<videovortex> Fwd: CFP: Conference on the amateur moving image, University College Cork, 17-18 September 2010

[Andreas Treske]

Begin forwarded message:

> From: "Rascaroli, Laura" <L.Rascaroli at UCC.IE>
> Date: November 2, 2009 8:22:45 PM GMT+02:00
> To: FILM-PHILOSOPHY at JISCMAIL.AC.UK
> Subject: CFP: Conference on the amateur moving image, University  
> College Cork, 17-18 September 2010
> Reply-To: Film-Philosophy Salon <FILM-PHILOSOPHY at JISCMAIL.AC.UK>
>
> Call for papers
>
> Saving Private Reels
>
> An International Conference on the Presentation, Appropriation and  
> Re-contextualisation of the Amateur Moving Image
>
> University College Cork, Ireland 17-18 September 2010
>
> Often underrated as a private and, thus, socially irrelevant  
> phenomenon, and equally dismissed in aesthetic terms or at least  
> confined to the domain of amateur pictorialism, in the 1960s the  
> home movie became central to the personal, subjective avant-garde  
> and experimental filmmaking of New American Cinema. The practice of  
> incorporating private home movies in experimental film and video  
> resurfaced powerfully over the past decades, with artists such as  
> Alan Berliner, Péter Forgács, Rea Tajiri, Daniel Reeves and Michelle  
> Citron, among many others.
>
> The socio-political impact of which private footage is potentially  
> capable is epitomized by the most complete and most viewed recording  
> of John F. Kennedy’s assassination, filmed on 8mm by Abraham  
> Zapruder on November 22, 1963, as well as by more recent examples,  
> such as the beating of Rodney King, videotaped in Los Angeles by  
> bystander George Holliday on March 2, 1991, which played an  
> important part in triggering the Los Angeles riots of 1992.
>
> Even films that do not happen to capture significant events and  
> historical moments, but focus instead on domestic settings, private  
> occasions or everyday scenes in the public sphere have now become  
> valuable documents of the customs, values, identities, practices,  
> rituals and historical realities of generations of amateur  
> filmmakers. What makes them so relevant today is precisely what  
> previously relegated them – their ephemeral, private and subjective  
> nature.
>
> As a result of the waning of authority and objectivity as compelling  
> social narratives, alternative, subjective and contingent accounts  
> of reality have become more appealing. The proliferation of amateur  
> videos and video-diaries on the Internet testifies to the strength  
> and intensity of the phenomenon. In parallel, the humanities have  
> registered an ever-growing interest in self-representation, first- 
> person narratives and practices of memorialization that go beyond  
> official historiography. The success of recent non-fictions such as  
> Andrew Jarecki’s Capturing the Friedmans and Jonathan Caouette’s  
> Tarnation has once again demonstrated the eloquence and power of  
> private images when used for purposes of historical and cultural  
> investigation and of self-scrutiny and representation.
>
> This conference aims to explore the pressing issues of the use,  
> presentation, appropriation and re-contextualisation of the amateur  
> moving image, of our relationship with it, both historically and  
> today, and of the senses and meanings of its encounters with a  
> variety of contexts, technologies and discourses.
>
> Papers of the duration of 20 minutes and pre-organized panels of up  
> to 4 papers can address the following or related topics and issues:
>
> (Re)presentation and the archive
> Private document, memory, memorialization
> The first-person documentary and autobiographical cinema
> The personal on the Internet: YouTube, Videoblogs
> Amateur footage meets art film
> Orphan films
> The re-contextualization of amateur footage in fiction and documentary
> Amateur form and aesthetics
> Capturing the Zeitgeist, making history: amateur newsreels
> Representing the family
> Imagining the nation, imagining the self
> Leisure and pleasure and the touristic gaze
> Amateur filmmaking and modernity
> The banal, the commonplace, the repetitious
> Audiences and reception
> Reflections of class, ideology and society
> From 8mm to digital: evolution of amateur technologies
> Identities, sexualities, genders
> Amateur fictions, amateur genres
> Shooting on the edge: guerrilla filmmaking
> Self-censoring and selection
>
> Keynote speaker: Patricia Zimmerman, Professor in the Department of  
> Cinema, Photography and Media Arts at Ithaca College, Ithaca, New  
> York, USA, author of Reel Families: A Social History of Amateur Film  
> (Indiana, 1995) and co-editor of Mining the Home Movie: Excavations  
> in Histories and Memories (California, 2008)
>
> Submissions: Panel and single paper proposals (abstracts of 300/500  
> words plus short bibliography) should be sent to the following email  
> address, along with a brief biographical note, by Monday 8 February  
> 2010: ucchomemovies at gmail.com
>
> Conference homepage: http://www.ucc.ie/en/filmstudies/research/conferences/amateur/
>
> Organizers: Dr Barry Monahan, Dr Laura Rascaroli, Dr Gwenda Young  
> (University College Cork, Ireland)
>
> A conference part-funded by the Irish Research Council for the  
> Humanities and Social Sciences, as part of the research project  
> “Capturing the Nation: Irish Home Movies, 1930-1970”
>
>
> Film Studies at UCC: http://www.ucc.ie/en/filmstudies/
>
>
>
>
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Andreas Treske
Assistant Professor
Chair Department of Communication and Design
Faculty of Art, Design and Architecture
Bilkent University
06800 Bilkent -Ankara
Turkey
treske at bilkent.edu.tr





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