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CFP: World Literature/World Cinema, ACLA panel, Vancouver B.C. (March 31-April 3, 2011)
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Debates on “world literature” and “world cinema” have followed distinct trajectories and developed different sets of terms and concerns–-even as they might also be said to respond to overlapping imperatives.
What, indeed, is the relation between them—what are those trajectories, concerns, and imperatives? Are these debates on parallel tracks or do they diverge in the ways they construct their respective objects and, even, the “world” itself? What misapprehensions, anachronisms, or inequalities does each field aim to redress by adopting the rubric of worldliness? What is at stake in arguing over the multiple terms through which each field has carved up the world—such as national, transnational, cosmopolitan, postcolonial, diasporic, peripheral, non-canonical, resistant, global, “third,” or simply “other”? Are there compelling questions about politics, aesthetics, representation, mediation, figuration, or reception that one field has addressed with particular rigor and that, in turn, might come to inflect the other field? And, which of the questions that have animated literary studies (e.g., formalism, historicism, canonicity) and cinema studies (e.g., spectatorship, pleasure, distribution) might get left behind, gain prominence, or be taken up with renewed relevance in this new worldly” frame?
Case studies and close attention to individual texts, adaptations, and genres that illuminate this problematic are especially welcome, supplemented with broader speculations that address the yet-unconsidered possibilities of such a comparative approach across disciplines and across media. We are interested in any aspect of this intersection, be it intellectual-historical, institutional, industrial, aesthetic, ethical, translational, pedagogical, or conceptual.
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