CFP: [Theory] Theory & Practice: Italian Cinema from the Past to the Present
CRITICAL PRACTICE & ITALIAN FILMS FROM THE PAST TO THE PRESENT
"Teaching filmmaking without being cognizant of fundamental cinematic
theories demeans film craft to the mere level of an amateur workshop.
And the opposite: studying film history and theory without a
corresponding experience in the elemental aspects of filmmaking leaves
theoretical research without a solid basis, forcing students to plunge
into abstraction."* From film pioneers such as Ricciotto Canudo to the
modern debates between Pasolini & Eco and beyond, Italian film theorists
have stimulated critical responses. This session seeks to explore the
Italian Cinema in light of critical reflection and/or film theory.
Presenters can establish their own critical framework but papers drawing
upon diverse film theories (by Italian or nonItalian authors) as applied
to Italian films are particularly welcome. Approaches can include but are
not limited to: (neo)formalism, (neo)realism, historical poetics, (post)
structuralism, semiotics, cognitivism, theories of spectatorship,
feminism, gender & queer film theories, and most recent film scholarship.
(* Lev Kuleshov quoted by Vlada Petric in "Relating Courses in Filmmaking
and Film Studies" University Film Study Center Newsletter 4, no. 5 (June
Please send a 200 words abstract by Jan. 2, 2009.
Organizer: Slavica Grujicic, University of Toronto
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Received on Fri Dec 19 2008 - 14:07:14 EST