[Commlist] CFP - Femininity and Music for the Screen: Creation, Representation and Identities

*CFP: International Conference */*Femininity and Music for the Screen: 
Creation, Representation and Identities*/

Monday, November 25, and Tuesday, November 26, 2024,

University of Tours, France

Organized by Jérémy Michot and Chloé Huvet

CFP and all the information available on this website: 
https://simea.hypotheses.org/en-version

The international conference /Femininity and Music for the Screen: 
Creation, Representation and Identities /aims to encourage the analysis 
of the musical and sound productions of female film composers, 
orchestrators, arrangers, editors, and mixers to shed new light on the 
entire sound postproduction workflow. The issues at stake are manifold: 
a feminist approach to music for the screen questions the mechanisms by 
which female sound and music creators are excluded from the canon 
established in the dominant musicological and musicographic discourse, 
and examines the conventions governing audiovisual representations of 
female characters on screen.

We encourage submissions on a wide range of audiovisual productions 
(cinema, TV series, video games, etc.) with no geographical, cultural, 
or historical restrictions. Interdisciplinary and multidisciplinary 
approaches from musicology, film studies, cultural and media studies, 
history, sociology and aesthetics are particularly welcome.

Proposals for presentations may focus on, but are not limited to, the 
following areas:

§Musical and sonic codifications of female, male, trans, or non-binary 
characters on screen and hegemonic social imaginaries;

§Historical developments in musical and sonic representations of 
femininity that destabilize heteropatriarchal norms;

§Exploring the potentiality of a “female hearing” through sharing the 
experience of female characters on screen, and its consequences for the 
adoption of a situated point of audition.

§Contributions of queer theories and the subversion of gendered norms 
applied to visual music;

§Case studies of the work of women sound and music makers in the 
audiovisual field;

§Strategies for “invisibilizing” women music and sound creators in 
dominant musicological and musicographic discourses;

§Study of the formation of a profession (conservatories, music schools, 
universities, etc.) that has been predominantly male;

§Building a female film musicology heritage; valorization of resistance 
approaches; current changes within institutions.


      **


      *Proposals Submission *

Proposals, including a title and a 300 to 500-word abstract, along with 
a short biography of the author(s), should be sent to the conference 
organizers, Jérémy Michot ((jeremy.michot /at/ univ-tours.fr) 
<mailto:(jeremy.michot /at/ univ-tours.fr)>) and Chloé Huvet 
((chloe.huvet /at/ univ-evry.fr) <mailto:(chloe.huvet /at/ univ-evry.fr)>), no later 
than *April 15, 2024*. The conference committee will assess abstracts 
anonymously and give their answers in May 2024.

Abstracts and papers can be in English or in French. Each presentation 
lasts 30 minutes (including audiovisual excerpts), followed by a Q&A period.


      *Conference Committee*

Gilles Alonzo, Conservatoire National Supérieur de Musique et de Danse 
de Lyon
Cécile Carayol, Université de Rouen Normandie
Clémentine Charuel, Film Composer, Conductor and Pianist
Grace Edgar, Connecticut College
Rebecca Fülöp, Temple University
Steve Halfyard, Royal Conservatoire of Scotland
Réjane Hamus-Vallée, Université d’Évry Paris-Saclay
Delphine Letort, Le Mans Université
Raphaëlle Moine, Université Sorbonne Nouvelle-Paris 3
David Roche, Université Paul-Valéry Montpellier 3
Felicity Wilcox, University of Technology Sydney

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