[ecrea] CFP: Storytelling in World Cinemas

> Storytelling in World Cinemas:
>
> Narrative Forms and Contexts
>
>
>
> Call for Papers
>
>
>
> Chapters are solicited for the edited collection 
> â??Storytelling in World Cinemasâ??, edited by 
> Lina Khatib (Senior Lecturer, Department of 
> Media Arts, Royal Holloway, University of London).
>
>
>
> The collection will be published by Wallflower Press.
>
>
>
> Please send a 250-word abstract and a short 
> biography to 
> <mailto:(lina.khatib /at/ rhul.ac.uk)>(lina.khatib /at/ rhul.ac.uk) 
> by <?xml:namespace prefix = st1 ns = 
> "urn:schemas-microsoft-com:office:smarttags" />April 22, 2009.
>
>
>
> Chapters should be framed within the following parameters:
>
> In how many ways can cinema tell a story? Where 
> does this storytelling come from? And what 
> purpose does this storytelling serve? This 
> collection aims at locating cinema within a 
> wider cultural framework through focusing on the 
> theme of storytelling in cinema. In particular, 
> the collection will focus on how different 
> cinemas tell stories, i.e., with the issue of 
> narration in cinema. The collection will deal 
> with non-classical narratives in different 
> cinemas that are influenced by, among others, 
> aural/oral, literary and religious storytelling 
> traditions. For example, Ousmane Sembene's films 
> are highly influenced by the griot, or the 
> village oral storyteller, but are also often 
> adaptations of his literary novels. Iranian 
> cinema (especially Kiarostamiâ??s work) often 
> tells stories that are communicated as moments 
> or feelings, not as plots, and is influenced by 
> Iranâ??s poetic tradition. And films from the 
> Arab world have been inspired by the episodic 
> narrative tradition of 1001 Nights. In addition, 
> the collection will include chapters about the 
> influence of social and political context on the 
> way stories are told in films (such as the 
> impact of revolution or dictatorship). This 
> collection is an examination of the different 
> ways stories are told in cinemas, and the 
> cultural/political context in which this 
> storytelling exists. It begins with an 
> investigation into the necessity of cinema 
> narrative, and ends with an exploration of how 
> cinema can go â??beyondâ?? the narrative. In 
> between, it goes on a journey linking cinema 
> with issues such as (but not limited to) 
> religion, literature, theatre, music, poetry and 
> oral epics, as well social and political 
> contexts. So far, there is work done on those 
> different narratives, but those studies tend to 
> either look at such cinemas in isolation, or in 
> comparison to the classical Hollywood narrative. 
> This collection will bring together experts on 
> those different cinemas in order to highlight 
> how they converge and diverge and to arrive at a 
> well-rounded examination of the cultural context 
> in which storytelling in cinema exists and which it is shaped by.
>
>
>
> Completed chapters are expected to be 5000 words 
> long and are expected to be delivered by the end of June 2009.
>
>
>
> In particular, chapters on the following topics are solicited:
>
> -          Non-narrative films (like Tropical Malady)
>
> -          Film narratives in Arab cinemas
>
> -          Film and revolution in Latin America

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Nico Carpentier (Phd)
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Vrije Universiteit Brussel - Free University of Brussels
Centre for Studies on Media and Culture (CeMeSO)
Pleinlaan 2 - B-1050 Brussels - Belgium
T: ++ 32 (0)2-629.18.56
F: ++ 32 (0)2-629.36.84
Office: 5B.401a
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European Communication Research and Education Association
Web: http://www.ecrea.eu
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E-mail: (Nico.Carpentier /at/ vub.ac.be)
Web: http://homepages.vub.ac.be/~ncarpent/
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