[ecrea] Call for Papers - Photogénie Issue 2

We are pleased to announce the second open call for papers for 
Photogénie (www.photogenie.be <http://www.photogenie.be>) - the deadline 
for proposals is March 16, 2014. Selected contributions are due April 
30, 2014. Submissions (as Microsoft Word e-mail attachments) and 
questions should be directed to (editor /at/ photogenie.be) 
<mailto:(editor /at/ photogenie.be)>. We look forward to receiving your 
contributions!

Given the scope of inquiry opened up by our first call for papers on a 
'New Realist Cinema,' we've decided to focus the second issue of 
Photogénie on the related issue of 'everydayness.' An ever-growing field 
of study in cultural studies and cultural theory, everydayness is also 
still a governing aesthetic principle behind much of what is most 
exciting in contemporary art cinema: be it in political cinemas 
incorporating the precepts of new historiographies, like the French 
'Annals' school, tracing collective perception through anecdotal 
accounts of everyday life; in slow or 'contemplative' cinemas enacting 
temporality and harking back to modernist or avant-gardist experiments 
with duration; in contemporary instances of surrealist cinema, 
discovering the marvelous and absurd in the everyday; in mumblecore 
anti-narratives hinging on aimless conversation; in the recent interest, 
both artistic and academic, in home movies and amateur filmmaking; or in 
observational, ethnographic or personal documentaries that start from 
lived experience. We are less interested in reiterating the cultural and 
social readings of everydayness inspired by Henri Lefebvre, Michel de 
Certeau, or, against the setting of modernity, Siegfried Kracauer and 
Walter Benjamin, than in highlighting the aesthetic choices or 
particularities, dare we say it, the routines of filmmakers working 
within the idiom of the everyday, in their ways of staging undramatic or 
non-events, repeated actions and general absence of classical narrative 
progression (resulting in delays, retardations and open endings). The 
cinematic language these filmmakers develop is often based on a 
self-imposed restriction or restraint: restriction of setting, camera 
movement, of the available technologies of shooting and processing, 
restraint in performance, dramaturgy and scoring.  What appears instead 
is a heightening of specific expressive elements, like rhythm and tempo 
(of speech, movement, cutting), mise en scène (attention to particular 
objects), narration, framing and composition, or, at a more theoretical 
level, the exploration of stillness, contemplation and presence as both 
mediated and unmediated category. We welcome papers on all these topics 
and specifically encourage contributions on minimalism in new Asian and 
European cinemas; boredom, slowness and radical running times; 
ethnographic cinemas; the archeology of social change; filmed 
conversations; and on filmmakers like Wang Bing, Ben Rivers, Hong 
Sang-soo, Pedro Costa, Lav Diaz, Lisandro Alonso, Apichatpong 
Weerasethakul, Albert Serra, Jia Zhang-ke, Corneliu Porumboiu, Richard 
Linklater and Andrew Bujalski.

Sincerely,


Bart Versteirt / VDFC vzw

02/ 551.19.61  (VOX) / 02/ 551.19.55 (FAX) / 0474/ 38.87.80 (MOBILE)

www.vdfc.be <http://www.vdfc.be/>

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