A conference hosted by Linnaeus University Centre for Intermedial and Multimodal Studies, in association with SERCIA - Société d'Études et de Recherches sur le Cinéma Anglophone.
As early as 1911, Ricciotto Canudo coined the term "Seventh Art," bringing aesthetic considerations to bear into the realm of entertainment. Walter Benjamin, on the other hand, rejected cinema for being a mass medium devoid of artistic aura, which, according to him, was forever lost in the process of mechanical reproduction (1936). No matter how one looks at cinema, its appreciation or criticism is entirely dependent upon its physical and technical nature as a medium, especially since its technical properties and consumption platform(s) affect the form and content of specific products (i.e. films). Since cinema/film is a medium that evolves in time and is anchored in space during the viewing process, it has always, from its inception, shared properties with other media. Some films or television series are self-reflexive and use these confluences as a discursive trait where the linkages may become the subject and/or a shared method.
"Intermediality" is the word that defines these junctures and the research field within which these confluences take place. Such a relationship may occur on a one-on-one basis, in which a media form or a media product is transposed to another media form or product, or it can occur in a more multimedial basis, in which a complex transposition involving several media takes place at once. The result is something which is different from the original and yet possesses some of the same properties. It can either be a transformation in the characteristics of the medium being transposed, i.e. an adaptation, or a different representation of the media in other media, i.e. ekphrasis. The advent of new media opened another field of inquiry within intermediality, namely digital cinema and its properties. Advocates pro and against the emerging computational technologies helped shed some light on matters of relative chronology and hybridity/media fusion in a more diversified environment. Both positions differ only in focus and degree, since cinema, from a technical perspective, has undeniably changed. The concept of "post-cinema" addresses the new technological forms and sites of consumption, which, in turn, results in new ways of film viewing, more or less immersive; as well as in new types of products, more or less fragmented and pushed towards the museum.
The present Film and Television conference, calls for rationale and analysis that bears on cinema/television as technical media and its characteristics. Proponents are invited to establish connections with other media, within English-speaking countries. Both theoretical and practical analysis of film and other media are accepted. Possible topics include but are not limited to the following:
- Definition of media, intermediality, intramediality.
- Mediation, remediation, transmediation processes.
- Narrative adaptation, cinematic ekphrasis.
- Media characteristics and/or essence.
- Pure and impure media/cinema.
- Cinema as a limited or superior medium.
- "Old", new, and residual media.
- Digital cinema.
- Hybridity and media borders.
- New perspectives on the history/archaeology of cinema and other media.
- The aesthetics of cinema and other media technologies.
- Cinema/television and art forms: new artistic languages.
- Cinema/television and society: social uses of media.
- Cinema/television and ideology: the politics of media.
- Cinema/television as communication.
- Immersive qualities and spectatorial adhesion.
- The invisible and the virtual.
- Different products, different spectators.
François Jost, Professeur Emeritus, Sorbonne Nouvelle – Paris III, France.
François Jost has a PhD, in narratology, an MA in Philosophy and Aesthetics, and BA's both in Philosophy and Modern Literature. He is the author or co-author of more than twenty books, translated into several languages. For example: L'oeil-caméra: Entre film et roman (1987), Un monde à notre image: Enonciation, cinéma, télévision (1992), Le temps d'un regard: Du spectateur aux images (1998), Récit cinématographique (2003), Années 70 - La télévision en jeu (2005), Penser la création audiovisuelle: Cinéma, télévision, multimédia (2009), Lire, voir, entendre: La réception des objets médiatiques (2015), Pour une éthique des médias (2016), La méchanceté en actes à l'ère numérique (2018, forthcoming). He specializes in television studies and is the director of the Journal Télévision and former director of the research centre CEISME, at the Sorbonne, dedicated to the study of images and sounds in media. He has lectured, as an invited guest, in some of the most prestigious film schools and universities in the world (12 in total). He maintains a regular presence in the French and international written press, radio and television
Lúcia Nagib, University of Reading, Department of Film, Theatre & Television, UK.
Lúcia Nagib is Professor of Film in the Department of Film, Theatre & Television. She is the Principal Investigator on the AHRC-FAPESP funded IntermIdia Project ('Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method'). She is the author of the books World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), Nascido das cinzas: autor e sujeito nos filmes de Oshima (Edusp, 1995), Em torno da nouvelle vague japonesa (Unicamp, 1993) and Werner Herzog: o cinema como realidade (Estação Liberdade, 1991). She is the editor of the books Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, I.B. Tauris, 2014), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Mestre Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990)
Miriam De Rosa, Coventry University, School of Media and Performing Arts, UK.
Miriam De Rosa is senior lecturer and course director in Media & Communication at University Coventry, School of Media and Performing Arts. She has a PhD. in Communication Culture, and an MA in Theory and Technologies of Media Communication. She specializes in Post-cinema and New Media. She is the author of Cinema e postmedia. I territori del filmico nel contemporaneo (Postmedia books, 2013), and co-author of the special issue of Cinema & Cie. International Film Studies Journal, Post-What? Post-When? Thinking Moving Images Beyond the Post-medium/Postcinema Condition (with Vinzenz Hediger, 2017); she has published articles on cinema theories and screen media arts in NECSUS, Bianco e Nero, Comunicazioni Sociali, Fata Morgana, amongst others. She co-curated the exhibition and film programme Desktop Cinema at MMC Luka and at the Museum of Contemporary Art Zagreb (2017), as well as the exhibition Don't Believe in Subversion for Alternative Film/Video in Belgrade (2017).
The language of the conference is English and the examples or study cases should be on Anglo-Saxon cinema. Individual presentations should be set at 20 minutes. Please send your proposal containing an abstract (500 words max.), 5 key-words, and a short bio (120 max.) until 15th February 2018 to the two following email addresses: firstname.lastname@example.org and email@example.com Notification of acceptance will be sent until 25th March 2018.
Upon acceptance, speakers will be required to become SERCIA members for 2018. Please, visit the website http://sercia.net/index.php/how-to-join-sercia/17-how-to-join-sercia for further instructions on this.
E-mail: firstname.lastname@example.org (or email@example.com)
- Eva Andersson, e-mail: firstname.lastname@example.org
Organizing committee for the Symbiotic Cinema conference:
- Dagmar Brunow
- Lars Elleström
- Anna Gutowska
- Signe Jensen
- Liviu Lutas (co-leader of the project)
- Nafiseh Mousavi
- Anna Sofia Rossholm
- Niklas Salmose
- Letícia Vitral
- Jean-François Baillon - Professor at the Department of Anglophone Worlds of the University of Bordeaux-Montaigne 3, France, and President of SERCIA.
- Dagmar Brunow - Senior Lecturer of film studies at the Department of Film and Literature, Linnaeus University, Sweden.
- Fátima Chinita - Associate Professor at Lisbon Polytechnic Institute, Theatre and Film School, in Portugal.
- Annelie Ekelin - Senior lecturer at the Department of Media and Journalism, Linnaeus University, where she also was the head of the department from 2013 to 2015.
- Lars Elleström - Professor of Comparative Literature at the Department of Film and Literature, Linnaeus University, Sweden, and director of the Linnaeus University Centre for Intermedial and Multimodal Studies (IMS).
- Anna Gutowska - Lecturer at the Department of Modern Languages, University of Kielce, Poland.
- Liviu Lutas - Associate Professor in French Literature at the Department of Languages, Linnaeus University, Sweden.
- David Roche - Professor of Film Studies at the Université Toulouse Jean Jaurès, France, and vice-president of SERCIA.
- Anna-Sofia Rossholm - Senior lecturer at the Department of Film and Literature, Linnaeus University, Sweden.
- Niklas Salmose - Senior lecturer and deputy head of department at the Department of Languages, Linnaeus University, Sweden.
- Acland, Charles R. (ed.). Residual Media : Residual Technologies and Culture. Minneapolis : University of Minnesota Press, 2007.
- Bellour, Raymond. La querelle des dispositifs. Cinéma – Installations, Expositions. Paris: POL, 2012.
- Brefer, Hans and Klaus Peter Busse (eds). Intermedia: Enacting the Liminal. Dortmund: Books on Demand, 2005.
- Denson, Shane and Julia Leyda (eds.). Post-Cinema: Theorizing 21st Century Film. Falmer: REFRAME Books, 2016.
- De Rosa, Miriam and Vinzenz Hediger. Cinéma & Cie. International Film Studies Journal, Vol. 26/27, No. 16 (2017).
- Elleström, Lars. Media Transformation: The Transfer of Media Characteristics among Media. New York: Palgrave Macmillan, 2014.
- Gaudreault, André and Philippe Marion. The End of Cinema? A Medium in Crisis in the Digital Age. New York: Columbia University Press, 2015.
- Herzogenrath, Bernd (ed.). Travels in Intermedia[lity]: Reblurring the Boundaries. Hanover, New Hampshire: Dartmouh College Press, 2012.
- Hutcheon, Linda. A Theory of Adaptation. New York and London: Routledge, 2006.
- Jenkins, Henry. Convergence Culture: Where Old and New Collide. New York and London: New York University Press, 2006.
- Jost, François. Pour une éthique des médias: Les images sont aussi des actes. Nouvelles Éditions de l'Aube, 2016.
- Mannoni, Laurent. The Great Art of Light and Shadow: Archeology of the Cinema. Translated by Richard Crangle. Exeter: University of Exeter Press, 2000.
- Nagib, Lúcia and Anne Jerslev (eds). Impure Cinema: Intermedial and Intercultural
- Approaches to Film. London and New York: I.I. Tauris, 2014.
- Natale, Simone. "There are no Old Media," Journal of Communication (2016). doi:10.1111/jcom.12235
- Oddley, Alison and Christine White. Modes of Spectating. Bristol, UK; Chicago, USA: Intellect, 2009.
- Packer, Randall and Ken Jordan, eds. From Wagner to Virtual Reality. New York: W.W. Norton and Company, 2001.
- Pethő, Ágnes. Cinema and Intermediality: The Passion for the In-Between. Newcastle upon Tyne: Cambridge Scholars Publishing, 2011.
- Sager Eidt, Laura M. Writing and Filming the Painting: Ekphrasis in Literature and Film. Amsterdam and New York: Rodopi, 2008.
- Schröter, Jens. "The Politics of Intermediality", Film and Media Studies", nº 2 (2010), pp. 107-124.
- Uroskie, Andrew V. Between the Black Box and the White Cube: Expanded Cinema and Postwar Art. Chicago: University of Chicago Press, 2014.
For information on the film project Madame B, please use the following link: http://www.miekebal.org/artworks/films/madame-b/