19.10.2014

RVL: Film und Geschichte

Hermann Kappelhoff veranstaltet in diesem Semester eine Ringvorlesung "Film und Geschichte" am Seminar für Filmwissenschaft der Freien Universität Berlin.

Ort: Grunewaldstr. 35, 12165 Berlin, Hörsaal (Theaterwissenschaft)
Zeit: Di. 12:00-14:00 (Filmsichtungen: Di. 10:00-12:00)
Erster Termin: 21.10.2014

Von der Einfahrt eines Zuges zu den digitalen Attraktionen des 3D-Kinos: Die Vorlesung "Film und Geschichte" ist als Veranstaltung konzipiert, die den Hörern unterschiedliche Sichtweisen auf das Kompositum der Film/Geschichte aufzeigen möchte. Welche Herangehensweise an Filmgeschichte kann es geben? Welchen Nutzen hat Filmgeschichte auch nach dem Studium (z.B. für die Filmkritik, für Fragen der Filmausstellung und -restauration)? Und welche Zugänge haben sich in den letzten Jahren als besonders fruchtbar erwiesen? Die Vorlesung richtet sich hierbei vor allem - wenngleich auch nicht nur - an Anfänger des Studiums der Filmwissenschaft im Bachelor wie auch im Master und soll einen breiten Einblick in die aktuellen Fragen filmhistorischen Forschens innerhalb und außerhalb der Universität geben. Das gesamte Programm entnehmen Sie den Aushängen oder dem Seminarplan. Mit Vorträgen von: André Wendler (Weimar), Katharina Rein (Weimar), Anna Bohn (Berlin), Sabine Nessel (Mainz), Bert Rebhandl (Berlin), Winfried Pauleit & Rasmus Greiner (Bremen), Michael Wedel (Potsdam), Wolfgang Jacobsen & Rolf Aurich (Berlin), Jan Distelmeyer (Potsdam), Bernhard Groß (Berlin), Matthias Grotkopp, Christian Pischel, Tobias Haupts und Hermann Kappelhoff. 

16.10.2014

CfP: On the Politics of Ugliness

Ugliness is a pejorative marker for bodies, things, and feelings that fall beyond or outside the limits of acceptability. Ugliness has long been indirectly deployed in order to mark, collect, and exclude that which is determined to be aesthetically intolerable (Garland-Thomson; Grealy; Schweik), disgusting (Meagher), dirty (Douglas), abject (Kristeva), monstrous (Braidotti; Haraway; Rai & Puar; Schildrick; Sharpe), revolting (Lebesco), grotesque (Russo), or even simply plain and unaltered (Bartky; Bordo; Morgan; Wolf). While aesthetically ugliness has been positioned both against beauty and as a distinct category for art and art-making (Adorno; Ranciere), there has been little sustained engagement with the ways that ugliness operates alongside identities, bodies, intimacies, practices, and spaces (exceptions include Danticat; Kincaid; Athanassoglou-Kallmyer). Part of the reason for this absence might be that ugliness is at once too broad and too diffuse, serving, as art historian Nina Athanassoglou-Kallmyer has pointed out, as “an all-purpose repository for everything that [does] not quite fit,” a marker of “mundane reality, the irrational, evil, disorder, dissonance, irregularity, excess, deformity, the marginal” (281).

CfP: So-called 'waste': Forms of Excess in Post-1960 Art, Film, and Literature

The University of York invites proposals for a workshop on excess in post-1960s art, film and literature, which will take place on Friday 13 February, 2015.

Visual art, film, and literature since 1960 has been marked by leftovers, repetitions, and time lags, despite emerging in a climate of accelerated technological development and the erasure of leisure time. From artworks that incorporate the trash and detritus of consumerist excess to novels and films that indulge in narrative ‘time-wasting,’ the cultural production of the last fifty years has revelled in the wasteful and excessive. This event asks: what are the aesthetics of excess? What are its material, temporal and figurative manifestations? Is artistic time-wasting a radical form of resistance to the capitalist imperative to be productive? Or do art’s glorious expenditures reinforce aesthetic hierarchies that privilege ‘difficulty’? We invite 20-minute papers from postgraduates and early-career researchers that engage with waste and excess in post-1960 art, literature, and film.

13.10.2014

CfP: Daughter of Fangdom

Daughter of Fangdom: A Conference on Women and the Television Vampire
18 April 2015, The University of Roehampton

12.10.2014

CfP: Graduate Student Conference "Freaks & Geeks"

“To them, you're just a freak, like me! They need you right now, but when they don't, they'll cast you out, like a leper!… When the chips are down, these... these civilized people, they'll eat each other. See, I'm not a monster. I'm just ahead of the curve.”
- The Joker, The Dark Knight

The Free-Exchange Conference Committee is hosting its annual Interdisciplinary Graduate Student Conference March 6-8, 2015 at the University of Calgary. We welcome both critical and creative presentations that explore various facets of the idea of “Freaks & Geeks,” as manifested in art and literature, music, popular culture, history, political science, economics, philosophy, psychology, and other disciplines. Presentations of 15-20 minutes may range from traditional seminar papers to works of short fiction, poetry, film, etc.

02.10.2014

CfP: Wissen in der Fantastik / Knowledge and the Fantastic

english version below

Die 6. Jahrestagung der Gesellschaft für Fantastikforschung e.V. zum Thema "Vom Suchen, Verstehen und Teilen...Wissen in der Fantastik" findet vom 24.-27. September 2015 an der Eberhard Karls Universität Tübingen statt. Beiträge können ab sofort vorgeschlagen werden.


CfP: Science Fiction, Fantasy, Horror and Legend

The 2015 Conference of The Northeast Popular Culture/American Culture Association (NEPCA) will take place at the Colby-Sawyer College in New London, New Hampshire, from Friday 30 October and Saturday 31 October 2015. Proposals are due by 1 June 2015.

Formed in 2008, the Science Fiction, Fantasy, Horror, and Legend Area celebrates its seventh anniversary in 2015, and we seek proposals from scholars of all levels for papers that explore any aspect of the intermedia traditions of the fantastic (including, but not limited to, elements of science fiction, fantasy, fairy tale, gothic, horror, legends, and mythology) and how creative artists have altered our preconceptions of these subtraditions by producing innovative works in diverse countries and time periods and for audiences at all levels.