[Commlist] Work and Play conference cfp

We are thrilled to announce that the keynote speakers of the conference 
“Work and Play: Studying the Labour of And Around Acting in Contemporary 
European Cinema” will be Dr Christopher Holliday (King’s College London) 
and Prof. Catherine O’Rawe (University of Bristol).

Proposals are invited until January 31^st , 2024 (CET). _Please note 
that the dates of the conference, have been anticipated to July 10-11, 
2024._

We are pleased to share that the conference will be held in Gorizia in 
conjunction with the opening of the 43rd Premio Sergio Amidei 
(International Award for Best Screenplay): conference presenters will 
receive accreditation to attend the event.

More details in the CFP below.

*WORK AND PLAY: STUDYING THE LABOUR OF AND AROUND ACTING IN CONTEMPORARY 
EUROPEAN CINEMA*

**

*Conference organizer: Dipartimento di Studi Umanistici e del Patrimonio 
Culturale*

*Università degli Studi di Udine, Italy*

*Conference dates: _10-11 July 2024_*

*Conference venue: Centro Polifunzionale Gorizia Campus*

**

Scholarship addressing actors and actresses has traditionally focused on 
theories and issues of stardom. The centrality of the star as a 
prominent signifier in film texts, as well as a major asset in the 
production and commercialisation of film products, has been variously 
and fruitfully investigated by star and celebrity studies. Stars’ 
performances and personas have been analysed as the epitome of their 
actual or perceived national identities, as the expression of their 
coeval cultural and political context, as well as marketing mainstays 
for their respective national film industries (e.g., Gundle 1995; 
Leahy 2003; Reich 2004; Spicer 2022). Less explored has instead been the 
labour /of /and /around/ acting. This conference, which originates from 
the research project funded by the Italian Ministry of University and 
Research titled /F-ACTOR. Forms of Contemporary Media Professional 
Acting. Training, Recruitment and Management, Social Discourses in Italy 
(2000-2020)/, therefore wishes to study labour issues in connection not 
just to stardom, but to screen acting in Europe. In the Old Continent, 
the ‘fluidity of identities’ (Bergfelder 2005: 329) that characterises 
the region from a cultural and geo-political standpoint is echoed in the 
transnationality of many film actors, such as the French Juliette 
Binoche (Vincendeau 2015), the Italian Ksenia Rappoport (Faleschini 
Lerner 2012), or the Spanish Daniel Brühl (Vidal 2016). Transnationality 
is regarded as one the distinctive features of Europe’s predominant mode 
of film production (Jäckel 2003), as it relies to a great extent on 
international co-productions, funded through bi- and multi-lateral 
agreements, supranational schemes like Creative Europe and Eurimages, as 
well as dedicated film festivals’ initiatives (Iordanova 2015). How does 
the relationship between film actors, (trans)national identity, policy 
framework, and production system play out in labour practices and 
individual decision-making within Europe? If, as Richard Dyer (1986) 
observes quoting Marx, the star image is an example of ‘“congealed 
labour”, something that is used with further labour (scripting, acting, 
directing, managing, filming, editing) to produce another commodity, a 
film, what are the material and symbolic conditions in which such labour 
is performed, and by whom? How is the labour of and around screen acting 
performed within the framework of European cinema produced over the last 
two decades? How are digital technologies impacting on acting and 
acting-related practices and labour within Europe? What part, if any, 
does transnationality play in shaping the values and practices of actors 
and non-acting professionals in European film industries? This 
conference aims to explore the multiple forms of labour that constitute, 
inform, and surround contemporary screen acting. In this sense, we are 
not only interested in the labour of contemporary European screen 
actors, and how it intersects with individual traits such as gender and 
age. We also wish to examine the varied forms of labour that prepare, 
accompany, manage, circulate, manipulate, consume, and evaluate the 
screen actor’s performance against the backdrop of an increasingly 
globalized and corporatized European film industry.

The conference invites proposals for presentations that explore 
symbolic, social, organizational, economic and/or juridical dimensions 
of labour performed by and around screen actors in the context of 
contemporary European film industries (ca 2000-present time). The list 
of possible topics includes, but is not limited to:

●The labour of acting across national and trans-national production 
cultures;

●Intersectional approaches to screen acting;

●Actors and promotional labour: (self-)branding, transmedia persona, 
digital intimacy;

●Actors and the law: labour rights, welfare, contracts;

●Labour organizations, unions, and industry associations;

●The labour around acting: coaches, casting directors, talent agents, PR 
professionals;

●Training actors: schools and institutions, professions, methods;

●Making up actors: make-up and hairstyling artists, fashion stylists, 
image consultants;

●Voice acting: dubbing professions, cultures and practices across Europe;

●Acting and digital technologies;

●Acting and film criticism;

●Actors and the economy of prestige: Festivals, awards, accolades;

●Actors and fandom.

We invite proposals for individual papers and pre-constituted panels. 
All proposals should be written in English. Abstracts for 20-minutes 
individual papers should be of 300 words (max). Panel proposals should 
include a 300-word (max) description of the panel, including a title, 
plus a 200-word (max) description of each individual paper (min 3, max 4 
papers of 20 minutes each per panel). All proposals should include also 
a 100-word bio of the presenter(s), 5 keywords descriptive of the 
proposal, and 3 to 5 key bibliographic references.

The conference will be held in-person.

For more information and resources about /F-ACTOR. Forms of Contemporary 
Media Professional Acting. Training, Recruitment and Management, Social 
Discourses in Italy (2000-2020),/ please visit
https://italianperformers.it/en/ <https://italianperformers.it/en/>

Proposals should be submitted to (workandplayuniud /at/ gmail.com) 
<mailto:(workandplayuniud /at/ gmail.com)> no later than 11:59PM (CET) on 
January 31^st , 2024.

Notifications of acceptance will be sent out by March 31^st , 2024.

For any questions, do not hesitate to contact the conference organizing 
committee: (workandplayuniud /at/ gmail.com) <mailto:(workandplayuniud /at/ gmail.com)>


        /Keynote bios:/


        /Christopher Holliday, Lecturer in Liberal Arts and Visual
        Cultures Education at King’s College London. Dr Holliday’s
        research is concerned with digital technologies and forms of
        computer animation in contemporary visual culture. He has
        published extensively on computer-animated film, digital visual
        effects, Deepfakes, and digital de-aging. He is the author of
        The Computer-Animated Film: Industry, Style and Genre (EUP,
        2018) and co-editor of the anthologies Fantasy/Animation:
        Connections Between Media, Mediums and Genres (Routledge, 2018)
        and Snow White and the Seven Dwarfs: New Perspectives on
        Production, Reception, Legacy (Bloomsbury, 2021), as well as the
        creator and curator of www.fantasy-animation.org
        <http://www.fantasy-animation.org/>. /


        //


        /Catherine O'Rawe, Professor of Italian Film and Culture at the
        University of Bristol. Prof. O’Rawe’s principal research
        interest lies in Italian cinema, which she has investigated with
        particular attention to stardom, performance, and audiences. Her
        latest book, The Non-Professional Actor. Italian Neorealist
        Cinema and Beyond (Bloomsbury, 2023) addresses the casting,
        performance, and labour of non-professional actors, particularly
        children, their cultural and economic value to Italian
        Neorealist cinema. She is also the author of Stars and
        Masculinities in Contemporary Italian Cinema (Palgrave
        Macmillan, 2014), and co-author of Italian Cinema Audiences:
        Histories and Memories of Cinema-going in Post-war
        Italy(Bloomsbury, 2020)./

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