CFP: CinemaScope
Published by Becky Vartabedian September 19th, 2006 in Events, Philosophy Calls for Papers| October 21, 2006 | ||
| 2:47 pm | to | 5:47 pm |
CFP: CinemaScope
Theme: Responsibility of Film Criticism and Film Studies
Last date for paper submission: Sat, 21 Oct 2006Link: Journal Link
An Invitation for Two Kinds of Articles
We invite two kinds of proposals: those that would address this theme generally; and secondly, those that would specifically relate it to Cinemascope. Of course, the second will involve general considerations, and the former may well include particular challenges such as those faced by Cinemascope.
I. The General Approach – Theoretical Aspects of Responsibility of Film Journals
In this case, you will develop one theoretical theme relevant in a more general way to the role served by journals of film studies. Speak to the issue of responsibility of a film journal to individuals and groups dealing with the current difficulties and challenges of life at the beginning of the third millennium. The following themes, by way of suggestions, may be of interest:
a. How Film Criticism Helps Activate the Specific Power of Film
In this case you may wish to explore how film studies contributes to the work of film in uncovering and making available dimensions of problematics and remedies to current situations.
b. Perspectives or Approaches Specific to Film Studies for confronting contemporary challenges and opportunities.
In dealing with film reality, film studies has evolved a number of approaches and perspectives for identifying important aspects of the cinema phenomena in all its depth and expansiveness. These approaches and perspectives not only clarify dimensions of film but also involved in identifying contemporary challenges and opportunities to culture and world community. Film Studies is part of a solution, even as catalyst and stimulant, to more general current problematics.
c. How Film Studies Helps “Think” and Notice our Current Situations
Film studies, as an intellectual work, conceptualizes what is essentially audiovisual, even noncognitive in nature, or at least begins its reflection from these aspects of the film phenomena. It is involved in ways that noncognitive realities think us (cf. Aumont, Deleuze, Schefer), come into thought. What does film studies offer for uncovering and identifying the meaning of critical circumstances (one critical circumstance) in the lives of world citizens in 2006.
d. Film Studies: Engaged and Beyond Moralism – Cinematic Bases of Responsibility
Many moral requirements can be brought to bear on film studies, from any number of moral systems and ideologies. Truth-telling is one such demand. Still, there is something specific to film studies not covered by these moral sources and demands. There are realities only film studies can be responsive to. There are ways of responsiveness to moral character that only film studies can record. There are “oughts” or moral requirements for film criticism that come only from the character of its work and specificity.
e. The Responsibility to Communicate the Work of Film Criticism and Studies.
Film journals are directly involved in spreading, broad-casting the work of film studies. Responsibility in this discipline or field of scholarship drives practioners to advance and adapt means that will realize its aims and objectives. This concerns not only the improvement of classic institutional forms of transmission (university programs, conventions, etc.) including film journals, but also the new opportunities for achieving these objectives through other media (as in online film journals!) and with other publics.
This list of themes is not exhaustive. They are suggestions. The parameters used for the second approach may also serve as a stimulus in this regard.
II. A Specific Case: Defining the Responsibility of the Cinemascope Film Journal
In this second kind of article you are invited to describe, identify, explore some aspect of the responsibility fulfilled by film studies and theory which you see as important for Cinemascope and others involved in publishing reflection on cinema. Not only the articles but the deliberations and conclusions developed by Cinemascope in this clarification of our mission will be published in our next issue.
There are two reference points for those opting for this second approach. The first reference point would be the issues of Cinemascope that have been put online. We foresee that clarity of our responsibility will arise from either confirming what is already evident in themes and articles of Cinemascope, or from some clear lack or shortcoming identified there. A reflection or analysis based on review of the nine numbers already posted/published would be invaluable in pinpointing these strengths and weaknesses and new directions in meeting our responsibility.
A second point of reference would be the parameters we have set for our deliberations. The character of Cinemascope’s responsibility is shaped by the following critical elements and parameters:
- this journal operates online – how does this help or hinder responsibility?
- this is an independent film journal which welcomes contributions from many theoretical perspectives that help in clarifying cinema’s particular contributions and innovations – how does independence support or limit responsiveness?
- based in Naples, Italy it has an international editorial and organizational team and perspective – what are the dangers and advantages for defining responsibility from such a global perspective but based locally?
- it is seeking to assist the singular contact with reality (realities) that cinema alone is able to provide, and able to innovate or introduce – how does this qualify our responsibility?
- it emerges from a responsiveness to current situations and human needs – how does the preoccupation with film, film criticism both limit and magnify sensitivity to human needs?
- it finds the “site” of film criticism to be in that juncture between the force of a film and the liberty of the human subject and community in setting an approach, a reading, a hermeneutic, a framework or perspective that will aid and abet that force – what might be the responsibility of film criticism for bridging this gap between subject-centered and the artifact-centered analysis?
Both kinds of articles will be part of Cinemascope’s Deliberations in Setting Its Responsibility.
Cinemascope Defines Its Responsibility
The January Issue of Cinemascope is an occasion for defining the responsibility of the journal. You are invited to contribute in these deliberations.
Three Ways to Contribute
There are three ways you can contribute to the deliberation for developing Cinemascope’s new vision.
1. Propose and prepare an article according to one of the approaches outlined above. To be eligible as a contributor to this issue, a proposal needs to be submitted by October 21, 2006; acceptance will be given by October 28, and the completed article (with a 150 word abstract!) will be due December 7, 2006. In addtition to publishing the article in the next issue, the abstract will be tabled at the study day on this theme (See No. 3 below)
2. Post a notice in the Online forum. Present your observations in the “Responsibility” Forum by Cinemascope - http://www.cinemiz.net/cinemascope/
3. Participate in the Study Day Conference, “Cinemascope Independent Film Journal: Caring for a Human Future”. Saturday, December 16, Naples, Italy. The Conference Locale will be posted in the Cinemascope Website December 1. The Study Day is a free Public Event open to everyone. The study day will run on two tracks: input and discussion. Input will consist of three interventions from invited specialists, tabled abstracts of articles accepted for publication, and summary of interventions in the forum and in emails. The second track will consist of discussion with the Cinemascope team aimed at refining their mission.
The editorial of the January issue of Cinemascope will summarize the deliberations and describe how they shaped the refined mission and operating principles of the journal.
We look forward to your participation in these deliberations.
Resume:
Deadline for proposals: October 21, 2006
Notice of Acceptance of Proposals by Cinemascope: October 28
Reception of Articles: December 7, 2006
Max length of articles: max 5000 words
Abstract: 150 word
Issue Editor: Frank Coffey
Language: English
CFP: CinemaScope
Responsibility of Film Criticism and Film Studies
After three years, Cinemascope is defining more precisely their responsibility as a forum for film criticism. Undoubtedly, this can be informed by many theoretical and practical concerns involving responsibility and film studies, responsibility and cinema.
An Invitation for Two Kinds of Articles
We invite two kinds of proposals: those that would address this theme generally; and secondly, those that would specifically relate it to Cinemascope. Of course, the second will involve general considerations, and the former may well include particular challenges such as those faced by Cinemascope.
I. The General Approach – Theoretical Aspects of Responsibility of Film Journals
In this case, you will develop one theoretical theme relevant in a more general way to the role served by journals of film studies. Speak to the issue of responsibility of a film journal to individuals and groups dealing with the current difficulties and challenges of life at the beginning of the third millennium. The following themes, by way of suggestions, may be of interest:
a. How Film Criticism Helps Activate the Specific Power of Film
In this case you may wish to explore how film studies contributes to the work of film in uncovering and making available dimensions of problematics and remedies to current situations.
b. Perspectives or Approaches Specific to Film Studies for confronting contemporary challenges and opportunities.
In dealing with film reality, film studies has evolved a number of approaches and perspectives for identifying important aspects of the cinema phenomena in all its depth and expansiveness. These approaches and perspectives not only clarify dimensions of film but also involved in identifying contemporary challenges and opportunities to culture and world community. Film Studies is part of a solution, even as catalyst and stimulant, to more general current problematics.
c. How Film Studies Helps “Think” and Notice our Current Situations
Film studies, as an intellectual work, conceptualizes what is essentially audiovisual, even noncognitive in nature, or at least begins its reflection from these aspects of the film phenomena. It is involved in ways that noncognitive realities think us (cf. Aumont, Deleuze, Schefer), come into thought. What does film studies offer for uncovering and identifying the meaning of critical circumstances (one critical circumstance) in the lives of world citizens in 2006.
d. Film Studies: Engaged and Beyond Moralism – Cinematic Bases of Responsibility
Many moral requirements can be brought to bear on film studies, from any number of moral systems and ideologies. Truth-telling is one such demand. Still, there is something specific to film studies not covered by these moral sources and demands. There are realities only film studies can be responsive to. There are ways of responsiveness to moral character that only film studies can record. There are “oughts” or moral requirements for film criticism that come only from the character of its work and specificity.
e. The Responsibility to Communicate the Work of Film Criticism and Studies.
Film journals are directly involved in spreading, broad-casting the work of film studies. Responsibility in this discipline or field of scholarship drives practioners to advance and adapt means that will realize its aims and objectives. This concerns not only the improvement of classic institutional forms of transmission (university programs, conventions, etc.) including film journals, but also the new opportunities for achieving these objectives through other media (as in online film journals!) and with other publics.
This list of themes is not exhaustive. They are suggestions. The parameters used for the second approach may also serve as a stimulus in this regard.
II. A Specific Case: Defining the Responsibility of the Cinemascope Film Journal
In this second kind of article you are invited to describe, identify, explore some aspect of the responsibility fulfilled by film studies and theory which you see as important for Cinemascope and others involved in publishing reflection on cinema. Not only the articles but the deliberations and conclusions developed by Cinemascope in this clarification of our mission will be published in our next issue.
There are two reference points for those opting for this second approach. The first reference point would be the issues of Cinemascope that have been put online. We foresee that clarity of our responsibility will arise from either confirming what is already evident in themes and articles of Cinemascope, or from some clear lack or shortcoming identified there. A reflection or analysis based on review of the nine numbers already posted/published would be invaluable in pinpointing these strengths and weaknesses and new directions in meeting our responsibility.
A second point of reference would be the parameters we have set for our deliberations. The character of Cinemascope’s responsibility is shaped by the following critical elements and parameters:
- this journal operates online – how does this help or hinder responsibility?
- this is an independent film journal which welcomes contributions from many theoretical perspectives that help in clarifying cinema’s particular contributions and innovations – how does independence support or limit responsiveness?
- based in Naples, Italy it has an international editorial and organizational team and perspective – what are the dangers and advantages for defining responsibility from such a global perspective but based locally?
- it is seeking to assist the singular contact with reality (realities) that cinema alone is able to provide, and able to innovate or introduce – how does this qualify our responsibility?
- it emerges from a responsiveness to current situations and human needs – how does the preoccupation with film, film criticism both limit and magnify sensitivity to human needs?
- it finds the “site” of film criticism to be in that juncture between the force of a film and the liberty of the human subject and community in setting an approach, a reading, a hermeneutic, a framework or perspective that will aid and abet that force – what might be the responsibility of film criticism for bridging this gap between subject-centered and the artifact-centered analysis?
Both kinds of articles will be part of Cinemascope’s Deliberations in Setting Its Responsibility.
Cinemascope Defines Its Responsibility
The January Issue of Cinemascope is an occasion for defining the responsibility of the journal. You are invited to contribute in these deliberations.
Three Ways to Contribute
There are three ways you can contribute to the deliberation for developing Cinemascope’s new vision.
1. Propose and prepare an article according to one of the approaches outlined above. To be eligible as a contributor to this issue, a proposal needs to be submitted by October 21, 2006; acceptance will be given by October 28, and the completed article (with a 150 word abstract!) will be due December 7, 2006. In addtition to publishing the article in the next issue, the abstract will be tabled at the study day on this theme (See No. 3 below)
2. Post a notice in the Online forum. Present your observations in the “Responsibility” Forum by Cinemascope - http://www.cinemiz.net/cinemascope/
3. Participate in the Study Day Conference, “Cinemascope Independent Film Journal: Caring for a Human Future”. Saturday, December 16, Naples, Italy. The Conference Locale will be posted in the Cinemascope Website December 1. The Study Day is a free Public Event open to everyone. The study day will run on two tracks: input and discussion. Input will consist of three interventions from invited specialists, tabled abstracts of articles accepted for publication, and summary of interventions in the forum and in emails. The second track will consist of discussion with the Cinemascope team aimed at refining their mission.
The editorial of the January issue of Cinemascope will summarize the deliberations and describe how they shaped the refined mission and operating principles of the journal.
We look forward to your participation in these deliberations.
Resume:
Deadline for proposals: October 21, 2006
Notice of Acceptance of Proposals by Cinemascope: October 28
Reception of Articles: December 7, 2006
Max length of articles: max 5000 words
Abstract: 150 word
Issue Editor: Frank Coffey
Language: English
Journal Link2006-10-212006-09-192006-09-19