[ecrea] "The Real and the Intermedial' International Conference, deadline approaching (May 25th)

    THE REAL AND THE INTERMEDIAL


Cluj-Napoca, October 23-24, 2015. Deadline for proposals: May 25, 2015.
Conference venue:Sapientia University, Cluj-Napoca Calea Turzii nr. 4.
<http://film.sapientia.ro/en/contact>

Conference website:
/http://film.sapientia.ro/en/conferences/the-real-and-the-intermedial///



    CALL FOR PAPERS


Following up on the themes introduced in our previous conferences
dedicated to /"film in the post-media age",/ the /"cinema of
sensations", "rethinkingintermediality in the digital age"/, and
/"figurations of intermediality in film"/, we invite you to address one
of the most puzzling phenomena of contemporary media and film: the
intertwining of the illusion of reality with effects of intermediality,
connecting the experience of a palpable, everyday world with
artificiality, abstraction and the awareness of multiple mediations.
While on an ontological level the concept of the "real" has been
radically challenged by the advent of digital technology in photography
and the movies, we find that new, audiovisual media have also
effectively reshaped our sense of reality, and have expanded the areas
of our sensual reach into the world. In our post-postmodern age, the
question of the "real" is back with a vengeance regarding all aspects of
media. The digital image, as a "graphic mode" has not only brought back
painting reinstating "the ‘artist' as the source and origin of the
movie" (T. Elsaesser), but in cinema, television and new media, we also
have diverse and astonishing examples in which hypermediacy fulfils "the
desire for immediacy" (J. D. Bolter), and we see productive
intersections between the emphasis on the senses, on the
physical-biological, socio-political "reality" of existence and
conspicuous, intermedialstylization.  The photo-graphic effect of
stillness in the moving image and its fundamental relation to
indexicality is exploited to the full in the so-called "slow cinema"
canon, as we see in the breathtaking films of Pedro Costa, Abbas
Kiarostami, Béla Tarr, Alexander Sokurov, Lav Diaz, for example. Or we
may think of cases in which painterly images of ethereal beauty are
created alongside violent, shockingly naturalistic scenes in the films
of Carlos Reygadas, Kim-Ki Duk, etc. Jean-Luc Godard's new movie,
/Goodbye to Language/, a bold incursion into the use of 3D, renders
scenes of nature and the texture of everyday things in vivid, artificial
imagery. Cultural differences, subjectivity, a sense of history and
place are often articulated through techniques of intermediality in
avant-garde experiments, documentary practices or fiction films alike.
As a rule, the "haptic" image can be seen as the gateway to a myriad of
connections between cinema and the other arts. In certain cases, a
reflexive foregrounding of mediality and constructedness has become not
an instrument of ironic detachment but of a search for authenticity: all
of which may also bring into focus the co-experience of "the real" with
the "intermedial".

*We are especially interested in the following topics (but welcome any
paper that proposes a relevant approach to either keywords of the
conference):*

§"Reality effect", hybridity and media reflexivity in film, television,
and new media.

§Intermediality and inter-sensuality in film: e.g. the represented and
sensed body as a site of intermedial relations, haptic "texturality" and
interartiality.

§Figurations of intermediality as imprints of (and meditations upon)
history and time, cultural and personal identity.

§"Analogue" versus "digital" viewed in terms of the "real" versus the
"intermedial".

§Painterly stylization and "reality effect" in slow cinema.

§Inflections of realism and intermediality within the post-communist
cinema of Central and Eastern Europe.

§Magical realism in world cinema.

§The merging of the "representation" and the "real" within the rhetoric
of intermedial cinema (e.g. the tensions underlying "poetic realism",
techniques of figuration and disfiguration, the various forms of media
collage or/the tableau vivant/ in cinema).

§Intermediality theorized or analysed from the perspective of
phenomenological or postphenomenological points of view.


    Confirmed keynote speakers


§*LÚCIA NAGIB* <https://www.reading.ac.uk/ftt/about/staff/l-nagib.aspx>,
Professor of Film, Director of the Centre for Film Aesthetics and
Cultures, University of Reading, Director of International Engagement,
Department of Film, Theatre and Television, editor of /Impure
Cinema: Intermedial and Intercultural Approaches to Film/ (2013),
/Theorizing World Cinema/ (2012), /Realism and the Audiovisual
Media/ (2009), author of /World Cinema and the Ethics of
Realism/ (2011), as well as several seminal articles on Brazilian,
German, French, and Japanese cinema.

*§**LAURA MULVEY*
<http://www.bbk.ac.uk/culture/staff/teaching-staff/laura-mulvey>*,**Professor 

at the *Department of Film, Media and Cultural Studies, Birkbeck,
University of London. Author of */Fetishism and Curiosity: /**/Cinema
and the Mind’s Eye/** (2013), /Visual and Other Pleasures/ (2009),
/Death 24x a Second: Stillness and the Moving Image/ (2006), /Citizen
Kane/ (1992), editor of /Experimental British Television/(2007), of a
collection of essays on /Douglas Sirk/ (1972), author of groundbreaking
articles on narrative film, feminist film theory, the aesthetics of
stillness in the moving image, etc. She is also a prominent avant-garde
filmmaker, who co-wrote and co-directed several experimental essay films.***

§*JÜRGEN E. MÜLLER*
<http://medienwissenschaft.uni-bayreuth.de/menschen/prof-dr-juergen-e-mueller/>, 

Professor of Media Studies at the University of Bayreuth, author of
/Intermedialität, Fromen moderner kultureller Kommunikation/ (1996),
editor of /Digital Media and the Expansion of the Arts
(//2006),////Intermédialité et socialité. Histoire et géographie d'un
concept///(2007), /Media Encounters and Media Theories///(2008), and
articles on the history and theory of intermediality, and digital media.


    Submission of proposals


We invite proposals both for individual papers and pre-constituted
panels. Panels may consist of 3 or 4 speakers.

*Deadline for the submission of proposals: May 25, 2015.*

We will get back to you with our decision by June 1, 2015.

**

*Please fill in one of the****SUBMISSION FORMS below:*

*INDIVIDUAL SUBMISSION*
<https://docs.google.com/forms/d/1jHFeuCeWfbrjR-W_-08cG8GozcHFpXy10LxZZlgZ8MU/viewform>

**

*PANEL SUBMISSION*
<https://docs.google.com/forms/d/1R1kc3N_kRNkR77TOPoieWR2oyQ06xyr5yB73q8ozRws/viewform>

**

*For additional information you can contact the organizers directly at
this e-mail address:*

*(2015.real.intermedial /at/ gmail.com)*
<mailto:(202015.real.intermedial /at/ gmail.com)>

The official language of the conference is English.


A selection of papers based on the conference presentations will be
published in our department's international, peer reviewed journal
(/Acta Universitatis Sapientiae. Film & Media Studies
<http://www.acta.sapientia.ro/acta-film/film-main.htm>/) indexed in
several international databases.





................................

Prof. ÁGNES PETHŐ, PhD, Head of Department
/Sapientia University/, Cluj-Napoca, Romania
/Department of Film, Photography, and Media,/ <http://film.sapientia.ro/en/>


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