[ecrea] Elsewheres of Nordic Cinema - cfp

INVITATION TO CONTRIBUTE

------------------------------------------------------------------------

       April 20, 2016

Dear Colleagues,


We invite you to contribute to an exciting new history of global Nordic 
cinemas as outlined in the CFP below. Abstracts are due August 1, 2016 
and final submissions April 1, 2017. Several university presses have 
expressed keen interest in the book, and we expect to have an advance 
contract issued by fall. Please do not hesitate to contact us with 
questions, thoughts, suggestions, and comments. Kindly do share this 
invitation with anyone you think may be interested.


All best,


Arne Lunde, Associate Professor of Scandinavian Studies and Cinema & 
Media Studies, UCLA, (lunde /at/ humnet.ucla.edu) <mailto:(lunde /at/ humnet.ucla.edu)>


Anna Stenport, Professor and Chair of the School of Modern Languages at 
Georgia Tech, effective August 16, 2016. (anna.stenport /at/ gmail.com) 
<mailto:(anna.stenport /at/ gmail.com)>


------------------------------------------------------------------------

Cinemas of Elsewhere:

A Globalized History of Nordic Film Cultures


Book Rationale, Aim, Scope, Reach, and Contribution

Cinemas of Elsewhere: A Globalized History of Nordic Film Cultures 
offers a groundbreaking new approach to Nordic film studies and to other 
national and transnational film traditions. The book re-imagines the 
canon of Nordic cinemas as international, cosmopolitan, and 
transnational from its beginnings in the early silent period through its 
present dynamic over a century later. Cinemas of Elsewhere identifies 
the unknown or overlooked stories of movement, mobility, interaction, 
and engagement that have shaped not only the Nordic film traditions, but 
which also reframes Global Hollywood and World Cinemas. Cinemas of 
Elsewhere thereby intersects with and expands other interpretive 
traditions such as diasporic cinemas, exile cinemas, and transnational 
cinemas. Thus, this is not only a study of Nordic cinemas, or a study of 
Nordic film in isolation, but a book that mobilizes the term “Cinemas of 
Elsewhere,” which will contribute to expanding the study of other 
national cinemas in international contexts. Cinemas of Elsewhere draws 
on the specificity of Scandinavian cinema production, circulation, and 
influence to tell an alternative history of global film studies. Cinemas 
of Elsewhere articulates models to rethink dominant categories of film 
history, especially valuable for traditions that have been constituted 
as small, national, or regional. Any ‘national cinema’ is potentially an 
international one, through the circulation of films themselves as well 
as through bodies, practitioners, stars, styles, criticism, and capital. 
Cinemas of Elsewhereforegrounds these kinds of circulation as a central 
part of Nordic film history.

Cinemas of Elsewhere responds to a current global interest in the Nordic 
region. Scandinavian moving images have reached increasingly large 
audiences and received critical distinction outside their home countries 
during the last decade, including Nordic Noir, award-winning 
documentaries, auteur films, adaptations of Scandinavian TV-series and 
films in America and the UK, and music videos and video games. Cinemas 
of Elsewhere demonstrates how this kind of transnational movement has 
been a component of Scandinavian cinema since its inception. Most 
historical surveys have valorized certain periods and directors as high 
points of Nordic cinema: the golden ages of Danish and Swedish silent 
cinema in the 1910s and early 1920s, the emergence of the Swedish art 
cinema in the 1950s and 1960s, the revolutionary impact of the Danish 
Dogme 95 movement, etc. And although national framings have been 
convenient ways of historicizing this narrative, Cinemas of 
Elsewherecounter-argues that a great deal of Nordic cinema resists such 
categorizations and seeks to open up possibilities to tell complementary 
and alternative stories of Nordic cinemas elsewhere that have previously 
been overlooked.

Aspects and Approaches

Cinemas of Elsewhere foregrounds three analytical and interpretive 
strategies:

1) Practitioner mobility, sites of interaction, and filmic circulation. 
The book shows how practitioner movement shows the instability of the 
national cinema paradigm. Practitioner movement impacts all aspects of 
the cinematic production chain--from script development and casting to 
cinematography and distribution. The book also emphasizes the 
significance of a range of film production sites in the constitution of 
Nordic cinemas of Elsewhere, including Hollywood, Berlin, London, Paris, 
and Rome. Nordic Elsewheres in the documentary tradition, for example, 
is an important part of this global production and circulation, 
especially beyond Europe and North America.

2) Rethinking the directorial canon and star personae of Scandinavian 
cinema (Dreyer, Sjöström, Ingmar Bergman, Lars von Trier, Greta Garbo, 
Ingrid Bergman, the Skarsgård family, among others). This book finds 
reframes familiar films and personae through global and transnational 
approaches. This includes exploring art cinema through paradigms outside 
of auteurism and through materialist approaches, such as industrial 
practices, genre, markets/funding, studio systems, as well as through 
circulation and reception of canonized films.

3) The visual and the aural. The book seeks to discuss characteristics 
of Nordic cinemas in terms of both hybridity in style and production. 
Through a focus on the transnational heterogeneity in Nordic Cinemas of 
Elsewhere of both visual and spatial categories, the book addresses 
location and landscape representation or substitution,  cinematographic 
visualization styles, aural or voiced articulations of Elsewheres 
(multivarious uses of language, accent, dubbing, and multilingual 
productions), and scores and soundtracks.

The Shape and Scope of the Book

This expansive book seeks to demonstrate a “Cinemas of Elsewhere” by 
Nordic filmmakers and performers outside their homelands, whether the 
contexts are trans-Scandinavian, trans-European, trans-Atlantic, 
trans-Oceanic, or global. This approach complements the rich and 
comprehensive previous scholarship on Nordic cinemas currently in the 
field. Cinemas of Elsewhere: A Globalized History of Nordic Film 
Culturesthereby seeks to write a history of Nordic cinemas beyond the 
conventional boundaries and definitions of the concept to date. The book 
follows a loose temporal progression, by force of its conceptual 
framework (i.e., explicitly globalized, transnational, and 
heterogeneous), but it is not a generic chronological survey. Instead, 
each chapter will function as a stand-alone case study, providing 
context and argument in relation to  a defined set of examples. Cinemas 
of Elsewhere carefully identifies and links case studies over roughly 
two dozen chapters, providing rich connections between them. This 
ambitious project draws upon cinema and media scholars based in North 
America, Europe, Scandinavia, and beyond. It builds on new intellectual 
currents and paradigms from a range of subfields in cinema studies, and 
incorporates expertise from a wide range of methodologies and approaches.


Potential Topics (we welcome additional suggestions)

*Early Cinema Exhibition and Circulation Practices (actualitiés, 
distribution, pre-narrative cinema circulation)

*Greta Garbo in circulation

*Nordic Stars in German silent cinema (e.g., Asta Nielsen, Valdemar 
Psilander, Gösta Ekman)

*Scandinavian Directors in Silent and Classical Hollywood (e.g., 
Sjöström/Seastrom; Benjamin Christensen; Mauritz Stiller; Tancred Ibsen; 
Douglas Sirk)

* Nordic Stars in Silent Hollywood (e.g., Nils Asther, Lars Hanson, 
Karin Molander, Anna Q. Nilsson,  Warner Oland, Anders Randolf)

*Carl Th. Dreyer as a pan-European filmmaker (e.g., France, Germany, 
Norway, Sweden)

*Jean Hersholt as a humanitarian and democratic welfare-state advocate 
in Hollywood

*Swedish stars in Nazi Germany (e.g., Zarah Leander and Kristina Söderbaum)

* Film circulation during the Second World War -- The Nordic region 
straddling occupation, neutrality, and resistance

* 1950s: Opening up the World in Technicolor (fiction and documentary)

* Anita Ekberg and Ingrid Bergman in Italy

* Scandinavian art cinema canonized by and through the French New Wave, 
Cahiers du Cinéma, and la cinémathèque française

* Lesser-known Nordic actors, directors, and producers abroad

* Underground and cult classics with international reach

* I Am Curious Yellow and American censorship laws

* The international circulation of Scandinavian sex mythology

* Cold War cinemas

* Solidarity documentary filmmaking of the 1970s: “going abroad to do good”

* Nordic cinema and international film festivals

* The many facets, faces, and phases of Mai Zetterling

* Arne Sucksdorff in India and/or Brazil

* Ingmar Bergman in exile

* Experimental Art Cinema

* Male stars as Euro-villains (e.g., Max von Sydow; Alf Kjellin; Stellan 
Skarsgård; Dolph Lundgren; Mads Mikkelsen)

* Foreign art cinema filmmakers in Scandinavia (e.g., Andrei Tarkovsky, 
Susan Sontag)

* The “Amerika” of Lars von Trier and Thomas Vinterberg

* The Nordic Western abroad (e.g., Zandy’s Bride, The Salvation)

* Stylized Assimilationists and European Art Cinema in Hollywood (e.g., 
Lasse Hallström; Bille August)

* The postmodernist Americanized style of Aki Kaurismäki (e.g., 
Leningrad Cowboys)

* Rockumentaries

* Post-colonial Nordic cinema (e.g., Danish West Indies; Africa)

* Polar and Arctic film

* The wave of Award-winning 21st century internationalist Nordic 
Documentaries (could include Joshua Oppenheimer in Copenhagen)

* Transnational Suzanne Bier/Suzanne Bier in Europe and Hollywood

* Otherworldly Iceland and runaway productions

* The International Sami Film Institute and global indigenous film cultures

* Nordic Noirtraveling the world

* Nordic TV-drama in global circulation (especially with a focus on 
women TV practitioners)

* Animation (classical, CGI, new developments)

* Gaming (e.g., Minecraft)

* Music industry and music videos (e.g., Jonas Åkerlund)

* Scandinavian Directors Making Global Hollywood Action Film (e.g., 
Nicolas Winding Refn)

* Contemporary Nordic Directors and Stars in Hollywood

* The missing topic: yours to propose!


Timeline and Production Specifics

We invite contributions in two categories: short subject(2,000 words, 
max) and chapters (5,500 words, max). Short subjects can have one image; 
chapters two.

Timeline:

August 1, 2016: 300-word abstracts with a five-item bibliography and 
100-word author biography due

April 1, 2017: final manuscript with images due. Please follow the 
Chicago 16th system (in-text parenthetical citation with bibliography at 
the end. No footnotes or endnotes) and standard American spelling.

August 15, 2017: complete manuscript submitted to press for peer-review

January 1, 2018: contributions returned to authors for revisions

May 1, 2018: final manuscript to press

December 2018: publication


Co-editors:

Dr. Arne Lunde

Associate Professor of Scandinavian Studies and Cinema & Media Studies

UCLA

212 Royce Hall, Box 951539

Los Angeles, CA 90095-1539

(lunde /at/ humnet.ucla.edu) <mailto:(lunde /at/ humnet.ucla.edu)>



Dr. Anna Westerståhl Stenport

Professor of Scandinavian and Media and Cinema Studies

The University of Illinois at Urbana-Champaign

2090 FLB, 707 S Mathews Ave, Urbana IL 61801 (until August 15, 2016)

Professor and Chair of the School of Modern Languages at Georgia Tech 
(effective August 16, 2016)

(anna.stenport /at/ gmail.com) <mailto:(anna.stenport /at/ gmail.com)>


---------------
ECREA-Mailing list
---------------
This mailing list is a free service offered by Nico Carpentier and ECREA.
--
To subscribe, post or unsubscribe, please visit
http://commlist.org/
--
To contact the mailing list manager:
Email: (nico.carpentier /at/ vub.ac.be)
URL: http://homepages.vub.ac.be/~ncarpent/
--
ECREA - European Communication Research and Education Association
Chauss�de Waterloo 1151, 1180 Uccle, Belgium
Email: (info /at/ ecrea.eu)
URL: http://www.ecrea.eu
---------------