UPDATE: [Film] Registration Deadline Reminder: Acting Out: A Symposium on Screen Performance

full name / name of organization: 
Lucy Fife Donaldson
contact email: 
actingout@reading.ac.uk

Apologies for Cross-Posting

Dear All,

Just a quick reminder that the registration deadline for Acting Out: A
symposium on Screen Performance, Inference and Interpretation is only one
week away - friday 27th February 2009.

Registrations forms and the provisional programme for the event can be
downloaded from our website:
http://www.rdg.ac.uk/ftt/research/ftt-actingout.asp

Please circulate to any colleagues, post-doctoral researchers or
postgraduate students who may be interested.

best wishes,

Lucy Fife Donaldson & Ceri Hovland

Acting Out - A Symposium on Screen Performance, Inference and Interpretation

Friday March 20 2009, Department of Film, Theatre and Television,
University of Reading, UK

Keynote Speaker - Andrew Klevan (St. Anne's College, University of Oxford)
- Film Performance: From Achievement to Appreciation (Wallflower Press)

Deadline for Registrations - Friday 27th February 2009

A provisional programme as well as Registration forms and further
information for the symposium are available from our website:
http://www.rdg.ac.uk/ftt/research/ftt-actingout.asp

Please direct any enquiries to the organisers Ceri Hovland and Lucy Fife
Donaldson at actingout_at_reading.ac.uk
___________________________________________________________________________
"Clearly films depend on a form of communication whereby meanings are acted
out." (Naremore, Acting in the Cinema, p. 2) "I would like to say that what
I am doing in reading a film is performing it (if you wish, performing it
inside myself)." (Cavell, Pursuits of Happiness, 1981, pp. 37-38.)

This one-day symposium seeks to provide a forum for scholars of screen
acting to meet and progress the spate of recent work on performance on
film. We would like to explore how we draw out performance through an
interrogation of the relationship between performance, inference and
interpretation.

As viewers we frequently respond instinctively to the
material and kinetic details of the performer within their fictional world.
In consequence, the role of inference could be said to be indivisible from
interpretation. But how important is that moment between engaging with a
performance and analysing it? How do you find it and observe it? What is
the role of inference in the process and production of performance? What is
left unsaid and/or assumed in performance?

Arguably, many performances
communicate in non-verbal ways and leave a certain amount to the
imagination but how does this vary between performance styles? More
histrionic, melodramatic or ostensive performances are frequently thought
of as offering more privileged access to thoughts and feelings or even a
transparently clear communication of meaning. What kinds of assumptions
underpin this way of thinking about performance? And where does this leave
more contained or repressive performances? T

he perceived problem of
subjectivity is the ghost of film studies, haunting many analyses but
rarely addressed directly. How do discourses around spectatorship effect
discussion of performance? Could it be that the study of performance is
uniquely disposed to alerting us to the complexity of engagement?

Contact Information
Ceri Hovland & Lucy Fife Donaldson
University of Reading
Department of Film, Theatre & Television
Bulmershe Court, Woodlands Avenue
Reading, RG6 1HY, England
Email: actingout_at_reading.ac.uk

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Received on Fri Feb 20 2009 - 10:39:34 EST

cfp categories: 
film_and_television