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[Commlist] CFP Refocus Series - Jane Campion
Tue Jan 15 23:31:04 GMT 2019
*Call **For Papers: *ReFocus The Films of Jane Campion
*Contact Email: *(a.bowler /at/ swansea.ac.uk) <mailto:(a.bowler /at/ swansea.ac.uk)>/
(adele.m.jones /at/ swansea.ac.uk) <mailto:(adele.m.jones /at/ swansea.ac.uk)>**
*Deadline for Submission of Abstracts: *31^st January, 2019**
*Eds: *Dr Alexia L. Bowler and Dr Adele Jones (Swansea University)**
As the only female director to win the Palme d’Or, and the second to be
nominated for an Academy Award (both for /The Piano /) which is
celebrating its 25^th anniversary, Jane Campion is a figure who garners
both critical and popular acclaim, as well as industry-wide respect.
With over thirty years standing as a film, and now television, director
(with /Top of the Lake/attracting collaborations with critically
acclaimed actresses such as Elizabeth Moss, Holly Hunter, and Nicole
Kidman), Campion’s work shines a spotlight on gender roles, often
through complex female characters and an innovative approach to the
screen representation of women habitually at the edges of society. As
such, Campion’s name is synonymous with women on screen. Indeed, Campion
is also vocal about the under-representation of females in the film
industry more generally, concluding that, as ‘women are going to tell
different stories – there would be many more stories in the world if
women were making more films’ (Pulver, A. /The Guardian/, 14^th May, 2014).
However, her commitment to the place of feminism itself is tempered by
an ambivalence towards the term. Indeed, Campion has stated that ‘I no
longer know what this [feminism, in the context of her filmmaking] means
or expresses...I am interested in life as a whole. Even if my
representation of female characters has a feminist structure, this is
nevertheless only one aspect of my approach’ (Wright-Wrexham, 1999).
The body of scholarship on her work to date is testament to her
celebrated position within film, producing an eclectic and wide-ranging
mix of responses extending to biography, nation and identity,
adaptation, sex and eroticism, as well as authorship in her work. All
these contributions celebrate the multiplicity in, and breadth of, her
art and her vision.
Thus the collection aims to interrogate, contribute to, and extend
contemporary scholarship on Campion by bringing together new and
innovative analyses from emerging and established scholars in the field.
There will, then, be a shared focus on the legacy and contribution made
by Campion to films made by, for, and about women, as well as Campion’s
filmmaking (vision and practice) and engagement with (or ambivalence to)
feminist theory past and present, providing new and exciting approaches
for understanding Campion’s work.
We seek contributions that engage with Campion’s work in film,
television, and/or the film and television industry more generally, and
which consider (and potentially re-evaluate) her contributions and
position vis-à-vis feminism and feminist discourse, as well as our
understanding of representations of women and/or gender in the twentieth
and twenty-first century.
The edited collection will be aimed at Edinburgh University Press’s
/ReFocus /series, examining overlooked international film directors.
Series editors are Robert Singer, PhD (NYC) and Gary D. Rhodes, PhD
Possible topics could include but are by no means limited to:
•Analysis of individual films (including shorts) and/or television
•Campion and women’s cinema
•Men, Masculinity and relationships in the work of Campion
•Genre and experimentation in Campion
•Campion and collaboration (with other directors/actors/writers)
•Campion and adaptation (as feminist practice)
•Feminist ethics, politics and aesthetics in Campion’s work
•Sex, sexuality, and the erotic
•The female gaze
•Language, selfhood, subjectivity and agency
•Film, feminism and philosophy in Campion’s work
•French feminist critical readings of Campion
•Nation and/or institution, identity and subjectivity
•Industry, indie, Hollywood and the festival circuit/prizes
•Trauma, loss, and grief
•Campion, feminism and film philosophy
•Comparisons between feminist filmmakers’ work Campion
If you have any questions regarding the suitability of possible topics
and material for inclusion in the volume, please do not hesitate to
contact the editors, Dr Alexia L. Bowler ((a.bowler /at/ swansea.ac.uk)
<mailto:(a.bowler /at/ swansea.ac.uk)>) & Dr Adele Jones at
((adele.m.jones /at/ swansea.ac.uk) <mailto:(adele.m.jones /at/ swansea.ac.uk)>).
Abstracts of 350 words, for chapters of between 7,000-8,000 words
including endnotes (referenced in /Chicago /style), along with a short
biographical note, should be emailed to *both *editors by 31^st January,
2019. Successful proposals will be notified by 1^st March, 2019.
Chapters will be expected, in full, by 30^th June, 2019.
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