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Edited Collection: CINEPHILIA AND TEACHING (Abstract due: June 1, 2013)
full name / name of organization:
Rashna Wadia Richards (Rhodes College) and David T. Johnson (Salisbury University)
firstname.lastname@example.org or email@example.com
We invite contributions to CINEPHILIA AND TEACHING, an edited collection of essays clustered around ideas of cinephilia and pedagogy. While essays may explicitly interrogate connections between ciné-love and teaching, we envision a collection that explores both concepts broadly, creating a productive dialogue between cinephilia and education, a long-neglected relationship in Film Studies.
In the introduction to their 2012 MLA collection _Teaching Film_, Lucy Fischer and Patrice Petro describe a central tension that characterizes the field: while Film Studies appears to belong to "the advanced guard—at times leading the way in the humanities," it "still suffers from a certain lack of recognition and its attendant deprivations." Such ambivalence is often reflected in the field's own attitude toward its subjects, and few sites of inquiry have demonstrated that tension more, and perhaps better, than cinephilia, a discourse traditionally associated with an obsessive love of cinema and its fragments, details, and remains. It is precisely these associations with fetishism that led to the scholarly dismissal of cinephilia in the 1960s. Thriving on the spirit of counterculture, Film Studies blossomed into an academic discipline by eschewing ciné-love in order to engage in systematic, critical inquiry. As Laura Mulvey notes in a recent dialogue with Peter Wollen, the transition "from cinephilia to film studies" occurred because "[w]hat begins with cinephilia, with the love of Hollywood, . . . becomes the theoretical study of Hollywood, becomes also a sustained critique of the ideology of Hollywood," and this critique is feasible only via "a rejection of your own cinephilia." Of course, even during that era of anti-cinephilic fervor, cinephilia never entirely disappeared from the experience of teaching and learning about film.
More recently, cinephilia has strongly re-entered Film Studies, playing a vital role in the field's quest for (re)definition in the era of new media and new avenues for criticism. In the last decade, cinephilia has been the subject of edited collections like _Movie Mutations: The Changing Face of World Cinephilia_; _Cinephilia: Movies, Love, and Memory_; _Cinephilia in the Age of Digital Reproduction_ (in two volumes, no less); and monographs like _Cinephilia and History, or the Wind in the Trees_ and _Cinematic Flashes: Cinephilia and Classical Hollywood_. _Cinema Journal_ and _Framework_ have also devoted special dossiers and issues, respectively, to the subject. Developments in the digital sphere, too, have enabled immense cinephilic discourse, in writing and in video, and we have seen more fluidity between academic and non-academic work, with scholars frequently writing in non-institutional contexts and popular critics exerting more influence on academic scholars.
Given its rising significance, it is curious that so little attention has been paid to how teaching engages with, or avoids, cinephilia. The overall goal of CINEPHILIA AND TEACHING is to consider the relationship between cinephilia and pedagogy from multiple locations and perspectives, both in and outside of university settings. Contributors may consider but are not limited to the following questions about cinephilia's connection with teaching: