UPDATE: Jane Austen: Contexts and Reception (66/1/10; 11/11-14/10)

full name / name of organization: 
Cynthia Miller/Film & History
contact email: 
cymiller@tiac.net

Updated Call for Papers

Jane Austen in Film and History: Contexts and Reception
2010 Film & History Conference: Representations of Love in Film and Television
November 11-14, 2010
Hyatt Regency Milwaukee
www.uwosh.edu/filmandhistory

Third Round Deadline: June 1, 2010

AREA: Jane Austen in Film and History: Contexts and Reception

When filmmakers adapt Jane Austen to the screen, what happens to the text's finely articulated human relationships, to the audience's sense of love? How does production design or economics or star power re-shape Austen's melodramas and romances? How do Austen adaptations re-shape popular culture or period history? While proposals on all aspects of love in Austen films and adaptations are still welcome, we would like to especially encourage papers which broaden their look at Austen studies to include

a) Remaking Stardom: how Austen’s texts both reinforce and recreate Hollywood star images. Examples include Laurence Olivier (Pride and Prejudice, 1940), Gwyneth Paltrow (Emma, 1997), and Anne Hathaway (Becoming Jane, 2005).

b) Production Companies and Jane Austen: how particular production companies adapt Jane Austen to suit their specific house styles. Examples include the 1940 Pride and Prejudice adapted to the star-laden and expensively designed MGM house style of the late 1930s and early 1940s, or the Austen texts adapted to the Masterpiece Theatre style of studio-bound production in the 1970s and mid-1980s.

c) Marketing Austen: the role of publicity in marketing Austen adaptations; how pressbooks and other materials (interviews, articles as well as online material) remake history and sell it to international audiences (especially Americans); the significance of secondary materials (interviews, film websites)

d) Reception: how audiences and reviewers respond to Austen adaptations; how newspapers shape audience responses; changing cultural conditions and how they shape reviewers’ reactions; institutional forces and their effect on reviews (popular or quality newspapers, film magazines, fanzines).

e) Afterlife: Fan communities; Austen fan sites online; rewriting Austen on fansites; blogs and other forms of communication; the Jane Austen Society; DVDs – the significance of extended editions, “Director’s Cuts” and extras as a way of remaking Austen as well as improving marketing.; repackaging old films for contemporary audiences.

Please send your 200-word proposal by e-mail to the area chair:

Laurence J. Raw, Area Chair
Baskent University
Ankara, Turkey
Email: l_rawjalaurence@yahoo.com (email submissions preferred)

Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (www.uwosh.edu/filmandhistory).

cfp categories: 
film_and_television
popular_culture