*CFP* "USEFUL FILM IN (NEURO) PSYCHIATRY EUROPE, 1900-1950", WORKSHOP

Workshop “Useful Film in (Neuro) Psychiatry Europe, 1900–1950”

University of Lausanne 3-4 March 2022

This workshop is organized in the framework of the SNSF project Cinéma et (neuro)psychiatrie en Suisse: autour de la collection Waldau, 1920-1990

 

Since its inception, the cinematograph had many applications in the medical field, and particularly in the fields of psychiatry, neurology and neuropsychiatry. With surgeons, neurologists and psychiatrists are at the forefront of using film as a tool for analyzing, storing, archiving, and transmitting knowledge. For a long time, the (neuro) psychiatric films made by doctors as part of their teaching and research have been overshadowed by educational and health films. But since 2000, and especially 2010, scholars from different disciplines are increasingly interested in these practices. Several interdisciplinary teams have conducted research, with the aim of rehabilitating film as a privileged source for both the history of medicine and the history of cinema.

*CFP* "REFOCUS: THE FILMS OF THE DARDENNE BROTHERS", BOOK CHAPTER

The Dardenne brothers (Jean-Pierre and Luc Dardenne) have been  recognised as important filmmakers in European cinema, claiming the Palme d’or at Cannes on more than one occasion. The filmmakers’ names have become shorthand for film production in Belgium (alongside Chantal Akerman and Jaco Van Dormael). They are also perceived as key European auteurs, creating and producing films that comment on relevant issues and debate in contemporary (Western) Europe and its socio-political context(s).

Some themes that would benefit from further scholarly attention include:

• Religion/ Christianity in the Dardenne brothers’ films.
• The ethics of the Dardenne brothers’ films
• The Dardenne brothers as European auteurs
• Collaborative authorship and the Dardenne’s filmmaking team (e.g. Marie-Hélène Dozo)
• The Dardenne brothers’ films and the modes of production, distribution and exhibition
• The representation of childhood in Walloon social realism
• Social Engagements/ Social Justice on screen

*CFP* "LANGUAGE IN ROMANIAN CINEMA", SPECIAL ISSUE, EAST EUROPEAN BULLETIN

As part of its 2021 regional focus on Romanian cinema, the East European Film Bulletin is preparing a special issue on language in Romanian cinema. How do cinematographers and directors work together to create meaning through visual signals?

We are looking for contributions both about language in the linguistic sense and about film language. The two themes our special issue thus aims to bring together are 1) how human language is rendered onscreen, and 2) how the film language employed in films can be analyzed from a linguistic perspective.

We are interested in essays which focus on Romanian productions, filmmakers and styles. Suggested topics and themes:

• the use of irony and metaphor in circumventing Communist-era censorship 
• the translation and incorporation of written texts onscreen (cf. Radu Jude’s work) 
• how speech and language have been used in the films of the Romanian New Wave to mark and reflect political, social and generational divides 

*CFP* "MUSICAL BIOPICS AND MUSICAL DOCUMENTARIES FROM THE SCANDINAVIAN COUNTRIES", FOCUS SECTION, THE JOURNAL OF SCANDINAVIAN CINEMA

This is a call for short subject contributions (2000-3000 words) focusing on how Scandinavian film and television have presented musicians, singers, bands and orchestras in biopics and documentaries. We welcome submissions that - after a quick theoretical introduction and concise contextual background - offer discussions of topics such as:

• the film’s role within cultural memory - usually restricted to a single national market and often catering to a certain age group’s intragenerational memories
• the handling of generic conventions; from narration and characterization to the selection of music, casting choices and staging of performances
• the function of music in specific films and film genres
• marketing and authentification discourses, including media coverage of stars and their work with particular roles and performances, as well as screenwriters’ and directors’ use of biographies, interviews, original footage and recordings
• national and international reception of such films

*CFP* "DETECTING EUROPE IN CONTEMPORARY CRIME NARRATIVES: PRINT FICTION, FILM, AND TELEVISION", INTERNATIONAL CONFERENCE

“Detecting Europe in Contemporary Crime Narratives: Print Fiction, Film, and Television”

21-23 June 2021

Link Campus University

Via del Casale di San Pio V 44 – Rome (IT)

 

Among the different expressions of popular culture, no other genre more than crime – meant as a composite made up of many different variants or subgenres -- has proved able to travel and expand its reach into international markets and with audiences. Nor has any other genre been more adept at laying bare the conflicts and contradictions – social, political and historical – that characterise contemporary European societies. The Detecting Europe conference offers an open forum to explore and discuss how narratives of crime and investigation, as well as their production and reception, have helped define the major industrial, commercial, thematic and stylistic trends of European popular culture since 1989, fostering both the transnational circulation of its products and the appearance of new transcultural representations in line with the emergence of new social identities. We welcome proposals that interrogate the notion of Europeanness as a critical category, and its viability for the study of contemporary popular culture, both in print and screen media. We wish to explore both the scope and limits of the interrelated notions of transnational identity and cosmopolitanism when applied to the works of European crime fiction, including print fiction, film, and TV.

*CFP* "DETECTING EUROPE IN CONTEMPORARY CRIME NARRATIVES: PRINT FICTION, FILM, AND TELEVISION", INTERNATIONAL CONFERENCE

International Conference

Detecting Europe in contemporary crime narratives: print fiction, film, and television

21-23 June 2021

Link Campus University

Via del Casale di San Pio V 44 – Rome

Among the different expressions of popular culture, no other genre more than crime – meant as a composite made up of many different variants or subgenres -- has proved able to travel and expand its reach into international markets and with audiences. Nor has any other genre been more adept at laying bare the conflicts and contradictions – social, political and historical – that characterise contemporary European societies. The Detecting Europe conference offers an open forum to explore and discuss how narratives of crime and investigation, as well as their production and reception, have helped define the major industrial, commercial, thematic and stylistic trends of European popular culture since 1989, fostering both the transnational circulation of its products and the appearance of new transcultural representations in line with the emergence of new social identities. We welcome proposals that interrogate the notion of Europeanness as a critical category, and its viability for the study of contemporary popular culture, both in print and screen media. We wish to explore both the scope and limits of the interrelated notions of transnational identity and cosmopolitanism when applied to the works of European crime fiction, including print fiction, film, and TV.

*CFP* "CINEMA AND ARCHITECTURE/URBANISM/MEMORY IN ROMANIA", SPECIAL ISSUE, EAST EUROPEAN FILM BULLETIN

Romanian cinema is at the forefront of addressing the challenges that the country faces today, often linking troublesome memories to urban spaces. Recent films such as Radu Jude’s I Do Not Care If We Go Down In History as Barbarians and Cristi Puiu’s Sieranevada address collective processes of remembering by linking them to physical places - public as well as private -, thereby exemplifying the way in which memory is dependent on and projected onto the locus of the city. Media artists, such as Mona Vatamanu and Florin Tudor, have also explored the topographies of memory. At the crossroads of the country’s past and future, architecture is a powerful force for cinematic storytelling, displaying a feeling of “restorative nostalgia” (Svetlana Boym) as well as a desire for change. 

As part of its Romanian focus 2021, the East European Film Bulletin is preparing a special issue on the topic of architecture and memory in Romanian cinema, television, video art and experimental film. We are looking for contributions that examine and analyse the diverse relationships between cinema, architecture and memory and their links with Romania’s complex memory, both remote and recent.

*CFP* "ADAPTATIONS IN CONTEMPORARY SCANDINAVIAN SCREEN CULTURES", SPECIAL ISSUE, THE JOURNAL OF SCANDINAVIAN CINEMA

Adaptations have played a significant role throughout the history of Nordic cinema, from Victor Sjöström's reverential silent adaptations to Aki Kaurismäki’s quirky take on world literature.

To this day, adaptations remain of utmost importance to Nordic film and television, as the multi-media phenomenon of Nordic noir conclusively establishes. Both in Sweden and internationally, readers have followed Lisbeth Salander and Kurt Wallander from book to screen and back again.

The scope and role of adaptation in the Nordic region is nevertheless far from limited to crime fiction.

In this special issue of the Journal of Scandinavian Cinema we therefore wish to broaden the scope by looking at other important aspects of Nordic adaptation. In particular, we encourage contributions on the following topics and approaches:

*CFP* “THE PALGRAVE HANDBOOK OF EUROPEAN CRIME NARRATIVES”, CHAPTER BOOK

Although a widely popular genre for over a century, crime narratives are experiencing an unprecedented popularity all across Europe and across different media at the moment. In literature, film and television, crime and violence are a central source of inspiration for narratives about national/regional societies and cultures as well as inspiration for stories and creative processes that transcend the borders between countries and media. More than any other narrative genre, the crime genre has proven able to travel across the European continent and beyond, becoming a vehicle for cultural exchange and debate.

Besides evoking transborder cultural exchange, crime narratives are today a strategic means in European place-branding on local, national, regional and transnational levels of communication. As a result, the generic concept “noir” now resonates among producers, distributors and audiences of crime fiction, and increasingly EURONOIR narratives have been located in recognizable places and regions across Europe, resulting in e.g. Mediterranean, Tartan, Catalan, Nordic Noir.

*CFP* "POETICS OF THE BORDERS: MEETING POINTS AND REPRESENTATIONAL BORDER-CROSSINGS IN CONTEMPORARY CENTRAL AND EASTERN EUROPEAN CINEMA", ISSUE 1/2020 EKPHRASIS JOURNAL

The research of migrant or diasporic cinema represents a well-established tradition in film studies today. The analysis of movies representing migrants, narrating the story of migration, centered on displaced individuals and communities affected by the influx of migrants has produced insightful scholarship. From the influential concept proposed by Hamid Naficy (2001), explaining the formation of ”exilic and diasporic” practices in recent cinema, to the mapping of the cultural impact of migration, as is the case of the volume edited by Eva Rueschmann (2003), the issues of traversing from one culture to another and the various representations of the “Others” in movies remain an important part of academic debates.

Some recurrent approaches in recent literature view these experiences from the perspective of the formation of self-identity, representation of otherness and marginality, of transnational mobility, economic inequity or multicultural interactions. Previous works on these topics, like the edited volume by Daniela Berghahn and Claudia Sternberg (2010), have discussed extensively the transformative power of migration in contemporary European societies. The movement of diasporic populations, especially the flow of migrants from “New Europe” (countries like Poland or Romania) to the “Old Europe” (mostly Western countries), together with its complex transnational effects, either political, economic or social have been widely used as cinema subjects. The repercussions of migration in terms of self-representations, the representation of alterity and the social identities, have also been integrated into many research subjectscovering the effects of post-colonialism and post-communism. 

*CFP* “CULTURAL NEIGHBOURHOODS AND CO-PRODUCTIONS IN SOUTH EAST EUROPE AND BEYOND” 4TH CONTEMPORARY GREEK FILM CULTURES CONFERENCE

Cultural Neighbourhoods and Co-productions in South East Europe and Beyond

3-6/4/2020

Thessaloniki, University of Macedonia

Luisa Rivi (2007) argued that in the last decades cinema turned into a privileged space for the examination of European identities. The shift to the ‘economy of signs’ (Lash and Urry 1993) reconfigured the ties of culture with economy. In the EU context, culture became a policy-oriented field (Shore 2006) supporting the processes of Europeanisation. At the same time, new borders transformed the European landscape and (re)drew the attention to south East Europe. The notion of ‘neighbourhood’ (Appadurai 1996) became significant both in the reconsideration of space in a more socially and culturally sensitive way and in the process of Europeanisation. In this framework, although co-productions were often defined as economic ventures, nowadays, they are considered a much more complex space of interwoven economic, cultural and political relations. 

This space often draws from past affinities, cross-border geographies, media policies, economic exigencies, political agendas as well as creative visions. Touching upon these different perspectives of co-productions, the conference will explore how the Greek cinema connects to other regional cinemas like in south East Europe, (trans-)forming ‘cultural neighbourhoods’. Moreover, it would explore how these shifts become interwoven with the European cultural policies and identity politics and their impact on the (re)configurations of the ‘local’ / ‘national’ / ‘transnational’. This thematic focus on the cultural, spatial and scalar aspects of co-productions responds to three interrelated circumstances:

*CFP* EUPOP 2019 CONFERENCE, EUROPEAN POPULAR CULTURE ASSOCIATION

EUPOP 2019

Mary Immaculate College, University of Limerick,

July 16th – 18th, 2019

Individual paper and panel contributions are welcomed for the eighth annual international conference of the European Popular Culture Association (EPCA), to be held at Mary Immaculate College, Limerick), Ireland, July 16th – 18th, 2019.

EUPOP 2019 will explore European popular culture in all its various forms. This includes, but is by no means limited to, the following topics: European Film (past and present), Television, Music, Costume and Performance, Celebrity, The Body, Fashion, New Media, Popular Literature and Graphic Novels, Queer Studies, Sport, Curation, and Digital Culture.

*CFP* "THE INTERNATIONAL CIRCULATION OF NATIONAL CINEMAS AND AUDIOVISUAL CONTENT", CATHOLIC UNIVERSITY OF MILAN

The International Circulation of National Cinemas and Audiovisual Content: The Challenge of Convergence and Multiplatform Distribution in the European Context

Catholic University of Milan

17-18 September 2019

As one of the main outcomes of the “CInCIt: The International Circulation of Italian Cinema” research project, financed by the Italian Ministry for Universities and Higher Education (MIUR) under the auspices of the ‘PRIN 2015’ scheme, this conference aims to focus on the circulation and distribution of cinema and audiovisual content in the European contexts in a comparative way. Given the recent mutations of the film industry and distribution technology in the digital age, there are clear lines and trajectories that divide the European countries in terms of their ability to circulate their media products – and with them a specific image of a culture – across the continent.

*CFP* EUPOP 2019, 8TH ANNUAL INTERNATIONAL CONFERENCE OF THE EUROPEAN POPULAR CULTURE ASSOCIATION (EPCA), UNIVERSITY OF LIMERICK

EUPOP 2019

Mary Immaculate College, University of Limerick, July 16th – 18th, 2019

Individual paper and panel contributions are welcomed for the eighth annual international conference of the European Popular Culture Association (EPCA), to be held at Mary Immaculate College, Limerick), Ireland, July 16th – 18th, 2019.

EUPOP 2018 will explore European popular culture in all its various forms. This includes, but is by no means limited to, the following topics: European Film (past and present), Television, Music, Costume and Performance, Celebrity, The Body, Fashion, New Media, Popular Literature and Graphic Novels, Queer Studies, Sport, Curation, and Digital Culture.

*CFP* "EUROPEAN CINEMA IN THE 21ST CENTURY: DISCOURSES, DIRECTIONS AND GENRES", EDITED COLLECTION

Modules of European cinema have become increasingly popular in university curricula, both in European countries and overseas. However, knowledge on the topic is often fragmented across a variety of studies, or centred around specific national cinemas, which can act as a hindrance in discerning key trends and assimilating the complexities of European cinema. This book articulates a way of rethinking the study of contemporary European cinema by placing at the centre of its efforts the students and their needs.

This monograph aims to provide important insights on the key features of European cinema in the 21st Century highlighting its major aesthetic schools, traditions, national identities and transnational concerns. These features are complemented by an accessible and student-friendly structure in which each chapter discusses significant topics, explains their context and provides definitions of key terms. Each chapter also encourages critical thinking by providing a set of reflective questions, and a case-study that summarises and applies the theoretical content.