Jean-Francois Lyotard writes, "We have paid a high enough price for the nostalgia of the whole [...] let us be witnesses to the unpresentable; let us activate the differences and save the honor of the name." How are "nostalgia" and the "whole" linked to terror and to the cinematic form? And how does film--if at all--confront the "unpresentable?" What is the “ethical” nature of this confrontation? Do death, birth, and God remain unpresentable today or have they also fallen prey to a nostalgic closure? Papers on the Coens, Christopher Nolan, Tarantino, Peter Weir, and non-US directors are also of interest.
Please send 250 word abstracts to Todd Comer, Defiance College, (email@example.com) by June 1, 2010.
Midwest Modern Language Association Annual Conference
November 4-7, 2010
710 N. Clinton St
Defiance OH 43512
418-783-2348 Email: firstname.lastname@example.org
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