[ecrea] cfp - Time, memory, identity in the images of the new millennium

Università degli Studi Roma Tre____

Dipartimento di Filosofia, Comunicazione e Spettacolo

*CINEMA & HISTORY**____*

*Time, memory, identity in the images of the new millennium*

*26-27 November 2015*

International Conference____

Conference convenors: Christian Uva and Vito Zagarrio

Institutional partners: ____

University of Leeds Centre for World Cinemas (UK)____

Victoria University of Wellington (NZ) ____

SISSCO (Società Italiana per lo Studio della Storia Contemporanea) ____

CPA (Centro Produzione Audiovisivi) - Università degli Studi Roma Tre____

Cinema e Storia. Rivista di studi interdisciplinari (Rubbettino Editore)


*The deadline has been extended to September** 30, 2015*

_Call for Papers_______


The 21^st  annual international conference of the Dipartimento
Filosofia, Comunicazione e Spettacolo (formerly Dipartimento
Comunicazione e Spettacolo) of Università Roma Tre will consider the
relationship between cinema and history, identifying new directions and
contemporary approaches in the field.____

This conference reprises a theme central to discussion in the 1980s,
when a number of important symposia and publications in Italy responded
to the translation of key French scholarship. Returning to the question
of cinema and history after three decades implies the consideration of
aspects and forms of knowledge absent from those earlier debates.
Bringing the discussion right up to date, the aim of this conference is
to employ a plurality of discourses to explore in greater depth the
theme of cinema and history and to clarify a crucial relationship that
has been essential to cinema since its inception.____

Taking as its premise the fact that in our digital era the relationship
between cinema and history is played out over a broad and complex
terrain, the conference seeks to consider cinema in /hybrid /and
/expanded /terms. This may require analysing cinema’s relationship with
history within a broader mediatic context, taking into account – for
instance – adjacent and tangential media such as *television*,
*videoart*, *internet* and *videogames*. The convenors**therefore warmly
invite contributions that aim to problematize the relationship between
cinema and history in ways not limited to the following: ____

-the use of cinema and history as a /method/ or lens through which to
read a range of film categories beyond any historical film ‘genre’:
films that, while setting their action in the present, suggest a
dialectical and critical attitude towards the past, especially in order
to address conceptions and perceptions of national, cultural, gender and
political identity; films that are capable of addressing and affecting
contemporary imaginaries and mentalities, thus becoming historical
/agents/ in their own right; films that become precious primary sources
for scholars, by embodying the customs and material habits of their
time; films which, though set in the present, allow us to reflect on
material and everyday “microhistories” in which the story “dissolves”
time and erupts into the present (Baudrillard);____

-the rethinking and transcending of traditional film histories by seeing
cinema and history in the light of a hybrid and global iconographic
system that forces us to wonder whether we should thinking in terms
distinct from the “longue durée” and allows us to avoid “textbook”
slogans and stereotypes;____

-history as critique, between ‘the end of history’ (Fukuyama) and its
traumatic return following 9/11;____

-history as /imaginary /(Ferro) and as /myth /(Rosen), but also as
/atmosphere/;____

-counter-factual history (“What if?”);____

-history as /anti-history/: a form of projection into the past of
scepticism and disillusion with present and future;____

-history as /anachronistic/ configuration: according to Georges
Didi-Huberman this is a ‘heretical’ approach to image and history; while
it confirms the necessity to conceive of cinema and history as part of
visual culture, Didi-Huberman’s perspective stresses the intimate
‘exuberance’, ‘complexity’ and ‘overdetermination’
(/Überdeterminierung/) of images, forcing a rethinking the
cinema-history relationship within the context of the /construction of
memory/;____

-from ‘historical facts’ to ‘memory facts’ (Ricoeur): cinema as site of
memory (both individual and/or collective); cinema as an ideal space in
which to activate not the ‘time of dates’ (Bloch) but instead a
dimension - often framed negatively as nostalgia (Boym) - that
humanizes history and constantly reconfigures it;____

-the digital imaginary between memory and history (Burgoyne);____

-theoretical and practical reconsiderations of cinema through a feminist
and gendered lens:  analysing the dynamics of production and reception;
the interaction between Foucauldian genealogical thought and feminist
theories; ____

-from /‘official’ history/ to /‘popular’ history/, from /engagé /to
escapist cinema: the cinema-history relationship as an opportunity to
reframe works that have traditionally been excluded from the analysis of
cinema and history, not least because of the enduring legacy and role of
/engagement /in representing the past (Landy, O’Leary);____

-the study of the experience and reception of the historical film, in
all its possible variations;____

-history in audio-visual contexts: from television to videoart;____

-history in videogames;____

-history and photography;____

-the employment and potential of digital technology in quantitative
methods to serve an expanded understanding of cinema and history.

We will consider every proposal (*300-500 words*), with *5 keywords*,
*3-5 bibliographic references*, and a *brief biography* of the
proponent, sent *before September 30th, 2015*, to the address
*(cinemaestoria /at/ uniroma3.it)* <mailto:(XXXXXX /at/ uniroma3.it)>. Selection's
results will be announced *before October 9th*.

Official languages of the Conference: *English, French, Italian*.____

During the conference will be held the following workshops:

*Italian Cinemas/Italian Histories*

Organizer and chair: Alan O’Leary (University of Leeds)____

How have Italians used films to negotiate their histories and
interrogate their identities over more than a century of Italian cinema?
This workshop will discuss the aims and research methods of a major
project intended to reconfigure the understanding of the relationship
between Italian cinema and history.

*Cinema and the Construction of the Nation: Italian Identities Between
History and Memory*

Organizers and chairs: Sally Hill (Victoria University of Wellington),
Giacomo Lichtner (Victoria University of Wellington) ____

Focusing on Italy as a case study that is both emblematic and anomalous,
the workshop’s starting point is the hypothesis that the Italian case is
emblematic, because Italian cinema has traditionally made effective and
widespread use of stereotype to construct a sanitised and homogeneous
narrative of national identity, but also an anomalous one, because it
has dealt ambiguously with the nation’s historical contradictions. While
every nation’s history is contested, Italy’s inability to construct a
shared narrative of its recent past suggests that the peculiarity of
Italian ‘memory’ lies in the coexistence of ‘divided memories’ (Foot,
2009).____

Conference website: http://uniromatre.wix.com/cinemaestoria#!home/c17ca


--
Ilaria A. De Pascalis, PhD
(i.depascalis /at/ gmail.com) <mailto:(i.depascalis /at/ gmail.com)>
+39-339-6174952


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