[ecrea] 2nd CFP Independence in cinema- Université de Paris 13

>>Call for papers
>>
>>Independence in the cinema, France/United States: cross-cultural perspectives
>>CRIDAF: University Paris 13, November 5th, 2010
>>
>>
>>In France and in the United States, where the 
>>media and arts environment is dominated by 
>>international corporations, it is debatable 
>>that such a thing as a truly independent cinema really exists.
>>This has been particularly true since the 
>>1970s, when the film industry was subjected to 
>>massive economic change in both France and the 
>>US. Since then, there has been an unprecedented 
>>increase in the use of such terms as 
>>independent cinema and auteur cinema, as 
>>well as numerous controversies on the very validity of using them.
>>Even if auteur cinema and independent cinema 
>>are separate notions, there is little doubt 
>>that they largely overlap. This is all the more 
>>so as cultural transfer between American and 
>>French independent cinema intensified in the 
>>1950s and the 1960s, especially when the French 
>>politique des auteurs, turned   auteur 
>>theory, reached the US thanks to Andrew Sarris.
>>Hence the crucial importance of a 
>>cross-cultural approach to French and American 
>>cinema seeking to reassess the differences 
>>between the numerous terms that refer to 
>>independent cinema. This conference will mainly 
>>focus on the 1990s and 2010s, during which it 
>>is especially relevant to compare such labels 
>>as American Independent Cinema and Young French 
>>Cinema (Jeune cinéma français).
>>This one-day conference will focus on the 
>>mid-budget films that French director Pascale 
>>Ferran called films du milieu in a speech she 
>>delivered at the French Cinema Award ceremony 
>>in 2007, describing them as films which, while 
>>they show viewers the complexity of the world, 
>>combine artistic ambition with the pleasure of 
>>entertainment. Though the concept of films du 
>>milieu was coined about French films, it is 
>>also relevant for American films. Reflection on 
>>this topic may consider esthetic, ideological, or economic aspects.
>>We seek proposals for papers that ponder 
>>whether Young French Cinema and American 
>>Independent Cinema present esthetic 
>>alternatives to mainstream cinema. 
>>Presentations may deal with narrative 
>>organization, characterization, the 
>>representation of the body, the treatment of 
>>space, or the ways in which these films deal 
>>with film genre. How can we make better sense 
>>of the originality of independent films?
>>How do independent films resist the economic 
>>and ideological domination of mainstream 
>>cinema? Comparisons between American and French 
>>cinema will be favored, especially on the 
>>following themes: the authenticity in the 
>>representation of reality, the 
>>interrelationships between independent and 
>>national cinemas, the representations of the weak or of minorities.
>>Economically speaking, how do directors manage 
>>to finance their films? In France, the idea of 
>>independence is linked with numerous scattered 
>>undertakings and declaration of principles 
>>originating from directors, distributors and 
>>producers alike. As to American independent 
>>cinema, shouldnt its independence be 
>>considered mostly as a myth, knowing how much 
>>independent and Hollywood cinema often overlap?
>>300-word abstracts in French or in English, 
>>along with a short biography and bibliography, 
>>should be submitted by June 25 to both:
>><mailto:(anne_paupe /at/ yahoo.fr)>(anne_paupe /at/ yahoo.fr)
>><mailto:(CelineMurillo /at/ hotmail.com)>(CelineMurillo /at/ hotmail.com)
>>

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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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