UPDATE: SAMLA: English Graduate Studies Session: "The Romance between the Visual and the Printed Word" Nov. 8-10 Atlanta, GA
The Romance between the Visual and the Printed Word
Film engages our senses and provokes our emotions, which makes film a powerful vehicle for ideology. However, cinematic techniques create spaces that escape the censorship of dominant ideology. Thus, understanding how to interpret that which is hidden between frames reveals hegemonic struggles taking place. Mary Ann Doane's cinematic emergence of time discussion best explains how such spatial arrangements in cinema can be provocative: "Time, death, and invisibility are welded together at the edge of the frame and between shots, in the unseen space that makes it possible for the cinema to say anything at all." In other words, meaning can be deducted from spaces where action is not visible, as the movement or meaning occurs within these spaces. Due to the cinema's popularity, novels have adapted film-editing techniques. Finding meaning in these narrative gaps of the written word as well as examining the historical and theoretical exchange in the gaps between the film adaptations of novels and the actual novels, panelists may bring new understanding to how authors, film producers, and/or actors have embedded resistance to dominant ideology. Papers may consider the following: How does understanding the relationship between cinematic techniques and narrative techniques within the novel or graphic novel influence how we experience literature? What new meaning can be found when novels are read through the lens of film theory? Is the ideological relationship between film and literature reciprocal? How do film adaptations speak to the novel, and how do graphic novel adaptations speak to both the film and the novel?
The deadline for abstracts (300 words or less) is May 15, 2013. Abstracts should be sent as word.doc or pdf email attachments to Ren Denton at email@example.com.