[ecrea] Call for papers - Workshop Film Distribution, Exhibition and Consumption In The Second World War

FILM DISTRIBUTION, EXHIBITION AND CONSUMPTION IN THE SECOND WORLD WAR. A 
Workshop on Data Collection and Analysis, Computational Methods and the 
Opportunities for Comparative Research.


Organized by DICIS and IMS
KU Leuven, Belgium, 15 and 16 May 2018


Within the specific time frame of the Second World War, this workshop 
invites researchers who examine the operations of distribution, 
exhibition and consumption of cinema in belligerent and neutral 
countries. Following in the footsteps of ‘Cinema and the Swastika:  The 
International Expansion of Third Reich Cinema’ (Vande Winkel & Welch, 
2007, 2011 revised) and inscribing itself into the field of ‘New Cinema 
History’ (Maltby, Biltereyst & Meers, 2011), this workshop brings 
together researchers who are compiling and analysing  empirical data 
about wartime film distribution, exhibition, reception in or across 
specific cinemas, cities, regions or countries. The workshop, organised 
by the Institute for Media Studies (IMS) and the Scientific Research 
Network on Digital Cinema Studies  (DICIS), strives to stimulate 
collaboration among scholars and to explore new methodologies and new 
types of interdisciplinary investigation, taking full advantage of the 
impact of digitalization on historical research (digital humanities).


The aim of this workshop is:
- To compare ongoing or recently completed research on film 
distribution, exhibition and consumption/reception during World War II.
- To share individual experiences about the use of digital tools and 
sources such as digitized newspapers and journals; online databases 
related to film such as IMDB or Filmportal.de; tools such as Nvivo for 
analysing transcribed oral history interviews; geographic  information 
software such as GIS, or specifically designed databases, as well as 
traditional analogue source materials (newspaper archives, film posters, 
wartime documents, diaries, reference works) to retrieve empirical data, 
identify the films mentioned  in historical sources and reconstruct the 
circulation of those films.
- To compare and interrogate specific research questions and methodologies
- To present and discuss the pros and cons of existing databases and 
methods to analyse.
- To think about ways to make computational databases 'talk to each 
other' (through data modelling and harmonization), allowing direct 
comparative research.
- To stimulate collaboration among scholars within, as well as outside 
the discipline of film studies, and to explore new methodologies and new 
types of collaborative investigation, taking full advantage of the 
impact of digitalization on historical research.


Papers may discuss topics such as:
- Film distribution networks or practices (local, national, international)
- Film exhibition (local, national, international)
- Film censorship (local, national, international)
- Film consumption/reception (local, national, international)
- The ways in which the ideological visions of the wartime belligerents 
translated into different approaches to film policy
- The practical implementation of wartime film policies
- The ways in which new research on distribution, exhibition and 
reception can help us learn how audiences reacted to wartime films
- The challenges of gathering and validating the quantitative 
information needed to analyse such topics
- Formulating hypotheses about the circulation of films in societies 
dominated by economic constraints and political coercion (censorship, 
restricted access to the international film market and/or bans on films 
from particular countries).
- Digital and analogue tools and sources used for that purpose.
- The consideration of best practice in formulating research questions 
and employing comparative tools and methodologies from an 
international/comparative perspective


Confirmed Keynote: ‘Wartime Geopolitics at the Movies: The 'European 
Cinema' of the Nazi New Order in Global Perspective ' by Benjamin Martin 
(Department of History of Science and Ideas, Uppsala University),  
author of ‘The Nazi-Fascist New Order for European  Culture’ (Harvard 
University Press, 2016).

Thunnis van Oort (CREATE, University of Amsterdam) and Roel Vande Winkel 
(KU Leuven) will present the results of their recently conducted joint 
research in the introductory paper 'Comparative Potential. The Cinema 
Context Data Model and World War II: A Comparative  Case Study into Film 
Exhibition in German-occupied Amsterdam (Netherlands) and Antwerp 
(Belgium)'.

The workshop welcomes participants working on countries in the Axis 
sphere of influence (Germany, Italy, Japan and the countries they 
occupied or befriended) as well as contributions on the Allies (USA, UK, 
USSR) and their sphere of influence. Research on film  distribution, 
exhibition and consumption in neutral countries (where films from both 
spheres of influence met and competed) is particularly welcomed.


Papers?
- Proposals for papers and/or hands-on presentations are now invited. 
Every paper/presentation should offer a reflection on the sources and 
methodologies employed. Please send abstracts of 300-500 words and a 
short biography to (roel.vandewinkel /at/ kuleuven.be)  by December 18 and 
address any queries to the same email.
- After the workshop, you may be invited to submit a revised version of 
your paper for consideration in a special issue or edited volume to be 
organized by members of the committee.


Scientific committee:
Roel Vande Winkel (DICIS - KU Leuven), Pavel Skopal (DICIS - Masarykova 
univerzita) and Thunnis van Oort

https://www.digitalcinemastudies.com/workshop-film-distribution-exhibition-and-consumption-in-the-second-world-war

https://agenda.kuleuven.be/nl/content/film-distribution-exhibition-and-consumption-second-world-war-workshop-data-collection-and









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