Technologies of Global Cinema - Nov. 12th - ACLA 2011 Seminar
Technologies of Global Cinema
ACLA 2011 Annual Meeting: World Literature, Comparative Literature
Vancouver March 31 - April 3rd, 2011
Seminar Organizer: Jonathan Foltz, Princeton U (firstname.lastname@example.org)
Writing in 1928, the American poet H.D. axiomatically noted that "the world of film today (there is no getting away from it) is no longer the world of the film, it is the world. It is only those who are indifferent to the world itself and its fate, who can afford to be indifferent to the fate of the film industry and the fate of film art." If this claim now seems self-evident, it may simply indicate just how thoroughly our imagination of the world has been mediated by visual technologies.
From the early notion that cinema offered a "universal language," to ontological claims about film's indexical neutrality, our current experience of global cinema is circumscribed by ideologies of film's ability to represent the world as a space of social and aesthetic coherence. This seminar invites papers that explore theoretical, historical, and/or institutional relays between the aesthetics and geopolitics of global film. How can we approach films in ways that address both their embeddedness within global economies and the fantasies of interconnection which they narrate? How do films use representations of natural landscapes and interplanetary travel to allegorize the political or apolitical territoriality of what we learn to accept as "the world"? What strategies of formal dissonance do films employ to make us question the transparency of these communities? Themes may include, but are not limited to, nature documentaries, science fiction films, colonial narratives, Third Cinema, experimental film, special effects, CGI, silent cinema, film theory, and institutional history.
The deadline for proposals in Nov. 12th. Proposals have a limit of 250 words, and need to be submitted at the ACLA website in the following link: