[ecrea] CfP SERCIA 2016 Cinema and Seriality

*_Cinema and Seriality_*

**

**

*22nd Sercia Conference, Sept. 8-9-10, 2016*

*Université Paris Diderot / Fondation des Etats-Unis / Université Paris
Ouest La Défense/ Université du Havre / Guest Normandie. *

**

_Contact_ :

Ariane Hudelet (ariane.hudelet /at/ gmail.com)
<mailto:(ariane.hudelet /at/ gmail.com)>  Anne Crémieux (anne.cremieux /at/ gmail.com)
<mailto:(anne.cremieux /at/ gmail.com)>

_Scientific committee_ : Jean-François Baillon, Sylvaine Bataille, Anne
Crémieux, Emmanuelle Delanoë-Brun, Sarah Hatchuel, Ariane Hudelet,
Jacqueline Nacache, David Roche, Pierre-Olivier Toulza, Dennis Tredy,
Shannon Wells-Lassagne.

/SERCIA, Société d’Etudes et de Recherche sur le Cinéma Anglophone
(www.sercia.net), gathers French and international scholars to promote
research and teaching in the field of English-speaking cinema./

*Please send your proposal (biographical notice, 150 words max +
abstract, 500 words max) by FEBRUARY 15, 2016, to
**(sercia2016 /at/ gmail.com)* <mailto:(sercia2016 /at/ gmail.com)>**

In many ways, cinema has always been essentially linked to the notion of
seriality. From the zoetrope to the devices of the Lumière brothers or
Thomas Edison, cinematic movement was created by a succession of still
images. When film narratives became more complex, productions like /The
Perils of Pauline /(1914) or /The Exploits of Elaine /(1914)relied on
the episodic form to encourage viewer loyalty/./The pleasure experienced
in following a story that unfolds over several hours, of parting from
characters only to meet up with them after an interruption of several
days or weeks, can create a feeling of familiarity and attachment, which
the cinema has explored throughout its history. Today, the serial form
seems increasingly dominant notably in the United States, both
culturally and economically, and is associated both with television—or
“post-television” if we consider Netflix, Hulu or Amazon Prime
productions—and commercial cinema with its franchises, sequels, prequels
and remakes.

The 22nd SERCIA conference will set out to explore the links between the
filmic form and seriality in all its manifestations. Speakers are
invited to reflect on possible definitions of seriality and think about
the way seriality is connected with the notions of genre, corpus or
cycle. The topic also calls for a consideration of cinema within a
larger history of representations: what links can be established with
seriality in other arts such as graphic arts (altarpieces, frescoes,
engravings, comic books, graphic novels), or the serialized novel of the
XIXth centry for instance? How can we account for the fact that,
culturally, series are often associated with “lowbrow” genres such as
crime fiction, animation, comics, horror, science fiction (from the
earliest examples of /serials /such as /Flash Gordon/?)

In the age of transmedia and digital technology, the relationship
between cinema and seriality inevitably leads to the question “what is
cinema?” and for that matter “what is television?” TV series are today
perceived as a logical extension of cinema, and many filmmakers (such as
Steven Soderbergh for instance) have chosen this form which, according
to some, allows for more freedom. The border between cinema and series
seems increasingly blurry, with intersecting modes of production and
reception that directors, screenwriters and actors freely nagivate, so
that cultural hierarchies are gradually shifting. The role of fan
communities has also increased, and the stories are increasingly
disseminated through multiple transmediatic forms—films, series, video
games, alternate reality games, by-products—making the notion of series
even more complex, and raising issues of unity and fragmentation.

Keynote speakers : *Samuel Chambers* (Johns Hopkins University),*Scott
Higgins (*Wesleyan University).

*_Suggested topics: _*

*__*

-*The history of seriality in cinema / television*

**

-*Seriality and cinematic aesthetics: *interruption and continuity,
conventions and innovation

**

-*Seriality and narration: *characterization, narrative structure,
specificities of length and duration in cinema and television**

**

-*Seriality and genre: *series and popular genres – horror,
science-fiction, animation, superheroes / how series play with generic
hybridity**

**

-*Seriality as an economic and industrial issue: *from the /serials/ of
the silent era to the Hollywood franchises of the 21st century / the
distinction between network, cable, VOD

**

-*Seriality and adaptation: *adapting recurring characters / cycles of
popular novels, such as Philip Marlowe, James Bond etc.; adapting series
into films (/Charlie’s Angels/), films into series (/Twelve Monkeys/,
/Fargo/), the link between comic books and series on the big or small
screen (/Batman, Spiderman, Watchmen/), relationships between series and
video games.**

**

-*Cinema and television series: *influences / competition / intertextual
relationships. Can we still call series produced by Netflix or Amazon
Prime “television”? How should we study some franchises such as /Marvel
/or /StarWars/, containing among others, cinematic and TV works?

**

-*Seriality and reception studies: *attachment, addiction,
appropriation, modes of reception linked with new technology; how does
seriality integrate fan fiction?

-*Seriality and authorship: *does seriality imply disseminated
authorship or does it lead to a renewal of the /auteur/ figure as we can
see with famous showrunners? How does the vision of an /auteur /combine
with collaborative creation in franchises or TV series? What does
seriality bring to /auteurs/ like Scorsese, Van Sant, Whedon, Abrams who
navigate between several forms? Where is authorship located, between
mise en scène and screenwriting?**

*BIBLIOGRAPHY*

ALLEN R. and BERG T. (2014) /Serialization in Popular Culture/. London:
Routledge.

AUBRY D.  (2006) /Du Roman feuilleton à la série télévisuelle./
<http://www.series.cnrs.fr/spip.php?article294>/Pour une rhétorique du
genre et de la sérialité. /Berne, Peter Lang,

BAREFOOT, Guy. (2016) /The Lost Jungle: The Hollywood Sound Serial of
the 1930s and 1940s/. U of Exeter P.

BEYLOT P. /Le Récit audiovisuel/
<http://www.series.cnrs.fr/spip.php?article318>. (2005) Paris, Armand
Colin, collection « Fac », série « Cinéma ».

BEYLOT P. et SELLIER G. (2004) /Les Séries policières/
<http://www.series.cnrs.fr/spip.php?article295>. Paris, INA-L’Harmattan,
coll. « Médias en actes ».

BUXTON D. (1991) /De Bonanza à Miami Vice./
<http://www.series.cnrs.fr/spip.php?article296>///Formes et idéologies
dans les séries télévisées/. Paris : éd. Espace européen.

CANJELS, R. (2016) /Distributing Silent Film Serials/. London and New
York: Routledge.

CHAMBERS, S. (2009) /The Queer Politics of Television/. New York: IB Tauris.

CHATMAN S. (1990) /Coming to Terms./
<http://www.series.cnrs.fr/spip.php?article386>///The Rhetoric of
Narrative in Fiction and Film./

Ithaca & London, Cornell UP.

CLINE W. C. (1994) /Serials-ly Speaking: Essays on Cliffhangers/.
Jefferson, N.C.: McFarland.

CLINE W. C. (1998) /In the Nick of Time: Motion Picture Sound Serials/.
London: McFarland.

CREEBER G. (2004) /Serial Television: Big Drama on the Small Screen/.
London: BFI Publishing.

DENSON S. (2011) “/To Be Continued...”: Seriality and Serialization in
Interdisciplinary Perspective/ [What Happens Next: The Mechanics of
Serialization. Graduate Conference at the University of Amsterdam, March
25–26, 2011.]’, /JLT Online Conference Proceedings/. Available at:
http://www.jltonline.de/index.php/conferences/article/view/346/1004.

DYER, R. (2015) /Lethal Repetition: Serial Killing in European Cinema./
London: BFI.

CHAMBERS, S. (2009) /The Queer Politics of Television/. New York: IB
Tauris.

ECO U. (1990) ‘Interpreting Serials: Chapter of The limits of
interpretation’, /The Limits of Interpretation/. Bloomington, Ind:
Indiana University Press.

ESQUENAZI, J.P. (2014) /Les Séries télévisées : l'avenir du cinéma ?
/Paris : Armand Colin.

HARRIGAN P. and WARDRIP-FRUIN N. (2009) /Third Person: Authoring and
Exploring Vast Narratives/. Cambridge, Mass: MIT Press.

HAYWARD J. (1997) /Consuming Pleasures: Active Audiences and Serial
Fictions from Dickens to the Soap Opera/. Lexington, Ky: University
Press of Kentucky.

HIGGINS, S. (2016) /Matinee Melodrama: Playing with Formula in the Sound
Serial/. Rutgers UP.

HIGGINS S. (2007) ‘Suspenseful Situations: Melodramatic Narrative and
the Contemporary Action Film’, /Cinema Journal/, 47(2), pp. 74–96.

HIGGINS S. (2014) ‘Seriality’s Ludic Promise: Film Serials and the
Pre-History of Digital Gaming’, /Eludamos. Journal for Computer Game
Culture/, 8(1). Available at:
http://www.eludamos.org/index.php/eludamos/article/viewArticle/vol8no1-7.

GIDDINGS R. and SELBY K. (2001) /The Classic Serial on Television and
Radio/. Basingstoke: Palgrave.

JENKINS H. (2008) ‘Searching for the Origami Unicorn: The Matrix and
Transmedia Storytelling: Chapter of Convergence culture: where old and
new media collide’, /Convergence Culture: Where Old and New Media
Collide/. New York, N.Y.: New York University Press.

JESS-COOKE, C.(2012) /Film Sequels/. Edinburgh UP.

KLEIN, A.A. (2016) /Cycles, Sequels, Spin-offs, Remakes, and Reboots:
Multiplicities in Film and Television./ Austin: U of Texas P.

LIMBACHER, J. L. (1991) /Haven’t I Seen You Somewhere Before? Remakes,
Sequels, and Series in Motion Pictures and Television, 1896–1978//. /New
York: Pierian.

MILLS B. (2005) /Television Sitcom/
<http://www.series.cnrs.fr/spip.php?article507>. London, British Film
Institute,

MITTELL J. (2006) ‘Narrative complexity in contemporary American
television’, /Velvet Light Trap/, 2006 (2006). Available at:

http://go.galegroup.com/ps/i.do?id=GALE
A151394853&v=2.1&u=leicester&it=r&p=EAIM&sw=w&asid=f39796cc3bf98afd4c4a84ccdfed5b90. 



MITTEL J. (2015) ‘Ends, Chapter of Complex TV: the poetics of
contemporary television storytelling’, /Complex TV: the Poetics of
Contemporary Television Storytelling/. New York: New York University Press.

NOWLAN, R. A., and G.W. NOWLAN. (1989) /Cinema Sequels and Remakes,
1903–1987/. Jefferson, NC: McFarland.

RAINEY B. (2010) /Serials and Series: a World Filmography, 1912-1956/.
Jefferson, N.C.: McFarland.

REIMER M., Ali N., ENGLAND D. and UNRAU M. D. (eds) (2014) /Seriality
and Texts for Young People: the Compulsion to Repeat/. Houndmills,
Basingstoke, Hampshire: Palgrave Macmillan. Available at:

http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=727927.

SCHASCHEK, S. /Pornography and Seriality/. (2013) Palgrave Macmillan.

THOMPSON R. J. (1997) /Television’s Second Golden Age: From Hill Street
Blues to ER. /Syracuse, N.Y.: Syracuse University Press.


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