Archive for 2019

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[Commlist] CFP: Working the Film Script

Thu Jan 10 12:10:03 GMT 2019

A polite reminder that prospective speakers have just under two weeks to submit abstracts and bios to (scriptwork /at/ <mailto:(scriptwork /at/>//(by Wednesday 23^rd January). The symposium is gearing up to be a thought-provoking event with a good emphasis on revisionist research (to be shared in the perfect venue!), and so we very much look forward to reading your proposals later this month.

*Call for Papers*

*Working the Film Script: Hidden Production Histories *

*A Symposium at the Bill Douglas Cinema Museum, University of Exeter*

*Saturday 23^rd March 2019
Keynote Speaker: Dr Melanie Williams (UEA)*

A symposium to illuminate the otherwise hidden labour of individuals who work on/with film scripts, including screenwriters, continuity/script supervisors, script editors, text advisors/researchers, subtitlers, translators, authors of source literature, legislators, government censors and other production roles. The symposium also invites revisionist debate around the production of films, screenplays, treatments, shooting scripts, fan fiction, promotional synopses and other written ‘versions’ which may serve diverse cultural ends.

Film studies has increasingly relied upon collaborative models of authorship to avoid overly romantic notions of cultural production. Recent production studies and feminist film historiographies strategically distinguish the work of academically marginalised agents from within their respective networks. Various scripts bear the marks of this collaborative process. Speakers are invited to respond to recent developments in the field and debate case studies which demonstrate how scripting (broadly understood) has involved underappreciated efforts to share or silo time, energy and artistic expertise within hierarchical or communal production scenarios.

Overall, the symposium aims to evidence the act of scripting film narrative and style in historical production contexts, using wide-ranging examples of specialist labour: plotting shots, managing continuity, literary adaptation, the iterative process of screenwriting, selling film stories to audiences, and so on. Another objective will be to provide pragmatic production histories that showcase novel methodological resources, in keeping with the choice of venue:*The Bill Douglas Cinema Museum*.

Among the Museum’s 75,000+ itemsare published and unpublished screenplays, novelisations of popular films (including the ‘Reader’s Library’ series), source texts, various filmmaking manuals, programmes and press books containing plot summaries, and relevant individual collections including Gavrik Losey (film producer), Pamela Davies (continuity supervisor), and the filmmaker Bill Douglas among others.*Delegates will be invited to explore the Museum and browse a**sample of items which thematically complement the symposium on the day.*

If you would like to present a paper, please email a 250 word abstract and 100 word bio (toscriptwork /at/ <mailto:(scriptwork /at/>by*23rd January 2019.*Preference will be given to papers which respond to one or more of the following provocations:

1) What academically marginalised production roles are illuminated by researching script work in film, broadly understood?

2) How does script work interact with film narrative, style, marketing and reception?

3) How does scripting intersect with gender, class, racial and political identity? 4) How is script work influenced by transnational workflows, from subtitling dialogue to exporting literary ‘properties’? 5) What methodological, archival and technological resources are available to researchers of script work in film?

Enquiries addressed (toscriptwork /at/ <mailto:(scriptwork /at/>**will be checked byStevenRoberts(PhD Student and Museum Intern). The symposium is being coordinated byStevenduring a six-month placement at the Bill Douglas Cinema Museum (where he is cataloguing the Pamela Davies collection), with organisational assistance from University of Exeter colleagues.

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