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This special issue of online journal Refractory seeks to mine the motif of the split-screen in order to explore aspects of duality and duplicity in relation to screen culture — not just in terms of the audio/visual relationship, but also, spectatorial processes (both engagement and identification), representation, film theory and industrial/technological developments. The spectre of the split seems to haunt contemporary screen media from every angle, surfacing in relation to zombie flicks, double-crossing double agents, dubbing technologies and Multiple Language Versions, to name but a few.
The split-screen is a particularly cinematic device that symbolizes the voyeuristic omnipresence/omniscience that tends to characterize screen spectatorship. Yet, split-screens also expose their own artificiality, baring the mechanics of screen culture by announcing their very constructed-ness. Thus splitting constitutes a doubling that leads to the revelation of duplicity. The split generates a critical rupture — one that we posit as intrinsic to audiovisual media and its theoretical interpretation.
Refractory: a Journal of Entertainment Media is a refereed, peer-reviewed, e-journal that explores the diverging and intersecting aspects of current and past entertainment media. The journal is published by the Cinema Studies Program, School of Culture and Communication, University of Melbourne. See: http://www.refractory.unimelb.edu.au/
We invite contributors to take up this theme from a variety of historical and contemporary perspectives or multi-disciplinary approaches. Possible themes may include (but are not limited to):
Screen zombies, clones, androids, dummies & twins
Double agents & split personalities
Body doubles & TV soap replacement actors
Motifs of mirroring
Echo & Narcissus
Cinema’s “Coming Of Sound”
Early cinema lecturers and Talker Pictures
Dubbing & (post)synchronization
Sound as ventriloquism (i.e. Rick Altman, Mary Ann Doane) &/or ghost (i.e. Robert Spadoni)
Bollywood Playback Singers
Split-screens in the oeuvres of directors such as Brian De Palma & Darren Aronofsky
Multiplying the split: 24 (Fox Network) & Timecode (Mike Figgis, 2000)
Suture theory
Two-tiered models of film interpretation
Conceptualising the film/theory split
Split-theories (i.e. Deleuze’s time/movement break)
Derrida’s theory of the supplement (le supplément)
Director’s Cuts & Alternate Takes
Remakes & Multiple Language Versions (MLVs)
Rotoscoping animation techniques (i.e. Linklater’s A Scanner Darkly, 2006)
3D technologies & double camerawork
Disharmonies between sound & image (i.e. Godard)
Films such as Singin' In The Rain (Stanley Donen, 1952), The Conversation(Francis Ford Coppola, 1974), Blow Out (Brian de Palma, 1981), Palindromes (Todd Solondz, 2004) & I’m Not There (Todd Haynes, 2007)
Timeline:
Abstracts Due: 3 March 2008
Notification: 31 March 2008
Manuscripts Due: 15 June 2008
Publication: August/September 2008
Editors:
Tessa Dwyer & Mehmet Mehmet
Cinema Studies Program
School of Culture & Communication
The University of Melbourne
All enquiries & submissions: tdwyer_at_pgrad.unimelb.edu.au
Information for Submissions:
All submissions are to be made electronically as rich text format (rtf)documents. Abstracts of up to 500 words should consist of a short paragraph outlining your intended approach, a brief biography & full contact details. Completed manuscripts should range from 3000 to 7000 words.
To be considered for publication, manuscripts must follow the submission guidelines for authors detailed here: http://www.refractory.unimleb.edu.au/home/to Authors.html Formatting should follow the Chicago Author-Date System (see Chicago Manual of Style, 15th edor http://www.libs.uga.edu/ref/chicago.html). Refractory is a fully refereed journal. All submissions will be anonymously peer reviewed before acceptance.
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