[Filmfestivalresearch] Reminder CFP Activist Film Festivals and Spectatorship

[Sonia Tascon]

A reminder for this CFP, the deadline is at the end of this month:


Regards,
> Sonia Tascon and Tyson Wils
>
> CFP for edited book 'Film Festival Activism: Actors, Spectators, Social
> Change'
>
> If we take as departure the idea that film festivals are knowledge-sites *
> and* communal spaces that call forth a specific type of spectator, then
> we can begin to ask questions about the particular spaces and spectators
> created by activist/ human rights film festivals. As these sorts of
> festivals negotiate a variety of discourses, most particularly film
> festival and the social/ human rights issue that organises them
> thematically, one of the most central discursive features is that which
> centres on ‘social change’. Through this idea[l] the spectator is hailed as
> an active participant, the films are to act as motivators, and discussions
> that usually follow film screenings are to expand on the issues raised by
> the film and motivate further. In this way gazing at others’ troubles is
> expected to be more than a passive watching of trauma, but involve an
> ethically and politically engaged spectator who will traverse the world of
> the screen and that of material being through social action. Although much
> has already been written about the mediating and distancing effects of
> witnessing ‘distant suffering’, in this volume we wish to interrogate this
> idea as one that has productive elements but also quite distinctly
> politico-cultural dimensions that, in the space of activist/ human rights
> film festivals, configures its viewing publics in quite definite ways. (see
> attached for fuller description)
>
> Contributors can consider the following topics as possibilities, but
> others can be proposed:
>
> - theoretical engagement with humanitarian spectatorship as it applies to
> human rights/ activist film festivals
> - human rights/ activist film festivals as discursive sites
> - Critical engagement with the idea of 'social change' and what this means
> for the spectator in a human rights/ activist film festival
> - How does 'the political' enter into the construction of an active
> spectator as filtered through human rights discourse?
> - What are the political dimensions to be considered in the creation of
> the human rights spectator that are different to other forms of activism?
> e.g. the global/ internationalising dimension
> - in what ways is human rights discourse being recreated differently in
> different national contexts subverted, or modified?
> - If film festival discourse relies on elements of cinephilia, how is this
> present/ absent in human rights/ activist film festivals?
> - Film festivals were originally established to subvert the dominance of
> Hollywood and promote national cinemas, while human rights demand an
> internationalising gaze; how do these apparently opposing imperatives
> converge in a human rights film festival to encourage the spectator to
> create social change?
>
> - How is 'the film act' apparent in activist/ human rights film festivals?
>
>
>
> Time frames:
> Abstract of 500 words must be received by Monday 30th September, 2013
> A short bio and publications to be included
> Acceptance/ non-acceptance will be sent out by Monday 14th October, 2013
> Proposal to publisher immediately after
> Chapters of 5 500 - 6 000 words to be received by Friday 28th February,
> 2014
>
> Abstracts/ bio to be sent to:
>
> Dr. Sonia Tascón
>
> *sonia.tascon at monash.edu*
>
> Human Rights Arts and Film Festival:
> http://hraff.org.au/festival-judges-2013 (scroll to the bottom of the
> page)
>
> Dr. Tyson Wils
>
> tyson.s.wils at gmail.com
>


> Academia.edu: http://latrobe.academia.edu/TysonNamow
>

-- 
*Dr. Sonia Magdalena Tascon*
*School of English, Communication and Performance Studies*
*Film and Television*
*Monash University*
*Melbourne, Australia*
*E: sonia.tascon at monash.edu*
*M: +61407195244 *
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