Deadline for submission: Nov. 15, 2015
HERA is pleased to announce an upcoming issue of Interdisciplinary Humanities that focuses on noir visions in American culture (www.h-e-r-a.org).
When American movies made their way across the Atlantic after World War II, the French couldn't help but notice their dark and emotionally bankrupt quality, dubbing them noir. Classic noir texts by authors like Dashiell Hammett and Raymond Chandler featured moody, morally bankrupt characters that take on the big dark city as alienated, angst-ridden antiheroes.
DEADLINE EXTENDED UNTIL JUNE 30
Mid-Atlantic Popular & American Culture Association (MAPACA) -- 25th Annual Conference – Baltimore, MD – Nov. 6-8, 2014
Mid-Atlantic Popular & American Culture Association (MAPACA)
25th Annual Conference
November 6-8, 2014
Baltimore, MD - Lord Baltimore Hotel
Call for papers:
Proposals are welcome on all aspects of popular and American culture for inclusion in the 2014 Mid-Atlantic Popular & American Culture Association conference in Baltimore, MD. Single papers, panels, roundtables, and alternative formats are welcome.
"Money is the root form of representation in bourgeois society." So T. J. Clark put it in 1999. Almost aphoristic in its phrasing, the sentence turns on the set of questions it raises – about markets and money flows, about value and abstraction, about whom money belongs to, about the "social reality of the Sign" and the effect money has on artmaking. Money becomes a central form – maybe the central form – of life, inescapable and intractable. The conditions that shape our present and the failure of the Left to devise a practicable response have only intensified the urgency of the proposition and the questions that ground its pivot.
TRANSLATION AND THE CARIBBEAN: TENSIONS & TRANSFORMATIONS
DEADLINE: SEPTEMBER 30, 2014
Call for Chapters
Guantánamo and the Empire of Freedom, an edited volume
America's "founding father" Thomas Jefferson championed a vision of economic prosperity and moral virtue that was dependent upon an expansive "Empire of Liberty" with Guantánamo, Cuba as one of its key sites. The haunting paradox of his words alludes to the many layers and contradictions that cluster around the Caribbean site known today as the Guantánamo Bay Naval Station.
Where do race and technology meet? Since its emergence cinema has been but one technology to repeatedly build its status on the raced bodies of its subjects. As scholars such as Michael Rogin have argued cinema required black bodies to establish its own identity as an artistic medium. While the transition from moving pictures to talkies was seen to inaugurate a new mode that would open up possibilities for the 'black voice' this was just one moment in the history of media technologies. As the Jazz Singer (1927) traded on blackface, Gone With the Wind (1939) used emerging color technologies to revive both an antebellum era and mark a false fault line with the past.
University of Bristol, Friday, September 5, 2014
Society for Phenomenology and Media: 17th Annual International Conference
The Society for Phenomenology and Media invites proposals for individual conference papers and three-person panels for its 17th Annual International Conference in La Jolla, California.
Send submissions (200-word abstract) by using the EasyChair system at:
For other questions contact:
SPM Coordinator: firstname.lastname@example.org
WHEN: March 25-29, 2015
Call for papers
International conference in French & English
The Cinema of Jim Jarmusch
8-9 April 2015, University of Artois, Arras (Pas-de-Calais), France
Organizer : Esther Heboyan
Scientific committee :
Sylvie Blum-Reid (University of Florida, Gainesville, FL, U.S.A.), Esther Heboyan (University of Artois, Arras, France) & Céline Murillo (University Paris 13 – Sorbonne Paris City, France)
THE semiotic of cinema does not exist. However, in film science there is large number of studies questioning the nature, genesis, use and reception of various filmic signs. While in 1985, Winfried Nöth had registered nearly 2,500 published titles of studies in film semiotics, in 2003, Rolf Kloepfer affirms: "[Until now] in the world, the science of cinema and film has hardly developed under a semiotic perspective." The difference between these two statements, both having their source in a different semiotic manual, is striking!
Waste Matters: Environmental Pollution and Materiality (ASLE Session)
46th Annual Convention, Northeast Modern Language Association (NeMLA)
April 30-May 3, 2015
How do writers make creative use of archives? How do such encounters occasion new modes and genres of storytelling? What happens when archival materials become the expression of the writing itself? This session seeks cross-genre writers working with archival materials (found, family, public) to create multimedia texts. In this 'show-and-tell' session, presenters are invited to share projects and reflect on questions of process and method.
Upload 250- to 300-word abstracts with relevant links to work samples at https://nemla.org/convention/2015/cfp.html#cfp15335.
Deadline: September 30, 2014
From his first successful mixtape and EP So Far Gone, released in 2009, Toronto native Drake presented a significant shift in the recording industry and hip-hop. In the music industry, his EP was considered an anomaly due to its commercial and critical success without Drake being signed to a major record label; his mixtape was available for free, yet thousands of people purchased it. Within the Hip-Hop community, Drake is a polarizing figure. Some view him as a breath of fresh air in the commercialized era of ringtone rappers, who aim to sell singles and ringtones over albums, and gangsta rap music, which glorifies drugs, guns, and violence. Others view him as being inauthentic; in a sense, not "real" Hip-Hop due to his sensitive, emotional lyrics.
This roundtable discussion will discuss the ways in which literature by African-American women in the nineteenth century discusses motherhood, slavery, madness, spirituality, challenges to patriarchy and sexuality. In particular, how do African-American women's voices in nineteenth-century American culture situate themselves within the cults of womanhood and domesticity in the midst of tremendous adversary? How, then, did these women struggle to establish, cultivate, and protect a sense of home even if it was merely 'home' within the individual self?