[Commlist] Call for papers: The State of the Nation in film and television online conference

_Call for papers: _*_The 'State of the Nation' in film and 
television_*_, London Metropolitan University, online conference, 
3_^_rd_ _ July 2024. _


How might we illustrate, explore, and begin to define the 'state of the 
nation' film and television text? This free online conference invites 
consideration of these questions. The contours of the genre and tropes 
are fluid, and often the term is retrospectively ascribed. Typically, 
there is a distinction between a National Cinema which might foster an 
imagined community and identity, and concern instead with reflection, 
commentary, and critique of the state of the nation, a mirror (often 
cracked) held up to the nation. At best the 'state of the nation' text 
captures the zeitgeist, shines a light on issues and inequities, serves 
public commentary, garners popular support and critical acclaim. Here 
film and TV can serve the function of unflinchingly presenting a nation 
to itself. As a compression and convergence of key issues of the times, 
played out through representative characters, the 'state of the nation' 
text helps us interrogate past, present, and future. The concern with 
film and TV as fourth estate critique is underscored. A key 
characteristic of the 'state of the nation' text is to seek to do 
justice to the varying politico-socio-cultural conflicts characteristic 
of the period. How does the state of the nation text do this? What are 
the core attributes of the state of the nation text?

To what extent must it offer explicit critique? How far could a 
definition stretch to include the subtextual, the metaphorical and 
allegorical? How might it help construct or challenge the nation as a 
category? Can the success or not be evaluated? If it is often assumed to 
offer progressive or radical critique, is there space for a conservative 
or reactionary 'state of the nation' text? There has been a shift away 
from the realist conventions that typified the text and an embrace of 
the more personal aspects of art cinema, with degrees of stylisation, 
and perhaps even the avant-garde (/Bait, /2019). The genre is also 
interwoven with coming-of-age narratives (/Fish Tank/, 2009), and other 
genres such as the political thriller, crime, comedy and satire. There 
are forward-looking anticipations embracing science fiction tropes 
(/Years and Years/, 2019) and historical considerations (the /Small 
Axe/ anthology, 2020) which speculate on the future, or interrogate the 
past, for the sake of the present. How mutable is the state of the 
nation text? Can we still speak of the 'state of the nation' in such 
global times? What of regionality and the local? What of the state of 
the world text recognising no borders?

Papers are invited that analyse classical and contemporary exemplars of 
the 'state of the nation' text; consider production and reception; 
question and explore the boundaries of the genre; trace continuities and 
changes; help define by comparison and contrast with, for instance, 
National Cinema(s), transnational cinema, heritage, and Social Realism; 
and themes that otherwise scrutinise and draw attention to this 
form. Topics might include, but not be limited to:

  * The 'state of the nation' film and tv text: definitions, as a genre
  * Rereading the canon
  * Theatre and literary antecedents
  * Function / successes / failures
  * Readings and receptions
  * Aesthetics
  * Waves
  * As documentary
  * As an exploration of gender / race / class
  * Acting and the face of the nation
  * Location: the place of the nation
  * The sound(track) of the nation
  * Auteurs of the state of the nation
  * European, international, and global variations.
The conference will be held virtually at London Metropolitan University 
on Wednesday 3rd July 2024. *Abstracts of 400 words for 20 minute 
presentations are requested, accompanied by biographies of 250 words by 
Monday 26^th  February 2024. Acceptance notification: Monday 25^th 
 March 2024.* Please send abstracts and any questions/suggestions to 
the conference convenors, Jon Baldwin, (j.baldwin /at/ londonmet.ac.uk) 
<mailto:(j.baldwin /at/ londonmet.ac.uk)> and Dr Jeremy Collins 
(j.collins /at/ londonmet.ac.uk) <mailto:(j.collins /at/ londonmet.ac.uk)> .

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