CFP: [Film] Blending Media: Defining Film in the Modernist Film

full name / name of organization: 
Christian Quendler
contact email: 
christian.quendler@uibk.ac.at

Blending Media: Defining Film in the Modernist Period

An International Symposium of the Framing Media Research Group
(Austrian Science Fund, Project 20349)
Department of American Studies at the University of Innsbruck, Austria
June 9-10, 2009

How do modern media define themselves? This is one of the central questions
that our symposium tries to trace by focusing on what has become the
largest, best-documented study of the recent past: the emergence and
establishing of film in the modernist period of the early 20th century.
Inspired, in part, by new computer-based multimedia formats and digital
imaging, recent research in film and media studies has explored film
history as a paradigmatic model for the synthetic construction of media and
phenomena of media blending. Examples are processes of media convergence
and differentiation (Thomas Elsaesser), the intermedial formation of new
media (André Gaudreault), and the anachronistic projection of cinematic
metaphors onto digital moving images (David N. Rodowick). In the history of
film practice and theory, the novel medium constantly redefines itself
through recourses to already established media and artforms (including
photography, theater, painting, sculpture, and literature). Our symposium
will focus on media blends in film and its intermedial network.
Possible areas of investigation include:
- Plurimedial configurations of film such as relations of image, sound, and
text in silent and sound films
- Multimedia formats in early film history, experimental and popular forms
of film projections on the theatrical stage and through other media venues
- Framings of film by film and other media, such as film trailers, film
posters, newsreels, animated shorts, and literary approaches to film
- Intermedial exchanges and cross-mappings of the arts in film (e.g.
self-reflexive uses of the visual arts, drama, literature, photography, and
animation; avant-garde conceptions of film as "motion painting," "visual
symphonies," and "visual poems")
- Evocations of genres, arts, and media in film theory
- Media blends in 'pure' and 'synthetic' theories of cinema
- Metaphors for film in popular and scientific discourses (e.g. living
pictures, photoplay, picture writing, cineplastics, animated paintings, and
architecture-in-motion)
- Similar blending phenomena in other periods or media that are pertinent
to the history of film
- Dialogic approaches to media blends in early cinema and moving images in
the digital age
- Conceptual blending theory and media studies
 
The conference is hosted in cooperation with the 18th International Film
Festival Innsbruck (IFFI, www.iffi.at), which will take place from June 9
to 14.
The results of the conference will be published in a volume funded by the
Austrian Science Fund. Please send abstracts (300-500 words) and short
scholarly biography by February 28, 2009, to Christian Quendler at
christian.quendler_at_uibk.ac.at.

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Received on Mon Jan 12 2009 - 04:11:54 EST

cfp categories: 
film_and_television