[UPDATE] "Circulations of/in Cinema" Toulouse, France June 17-19, 2013 DATE MODIFIED

full name / name of organization: 
University of Toulouse, France

Call for papers "Circulations of/in Cinema"

Université de Toulouse II - Le Mirail, France

June 17-19, 2013 UPDATE / DATE MODIFIED

In 1958, André Bazin asked: "What is cinema"? One of his objectives was to define the ontological specificity of the cinematographic art. In the following decades, this fundamental question was taken up and amplified. There were many answers to that initial question: most of them focused on the relation between screen and spectator. Today, in an era of digital images, with the democratization of cinematographic practices, in terms both of production and reception, it seems important to return to a definition of cinema in its technical specificity. One could approach the subject from three angles:

First, it seems important to attempt a redefinition of cinema as the art of movement. With celluloid, the cinematic movement was mostly circular, within the camera and within the projector.Onscreen movement is at least double as it includes the motion of figures and that of the camera itself. But circulation also happens in between images thanks to editing. This conference will try to analyze the aesthetic and ideological effects of these various techniques on the spectator. Can we say,following Comolli's lead, that there is such a thing as a specific cinematic form of circulation, in its technical dimension, that would make it different from other types of audio-visual circulations? Is this specificity still the same for digital movies? In other words, what exactly circulates in and between images, and between images and spectators?

Then, films also circulate between countries. Globalization indeed calls into question the very notion of national cinema: in its place we find international and runaway productions, films taking place in several countries or continents. Beyond filmmaking, it seems that globalization also influences the way films are actually seen, often bypassing the collective experience of the movie theater in favor of individual screenings: DVD,Blu-Ray, streaming, legal or illegal downloading. Do these new modes of viewing films automatically ask us to reconsider the status of films as commodities? Within films themselves, what is the most adequate aesthetic mode for representing globalization?

Finally, cinematic techniques also circulate in the direction of other arts. If we restrict our reflection to artistic forms that are contemporary with cinema, it is possible to say that films influence both the form and the content of other practices: literature (Dos Passos or Burroughs and editing), music (common notions such as cut and mix), painting (Hopper, Warhol), photography, and contemporary art (Christian Marclay, Douglas Gordon). One of the tasks of the conference will thus be to study the influence of cinematic techniques on other art forms.

Focusing exclusively on English-speaking cinema, the papers will address one of the following subjects (non-exhaustive list):

- Cinematic projections from celluloid to digital;
- The film genres of circulation: road-movie, choral film;
- The novelization of films; the cinematographic qualities of novels;
- The mise en abyme of films within films and other arts;
- The different practices of viewing films: from collective to
- The particular aesthetic of digital movies in their relation to
- Silent films as examples of an already globalized cinema;
- Remakes,prequels, and sequels:
- New modes of production;
- The representation of movement and movement in films;

Papers will last 20 minutes (including film extracts shown) and will be given in English. Please address your abstracts, along with a short biographical notice, to circulationscinema@gmail.com before June 17, 2012.

NB: the previous CFP presented a faulty email address. The above adress works perfectly.

Conference organizers:
Zachary Baqué
Marie Bouchet
Hélène Charlery
Cristelle Maury