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[Commlist] CfP International Conference Contemporary Women's Cinema and Media
Fri Jul 12 10:22:19 GMT 2019
*CALL FOR PAPERS*
*/Contemporary Women’s Cinema and Media: Aesthetics, Identities, and
XXV International Conference of Film Studies
Rome, November 21-22, 2019
Department of Philosophy, Communication, and Performing Arts
University of Roma Tre
In the modern film and audiovisual environment, the interplay of global
economic aspects, cultural and geopolitical positioning of those
involved, and a perspective that highlights specific forms of aesthetic
expression and imagination plays an increasingly important role. The XXV
International Conference of Film Studies, /Contemporary Women’s Cinema
and Media, /aims to address the contemporary production of women’s film,
with a spotlight on other audiovisual media such as television and the
The conference’s primary research subject is female authorship: which
aesthetic approaches, which types of imaginary, and which identities do
women express and produce? How do they approach the relationship between
individual and collective identities and between women and the world?
Which features distinguish Italian and European film production from
those in other geopolitical environments? Women’s cinema is, in fact, a
globally established reality with specific characteristics in how it
moves between local, global, domestic, and international contexts and
The study of female authorship has developed since the early 1970s,
addressing both theoretical and historical perspectives, and has mainly
focused on: 1) the subversive and counter-hegemonic gaze of women
directors and spectators; 2) historical research on the roles of
professional and creative women in production, distribution, and
movie-going activities; and 3) the analysis of the relationship between
female authorship and the production of a multifaceted imaginary realm.
Contemporary perspectives saw further extension and offshoots along
these lines, underlining the relationship between women’s gaze and the
images within all audiovisual forms, as well as production and
movie-going models. During the past twenty years, the main focus lay on
perspectives oriented toward research on the points of contact between
different ‘minoritized’ settings. This occurred both as a result of an
intersectional view and a transnational dimension, enhancing the
interplay between female authorship and a global and postcolonial
perspective from a production viewpoint, as well as from distribution
and movie-going points of view.
Even though, historically speaking, women occupying leading positions in
media industries have been limited (with notable exceptions), they never
ceased to play a fundamental creative role in approaching the most
complex and problematic aspects of their experiences through their
narratives. The expression ‘women’s cinema and media’ is thus an
ideological choice that focuses on the way in which female authors
approach differences – of gender, race, class, age, sexual orientation,
religion, etc. – during different phases – from production to writing,
and from directing to disseminating works and products. Against this
background, attention is focused on how the processes resulting from
globalisation have shaped and continue to shape women’s experiences
differently from men’s, as well as from that of each other.
Among the possible topics, we would like to highlight in particular:
·The way in which women’s language, including those forms attributable
to /écriture féminine/, changes based on geopolitical production
realities marked by globalisation and trans/national approaches. It will
be useful to take into account not only experiences such as those found
in Latin America, North Africa, and the Middle East, but also Asian and,
in particular, Chinese productions. By comparing styles and imagery, one
would hope to detect both the dominant trajectories within various
national cinemas, as well as the recurrent interplay and trespasses
brought about by ‘accented’, diasporic, transcultural, and other
*·***The way in which Production Studies have been influenced,
particularly with respect to the role of female professionals in top
creative positions. Using quantitative and qualitative studies, we now
analyse production realities and experiences of women in films and the
audiovisual industry in general, including those realities in which
diversity policies and other positive actions were taken to mitigate
gender asymmetries in creative and high-level positions.
·The way in which the contemporary festival circuit has created a
network of ‘alternative’ thought and distribution for women’s
productions, beginning with historically established events, such as the
Festival International de Films de Femmes de Créteil, the Sundance Film
Festival, the Toronto International Film Festival, and the Seoul
International Women’s Film Festival.
·Multiple forms are taken by feminine authorship. Besides the role of
women directors, we would like to explore the opportunities that other
principal creative positions (cinematographers, editors, composers,
etc.) offer in this context. Particular attention will be paid to
screenwriters, who hold a relevant and special position in the
contemporary creative landscape, also in Italy. Another notable field in
this sense will be that of the production interplay between feminine
authorship and stardom/celebrity with respect to charisma and
recognition, which have been articulated in original power structures.
·The way in which some aspects of the psychoanalytic approach may have
to be reviewed with regard to theoretical and interpretative film
production, contemporary women’s media, and post-colonial dynamics.
·The relationship between authorship and ideological positioning. We
would like to discuss how women’s creative practices position them as
politically aware in the contemporary scenario, above all in relation to
aspects such as feminism, racial policies, belonging to the LGBTQIA+
community, post-feminism, and neoliberalism. Fundamental in this context
will be the contribution of queer theories and intersectional feminism,
without ignoring the transformative impact the transnational feminist
/#metoo/ movement has had on the various settings where it intervened.
·The role of female authors and the production of the imaginary in the
audiovisual non-cinematographic and series narratives. In particular,
televised narratives, industrial narratives, more experimental
narratives, and forms linked to online distribution are offerings that
weave together amateurs and professionals, more traditional languages,
and experimentation, often as a result of auto-narration. This includes
technologically determined realities such as gaming, in which women’s
authorship is still considered controversial.
·The various forms of the documentary – including the ‘cinema of the
real’ – historically represent one of the most prevalent forms of
feminine authorship. We will investigate the most intimate and personal
perspectives, not to mention politically aware productions; the
increasingly large-scale production for the Internet; the practices of
journalistic and investigative narration, often brought about by female
authors who assume a not-insignificant politically and geo-culturally
aware position, despite its placement in hegemonic media scenarios; but
also offerings of found-footage film and its relationship with history,
memory, re-use, and archives.
·Experimental film and video to the point in which they are expressed
within the artistic and museum world, or with respect to broader trends
in visual culture.
Proposals of 300-500 words should be sent to (roma3conference /at/ uniroma3.it)
<mailto:(roma3conference /at/ uniroma3.it)>, accompanied by 3-5 keywords, a
brief bio, and contact information.
The deadline to present abstracts is *September 5, 2019*. Acceptance
will be communicated by September 12.
Speaker’s fee: 50 Euros.
Presentations shall be 20 minutes in length. Languages spoken at the
conference will be English and Italian.
Organisers: Department of Philosophy, Communication, and Performing Arts
– University of Roma Tre
Governance: Ilaria A. De Pascalis and Veronica Pravadelli
Scientific Committee: Leonardo De Franceschi, Stefania Parigi, Ivelise
Perniola, Marta Perrotta
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