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Calls for Papers
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FOLLOW-UP TO THE ‘INTERMEDIALITY NOW’ CONFERENCE:
CALL FOR PROPOSALS
Continuing our series of conferences dedicated to rethinking intermediality in contemporary cinema and visual culture, we propose to initiate a discussion around aspects of intermediality that may unfold from the perspective of the picturesque.
The much-debated notion inherited from the art theories of the late 18<sup>th</sup> century originally denoted both an aesthetic quality (something pleasing to the eye situated between the serenely beautiful and the awe-inspiring sublime) and a particular visual impression (something that looks like a picture in nature). It anticipated and later became deeply entangled with many of the ideas of Romanticism, of modernity and postmodernity by shifting the appeal of images from knowledge to imagination, sensation and mood, by applying the frame of art to life, or the frame of one art to another, and emphasising the abstract aesthetic value of a kind of pictured vision. Photography appropriated it as a strategy of so-called pictorialism and popular culture perpetuated it in various forms of spectacularization from the early dioramas and panoramas to today’s ubiquitous digital screens through which we continually reframe our lives in picturesque images.
The picturesque emerges therefore not only as a transversal concept in art history or visual culture, but also essentially connected to issues of intermediality and in-betweenness that we would like to bring into focus. In a “beautifully circular” dynamics (Rosalind Krauss), in a “conjunction of nature, picture, eye” (Geoffrey Batchen) a given moment of the perceptual array is connected to recognizable patterns in a picture which always reveals the form of one medium perceived in another (e.g. painterly tableaux in photography, film, installation art, photographic frames in film, photos that look like film stills, etc.). As such, the picturesque directs our attention to the sensuous aspects of intermediality and their relevance in our so-called postmedia age, when the “photographic”, “the cinematic” or the “painterly” can be seamlessly merged through digital technologies.
We would also like to address the controversial aesthetics of the intermedial picturesque that foregrounds instead of a sublime Gesamtkunstwerk-like effect the sheer visual pleasure of imageness, and to highlight its range in this respect from the decorative and the playful to the contemplative. Keeping in mind the potentially “troublesome” aspects of “pretty” images (Rosalind Galt), we encourage proposals to consider their “politics” as well, which can either align with what John Ruskin described as the “heartlessness of the picturesque” (i.e. delighting in images of ruin and decay), or can imply a reflexive acknowledgement of their underlying tensions between art and life (by engaging Raymond Bellour’s and Laura Mulvey’s “pensive spectator”).
Accordingly, we invite proposals to explore the variety of intermedial strategies that generate visual pleasures associated with the picturesque in a broad sense, and to uncover their intricate relations of in-betweenness.We suggest the following topics (but welcome any relevant approach to the issues outlined in the CFP):
- Cinema and the picturesque across time and media: the history and poetics of the picturesque in film
- The tableau vivant as a visual attraction between high art and popular culture, and in-between painting, photography, sculpture, theatre and film
- Synaesthetic pleasures: picturesque impressions in conjunction with tactility, soundscape and music
- Picturesque landscapes in slow cinema, slow TV and experimental films
- Media reflexivity and the picturesque in contemporary documentary and essay films
- Moving image installations and the immersiveness of picturesque images
- The picturesque world and the ruins of civilization: nature versus culture in images of the anthropocene
- Painterly images and remediations in heritage films and bio-pics
- Gender and postcolonial perspectives of the picturesque intersecting with intermediality
- The picturesque in-between the analogue and the digital, the natural and the artificial
- Theorising what “looks like a picture” today
- The intermedial visual pleasures of VR
- The picturesque and the spectacular in video games
Confirmed keynote speakers:
STEVEN JACOBS (Department of Art History, Ghent University), an art historian specialized in the relations between film and the visual arts. His research interests include the visualization of architecture, cities, and landscapes in film and photography. He is the author of: The Wrong House: The Architecture of Alfred Hitchcock (2007), Framing Pictures: Film and the Visual Arts (2011), The Dark Galleries: A Museum Guide to Painted Portraits in Film Noir (2013, with Lisa Colpaert) as well as the co-author of Screening Statues: Sculpture and Cinema (2017), and The City Symphony Phenomenon: Cinema, Art, and Urban Modernity Between the Wars (2018).LAURA MULVEY (Department of Film, Media and Cultural Studies, Birkbeck, University of London), one of the most influential film theorists of our time. Her major works include: Visual and Other Pleasures (1989/2009), Fetishism and Curiosity: Cinema and the Mind’s Eye (1996/2013), Citizen Kane (BFI Classics series 1992/2012), Death 24x a Second: Stillness and the Moving Image (2006), together with groundbreaking articles on narrative film, feminist film theory, the aesthetics of stillness in the moving image, etc. She is also an avant-garde filmmaker who co-wrote and co-directed with Peter Wollen and Mark Lewis several experimental essay films.
Submission of proposals:
We invite proposals both for individual papers and for pre-constituted panels. Panels may consist of 3 speakers.Deadline for the submission of proposals: July 15, 2019.
Please fill in one of the SUBMISSION FORMS below:
The official language of the conference is English. The time for presentations is limited to maximum 20 minutes, followed by a 10-minute debate.
Conference fee (which includes participation, conference buffet and banquet): 120 EUR, special fee for participants from post-communist/communist countries: 70 EUR.
A selection of papers based on the conference presentations will be published in our department’s international, peer reviewed journal (Acta Universitatis Sapientiae. Film & Media Studies) indexed in several international databases.
You can contact the organizers at this e-mail address: 2019.picturesque@gmail.com
For further information and updates see the official website: http://film.sapientia.ro/en/conferences/the-picturesque-visual-pleasure-and-intermediality
Call for Papers for The Intermedial Work of Art : Conception, Realisation, Performance, Reception, Preservation (5-6-7 November, 2020, Paris, France)
Proposals have to be sent to: isis.intermedia.colloque20@gmail.com
The deadline for abstract submissions has been extended to 1st May 2020.
Notification of acceptance will be communicated on 1st July 2020.Call for Papers for the 1st Conference of the ICLA (International Comparative Literature Association) Research Committee on Literatures/Arts/Media (CLAM) (1-3 July, 2020, University of L’Aquila, Italy)
PLEASE NOTE: deadline for abstracts submission is February 10, 2020.
CALL FOR PAPERS
The transition of narratives, characters, themes and iconic elements from one code of representation to another represents one of the most fundamental processes through which the literary and artistic fields evolve, transform, and expand within a given culture. These same processes of transcodification also play a vital role in how different cultures interact across time and space. In the classical world, mythical narratives were disseminated through the Homeric epic, the theatrical genre of tragedy and the visual arts. From the onset of Christianity to the late modern age, the history of European art has been driven by the adaptation of episodes from the Bible and other religious texts across a number of media, from painting to sculpture, from medieval plays to sacre rappresentazioni, from musical texts to folkloric practices. Fables have moved from orality to the written form; at the same time, written narratives have been circulating through oral transmission. Medieval and early modern manuscripts were illuminated; modern and contemporary texts are illustrated. From antiquity to the contemporary media franchise, transcodification is ubiquitous.
Today, mass media and the digital revolution have changed—and are still changing—the notions of author, text, public, intellectual property and medium that were inherited from the 20<sup>th</sup> century’s critical traditions. Literature, cinema, theatre and television are now facing the multisensory logic of the contemporary mediascape, a logic based on inclusion, acceleration, simultaneity and hyper-mediation. The idea of text has expanded into that of hypertext, while narration is becoming more and more pluralistic, polycentric and antihierarchical: as proposed by Lev Manovich (2010), narratives are becoming more and more like softwares that can be endlessly rewritten and reused. Cinema is being re-articulated in the forms of the so-called postcinema, in which films become part of a larger system of converging media and cinema can be relocated outside its traditional and institutional spaces. This medium’s formal structures are being disseminated in urban spaces, thus giving birth to new forms of visuality like videomapping and media façade installations. Media may quote and thematize other media, according to the well-known concept of re-mediation coined by Bolter and Grusin (1999), thus generating what Irina Rajewsky (2002) defined as “intermedia references”. The interactivity and immersivity of videogames, augmented reality and virtual reality, as well as the transmedia and crossmedia organization of storytelling (especially in the case of TV series), also suggest a deep sense of engagement towards media hybridization and the exploration of innovative forms of textuality. Finally, the question has arisen, and is still being debated, whether it is appropriate to consider the theatre as part of the cluster of forms which, since the middle of the 20th century, have been subsumed under the general label “media”.
Given these premises, the first CLAM conference Transcodification: Literatures – Arts – Media represents an invitation to investigate the principles and practices of transcodification across time and space, as well as to discuss re-mediation as an aesthetic category which implies fluidity, fragmentation and pluralization. The conference’s main purpose is to offer an intermedial perspective on fiction and the arts taking as a starting point the insights provided by the most recent developments in comparative literature. More specifically, such an inquiry’s aim is twofold:
- historicizing transcodification, re-mediation and intermediality as both a set of practices and a set of philosophical notions;
- exploring transcodification in the contemporary (post-WWII) age and examining the new roles and configurations of literature in the global polymorphic imagination.
We encourage contributions addressing any of the following areas or any interrelation between them:
- Transcodification, adaptation and intermediality, from antiquity to today;
- Literatures and the arts;
- Transmedia narratology;
- Philosophies of transcodification;
- Literary transcodifications: new perspectives in comparative literature;
- The dissemination of literary techniques (narration, empathy, point of view, etc.) in every aspect of contemporary culture;
- Cinema/TV series and intermediality: theoretical frameworks;
- Postcinema and new digital technologies;
- TV series and transmedia television
- Baroque/Neo-Baroque: theories, aesthetics and technologies;
- Performance, performativity and theatricality;
- Digital Art: aesthetics, environments and historical perspectives;
- Inter-art studies;
- Hybrid forms of mediality: musical theatre, theatrical performance, graphic novels, transmedia storytelling, computer games, video art, video clips, advertising, webseries, videomapping, media façade, etc.
Confirmed Keynotes:
Sean Cubitt, University of Melbourne / Marina Grishakova, University of Tartu / Christopher Johnson, Arizona State University / Ágnes Pethő, Sapientia University of Cluj-Napoca / Marie-Laure Ryan, University of Colorado / Rebecca Schneider, Brown University
We invite you to send paper proposals to clam2020conference@gmail.com
Proposals should include an abstract (300 words max), five keywords and a short biographical note (10 lines max).
The working language of the conference will be English.
The deadline for abstracts submission is February 10, 2020.
Participants will be notified of acceptance by March 15, 2020.
The conference will not have a registration fee.
The conference venue is the Department of Humanities, Viale Nizza, 14, L’Aquila (Italy).
Further information about accommodation and how to reach the conference venue will be published at http://www.clam-icla.com
Scientific Committee:
Massimo Fusillo, University of L’Aquila, Italy / Marina Grishakova, University of Tartu, Estonia / Hans-Joachim Backe, IT University of Copenhagen, Denmark / Jan Baetens, KU Leuven, Belgium / Bart Van Den Bossche, KU Leuven, Belgium / Kiene Brillenburg Wurth, University of Utrecht, Netherlands / Jørgen Bruhn, Linnaeus University, Sweden / Philippe Despoix, University of Montréal, Canada / Caroline Fischer, Université de Pau, France / Yorimitsu Hashimoto, University of Osaka, Japan / Karin Kukkonen, University of Oslo, Norway / Christina Ljungberg, University of Zurich, Switzerland / Kai Mikkonen, University of Helsinki, Finland / Nam Soo-Young, Korea National Univerity of Arts, Korea / Haun Saussy, University of Chicago, USA / Márcio Seligmann-Silva, State University of Campinas, UNICAMP, Brazil
Organizing Committee:
Massimo Fusillo / Doriana Legge / Mirko Lino / Mattia Petricola / Gianluigi Rossini
Call for Papers for International conference – SEMIOSIS IN COMMUNICATION : Culture, Communication and Social Change (4-6 June 2020, Bucharest, Romania)
Deadline for submission of Abstracts: February 15th, 2020 – April 8th, 2020 (you will receive an acknowledgment by email)
Notification of Acceptance: February 28th, 2020 – April 14th, 2020
Deadline for participation fee: by March 27th, 2020 – May 6th, 2020
Call for Papers for International conference – Keeping silent, listening, speaking up: voice and silence in audience-response to arts and literature (4-6 November 2020, Université de Lorraine, Nancy, France)
Languages of the conference: English or French.
Submission deadline : May 3rd, 2020
Scientific Committee’s decision: June 4th, 2020Call for Abstract for the symposium Process, Performance and Mediation: New Paths for Intermedia Studies (7-8 May 2020, Lund University, Sweden)
Send a short abstract (ca. 200 words) to: per.backstrom@kultur.lu.se; deadline 20 March.
New date due to the pandemic :
- Symposium : 27-28 August 2020
- Send a short abstract (ca. 200 words) : new deadline 1st of June
- Register : 15th of June latest
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