[Commlist] cfp: Doing Women's Film and TV history

*Doing Women’s Film and Television History VI: Changing Streams and 
Channels***

*14 – 16 June 2023***

*University of Sussex, Brighton, UK*

**

*EXTENDED FINAL DEADLINE FOR PROPOSALS: 31 January 2023*

**

Doing Women’s Film and Television History is back in 2023! Join us at 
the University of Sussex for the 6th edition of this leading 
international conference on women’s film and television history.

Confirmed Keynotes: Professor Sally Faulkner (University of Exeter)

‘Spain's Feminist Filmmaking under Dictatorship and Democracy’

Professor Terri Francis (University of Miami), ‘The TenderWork of 
Writing Black Women's Film Histories’

The sixth edition of the conference will foreground the history of the 
distribution, marketing and promotion of women's work and how this 
shapes its visibility, significance and impact on audiences and on the 
work of other women directors and producers. Our title references both 
the technologies of broadcast and digital distribution as well as 
evoking the flows between women’s work in different spaces, times and 
places. Our definition of ‘women’ is an inclusive one.

Starting with the festival-based events of the early 1970s – such as the 
first New York International Festival of Women’s Films, the Women’s 
Event at Edinburgh Film Festival, the Toronto Women and Film Festival, 
the Washington Women’s Film Festival, etc. – feminist filmmakers, 
scholars and critics have sought outlets for the production, 
distribution and exhibition of women’s work. Since then, initiatives and 
programmes that aim to foster women’s film and media production and 
showcase their work have spread more widely and more recent campaigns 
addressing the persisting gender inequalities within film and media 
industries around the world have been continuing this historical project 
of claiming space. We ask ‘How can these calls for a change in the 
structures that perpetuate the marginalisation and/or exclusion of 
women’s work from mainstream channels of cultural production, 
distribution and exhibition be informed by historical perspectives?’.**

We are particularly interested in the work of female-identified and 
feminist programmers, commissioners, critics, distributors, festivals 
and archivists, exhibitors of various kinds in promoting and showcasing 
women's work and making it available in specific periods and to future 
generations. We also suggest some emphasis on the way changing 
technologies, platforms and channels have been used by women or impacted 
women's roles in production and distribution in cinema, television and 
media more generally and in historical comparisons of how this has 
happened at different moments.

This three-day conference welcomes a variety of international and 
intersectional perspectives relating to experiences and histories of 
working practices, and/or researching the work of women film/media 
practitioners and its circulation within and across cultural spaces.

Our call for papers is geared towards, but is not strictly limited to, 
historical perspectives on the following topics:

  * Intergenerational and transnational dialogues between filmmakers and
    programme producers, past and present
  * Archiving and preservation
  * Distribution and exhibition including new technologies and their
    impact on national production economies and initiatives and on
    access for new and diverse producers and audiences.
  * The impacts and limitations of gender/equality initiatives and
    projects past and present e.g. the F-rated campaign, ACTT/BECTU/BFI
    /Directors UK campaigns, class actions etc.
  * Intersectional approaches/challenges to the visibility of/in women’s
    work (class, race, ethnicity, sex, sexuality, disability, etc.)
  * The marketing and/or self-presentation of women directors,
    producers, actors and other personnel across time.
  * Educational programmes, curricula and the dissemination of women’s
    work – challenging canons and creating counter-histories.
  * Feminist filmmaking within and outside mainstream channels and 
currents.

  * Lesbian, bisexual, queer and trans women’s activism in media
    production, distribution and exhibition.
  * Intersectional ecofeminism and sustainability in film and media
    production, distribution and exhibition

Proposals for twenty-minute presentations must include the title of the 
presentation, a 250-word abstract and a brief biography of the 
author(s). Pre-constituted panels of three speakers may also be 
submitted, and should include a 250-word panel rationale statement, as 
well as individual abstracts.We also welcome proposals for roundtable 
discussions of up to 6 participants, lasting one to one and a half hours.

We invite practice-led contributions which address women’s histories in 
film, television and audio/visual media; for these please submit a 
250-word description, running time, display requirements and links to a 
5 minute excerpt and full work. If accepted, practice-led contributions 
may be presented as part of panels or as a limited number of separate 
sessions/screenings and/or made available to delegates online.

Please submit your proposals here:

https://app.oxfordabstracts.com/stages/4473/submitter 
<https://app.oxfordabstracts.com/stages/4473/submitter>

**

*Please note the conference will be in person with some opportunities 
for remote participation.*

Conference enquiries: (womensftvhistoryconference /at/ sussex.ac.uk) 
<mailto:(womensftvhistoryconference /at/ sussex.ac.uk)>

Website: https://dwftvhvi.wordpress.com/ <https://dwftvhvi.wordpress.com/>




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