FINAL Deadline--CFP-Film Distribution, Exhibition, Preservation

full name / name of organization: 
Deborah Carmichael, Film & HIstory Conference
contact email: 
debcar6568@aol.com

CFP: Cash and Cinema Culture: The Finances of Exhibition, Distribution, and Preservation

2013 Film & History Conference
November 20-24, 2013
Madison Concourse Hotel
Madison WI

Registration details at http://www.uwosh.edu/filmandhistory/conference/index.php

Submission deadline: July 1

The creation of cinema culture begins in earnest after production wraps, as films are brought to audiences. Film distributors and theater operators have traditionally provided the bridge between producer and consumer, playing a key role in the promotion, distribution, and screening of both major studio productions and independent films, and influencing theatergoers’ experiences. Technologies and theater configurations have evolved however, from Main Street “movie palaces” and reserved-ticket “road shows,” to drive-ins, suburban multiplexes, and the rise of rented and streamed video, continually transforming the experience of movie-going and inviting reflection on its social and cultural role.

This area will look at the practices, past and present, of film distribution and exhibition—the process of moving films from producers to consumers—from the evolution of movie theaters as spaces, to the diversity of techniques used for the promotion, distribution, and screening of major studio productions and independent films. Additionally, it will consider the preservation and promotion of motion pictures and of movie theatres, which may be seen as the final stage in the process of production and distribution: a means of allowing the cinema cultures of the past to be experienced by future generations.

These threads will be connected by a consideration of how financial concerns affect the creation and promotion of cinema culture. With this said, possible topics include, but are not limited to:

• Preservation and Profit: How are film and movie theatre preservation and restoration funded, and who benefits financially from films and theatres being saved?
• Museums and Cinema: How do museums legitimize cinema, and who profits from such legitimacy?
• Local Theatres and Local Revenues: What does exhibition mean to communities, both culturally and financially?
• Regional Variations in Distribution and Consumption: How does distribution and consumption vary from town to town, city to city, country to country? What are the financial causes of such variation, and how is this changing with new technology?
• Financing Film Festivals: How do funders and participants benefit from cinematic events?
• Repertory as New Markets: How have studios, exhibitors, and communities historically benefited from repertory screenings, and how is digital distribution and streaming changing the marketplace?

Proposals for individual papers should include a 200-word abstract and the name, affiliation, and contact email of the presenter. Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter.

Deadline for Abstracts: July 1, 2013

For updates and registration information about the upcoming meeting, see: http://www.uwosh.edu/filmandhistory/conference/index.php
Please send submissions or queries to both area chairs:

Dr. Deborah Carmichael
Michigan State University
debcar6569@aol.com

Brian Real
University of Maryland, College Park
breal@umd.edu

cfp categories: 
cultural_studies_and_historical_approaches
film_and_television
interdisciplinary
popular_culture