This conference aims to examine the terms of engagement between history and the photographic or film image, and hopes to examine the relative status of interventions in archival collections when made respectively by artists and historians. The photographic past can be mined for more than historical evidence and verification, and can provide more than documentary confirmation. The editor of the compilation film, the interrogator of the photographic archive, the film-maker working with historical footage – all are engaged in complex and nuanced encounters with the concrete material of the past. We welcome contributors from across the disciplines as we hope investigate and elucidate the unique capacity of the recorded image to illuminate and enrich our understanding of history. We especially welcome contributions from historians, and seek submissions on such topics as the historical interpretation of the photographic image; the critical re-reading of historical events via film and photography; art and film in the archive; compilation film-making in relation to contemporary historical events; the montage as a means of politicising of the photographic and film image, and related subjects that address the problematic interpretative depth that can be projected into the indexical or digital film or photographic image.
‘History and the Image’ will take place between 17-19 November, 2011 at Tate Modern, London (www.tate.org.uk). It is organized by Tate in conjunction with the London Consortium (www.londonconsortium.com), and is timed to coincide with the official launch of the Colonial Film: Moving Images of the British Empire Project (www.colonialfilm.org.uk).
Proposals of 300-400 words and a brief biographical statement to be sent to Francis Gooding at firstname.lastname@example.org by 1st May 2011.
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