CFP: [Film] Refractory - Split Screen

full name / name of organization: 
Tessa Dwyer
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Refractory: a Journal of Entertainment Media is a refereed, peer-reviewed, e-journal that explores
the diverging and intersecting aspects of current and past entertainment media. The journal is
published by the Cinema Studies Program, School of Culture and Communication, University of

ISSUE THEME: Split-Screen: Doubling, Duplicity & the Audiovisual

The split-screen is a particularly cinematic device that symbolizes the voyeuristic omnipresence /
omniscience that tends to characterize screen spectatorship. Yet, split-screens also expose their
own artificiality, baring the mechanics of screen culture by announcing their very constructed-
ness. Thus splitting constitutes a doubling that leads to the revelation of duplicity. The split
generates a critical rupture — one that we posit as intrinsic to audiovisual media and its
theoretical interpretation.

This special issue of Refractory seeks to mine the motif of the split-screen in order to explore
aspects of duality and duplicity in relation to screen culture — not just in terms of the audio/
visual relationship, but also, spectatorial processes (both engagement and identification),
representation, film theory and industrial/technological developments. The spectre of the split
seems to haunt contemporary screen media from every angle, surfacing in relation to zombie
flicks, double-crossing double agents, dubbing technologies and Multiple Language Versions, to
name but a few.

We invite contributors to take up this theme from a variety of historical and contemporary
perspectives or multi-disciplinary approaches. Possible themes may include (but are not limited

• Screen zombies, clones, androids, dummies & twins
• Double agents & split personalities
• Body doubles & TV soap replacement actors
• Motifs of mirroring
• Echo & Narcissus
• Cinema’s “Coming Of Sound”
• Early cinema lecturers and Talker Pictures
• Dubbing & (post)synchronization
• Sound as ventriloquism (i.e. Rick Altman, Mary Ann Doane) &/or ghost (i.e. Robert Spadoni)
• Bollywood Playback Singers
• Split-screens in the oeuvres of directors such as Brian De Palma & Darren Aronofsky
• Multiplying the split: 24 (Fox Network) & Timecode (Mike Figgis, 2000)
• Suture theory
• Two-tiered models of film interpretation
• Conceptualising the film/theory split
• Split-theories (i.e. Deleuze’s time/movement break)
• Derrida’s theory of the supplement (le supplément)
• Director’s Cuts & Alternate Takes
• Remakes & Multiple Language Versions (MLVs)
• Rotoscoping animation techniques (i.e. Linklater’s A Scanner Darkly, 2006)
• 3D technologies & double camerawork
• Disharmonies between sound & image (i.e. Godard)
• Films such as Singin' In The Rain (Stanley Donen, 1952), The Conversation (Francis Ford
Coppola, 1974), Blow Out (Brian de Palma, 1981), Palindromes (Todd Solondz, 2004) & I’m Not
There (Todd Haynes, 2007)


Abstracts Due: 3 March 2008
Notification: 31 March 2008
Manuscripts Due: 15 June 2008
Publication: August/September 2008


Tessa Dwyer & Mehmet Mehmet
Cinema Studies Program
School of Culture & Communication
The University of Melbourne

All enquiries & submissions:


Information for Submissions:

All submissions are to be made electronically as rich text format (rtf) documents. Abstracts of up
to 500 words should consist of a short paragraph outlining your intended approach, a brief
biography & full contact details. Completed manuscripts should range from 3000 to 7000 words.

To be considered for publication, manuscripts must follow the submission guidelines for authors
detailed here: Formatting should
follow the Chicago Author-Date System (see Chicago Manual of Style, 15th ed or http:// Refractory is a fully refereed journal. All submissions will be
anonymously peer reviewed before acceptance.

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