which ways Genette=92s less known works, may offer a significant =
contribution to film and media theories, even if they don=92t directly =
address cinema; in which ways could cinema (or the audiovisual field) =
contribute to problematize and improve Genette=92s theoretical =
proposals.
- In which ways Genette=92s less known work may help us to better =
understand, problematize and also revisit Genette=92s categories and =
studies which are far better known within the field of film studies.
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Some possible themes include but are not limited to:
- The Figures series: middle without beginning or end. =46rom the =
long-forgotten beginnings (Figures I, II), to the overlooked last =
contributions (Figures IV, V).
- =46rom Figures III to M=E9talepse: the issue of narrative levels.
- The role of Borges=92 =93theoretical tales=94 in Genette=92s studies, =
and their relationship with film and media theories (metalepsis, =
anachronism, Pierre Menard). More generally, the possible role played by =
a =93theory of cinema=94 (that is to say, the ability of films to pose =
and discuss theoretical issues) besides that of a =93theory of =
literature.=94
- The issues of genre (from Introduction =E0 l=92architexte and Figures, =
to the studies about paratextuality and Aesthetics) and of style (from =
Palimpsestes to Fiction et diction).
- Cinema: regimes of immanence and modes of transcendence.
- The issue of transcendence from Introduction =E0 l=92architexte to =
L=92Oeuvre de l=92art.
- Aesthetics and reception theories (from Seuils and L=92Oeuvre de =
l=92art, to Figures IV and V).
- The role of Nelson Goodman=92s studies in the research developed by =
Genette, and possible implications for film and media studies.
- Anachronism and the idea of =93retrospective influence.=94
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Submission details
Please send by 15 October 2011 your abstract (300-500 words, in English =
or French) and a short bio to Valentina Re =96 Cin=E9ma&  Cie editorial =
staff: (valentina.re /at/ unive.it)
All notifications of acceptance will be emailed no later than 22 October =
2011.
If accepted, full papers will then be required for peer review by 15 =
December 2011. The articles should be written in English or French and =
should be around 25,000-30,000 keystrokes (including footnotes).=


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