[ecrea] The real and the intermedial, Film and Media Studies Conference

*THE REAL AND THE INTERMEDIAL*, Film and Media Studies Conference,
Oct. 23-24 (deadline May 25) 2015, Cluj-Napoca, Romania

CALL FOR PAPERS

Organizer: Sapientia Hungarian University of Transylvania, Department
for Film, Photography and Media

Conference
website:/http://film.sapientia.ro/en/conferences/the-real-and-the-intermedial///

/
/

Following up on the themes introduced in our previous conferences
dedicated to "film in the post-media age", the "cinema of sensations",
"rethinking intermediality in the digital age", and "figurations of
intermediality in film", we invite you to address one of the most
puzzling phenomena of contemporary media and film: the intertwining of
the illusion of reality with effects of intermediality, connecting the
experience of a palpable, everyday world with artificiality, abstraction
and the awareness of multiple mediations. While onan ontological level
the concept of the "real" has been radically challenged by the advent of
digital technology in photography and the movies, we find that new,
audiovisual media have also effectively reshaped our sense of reality,
and have expanded the areas of our sensual reach into the world. In our
post-postmodern age, the question of the "real" is back with a vengeance
regarding all aspects of media. The digital image, as a "graphic mode"
has not only brought back painting reinstating "the ‘artist' as the
source and origin of the movie" (T. Elsaesser), but in cinema,
television and new media, we also have diverse and astonishing examples
in which hypermediacy fulfils "the desire for immediacy" (J. D. Bolter),
and we see productive intersections between the emphasis on the senses,
on the physical-biological, socio-political "reality" of existence and
conspicuous, intermedial stylization.  The photo-graphic effect of
stillness in the moving image and its fundamental relation to
indexicality is exploited to the full in the so-called "slow cinema"
canon, as we see in the breathtaking films of Pedro Costa, Abbas
Kiarostami, Béla Tarr, Alexander Sokurov, Lav Diaz, for example. Or we
may think of cases in which painterly images of ethereal beauty are
created alongside violent, shockingly naturalistic scenes in the films
of Carlos Reygadas, Kim-Ki Duk, etc. Jean-Luc Godard's new movie,
Goodbye to Language, a bold incursion into the use of 3D, renders scenes
of nature and the texture of everyday things in vivid, artificial
imagery. Cultural differences, subjectivity, a sense of history and
place are often articulated through techniques of intermediality in
avant-garde experiments, documentary practices or fiction films alike.
As a rule, the "haptic" image can be seen as the gateway to a myriad of
connections between cinema and the other arts. In certain cases, a
reflexive foregrounding of mediality and constructedness has become not
an instrument of ironic detachment but of a search for authenticity: all
of which may also bring into focus the co-experience of "the real" with
the "intermedial".

*We are especially interested in the following topics (but welcome any
paper that proposes a relevant approach to either keywords of the
conference):*

- "Reality effect", hybridity and media reflexivity in film, television,
and new media.

- Intermediality and inter-sensuality in film: e.g. the represented and
sensed body as a site of

intermedial relations, haptic "texturality" and interartiality.

- Figurations of intermediality as imprints of (and meditations upon)
history and time, cultural and

personal identity.

- "Analogue" versus "digital" viewed in terms of the "real" versus the
"intermedial".

- Painterly stylization and "reality effect" in slow cinema.

- Inflections of realism and intermediality within the post-communist
cinema of Central and Eastern

Europe.

- Magical realism in world cinema.

- The merging of the "representation" and the "real" within the rhetoric
of intermedial cinema (e.g. the

tensions underlying "poetic realism", techniques of figuration and
disfiguration, the various forms of

media collage or /the tableau vivant /in cinema).

- Intermediality theorized or analysed from the perspective of
phenomenological or

postphenomenological points of view.


    Ÿ


    Confirmed keynote speakers


*LÚCIA NAGIB*, Professor of Film, Director of the Centre for Film
Aesthetics and Cultures, University of Reading, Director of
International Engagement, Department of Film, Theatre and Television,
editor of Impure Cinema: /Intermedial and Intercultural Approaches to
Film/ (2013), /Theorizing World Cinema/ (2012), /Realism and the
Audiovisual Media/ (2009), author of /World Cinema and the Ethics of
Realism/ (2011), as well as several seminal articles on Brazilian,
German, French, and Japanese cinema.

*LAURA MULVEY*, Professor at the Department of Film, Media and Cultural
Studies, Birkbeck, University of London. Author of /Fetishism and
Curiosity: Cinema and the Mind’s Eye/ (2013), Visual and Other Pleasures
(2009), Death 24x a Second: Stillness and the Moving Image (2006),
/Citizen Kane/ (1992), editor of /Experimental British Televisio/n
(2007), of a collection of essays on Douglas Sirk (1972), author of
groundbreaking articles on narrative film, feminist film theory, the
aesthetics of stillness in the moving image, etc. She is also a
prominent avant-garde filmmaker, who co-wrote and co-directed several
experimental essay films.

*JÜRGEN E. MÜLLER*, Professor of Media Studies at the University of
Bayreuth, author of /Intermedialität, Fromen moderner kultureller
Kommunikation/ (1996), editor of /Digital Media and the Expansion of the
Arts/ (2006), /Intermédialité et socialité. Histoire et géographie d'un
concept/ (2007), /Media Encounters and Media Theories/ (2008), and
articles on the history and theory of intermediality, and digital media.


*Submission of proposals*

We invite proposals both for individual papers and pre-constituted
panels. Panels may consist of 3 or 4 speakers.

*Deadline for the submission of proposals: May 25, 2015.*

We will get back to you with our decision by June 1, 2015.


*Please fill in one of the SUBMISSION FORMS below:*

*INDIVIDUAL SUBMISSION*
<https://docs.google.com/forms/d/1jHFeuCeWfbrjR-W_-08cG8GozcHFpXy10LxZZlgZ8MU/viewform>

**

*PANEL SUBMISSION*
<https://docs.google.com/forms/d/1R1kc3N_kRNkR77TOPoieWR2oyQ06xyr5yB73q8ozRws/viewform>

**

For additional information you can contact the organizers directly at
this e-mail address:

(2015.real.intermedial /at/ gmail.com) <mailto:(2015.real.intermedial /at/ gmail.com)>

The official language of the conference is English.

A selection of papers based on the conference presentations will be
published in our department's international, peer reviewed journal (Acta
Universitatis Sapientiae. Film & Media Studies
<http://www.acta.sapientia.ro/acta-film/film-main.htm>) indexed in
several international databases or in a conference volume.


................................

Prof. ÁGNES PETHŐ, PhD, Head of Department
/Sapientia University/, Cluj-Napoca, Romania
/Department of Film, Photography, and Media,/
<http://film.sapientia.ro/en/>

Executive editor:///Acta Universitatis Sapientiae: Film & Media Studies/
<http://www.acta.sapientia.ro/acta-film/film-main.htm>

/http://film.sapientia.ro/en/conferences/the-real-and-the-intermedial/

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