Tel Aviv, Israel, 5-7 June 2012
CFP deadline: 1 December 2011
FRAMING THE CINEMATIC CALENDAR: GRIDS AND TIMELINES OF THE MOVING IMAGE
“I've been on a calendar, but never on time.” – Marilyn Monroe
Moving images and calendars are both techniques for regulating time, framing reality, archiving and commemorating what has taken place, and forecasting and helping us to prepare for what is yet to come. The Department of Film and Television at Tel Aviv University is celebrating forty years of research and teaching and is devoting its 2012 international colloquium to connections between the moving image and the calendar. We invite scholars to submit proposals that explore film, television, and new media in relation to calendars, diaries, almanacs, timekeeping, astrology, grids, and the framing, forecasting, and archiving of reality. How was and is the audiovisual organized, scheduled, mashed up, shifted, converted, and reshuffled? What is excluded and what is grouped together? How can we as scholars challenge established timelines, histories, and schedules? How should we map film, television, and new media and what new or forgotten forms of mapping do they offer us?
Presentations may address, but are not limited to, the following topics:
* iconic decades, years, and dates such as 1895, the Sixties, 2001, 9/11;
* archiving, recording, taking account, and keeping track of and through moving images; timekeepers, almanacs, journals, diaries, logs, and blogs in and about visual media; commemorations, periods of mourning, atonement, or celebration in the media; visualizing the temporal, immemorial, and traumatic; movement and time; a subjective sense of time and formal and informal systems of measuring and documenting time in moving images;
* intersections between moving images and personal and collective schedules; media events; annual awards, film festivals, and conferences; eras, cycles, seasons, and deadlines within the making of moving images and in films studies; television flow, prime time, and time shifting; release windows and distribution schemes;
* grids, frames, borders, divisions, and cartographies within and between forms of visual media; genres, norms, laws, and conventions; gathering, publicizing, and interpreting cinematic statistics;
* structures of narrative events; open endings and closed beginnings; plausible bubbemeises and incredible realities; Basta Coi Soggetti! nonsensuous similarities and correspondences, astrology, and omens in moving images; films, filmmaking, theorizing, and cinephilia under the sign of Saturn; seasons, the nocturnal and the diurnal, phases of the moon, and rise and fall of the tide in moving images; narratives and titles inspired by the calendar;
* the politics of inclusion and exclusion; what is registered and what remains beyond the frame, in the background, or as a parergon; the pinup, the calendar, and the movies;
* official and alternative chronologies, designations, points of reference, timelines, and histories of the moving image;
All sessions will be held in English.
Please submit a 300-word abstract and short CV to the colloquium program committee at email@example.com by 1 December 2011.
Notifications of acceptance will be sent by January 2012.
For additional information please contact us at firstname.lastname@example.org or visit the colloquium website at http://www.tau.ac.il/~cineconf .
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