full name / name of organization:
31st Annual Film and Literature Conference at Florida State University
Documenting Trauma, Documenting Terror
February 2-5, 2006
Call for Papers - Deadline Extended to November 1, 2005
As terms denoting psychological states, "trauma" and "terror" each
mark limits of expression. Representations of the traumatic
past may just as easily repeat or act out an injury as resolve or
work through it. Terror's present is famously blind, unthinking,
sublime. Each of these terms thus suggests a failure of
representation. Yet both trauma and terror have become central to the
political discussions that chart our future, discussions that often
aim to solidify and make actionable the difference between
perpetrators and victims, terrorists and the terrorized, inhuman
atrocity and justifiable retribution.
What does it mean to document trauma or terror under such historical
conditions? How might attempts to work through
traumas be distinguished from the act of compulsively repeating them?
Can the two ever be fully distinguished? These
questions have long been central to considerations of how filmmakers,
writers, and artists document the Holocaust. They have
been important to investigations of U.S. racism, from the Middle
Passage and Indian Removal, through lynching campaigns
and the internment of Japanese Americans, to more recent hate crimes.
Questions about what it means to document trauma are
also increasingly germane to representations of September 11, 2001.
The 2006 FSU Film and Literature conference will
extend these inquiries and look beyond them to considerations of many
traumas and terrors.
We hope the conference will also discuss the comparative field
generated by "trauma" and "terror" as rubrics. Is it appropriate
to see all traumas as comparable, as posing similar ethical
challenges of documentation? Or do holocausts, lynchings,
genocides, and hate crimes demand different explanatory frames? Are
particular procedures necessary to represent an event as
a trauma or an act of terror? If so, what are they? Do they differ in
visual and verbal media? Do forms characterized as fiction
employ different procedures from those characterized as nonfiction?
In what ways and to what ends have filmmakers,
playwrights, novelists, poets, journalists, and other documenters
distinguished the perpetrators from victims and bystanders?
How and with what consequences have they challenged or undermined
Finally, the conference will consider the role the act of documenting
plays in making traumatic histories possible. In what
ways have assertions of the "way things are"--whether they represent
traumas or not--contributed to unfolding horrors? We
imagine a wide range of discussion from considerations of the figure
of "the terrorist" in recent U.S. films and newspapers, to
inquiries into the German and American propaganda films of World War II.
Dominick LaCapra is Professor of History and Bowmar Professor of
Human Studies and Comparative Literature at Cornell
University. LaCapra is the recipient of various awards, including the
2001 Dactyl Foundation Award for Aesthetic Theory.
His books include: History, Politics, and the Novel (1987);
Representing the Holocaust: History, Theory, Trauma(1994);
History and Memory after Auschwitz (1998); Writing History, Writing
Trauma (2001), and most recently, History in Transit:
Experience, Identity, Critical Theory (2004).
Brian Winston, is a Pro-Vice Chancellor (Vice-President) at the
University of Lincoln. As an active journalist, documentary
filmmaker, and writer, he worked as a producer/director at Granada
Television and BBC-TV in the 1960s and 1970s. In 1985,
he won a U.S. prime-time Emmy for documentary scriptwriting (at WNET,
New York). His books include: Media Technology
and Society (1998); Lies, Damn Lies, and Documentaries (2000); and
Messages: Free Expression, Media, and the West from
Gutenburg to Google (forthcoming, October 2005).
Janet Walker is Professor of Film Studies at the University of
California, Santa Barbara where she is also affiliated with the
Women's Studies Program. She is the recipient of various awards,
including a 2001 Distinguished Teaching Award from
UCSB and a recent grant from the California Council for the
Humanities to make a series of experimental video portraits of
local Holocaust survivors and refugees. Her edited and authored books
include: Feminism and Documentary, editor with
Diane Waldman (1999); Westerns: Films through History (2001); and
most recently, Trauma Cinema: Documenting Incest
and the Holocaust (2005).
Keith A. Beauchamp is a filmmaker who has dedicated 10 years of his
life to telling the story of Emmett Till, the 14-year-old
black boy brutally slain in Mississippi in the summer of 1955. His
self-financed documentary is entitled The Untold Story of
Emmett Louis Till. Beauchamp studied Criminal Justice and Civil
Rights at Southern University (Baton Rouge, LA) and then
moved to New York to become a filmmaker. He has worked in music video
production with Big Baby Films and is founder of
Till Freedom Comes Productions (TFCP), which is devoted producing,
developing and distributing high quality entertainment
that is both socially significant and educational.
The deadline for conference panel proposals and abstracts is November
For further updates, please visit our website at
Caroline "Kay" Picart (English), Mark Garrett Cooper (English), and
Frank P. Tomasulo (Film School)
From the Literary Calls for Papers Mailing List
Full Information at
or write Jennifer Higginbotham: higginbj_at_english.upenn.edu
Received on Tue Oct 11 2005 - 17:57:15 EDT