Archive for calls, 2021

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[Commlist] CFP- Elsewhere from an American perspective in cinema

Thu Sep 30 16:45:14 GMT 2021





*Appel à communications / Call For Papers***

*L’ailleurs vu d’Amérique :*

*Espaces Géographiques Étrangers dans le Cinéma Américain*

*Elsewhere from an American Perspective:*

*Foreign Places in American Cinema*

*
*

*International Conference*

*5-6 mai 2022*

*Université d’Artois, Arras (France)*

*Laboratoire Textes & Cultures (EA 4028)*

*Keynote speakers:*

W. Anthony Sheppard (Williams College, MA, USA), author of /Extreme Exoticism: Japan in the American Musical Imagination/ (Oxford U. P., 2019).

Antoine Gaudin (Université de Paris 3 Sorbonne Nouvelle), author of /L'espace cinématographique. Esthétique et dramaturgie/ (Armand Colin, 2015).

* **********

/Ruggles of Red Gap/(McCarey, 1935), shot at Paramount studios, creates the illusion of Paris and London in the Hollywood tradition of fake movie sets. /The Lady from Shanghai/ (Welles, 1947) uses /matte painting/ for Acapulco. /An American in Paris/ (Minnelli, 1951) has live footage of Paris as well as stylized Metro-Goldwin-Mayer set designs. Filming /Roman Holiday/ (1953) William Wyler takes his camera around Rome but also includes rear projection for some scenes to the point of making the famous sculpture /Bocca della Verità/ bigger than it actually is. Half a century later, /The Last Samurai/ (Zwick, 2003) depicts 19th century Japan shooting on location in New Zealand, Hollywood, the Shoshazan Engyo-ji Temple in Himeji, the Chion-In Temple in Kyoto, as well as incorporating computer generated images. All the while Sofia Coppola shoots /Lost in Translation/ (2003) on location in the streets of Tokyo, Jim Jarmusch captures Tangiers at night in /Only Lovers Left Alive/ (2013), Neil Burger goes to Prague to film /The Illusionist/ (2006) whose action takes place in Vienna and Wes Anderson travels to Germany to recreate a pastel Budapest in /The Grand Budapest Hotel/ (2014).

American cinema, though traditionally ethnocentric, has always shown a great interest in foreign cities and landscapes, replete with adventure narratives from /Indiana Jones/ (Spielberg, 1981-2008) to /The Lost City of Z /(Gray, 2016), national destiny or exploration narratives through Martin Scorsese’s eyes in /Kundun/ (1997) and /Silence/ (2016), countless war movies such as /The Thin Red Line/ (Malick, 1998) or /Fury/ (Ayer, 2014)]. Tales of exile, wandering, tourism, romance, personal or professional trips pervade American film history. These places whose exoticism and alterity are underlined by various aesthetic choices give way to different “reality effects” (Barthes).

As the Internet and globalization have facilitated intercultural exchanges, international travel and communication, the cosmopolitan approach (Woodward & Skrbis, 2013) to film studies (Schwartz, 2007; Eleftheriotis (2016); Deleyto, 2018), questions related to the transnational (Ezra & Rowden, 2006) and the transcultural (MacDougall, 1999; Baloğlu & Birincioğlu, 2021), namely what goes beyond national cinema or cultural identity, have become central aesthetic and critical preoccupations. Should we still think in terms of cultural hegemony (Vassey, 1997; Behlil, 2016) when it comes to American cinema, its relation to the world and the way it represents foreign places? What type of hybridization has been observed so far? How do the industry’s economic and cultural policies impact the representation of foreign territories in American cinema? What about diplomacy (Nilsen, 2011; Elmer & Gasher, 2005) and geopolitical questions? Do these films’ aesthetics convey an American identity which is more or less conspicuous depending on the period? If the study of space (Gaudin, 2015; Rosario & Alvarez, 2018) seems like an obvious way to deal with the question at hand, what about the practice of space (physical reality, social context), human interactions, gender relations, codes and customs, cultures and religions, iconic landmarks, iconic figures, literary and artistic heritage? And what about music (Sheppard, 2019) which is an essential component of film? What about actors’ performances (e.g. cosmopolitan performance, Deleyto, 2020) in these films?

We will welcome papers covering these questions and more, adopting various methodologies and theoretical approaches as long as they stay within the scope of American films representing foreign places.

The conference will take place on May 5 – 6, 2022 at Artois University, 9 rue du Temple, 62030 Arras, France.

Proposals in French or English (with a short summary and key words, approx. 2000 characters) should be submitted via email to Julie Assouly ((julie.assouly /at/ univ-artois.fr)) <mailto:(julie.assouly /at/ univ-artois.fr))>and Esther Heboyan ((esther.heboyan /at/ univ-artois.fr)) <mailto:(esther.heboyan /at/ univ-artois.fr))>by November 15, 2021.

You will receive an answer by December 1.

Proposals should include the following information:

Name and first name

Institution, department, address

Position

E-mail

There will be a banquet on May 5, 2022. Let us know whether you wish to join and if you have any dietary restrictions.

Please note that a Covid vaccine certificate will be required of all participants.

*Scientific committee :*

Julie Assouly (Université d’Artois)

Celestino Deleyto (Université de Saragosse)

Kevin Dwyer (Université d’Artois)

Esther Heboyan (Université d’Artois)

Sébastien Lefait (Université d'Aix-Marseille)

Nolwenn Mingant (Université d’Angers)

Elizabeth Mullen (Université de Brest)

David Roche (Université de Montpellier)

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