New technologies have often been viewed with strong skepticism for instance the advent of photography transformed painting, the introduction of vehicles substituted horse-carriages and the emergence of cinema replaced books. Plato’s horror over the destruction of ‘memory’ with the invention of ‘writing’ is perhaps synonymous to the inherent connection between ‘literature’ and ‘film’. In the preface of The Nigger of the Narcissus, Conrad states, “My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel-it is, before all, to make you see” (1897). Griffith declares that the task of a filmmaker is the same as the novelist’s, to make people see through cinema. However, by focusing on audio-visual perception, it brings about an intersection of the literary text and the cine-text, thereby ushering us into an intertextual paradigm. In the era of interdisciplinary studies, Brito states, nothing is healthier than trying to see the literature’s verbality from the perspective of cinema and the movie iconicity from the perspective of literature (2006). As such, the approach of film studies and theories is palimpsestic, bearing traces of several other discourses. Since the beginning of cinema, adaptations have been a staple of the business of film. Among the earliest films were adaptations of literary works. (Cartmell, 2012) While on the one hand, adaptations may inhibit imagination by screening the narrative, on the other hand it sufficiently problematises the question of fidelity to the source text. Adaptations nowadays contribute to ‘convergence culture’ which involves a circulation and remediation of texts, images, media and the concomitant communicated messages. (Perdikaki, 2017) Viewers may have completely antithetical opinions of adaptations and appropriations ranging from acutely irrelevant to outstandingly overwhelming. This is further destabilized with the rise of OTT platforms and other forms of representation so that the screen version not only transfers the main idea to the audience but also using ‘film language’ transcreates something new. Though in recent years, there have been increasing concerns in the study of cinematic adaptations and appropriations, academic engagement in this regard is still inadequate. The objective of the conference is to offer a platform for erudite discussions among scholars, students and academicians from diverse disciplines besides contributing to the field of literary and film studies.

Submission Guidelines:

Abstracts (250-300 words) need to be submitted to the following: svd.hu@brainwareuniversity.ac.in / add.hu@brainwareuniversity.ac.in

Paper and abstract need to be formatted as per the MLA 8th edition.

(Please note that the abstract/ full paper is to be sent to both the mail ids.)

Font Name: Times New Roman, Font Size: 12 for Body, 14 for Header, Line Spacing: 2.0, Alignment: Justified

Last date for submission of abstract: February 10, 2023

Paper Submission Through: svd.hu@brainwareuniversity.ac.in / add.hu@brainwareuniversity.ac.in

Publication: All accepted and presented papers will be published as conference proceedings.

Important Dates:

Last date for the submission of abstract February 10, 2023

Notification of acceptance Within February 18, 2023

Submission of full paper February 27, 2023
Last date for registration for paper presentation February 25, 2023

Date of the conference (Hybrid, Online/ Offline sessions) March 4, 2023