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[ecrea] CFP: Cinema and populism ("Cinema e Storia" journal)
Tue Apr 03 21:56:03 GMT 2018
EXTENDED DEADLINE: APRIL 10
CALL FOR PAPERS
«Cinema e Storia. Rivista di studi interdisciplinari» — n. 1/2019
*Cinema and populism. Shared forms, images, and genealogies*
edited by Valerio Coladonato & Andrea Sangiovanni
Is it possible to investigate “populism” through cinema? What
relationships can be established between cinema — as an apparatus that
produces widespread images and narratives — and those political
phenomena that can be described through the concept of populism? The
issue 1/2019 of the journal «Cinema e Storia» will be dedicated to the
analysis of these exchanges from an international perspective. The
category of populism is slippery and contradictory, both in common
parlance and in its historiographic application: here we will adopt an
extensive definition, partly borrowed from political sciences. We will
understand as “populist” those political phenomena characterized by at
least three elements: the imagination of a uniform “people” which acts
as the moral custodian of sovereignty; the construction of a charismatic
leader; and contempt towards politics and/or a presumed corrupt elite.
Given its paramount role in the representation of the masses and the
orchestration of affect around “extraordinary” individuals in the XXth
century (e.g. through the creation of the star system), cinema can
provide tools for the analysis of populisms. This is also demonstrated
by some recent works that have applied categories derived from film
studies to the analysis of the communication and performance style of a
political leader, or to highlight the overlaps between the notions of
“people” and “audience” in media populisms.
It is therefore possible to investigate the multiple ways in which
cinema has contributed to the changing relationship (and
disintermediation) between people and leader — either by reducing
distances or by prefiguring ruptures between the two. Another
possibility lies in analyzing how political passions and conflicts are
represented in populist contexts through cinematic influences. Given
that the consensus of populist movements depends on a binary split of
the social field, opposing the people and a corrupt elite and obscuring
all intermediary positions, what narrative formulas and symbolic
elements facilitate the construction of such imagery?
Taking into account the already mentioned ambiguity and
indeterminateness of the concept of populism, contributors will be
invited to refer to how this notion has been theorized in political
sciences, highlighting both its efficacy and its limits in relation to
their case studies. It will be necessary to distinguish populism from
other categories and historical forms of political action (such as
fascism). The evolution of discourses on populism — both as an
analytical category and in its polemic use in political debates and film
criticism — will also be taken into account. Moreover, aspects
intersecting with similar debates can be discussed: for instance, the
relationship between political cinema and the category of “popular,” as
well as discourses on the “popular” vocation of cinema (also in contrast
to the language and cultural legitimacy of other communication forms).
The articles can either focus on single films and directors, or they can
broaden their perspective to the processes of construction and
circulation of the filmic imagery in a specific context.
Proposals can address one or more of the following topics (this list is
- representational strategies of power in a given historical conjuncture
which presents the traits of populism;
- the relationship between charismatic forms of government and the
populist imaginary (e.g. the permeability between the star system and
- exchanges between populist movements and the fields of film production
- the representation of relevant historical figures in populist contexts;
- conceptual oppositions in critical discourses (e.g. the definition of
some directors or cinematographic movements as populist or neopopulist);
- discourses on film audiences in relation to the idea of the “people”,
and their political implications;
- the hegemonic gender models in populist communication and their
relationship to the star system.
Deadlines & Guidelines
To propose an article please send an abstract and short biographical
note to the address (redazione /at/ cinemaestoria.it)
<mailto:(redazione /at/ cinemaestoria.it)> by April 10, 2018.
Abstracts must be between 200 and 250 words, and may be presented in
English or Italian, although completed articles must be in Italian -
proofreading will be guaranteed by “Cinema e Storia” editorial board.
The proposal should include: five key-words, names of author(s),
institution(s) and contact details (email, telephone), together with a
short bio for each author.
If the proposal is accepted, the author/s will be asked to send the
complete article to the same e-mail address by July 31, 2018.
Contributions will be sent to two independent reviewers in a
double-blind peer review process prior to the final publication
decision. Authors may be requested to change or improve their articles
if suggested by reviewers.
Articles should be between 4,000-5,000 words in length (no more than
35,000 characters, spaces and notes included), but shorter articles will
be also considered.
For info, please send an email to:
(valerio.coladonato /at/ gmail.com) <mailto:(valerio.coladonato /at/ gmail.com)>
and/or (asangiovanni /at/ unite.it) <mailto:(asangiovanni /at/ unite.it)>
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