Catalonian  television seeks color film about the  Spanish civil war
Televisió de Catalunya is preparing to commemorate the 70th aniversary of the Spanish Civil War. Televisió de Catalunya is the public Catalan television located in Barcelona (Spain). We are trying to find footage related to Spain, the Spanish Civil War and its consequences in colour (period 1930-1945),

We would be interested in consequencies of the Spanish Civil War as Francisco Franco, the Franco Regime, the Minister of Franco Ramon Serrano Suñer, international relationships of Spain in 1940's-1950's, Spanish refugees abroad (in Russia, England, France, Mexico and Southamerica), exile, International Brigades etc...

We know that it will be difficult to find materials in colour, for that reason we amplify the search to private and amateur collections, documentaries, even documentaries with elements of fiction if they were made at the time... We recognized amateur film as somewhat unexplored, and actually an alternative film source of great interest

The only request is that of being in colour. Any suggestions would be much appreciated. If you could tell us other archives where to continue our search, we would be very grateful.

Please, feel free to contact me at mbailac.l@tv3.cat

Montserrat Bailac Puigdellivol
Documentalista
c/ de la TV3, s/n
08970 Sant Joan Despí (Baix Llobregat)
Tf: 93 567 55 93

Humphrey Jennings commemorated in London
One of the most renowned figures in documentary film making, Humphrey Jennings (1907-1950), was commemorated with an English Heritage Blue Plaque on Tuesday 9 May at 11am at 8 Regent's Park Terrace, London, NW1, where he lived from 1944 until his death in 1950. The Blue Plaque was unveiled by Dr Marie-Lou Legg, Humphrey Jennings's daughter.

Known for masterpieces such as Listen to Britain (1942), Fires Were Started (1943) and A Diary for Timothy (1945), Jennings has been described as "the greatest film director the British documentary movement produced," and as "the only real poet the British cinema has yet produced." The range of his achievements beyond film making is also remarkable - he was influential as an academic, historian, artist, writer and supporter of surrealism, and was one of the founder members of Mass Observation, a pioneering body in the field of social research.

The unveiling was followed by a screening of Words for Battle (1941) and a reception at the Imperial War Museum, which holds this and many of Jennings's other films in its Film and Video Archive, and where the campaign for a commemorative plaque had been launched at a conference held in 2000 to mark the 50th anniversary of his death. A season of Jennings's films is currently showing in the Museum's Cinema.
(see http://london.iwm.org.uk/server/show/conEvent.1098)

Further information on the English Heritage Blue Plaques Scheme is available on
www.english-heritage.org.uk/blueplaques.


Call for submissions: Studies in Russian and Soviet Cinema (SRSC)

SRSC is a new journal -- from the team of KinoKultura, which will continue its online publications on contemporary cinema and visual culture -- and invites contributions that constitute original research.

The journal seeks to promote research from established scholars as well as to encourage researchers new to the field. SRSC is a refereed journal devoted to Russian cinema -- pre-revolutionary, Soviet, and post- Soviet; to its aesthetic development, and to its role between ideology and industry.Articles should be 5,000-6,000 words, submitted by email attachment as .doc or .rtf file to the journal's mailbox: SRSC@intellectbooks.com.The deadline for articles for the first issue is August 2006.

Editor: Birgit Beumers (U of Bristol)
Deputy Editors: Nancy Condee and Vladimir Padunov (U of Pittsburgh)
Editorial Board: Tony Anemone (William & Mary College), Richard Stites (U of Washington), Naum Kleiman (Moscow, Film Museum), Richard Taylor (U of Swansea), Vance Kepley (U of Wisconsin), Emma Widdis (U of Cambridge), David MacFadyen (UCLA), Josephine Woll (Howard U, Washington), Evgenii Margolit (Moscow),Denise Youngblood (U of Vermont), Natalia Nousinova (Moscow), Advisory Board Francois Albera (U of Lausanne), Hans Guenther (U of Bielefeld), KaterinaClark (Yale U), Anna Lawton (Georgetown U, Washington), Julian Graffy (UCL
London), Maya Turovskaya (Moscow-Munich)

SRSC will publish
- articles on the history of Russian cinema (pre-revolutionary, Soviet, and
post-Soviet)
- articles examining aspects of cultural production
- articles on individual actors, directors, and producers
- articles on specific films
- articles exploring the Western reception of Russian cinema
- translations of archival documents on Russian cinema
- analyses of archival materials
- book reviews of publications on Russian cinema

Publisher: Intellect Books, PO Box 862, Bristol BS99 1DE, United Kingdom
(www.intellectbooks.com/journals).

United States Tennis Association Looking For Audio Visual Intern/Seasonal Assistant

The United States Tennis Association (USTA) is looking for a hardworking Audio Visual Intern/Seasonal Assistant to assist with sorting, arrangement, inspection and description of its film and video materials, mostly consisting of US Open Championship footage. Currently, the Archives is overseeing a major digitization project to preserve and make the US Open Film and Video Collections accessible to USTA staff and specialized researchers.

The US Open Collections include 12,000 film and video items, dating from the advent of the Open Era in 1968 to today.

Preferred Qualifications:
Interest in professional tennis
Experience in handling and inspecting film and video Coursework in archival theory and practice Knowledge of description standards for moving images Commitment of two to three days a week

This is a paid internship. Starting date is June 1, 2006. Please apply through USTA's website:
http://usta.recruitmax.com/ENG/candidates/default.cfm?szCategory=JobProfile& szOrderID=401

Pamela J. Smith
Audio-Visual Archivist
United States Tennis Association
70 West Red Oak Lane
White Plains, NY 10604
psmith@usta.com

Chair in Film Studies, Univ. of Southampton
University of Southampton - School of Humanities - Film Studies

We are seeking to appoint a Chair in Film Studies on the retirement of Professor Pam Cook. The successful applicant will have an outstanding international research record and will be expected to provide academic and intellectual leadership in Film Studies. You will join a dynamic and internationally respected disciplinary grouping, with a strong record of research excellence and curriculum innovation.

The successful applicant will have a distinguished record of research in any area of Film Studies, but we would welcome in particular applications from scholars whose expertise encompasses an international or transnational dimension, which would complement Southampton's existing strengths in European and US cinema. You will attract and recruit high quality research students and contribute to the teaching and research activities in Film Studies, including our thriving MA and PhD programmes.

For informal enquiries, contact Dr Sally Keenan, Head of Film at s.a.keenan@soton.ac.uk

Application forms and further particulars may be obtained from the Human Resources Department, George Thomas Building, University of Southampton, Highfield, Southampton SO17 1BJ, United Kingdom, tel: (+44)-23 8059 2750, email:recruit@soton.ac.uk, or minicom: 023 8059 5595. Alternatively, visit our website www.jobs.soton.ac.uk

Closing date for applications: 9 June 2006. It is anticipated that interviews will be taking place on 17 July 2006 with a starting date of January 2007. Please quote reference 05P709.

PUBLIC ACCESS COORDINATOR
Full time, full benefits - Salary commensurate with experience

The Academy Film Archive seeks a qualified individual for the position of Public Access Coordinator. The Archive is located in the Pickford Center for Motion Picture Study in Los Angeles, CA.

The Public Access Coordinator's duties include:

Special Formats Catalog Librarian/Assistant Head of Cataloging*
Technical and Automated Services, Rutgers University Libraries

RESPONSIBILITIES: The Cataloging Department of the Rutgers University Libraries seek a dynamic and proactive individual to join an outstanding group of librarians and support staff, and to provide leadership in the areas of special formats cataloging, database management, and digital library projects. Under the direction of the Head of Cataloging, the successful candidate will provide original MARC cataloging for scores, and will provide management to the seven full-time support staff who catalog sound recordings, videorecordings, cartographic materials, and electronic resources. In addition, this position oversees the accuracy of the Libraries' SIRSI online catalog and coordinates major cataloging projects, including retrospective conversion. As part of the Libraries' digital library team, provides leadership in digital projects, particularly in metadata strategies for music, women's studies and the arts and participates in the ongoing development of the libraries' data model and repository metadata strategy. This position will serve as Assistant Head of Cataloging, a department consisting of six faculty librarians and fifteen full-time support staff.

QUALIFICATIONS
Required: ALA accredited MLS and five years' experience applying AARC2 cataloging, LC Classification and LCSH within an integrated library system, with at least three years experience cataloging audiovisual, music and other special formats. Experience using a bibliographic utility. Increasing responsibility and leadership in cataloging, project management and digital library strategies and technologies. Ability to read and interpret scores. Minimum of one year interpreting and applying XML-based metadata schema, particularly METS. Active and substantive contributions to the profession, including published writings. Excellent communication and interpersonal skills, and management of both staff and projects.
Desired: Experience with SIRSI's Unicorn integrated library system. Knowledge of metadata schemas specific to special formats (arts, music, etc.), reading fluency in a Western European language. The successful candidate must be eligible to work in the U.S.

SALARY: Salary will be commensurate with qualifications and experience for a tenure track faculty position.

STATUS/BENEFITS: Faculty status, calendar year appointment, retirement plans, life/health insurance, prescription drug, dental and eyeglass plans, tuition remission, one month vacation.

LIBRARY PROFILE: The Libraries' central Technical and Automated Services (TAS) unit, on the New Brunswick/Piscataway campus, provides acquisitions, cataloging and systems support to all Rutgers University Libraries (RUL), and is directed by the Associate University Librarian for Digital Library Systems. RUL is comprised of libraries on the University's Camden, New Brunswick, and Newark Campuses, and operates as a unified library system. The Library holds more than 3 million volumes; 2.5 million documents, 4 million microforms, 20,000 current subscriptions and more than 100,000 e-books, e-journals and databases. The Libraries are a member of ARL, CRL, RLG, Metro, NERL, PALINET, PALCI, VALE, and uses Unicorn (SIRSI), OVID, OCLC and RLIN21. The University is a member of the Association of American Universities. Rutgers University has a distinguished history as a colonial college, a land-grant institution, and a state university. Rutgers fills its mission as New Jersey's state university by educating a diverse student body of over 48,000. Rutgers ranks sixth among the public AAU institutions in the percentage of total minority enrollment, third in percentage of African-American students enrolled, and eighth in percentage of Asian students enrolled. Over fifteen percent of full-time faculty are members of a minority group, ranking the university twelfth among AAU public research institutions. Rutgers is committed to fostering a diverse and multicultural environment that values intercultural awareness. For more information, please check the RUL website: http://www.libraries.rutgers.edu

TO APPLY: REVIEW OF APPLICATIONS WILL BEGIN April 1, 2006 AND CONTINUE UNTIL THE POSITION IS FILLED. SUBMIT RESUME, COVER LETTER, AND NAMES OF THREE REFERENCES TO:
Sandra Troy (APP.168)
University Libraries Human Resources Manager
Rutgers University Libraries
169 College Avenue
New Brunswick, NJ
08901-1163
Email: rulhr@rci.rutgers.edu
FAX: 732-932-7637

Rutgers, the State University of New Jersey, is an equal-opportunity, affirmative-action employer. The Libraries are strongly and actively committed to diversity, and seek candidates who will contribute creatively to the University's multicultural environment.

Research Opportunity For Graduate/PhD Students
From: Meghann Matwichuk

Hello Everyone,
I have agreed to help a colleague to find a researcher who might be interested in working with the son of Samuel Stiefel, a theater operator and early curator of African American talent on the entertainment circuit, on an historical project exploring the careers of his father and Shep Allen, one of the 20th Century's earliest and most successful African-American producers and promoters of musical and theatrical events. A website has been created with more information about Sam Stiefel for those who might be interested: http://mysite.verizon.net/matwichuk/index.html

Further description of the project: "Sam Stiefel’s son, Bernard M. Stiefel, has maintained extensive personal archives documenting his father’s distinguished career in the entertainment business. These include numerous photographs, business and personal correspondence, promotion posters, playbills, contracts, and other memorabilia. Most importantly, his recollections of joining his father during many of his encounters with the show business luminaries mentioned earlier are truly priceless. Bernie is seeking to create a collaborative partnership with a scholar interested in exploring his father’s career as the subject of a master’s thesis or doctoral dissertation. As important is a collaboration with an individual who would be interested in researching the life and times of Shep Allen."

If anyone subscribed to this list knows of students or other scholars who might be interested in such a project, please feel free to pass along this information. Also, if anyone knows of other avenues by which I might get the word out to possible interested parties, I'd be very appreciative for any pointers (email mtwchk@udel.edu).

Many thanks!

National Archives and Google Launch Pilot Project to Digitize and Offer Historic Films Online

WASHINGTON & MOUNTAIN VIEW, Calif. --(Business Wire)-- Feb. 24, 2006 -- Archivist of the United States Allen Weinstein and Google (NASDAQ:GOOG) Co-Founder and President of Technology Sergey Brin today announced the launch of a pilot program to make holdings of the National Archives available for free online. This non-exclusive agreement will enable researchers and the general public to access a diverse collection of historic movies, documentaries and other films from the National Archives via Google Video (http://video.google.com/nara.html) as well as the National Archives website (http://www.archives.gov.

"This is an important step for the National Archives to achieve its goal of becoming an archive without walls," said Professor Weinstein. "Our new strategic plan emphasizes the importance of providing access to records anytime, anywhere. This is one of many initiatives that we are launching to make our goal a reality. For the first time, the public will be able to view this collection of rare and unusual films on the Internet."

"Today, we've begun to make the extraordinary historic films of the National Archives available to the world for the first time online," said Sergey Brin, co-founder and president of technology at Google. "Students and researchers whether in San Francisco or Bangladesh can watch remarkable video such as World War II newsreels and the story of Apollo 11 -- the historic first landing on the Moon."

The pilot program undertaken by the National Archives and Google features 103 films from the audiovisual collections preserved at the Archives. Highlights of the pilot project include:

-- The earliest film preserved in the National Archives holdings by Thomas Armat, "Carmencita -- Spanish Dance," featuring the famous Spanish Gypsy dancer, 1894;

-- A representative selection of U.S. government newsreels, documenting World War II, 1941-45;

-- A sampling of documentaries produced by NASA on the history of the spaceflight program;

-- Motion picture films, primarily from the 1930s, that document the history and establishment of a nationwide system of national and state parks. Included is early footage of modern Native American activities, Boulder Dam, documentation of water and wind erosion, Civilian Conservation Corps workers, and the establishment of the Tennessee Valley Authority. A 1970 film documents the expansion of recreational programs for inner city youth across the nation.

The National Archives and Google are exploring the possibilities of expanding the online film collection and making the Archives extensive textual holdings available via the Internet.

About the National Archives
The National Archives and Records Administration, an independent federal agency, is the nation's record keeper. Founded in 1934, its mission is unique -- to serve American democracy by safeguarding and preserving the records of our Government, ensuring that the people can discover, use, and learn from this documentary heritage. We ensure continuing access to the essential documentation of the rights of American citizens and the actions of their government. We support democracy, promote civic education, and facilitate historical understanding of our national experience. The National Archives meets a wide range of information needs, among them helping people to trace their families' history, making it possible for veterans to prove their entitlement to medical and other benefits, and preserving original White House records. The National Archives carries out its mission through a nationwide network of archives, records centers, and Presidential Libraries, and on the Internet at http://www.archives.gov.

About Google Inc.
Google's innovative search technologies connect millions of people around the world with information every day. Founded in 1998 by Stanford Ph.D. students Larry Page and Sergey Brin, Google today is a top web property in all major global markets. Google's targeted advertising program provides businesses of all sizes with measurable results, while enhancing the overall web experience for users. Google is headquartered in Silicon Valley with offices throughout the Americas, Europe and Asia. For more information, visit http://www.google.com.

Google is a registered trademark of Google Inc. All other company and product names may be trademarks of the respective companies with which they are associated.

2006 ANNUAL CONFERENCE - 40th Annual ARSC Conference, May 17-20
The vibrant Pacific Northwest city of Seattle, Washington -- the "Emerald City" -- is the setting for the 40th annual ARSC conference, May 17-20. Join your friends and colleagues for this event hosted by the University of Washington School of Music, in the city famous for the Space Needle, Pike Place Market, and the Frank Gehry-designed Experience Music Project.

The distinctive Red Lion Hotel on Fifth Avenue will be our conference site. Located at 1415 Fifth Avenue, Seattle, the hotel is within walking distance of some of the best shopping, theaters, and cultural attractions on the West Coast. During the con! ference, the Red Lion Hotel is offering special room rates of $139 per night, single or double; $149 triple; and $159 quad. To reserve a room, visit http://www.redlion5thavenue.com/. On the Reservations page, click on "Change rate types" in the "Rate types" section, and enter 0000784000 in the "Group block" box. Call the hotel at 206-971-8000, if you have questions about or problems with your reservation. The special rates are valid until April 24.

Register early and save! Full conference registration postmarked by April 24 is $120 for ARSC members, $150 for non-members, and $60 for students. After that date, registration is $145 for ARSC members, $175 for non-members, and $75 for students.

For those wishing to attend only one day, single-day registration postmarked by April 24 is $35 for ARSC members, $45 for non-members, and $25 for students. After that date, single-day registration is $45 for ARSC members, $55 for non-members, and $ 30 for students.

For the complete preliminary program, registration form, and further details about the conference, visit: http://arsc-audio.org/conference2006.html.

Questions concerning local sponsorship and exhibitor opportunities should be directed to Paul Jackson at research@ruralfree.net.

For all other questions, contact the Conference Manager, Kurt Nauck, at nauck@78rpm.com.

CONFERENCE PROGRAM
ARSC is dedicated to the preservation and study of sound recordings -- in all genres of music and speech, in all formats, and from all periods. Reflecting this broad mission, the upcoming conference offers a diverse array of talks and sessions that will appeal to both professionals and collectors. Scheduled talks include:

-- "New Imaging Methods Applied to Mechanical So! und Carrier Preservation and Access" (Carl Haber)
-- "Licensing in the Music Industry" (Ava Lawrence)
-- "80,000 LPs Times 1122 Miles: The Wilson Processing Project & OCLC Take on NYPL's Uncataloged Vinyl" (Peter Hirsch)
-- "The Northwest Sound: Recordings, Marketplace, and Memory" (Craig Morrison)
-- "The Ins and Outs of Making a Good Oral History" (Marie Azile O'Connell)
-- "From the Handcrank to the Hyperlink: Technical Means and Technological Methods of the UCSB Cylinder Digitization Project" (David Seubert and Noah Pollaczek)
-- "Saving the Unique Sounds of American Political Campaigning" (Lewis Mazanti)
-- "Grant Funding Strategies for Sound Collections" (Gayle Palmer)
-- "MuDoc: A New Model for Digital Music Archiving and Retrieval" (Michael Frishkopf)
-- "Milton Kaye -- New York Pianist" (Dennis D. Rooney)
-- David Levine on the Naxos Decision
-- "Dobbin: New Techniques in Audio Mass Processing" (Joerg! Houpert and Jerome Luepkes)
-- "Gospel Music as Story: The Lif e and Work of Otis Jackson" (Robert M. Marovich)
-- "Progress and Problems in Modern-Day Jazz Discography" (Noal Cohen)

The ARSC Technical Committee's roundtable is scheduled for Thursday afternoon. Later that evening, bring your questions to the "Ask the Technical Committee" session.

Share your expertise or favorite collecting story at the "Collectors' Roundtable" on Friday evening. This informal session always features amusing anecdotes among the informative and entertaining discussions.

TOUR
One of the conference highlights will be the free tour of Benaroya Hall, home of the Seattle Symphony since 1998. Noted for its architectural and acoustical design, Benaroya houses an auditorium, a recital hall, and the 4,490-pipe Watjen Organ. Please join us for this special tour led by symphony engineer Al Swanson and public information specialist Steven Lowe, as they provide a behind-the-scenes look at the h! all and discuss the challenges of recording a major American orchestra.

WORKSHOP
The pre-conference workshop, "A Tutorial on the Preservation of Audio in the Digital Domain," will be held May 17, 8:30 a.m. - 5:00 p.m., at the hotel's Bainbridge Room. The workshop registration fee is not included in the conference registration fee. Early workshop registration (postmarked by April 24) is $70 for ARSC members, $80 for non-members, and $30 for students. Detailed information about the workshop can be found at: http://arsc-audio.org/workshop2006.html.

BANQUET
Limited seating is available for the ARSC Awards Banquet on Saturday evening. For just $35, attendees have their choice of portobello mushroom ravioli, salmon with basil bruchetta, or chicken with mango chutney. Indulge in either lemon riviera or chocolate decadence for desert.

The Butterspr! ites, a Seattle-based post-grunge, post-punk all-girl band, will p rovide our after-banquet entertainment. The band's "gleefully nutty music and tongue-in-cheek lyrics, mostly sung in Japanese," should bring a unique and memorable close to the conference.

Please join us for our first Seattle conference. You won't have to fight off the Wicked Witch's winged monkeys en route to this "Emerald City."

Anna-Maria Manuel
ARSC Outreach Committee Chair

MadCat Women's International Film Festival turns TEN in 2006! Be part of history and submit your film today.
CALL FOR SUBMISSIONS
MadCat seeks provocative and visionary films and videos directed or co-directed by women. Films can be of any length or genre and produced ANY year. MadCat is committed to showcasing work that challenges the use of sound and image and explores notions of visual story telling. All subjects/topics will be considered. Submission Fee: $10-30 sliding scale. Pay what you can afford. An entry form is attached to this email. For more details go to www.madcatfilmfestival.org or call 415 436-9523. Preview Formats: VHS or DVD. Exhibition Formats: 35mm, 16mm, Super8, Beta SP, Mini DV, VHS, DVD. All entries must include a self addressed stamped envelope for return of materials.
Early Deadline: March 24, 2006. Final Deadline: May 15, 2006.

MadCat is on tour now with 2 programs of short avant-garde films by women.
1) AMOK-IMATION - Wry, dark and painfully funny, these animated works from Sweden, Mexico, the Netherlands and the Philippines are not your typical Saturday morning cartoons. This program is available on Mini-dv.

2) MOOD ALTERATIONS - These alternately loving and disturbing 16mm portraits hail from Austria, France, Germany, Mexico and the US. Filmmakers use editing, optical printing and camera movement  (or lack there of) to create an ethnographic study of Romania, a musical peek at a girl on the verge of puberty and a pulsating found footage bonanza among other stories. This program is available on 16mm.

To book the tour email us or go to our web site for more information http://www.madcatfilmfestival.org

Mad Mission
Founded in 1996 the MadCat Women's International Film Festival (MadCat) is a highly acclaimed international festival that exhibits independent and experimental films and videos directed by women from around the globe. The Festival emphasizes work that is inventive and visionary. Our annual Festival takes place at select San Francisco and Berkeley venues throughout the month of September.

The Festival was founded to create a forum the highlights women artists. The Festival's primary goal is to bring these works to a range of San Francisco, Bay Area venues and across the country to audiences who would not normally be exposed to this kind of work. MadCat exhibits films by women that challenge the use of sound and image and explore notions of visual storytelling.

A New Look at the Curatorial Process
MadCat has established a strong reputation for programming series of acute and insightful films audiences would be hard pressed to find anywhere else. MadCat sets itself apart from other women's festivals by curating its programs thematically as opposed to looking for films solely about women's issues. Thus, with each year comes a completely new set of films and topics. MadCat seeks to educate spectators about the art of cinema through programming that incorporates both experimental films and more accessible works. The Festival's distinct curatorial approach allows audiences to make their own connections between films and aids them in developing a film vocabulary by the mere act of watching a program.

MadCat's unique angle on programming often refreshes and surprises its audiences. MadCat allows viewers to look into the vast array of topics women film and videomakers are wrestling with and expand traditional notions of 3women's issues2. The audience will not sit back and wait for the images to wash over them nor for a simple narrative to tell its story. Whether the audience is watching a documentary, narrative, animation or experimental film they will be on the edge of their seats grappling and participating with the visual texts set before them. By providing a dedicated exhibition venue in the San Francisco, Bay Area, MadCat encourages women and girls to take creative control behind the camera, increasing visibility and opportunity for women in the arts.

3The MadCat Film Festival tests, expands, and evolves the traditional, politically motivated, 20th Century definition of "the women's film festival." Independent Film and Video Monthly

MadCat Women's International Film Festival 639 Steiner Street
San Francisco, CA 94117 USA
Phone: 415 436-9523
Fax: 415 934-0642
info@madcatfilmfestival.org
http://www.madcatfilmfestival.org

Job Posting
Job Description: This position requires a detail oriented individual with a desire to work in Inventory Services and archiving. This position focuses on day-to-day operations of Shipping and Receiving as part of Post Production. Candidate must possess skills to identify film, video and digital materials accurately. Candidate should have experience with domestic and international shipping. Responsibilities also include assisting with warehouse operations at storage facilities. Must be proficient with Windows Outlook and other various computer applications. College graduate preferred.

Additional requirements include: proper handling and packaging of film, video, etc. for archiving. Answering phones, typing, sending correspondence, servicing library requests, clean-up and consistent organization and restocking of the shipping and receiving room are also regular requirements. Candidate should have a pleasant business phone demeanor, reliable transportation, and the ability to lift at least 50 pounds.

Résumé's for this position will be accepted through 03/03/2006. Note that phone calls will not be accepted or considered for this position. This position is fulltime and is based in Los Angeles. All applicants may apply by email or fax at the following.

Dan Hindes
Director, Inventory Services
New Line Cinema - Post Production
fax: (310) 967-6707

CFP: Superheroes and Trauma (book collection) (7 Apr. 2006; 30 Sept. 2006)
Editors: Vanessa Raney, Southern Connecticut State University Peter F. Coogan, Fontbonne University

One can locate scholarship on the ideological and mythic status of superheroes in which the social and fantastic collide to offer interesting but primarily theoretical constructions on the privileging of norms in society. Our book collection hopes to contribute to this burgeoning field by examining more closely the role of trauma in the superhero saga, especially the ways that it gets encoded, transcribed, and received. Thus, we seek submissions focused on Marvel and DC style superheroes (that is, protagonists of the superhero genre only, not all super heroes: ordinary heroes who are super or superior like the way firefighters and policeman were depicted after 9/11) and trauma.

By looking to both the villains and the heroes, we intend to trace the onset of traumatic realism and the masculinity emboldened by it even when the subject is female. Does, for example, Mary Wollstonecraft's view of <<masculine women>> still hold as a standard for today's liberal woman as represented in the crimefighter or femme fatale? Are male heroes necessarily tragic because in their humanization, they must mask their subversions to feminine gestures of pain by concealing them in costume?

We do not wish simply to point to particular junctures of traumatism, but to grapple with their significance in a continual cycle that makes superheroes and villains both inside (unmasked) and outside (masked), both accepted (human) and reviled (suprahuman), both tragic (real) and stoic (imaginary), etc. Because we seek to separate the oppositions of supervillain and superhero, we are interested in papers that address any superhero or supervillain in any serialized comics or adaptations in film, television and novels from within and outside the United States. Essays should include an extensive foray into the psyches, histories, and redoubling into tragedy (whether compounded or relived), etc. of superheroes and villains.

We hope to publish perspectives from various fields, including English, Cultural Studies, History, Psychology, Sociology, etc., and approaches to the subject that are broadly inclusive. Collaborations are also encouraged (e.g, between a linguist and a traumatist); if you would like to be paired with someone, let us know and we will see what we can do to make it happen.

If interested in contributing, please submit a 500 word abstract with name, affiliation (school, other), mailing address, e-mail, and phone number to Vanessa Raney (raneyv2@southernct.edu or raneyv@juno.com) and Peter Coogan (PCoogan@Fontbonne.edu), Editors, no later than April 7, 2006. Notifications of acceptance will be made by July 15, 2006, with final papers due by Sept. 30, 2006.

The Library of Congress Is Looking For Interns For This Summer
Applications should be made by March 12. The appropriate website is: http://www.loc.gov/hr/jrfellows/about.html

Animation Scholarship And History Query
For a project having to do with the earlier days of Animation, I am seeking anyone with knowledge about that topic, especially those with academic affiliations or publications in that area. Please write to me off list if you might be personally interested in such a project or are familiar with anyone else who might be.
Thank you!

Edward Summer dinosauer@dinosaur.org
Planetarium Station
POB 502
NY, NY 10024-0502

Call for Papers and Sessions - THE DOCUMENTARY TRADITION
Area CFP: Mockumentaries
November 8-12, 2006
www.filmandhistory.org

In an entertainment era overwhelmed by “reality” shows, the parody and satire of the mockumentary, or “fictional documentary,” take on even greater appeal. From the BBC’s 1957 April Fool’s broadcast of Panorama’s “Swiss Spaghetti Harvest” to the genre’s latest addition, To Kill a Mockumentary (2006), mockumentaries have critiqued, lampooned, and had a good, hard laugh at everything from the taken-for-granteds of everyday life to our most cherished cultural icons. This call for papers seeks submissions of work from a wide range of orientations, exploring the contexts, uses, and impacts of this fictional documentary tradition that traces its roots back to the radio broadcast of H.G. Wells’ War of the Worlds.

Possible topics for consideration include, but are not limited to:

· The works of particular mockumentary filmmakers, or the role of the mockumentary in a filmmaker’s career, such as Rob Reiner (This is Spinal Tap), Christopher Guest (Waiting for Guffman, Best in Show, A Mighty Wind), Woody Allen (Husbands and Wives, Zelig, Sweet and Lowdow).
· In-depth analysis of particular films (Drop Dead Gorgeous, Bob Roberts,
The Rutles, The Blair Witch Project, Children of the Revolution, The Proverb,
etc.).
· analysis of the use of various techniques and strategies across the genre,
including the blending of actual documentary with fictitious footage (First
People on the Moon, 2005; Fandom: A True Film, 2004).
· a cultural analysis of the mockumentaries arising from a particular historical moment.

The Film & History League will be holding its biannual conference on "The Documentary Tradition" during November 8-12, 2006, near Dallas, TX. Full details on the location, featured speakers, registration procedures, and additional area topics can be found on the web site at www.filmandhistory.org. Proposals for either individual papers or complete panels (3-4 papers) are welcomed, and submissions may be made in either electronic (no attachments, please) or hard copy format. Please send panel proposals and/or 300-word paper abstracts no later than July 30, 2006, to:

Chair for Mockumentary Area

Prof. Cynthia Miller
Institute for Interdisciplinary Studies
Emerson College
120 Boylston St., Rm. 515
Boston, MA 02116

email: cynthia_miller@emerson.edu or cymiller@tiac.net

Call for Papers and Sessions THE DOCUMENTARY TRADITION
Area CFP: Ken Burns
November 8-12, 2006
www.filmandhistory.org
For more than two decades, Ken Burns has increasingly drawn the documentary into the limelight of American popular culture. In an era noted for the de-massification of the media, Burns’ documentaries have had a mass appeal that has spanned age, education, and socio-economic status. Documentaries such as JAZZ, Baseball, Lewis and Clark: The Journey of the Corps of Discovery, and Horatio’s Drive have given the genre a facelift – and brought a new spark of popularity to the Public Broadcasting stations that brought them into viewers’ homes. As Burns tutors Americans in Americana, we are called to analyze his impact on the genre, to examine his role in the creation and maintenance of cultural identity, and to explore his historical perspective. This call for papers seeks submissions of work from a wide range of orientations, exploring interpretations and impacts of Burns’ documentaries, from his early, Brooklyn Bridge (1981) through Unforgivable Blackness: The Rise and Fall of Jack Johnson (2004).

Possible topics for consideration include, but are not limited to:

· An in-depth critical analysis of a single Burns documentary, examining its contribution and representation of American history.
· The use of Burns’ films in the classroom
· “The Burns Effect”
· Burns’ role in the rise of the epic documentary
· Burns’ historical perspective on the Civil War · Consuming Ken Burns
· Nostalgia in Burns’ documentaries
· The book, the video, the CD – synergy and the Burns documentary
· Burns and American Biography

The Film & History League will be holding its biannual conference on "The Documentary Tradition" during November 8-12, 2006, near Dallas, TX. Full details on the location, featured speakers, registration procedures, and additional area topics can be found on the web site at www.filmandhistory.org. Proposals for either individual papers or complete panels (3-4 papers) are welcomed, and submissions may be made in either electronic (no attachments, please) or hard copy format. Please send panel proposals and/or 300-word paper abstracts no later than July 30, 2006, to:

Chair for Ken Burns Area

Prof. Cynthia Miller
Institute for Interdisciplinary Studies
Emerson College
120 Boylston St., Rm. 515
Boston, MA 02116

email: cynthia_miller@emerson.edu or cymiller@tiac.net

THE WORKING LIFE - CALL FOR PAPERS
Seventh Annual Northeast Historic Film Summer Film Symposium Thursday, July 20 – Saturday, July 22, 2006

KEYNOTE SPEAKER: Jennifer Abbott, Director of The Corporation AND
A screening of The Corporation followed by a Q & A with the director

Working life and moving images are at the heart of Northeast Historic Film (NHF). In 1985, NHF co-founders David Weiss and Karan Sheldon restored Alfred Ames’ 1930 amateur film From Stump to Ship for the University of Maine. Ames, president of a lumber company, had documented the twilight of the long lumber industry in the state. Weiss and Sheldon brought Ames’ 16mm film back to life for audiences throughout New England. In 1986, they founded Northeast Historic Film and began collecting a wide range of amateur, documentary, personal and industrial films that captured images of work and everyday life of people in New England. Today, NHF houses over six million feet of film and holds an international reputation as a regional archive at the forefront of collecting, preserving and studying moving image heritage. To celebrate the 20th Anniversary of NHF and the legacy of From Stump to Ship, the theme of the Seventh Annual Summer Film Symposium is 'The Working Life.'

We invite papers and presentations that explore the working life as a subject of amateur and non-commercial film. We are interested in moving images that offer us a new historical, cultural, and critical understanding of work since the late 19th century. By examining moving images of the working life made by amateurs and for noncommercial purposes the aim of this symposium is to consider the details, diversity and perspectives on work that often escape recognition in mainstream media representations. Potential paper topics might include, but are not limited to subjects such as:

Blue collars, white collars
Factory life
Labor history
Leisure as work
Work as leisure
Time and motion studies
Sweatshops
Unions
Value of work
Industrial Ruins
Fairs and exhibitions
Migrant Work
Farming
Consumption
Trade shows
Techniques and skills
Mechanization
Labor at sea
Riots
WPA film projects
Production lines
Protests
Uprisings
Fraternal Organizations
Hierarchy and difference

The NHF Summer Film Symposium is a multi-disciplinary gathering devoted to the history, theory, and preservation of moving images. The Symposium is noted for bringing together archivists, scholars, and artists in an intimate setting. NHF is located in Bucksport, a town of 5,000 on the coast of Maine (for more info about NHF, visit: http://www.oldfilm.org). Presenters have a full hour in which to deliver their paper and engage in discussion with their colleagues. Typically, presentations are 30 minutes, including moving images, and followed by 30 minutes of discussion. The symposium is open to archivists, artists and scholars from all disciplines.

NHF houses a 125-seat cinema with 35mm, 16mm, videotape, and DVD projection, and we are looking for presentations that include interesting moving images. Please send 250-500 word abstracts outlining your paper ideas to the symposium organizers at the address below. We prefer e-mail submissions, but will accept any format. We are happy to discuss your presentation ideas with you in advance of a formal submission. The Symposium Program Committee will begin reviewing proposals on February 15, 2006. Please send proposals and inquiries to:

Mark Neumann, Associate Professor
mneumann@cas.usf.edu
Department of Communication-CIS 1040
University of South Florida
Tampa, FL 33620-7800 USA

Janna Jones, Associate Professor
jjones1@cas.usf.edu
Department of Communication-CIS 1040
University of South Florida
Tampa, FL 33620-7800 USA

Blaufarb Documentary Award
The Jacob and Bessye Blaufarb Video Library of the American Labor Movement has established a fund to provide assistance to filmmakers working on projects relating to the history of Labor and the Left. It awards an annual prize of $5,000 to support post-production work. Areas of interest include: labor history, the women’s movement, the struggle for immigrant rights, the civil rights movement, socialism, communism, anarchism, the New Left, and post-New Left.

The Jacob and Bessye Blaufarb Video Library of the American Labor Movement was established at New York University’s Tamiment Library in 1981 to help preserve the memories of the American labor and radical movements. It is housed and administered by New York University’s Tamiment Library.

Applicants for funding should submit four copies of the following: a brief project description, treatment, sample videotape (5 – 10 minutes), proposed budget, and resumes for key personnel.

Applications should be sent to:
Michael Nash
Director, Tamiment Library
Elmer Holmes Bobst Library
New York University
70 Washington Square South
New York, N.Y. 10012
212-998-2428
MN46@nyu.edu

Database Covers Half-Century of Televised Opera
This message is being posted at the request of a non-listserve subscriber. Any questions should be directed to Kris Brancolini at brancoli@indiana.edu.

Opera enthusiasts can now search a database of hard-to-find U.S. opera telecasts, including programming of early live presentations on experimental television stations and contemporary productions released on broadcast television, cable, and home video.

The Televised Opera and Musical Comedy Database, which includes 925 records of opera, operetta, and musical comedy, is a joint project of the Indiana University Digital Library Program and retired IU faculty member Herbert Seltz.

Seltz, who taught production at the university's Department of Telecommunications, nurtured a love of opera at the acclaimed Indiana University School of Music. He began work on the database in 2000. "I changed from practitioner to researcher," Seltz says.

As part of his research, Seltz combed through the immense card file at Opera America and the archives of the Museum of Television and Radio in New York and Los Angeles. He pored over microfilmed newspapers at the Indiana University Herman B Wells Library and read old copies of music journals at the university's William and Gayle Cook Music Library.

"I easily talked to hundreds of people," Seltz says of his research. "Some of the greatest enjoyment for me was talking to people who produced and directed the programs."

In the early days of television, opera was king. In 1957, for example, 34 television broadcasts featured opera productions. Broadcasts were live, and many were never recorded.

Seltz recalls broadcasting IU's acclaimed opera productions even before the university operated a television station. As an instructor in the mid-1950s, he and his students borrowed equipment from the local commercial station and operated from the station's remote van, a converted bread truck. "Things were crude," Seltz says of those early productions. "It was small and primitive-a far cry from today's Live From the Met, but the same principle."

"This is the kind of project we're here to support," says Kristine Brancolini, head of IU's Digital Library Program. "After compiling his extensive research, Herb came to us looking for technical expertise. His needs complemented our mission to provide high-quality networked resources to the IU community and beyond."

Seltz estimates that about 600 of the recordings described in the database are available commercially as videos or at archives. "A lot of recordings have been lost," Seltz says. "But the good news is, as time goes on, more and more of these programs surface." And because technology makes distribution so much easier, an increasing number of network programs are now finding their way to home video or DVD. "Someone looking for an opera should go back and look for it a year later," Seltz says. "Chances are it will show up."

The IU Digital Library Program made its mark on the music world with the creation of Variations, the first program of its kind to offer digitized music over a computer network.
In September 2005, the Digital Library Program received a grant from the Institute of Museum and Library Services to create an online music learning and research tool that can be easily deployed at a wide range of college and university libraries.

By offering this "digital music library in a box," IU will respond to the teaching and learning needs of large academic libraries, small colleges and music conservatories, many of which have expressed enthusiastic support for the digital music library that has transformed music instruction at IU's renowned School of Music.

Researchers can search the opera database by year, composer, soloists, title, and more. The database is freely available via the Internet. To view the database, go to: http://www.dlib.indiana.edu/reference/operatv/

DIVERSE Conference on Video and Videoconferencing in Education
CALL FOR CONTRIBUTIONS
DIVERSE 2006, 5th to 7th July, 2006, Glasgow Caledonian University, Scotland
The Sixth International DIVERSE conference on Video and Videoconferencing in Education.

Second Call for Contributions: Deadline for submission - 20th March 2006 Early Bird Registration: Available up until the 31st May 2006

You are invited to the DIVERSE Conference on the 5th - 7th July 2006. This year's event is hosted by Glasgow Caledonian University and the DIVERSE network.

DIVERSE is the leading conference all aspects of video and videoconferencing in education: teaching, research, management etc - including the convergence of these technologies with online technologies, and the emergence of new possibilities such as telepresence learning, interactive television, virtual reality and computer games techniques, and wireless and handheld access to moving images.

DIVERSE is intended for anyone interested in embedding video and videoconferencing technologies within educational practice: teachers, technical support staff, researchers, staff and educational developers, project managers and directors.

DIVERSE provides excellent opportunities for formal and informal networking with some of the world's leading experts in the field. The conference will be both a showcase and a critical forum on all aspects of video in education through plenary and themed sessions.

The conference venue will be Glasgow Caledonian University. Further information on the venue is available at http://elisu.gcal.ac.uk/diverse2006/ or from the DIVERSE Conference Team at diverse@gcal.ac.uk.

Keynote Speakers
Professor Patrick McGhee, Pro Vice-Chancellor, University of Central Lancashire
Hugh Thomas, Bristol City Council's Investors in Learning Manager and
Shawn Sobers, Firstborn Creatives/University of the West of England
Scott Higgins, Assistant Professor Film Studies, Wesleyan University

Contributions should be one of:
a one hour participatory workshop or seminar.
a 30 minute presentation allowing ample time for discussion, and preferably with video examples.
a 60 or 90 minute panel session.

These may be presented face-to-face or via videoconference

Contributors should identify one of the following themes.
1) Videoconferencing and telepresence teaching (including audio and text where they inform these practices)
2) Video, pedagogy and research into the effective use of video in learning and teaching
3) Video and interactive learning
4) Students learning by making and using video
5) Interactive television
6) Making and/or using video recordings and video archives
7) Digital video, the Internet (eg streaming), video via wireless and handheld devices
8) Enriching e-learning using video and multimedia (both face-to-face and at a distance)
9) The use of virtual reality and computer games techniques to enrich learning

Submissions should be completed on the template, which can be downloaded from http://elisu.gcal.ac.uk/diverse2006/pages/call.htm

You should submit your proposal as an attached file to Mark Childs m.childs@warwick.ac.uk

Receipt will be acknowledged with a reply. Proposals should be received by 10th March, 2006. Contributors will be notified by 7th April, 2006.

All virtual and physically present presenters must register as conference delegates for at least the day on which their session takes place. Deadline for registration at a reduced rate is 31st May 2006, although on-site registration will be permitted if space permits. More information on registering, including fees and accommodation, will follow soon.

Full written papers are not obligatory. However, you may wish to offer a full paper for the conference proceedings. Please contact Mark Childs at m.childs@warwick.ac.uk if you are interested in contributing to a written publication.

Keep up to date. For updates on the conference, please subscribe to the UK JISCmail 'video' discussion list. Send a message to jiscmail@jiscmail.ac.uk.

The message should be: join video X Y. Insert your given name for X and your surname for Y. Note that there is a space between each word in the message. Do not put anything else into the message.

Alternatively, visit: http://elisu.gcal.ac.uk/diverse2006/

The conference committee looks forward to receiving your proposals.

Best wishes the DIVERSE conference committee,

Conference Committee Members
Mark Childs (Chair, University of Warwick) Mary Cuttle (Host, Glasgow Caledonian University) Prof. Jon Baggaley,
Dr. Claus Knudsen (Gjøvik University College) Dr. Michael O'Donoghue (University of Lancaster) Prof. Chris O'Hagan
Johan Oomen (University of Amsterdam)
Dr. H. Lori Schnieders (Vanderbilt University) Pieter van Parreeren (InHolland University) Tom Visscher (InHolland University)
Dr. Adrian Vranch (University of Plymouth) Murray Weston (BUFVC)

CFP Panel on Pawel Pawlikowski--Oxford Conference, July 2006
Dina Iordanova, a long standing member of IAMHIST, will be participating in a conference on the work of Polish born filmmaker Pawel Pawlikowski in Oxford (UK) in July 2006.

Dear Colleagues,
Since we are organising a panel focusing on the Polish-born filmmaker Pawel Pawlikowski, who is AHRC Fellow in Film Studies at Oxford Brookes University and who will be present at the conference advertised below, we are still specifically inviting papers which examine Pawlikowski's oeuvre in a transnational/transcultural context.
If you wish to contribute to the panel on Pawel Pawlikowski please submit your abstract by 10 February.

CFP: Migrant and Diasporic Cinema in Contemporary Europe An International Conference hosted by Film Studies and the Institute for Historical and Cultural Research, Oxford Brookes University and held at Lincoln College, Oxford, 6 ˆ 8 July 2006

With European cinemas becoming increasingly determined by multi- cultural and multi-ethnic presences and themes, critical paradigms which examine these cinemas in terms of their national specificity do not adequately address the shift from the national to the transnational which has occurred in all areas of European cinema during the past twenty-five years. This conference seeks to explore how migrant and diasporic filmmakers have redefined our understanding of European cinema. By adopting a comparative perspective in our search for the commonalities and specificities between migrant and diasporic cinemas across different European countries, we endeavour to transcend the borders and limitations of an analytical framework that privileges the concept of discrete national cinemas.

Confirmed keynote speakers include:
Professor Hamid Naficy, Rice University, Texas Professor Dina Iordanova, University of St. Andrews Professor Robert Burns, University of Warwick Professor Deniz Götürk, University of California Berkeley Pawel Pawlikowski, independent filmmaker (Last Resort, My Summer of Love)

The conference is supported by the Arts and Humanities Research Council. It is the first of a series of events organised by a Research Network which contributes to the AHRC Diasporas, Migration and Identities Programme.

Please visit the conference website for further details and a downloadable Call for Papers:

http://ah.brookes.ac.uk/conferences/migrant_cinema

Please send a proposal of 200 - 300 words for a paper of approx. 20 minutes, together with your contact details and a brief biographical note to the following email address: dberghahn@brookes.ac.uk

The deadline has been extended to 27 January 2006. Please mark subject box 'Migrant cinema conference'.

Title: International Community Film Festival
Deadline: 2006-04-24
Description: Submissions are invited for the Northampton International Community Film Festival 2006, University of Northampton, U.K., 28 June-2nd July 2006. The Festival showcases the best community film-making from around the world.
Contact: ian@n-compass.org
Announcement ID: 149398
http://www.h-net.org/announce/show.cgi?ID=149398

REMINDER NOTICE: NOMINATIONS for the 2006 ARSC AWARDS FOR EXCELLENCE
You are invited to propose candidates for the 2006 ARSC Awards for Excellence in Historical Recorded Sound Research. Nominations may be made by anyone, ARSC member or not. The deadline for nominations is January 31, 2006.

Eligible publications include any original printed work -- book, monograph, article, liner notes, etc. -- first published during 2005. The work may treat any subject related to recorded sound, but must embody the highest research standards. It should deal primarily with historical subjects, pertaining to periods at least ten years prior to the year of publication,with the exception of works related to modern preservation or playback technology.

The ARSC Awards typically recognize histories, discographies, or biographies representing the "Best Research" in these recording genres: Blues or Gospel Music; Classical Music; Country Music; Folk or Ethnic Music; Jazz; Popular Music; Rock, Rhythm & Blues, or Soul; and Spoken Word. Additional categories include: General Research in Recorded Sound; Record Labels or Manufacturers; Phonographs; and Preservation or Reproduction of Recorded Sound.

The Awards Committee especially welcomes information concerning eligible journal articles, as well as foreign and small-press publications that might otherwise be overlooked.

NOMINATIONS for the ARSC LIFETIME ACHIEVEMENT and DISTINGUISHED SERVICE AWARDS
The ARSC Lifetime Achievement Award is presented annually to an individual, in recognition of a life's work in research and publication. The ARSC Award for Distinguished Service to Historic Recordings honors a person who has made outstanding contributions to the field, outside of published works or discographic research.

Nominations for either of these awards must be received by January 31, 2006.

SUBMISSIONS
Nominations for the ARSC Awards for Excellence must include the name of each nominee, together with the names of co-authors, the publication title, and the publisher's name and address. Please submit nominations to:

Roberta Freund Schwartz
University of Kansas
Archive of Recorded Sound
434 Murphy Hall
1530 Naismith Dr.
Lawrence, KS 66049
rfschwar@ku.edu

2006 ARSC AWARDS COMMITTEE
Robert Iannapollo (Awards Committee Co-Chair) Roberta Freund Schwartz (Awards Committee Co-chair) Brenda Nelson-Strauss (ARSC President)
James Farrington (Book Review Editor, ARSC Journal) David Hamilton (Classical Music Judge)
Kip Lornell (Judge-at-Large)
Da! n Morgenstern (Jazz Music Judge)
William L. Schurk (Popular Music Judge)
Richard Spottswood (Judge-At-Large)

Additional information about ARSC, including a list of past ARSC Award Winners, may be found at www.arsc-audio.org.

Free Screenings of 78th Academy AwardR Nominees at the National Archives Highlighting Four Categories March 1-5, 2006
The National Archives will host the second annual free screenings of Academy AwardR nominees in four categories, Documentary Feature, Documentary Short Subject, Live Action Short Film, and Animated Short Film at the William G. McGowan Theater from Wednesday, March 1, through Sunday, March 5, 2006.

The screenings are presented by the Academy of Motion Picture Arts and Sciences in partnership with the Charles Guggenheim Center for the Documentary Film at the National Archives, and the Foundation for the National Archives. "It is an honor for my family to be associated with these two distinguished institutions, a symbolic collaboration and metaphor of my father's career and life's commitment," said Grace Guggenheim, President of Guggenheim Productions, Inc. "50 years ago he received his first Academy AwardR Nomination for A City Decides, a documentary on the events that lead to the integration of the St. Louis public schools."

One of only two public East Coast screenings, the films will be introduced by distinguished members of the documentary film community including Grace Guggenheim, President of Guggenheim Productions, Inc.; Paul Wagner, OscarR-winning filmmaker (The Stone Carvers,1984); Flo Stone, Artistic Director and Founder of the Environmental Film Festival in the Nation's Capital; Nina Gilden Seavey, Director of the Documentary Center at George Washington University; Peggy Parsons, Curator of the Department of Film Programs at the National Gallery of Art; Patricia Finneran, Director of AFI SilverDocs; and David Petersen, Oscar- nominated filmmaker (Fine Food, Fine Pastries, Open 6 to 9, 1989).

The Academy of Motion Picture Arts and Sciences will announce the nominees for each category on January 31, 2006. Following the announcement, the National Archives will post the exact schedule for the showing of each film. Reservations are not required. Seating will be on a first-come/first-serve basis. For up-to-date information, please check the National Archives web site listing at www.archives.gov or call the Public Events line at (202) 357-5000.

The William G. McGowan Theater is located in the National Archives Building in Washington, D.C. Metro accessible on Yellow or Green lines, Archives/Navy Memorial station. The public should use the Special Event entrance on Constitution Avenue and 7th Street, NW.

The Charles Guggenheim Center for the Documentary Film at the National Archives was established in 2004 in honor of four-time Oscar winner and past president of the Foundation for the National Archives Charles Guggenheim. The Center's mission is to advance public understanding of the process, challenges, and social impact of documentary filmmaking and to promote the education of young people and professionals. The Center is both a living legacy of an internationally acclaimed producer and director and an extension of America's premier resource for documentary film research.

The Foundation for the National Archives
The Foundation for the National Archives is a non-profit organization committed to creating public awareness of the importance of the National Archives as a vital resource in the American democracy. The Foundation was created in 1992 to support the Archivist of the United States in developing programs, technology, projects, and materials that introduce and interpret the Archives' collection for the American people and for people around the world. The National Archives Experience is made possible by a public/private partnership between the National Archives and Records Administration and the Foundation for the National Archives, which is working as the private sector partner to support the creation of these new exhibitions and educational programs and resources. The Foundation is generating financial and creative support from individuals and corporations to provide this extensive outreach, which has not been mandated by Congress.

The Academy of Motion Picture Arts and Sciences, a professional honorary organization of over 6,000 motion picture professionals, was founded to advance the arts and sciences of motion pictures; foster cooperation among creative leaders for cultural, educational and technological progress; recognize outstanding achievements; cooperate on technical research and improvement of methods and equipment; provide a common forum and meeting ground for various branches and crafts; represent the viewpoint of actual creators of the motion picture; and foster educational activities between the professional community and the public-at-large.

For more information, the Press may contact the National Archives Public Affairs Staff at 202-357-5300.

Call for Papers
2006 German Studies Association Convention in Pittsburgh, PA September 28-October 1
Early Women Filmmakers in Germany and Austro-Hungary A panel sponsored by the Organization of Women in German
DEADLINE EXTENDED TO 1/31

Thanks to the discovery and analysis of previously unseen archival materials over the past ten years, scholars of German Cinema have greatly expanded their understanding not only of Weimar Cinema but also of the "pre-Caligari" period before 1919. In this context, renewed attention has been paid to the roles of women as characters, stars, and spectators. Yet we still have given little account of the important function of women as directors, producers, editors, screenwriters, and critics.

The early pre-Weimar period deserves particular consideration as a time of exploration and of experimentation with the gendered division of labor in film production. We are seeking papers that address the contributions of and working conditions for female film workers in the silent and early sound eras. Examples include Fern Andra, Liesl Karstadt, Thea von Harbou, Asta Nielsen, Janet Wolf, Henny Porten, Lotte Reiniger, Leontine Sagan, Leni Riefenstahl, Ruth Goetz, and Luise Fleck, etc. Papers on women writing on film (Emilie Altenloh, Claire Goll, Malwine Rennert, etc.) are also encouraged. Send one-page abstracts to Sara Hall sahall@uic.edu and Elizabeth Frye efrye2@uic.edu by the extended deadline of January 31, 2006.

Internship Openings: Home Movie Day / The Center For Home Movies
The Center for Home Movies (CHM), a recently-formed non-profit organization, is seeking motivated candidates for several new internship opportunities. Two of these internship positions (described below) will offer the opportunity to assist with planning and execution of the fourth annual International Home Movie Day (HMD) in August of 2006; the third (to be posted later) will provide administrative and logistical support for the CHM directors as they move forward with new initiatives and projects, including the release of our first compilation DVD, the pursuit of grant funding and other support, and the development of our institutional policies and procedures. Detailed descriptions of each position follow. Please circulate this posting among your students and colleagues; we welcome personal referrals or letters of inquiry from prospective applicants. Interested applicants should send a résumé, references, and letter of interest indicating which internship they are applying for to film@homemovieday.com. Applications will be reviewed on a rolling basis beginning January 1, 2006, and will continue until we have filled all available positions.

Home Movie Day Intern: Internal projects
Duties: The "internal" HMD intern will work closely with the HMD co-founders, local hosts, volunteers, and other supporters to ensure a successful annual event for 2006. Duties will include monitoring traffic on the homemovieday email list; helping to recruit new HMD hosts in targeted regions; updating the www.homemovieday.com web site with information about new local venues; communicating with local coordinators to ensure that HMD's preservation and education message is conveyed at all local events; assisting with shipment of materials to local hosts; and other duties related to the maintenance of the HMD community. The time commitment will range from approximately 5-20 hours per week, increasing as HMD06 approaches, and the term of the internship is flexible.

Qualifications: Effective email communication will be a big part of this project, so excellent writing skills, attention to detail, and timeliness are all essential. Basic HTML or web authoring skills (sufficient to make simple updates within an existing web page template) are also required. An outgoing, upbeat personality will be especially helpful with regional recruitment efforts. Availability for regular bi-weekly CHM/HMD conference calls will be required (long-distance charges will be reimbursed monthly). Fluency in a foreign language is a major plus. Candidates who live in the New York or Los Angeles areas will receive preference, but telecommuting is an option for extremely qualified and able candidates.

Benefits: This is an unpaid internship, with no benefits. We can, however, also guarantee an excellent learning experience, contact with a wide range of people working with amateur film, hands-on training in small-gauge film identification, prep, and projection, and the opportunity to contribute significantly to what is arguably the largest motion picture preservation effort in history. To the best of our ability, we will work with the chosen candidate(s) to ensure that their specific internship program credit requirements are met. If you are looking for the chance to help coordinate and strengthen a major international event, involving dozens of archivists and film collecting institutions worldwide, this is the opportunity for you!

Home Movie Day Intern: External projects
Duties: The "external" HMD intern will also work closely with the HMD co-founders, local hosts, and other stakeholders to ensure a successful annual event for 2006. Most duties of this internship will be aimed at raising the international profile of the annual event, and helping to communicate the HMD message ("Don't throw your films away; take them to Home Movie Day!") to the largest possible audience. Specific tasks and projects may include coordinating the creation and distribution of a multimedia press kit; assisting with the creation of a CHM/HMD contacts database; maintenance of the HMD mailing list and coordination with the HMD newsletter editor; research on funding prospects and project grants; responding to inquiries from press and the general public; and other duties related to HMD/CHM's public profile. The time commitment will range from approximately 5-20 hours per week, increasing as HMD06 approaches, and the term of the internship is flexible.

Qualifications: As with the internal projects internship, effective email communication will be a big part of this project, so excellent writing skills, attention to detail, and timeliness are essential. This position offers the opportunity to be part of the public face of Home Movie Day, so comfort with public speaking and/or previous radio/tv/print exposure will be valued. Reporters' urgent deadlines will demand timely responses on certain tasks, so excellent time-management skills and the knowledge of when to refer time-sensitive matters to someone else will be key. Availability for regular bi-weekly CHM/HMD conference calls is required (long-distance charges will be reimbursed monthly). Fluency in a foreign language is a major plus. Candidates who live in the New York or Los Angeles areas will receive preference, but telecommuting is an option for extremely qualified and able candidates.

Benefits: This is an unpaid internship, with no benefits. We can, however, guarantee an excellent learning experience, contact with a wide range of people working with amateur film, hands-on training in small-gauge film identification, prep, and projection, and the opportunity to contribute significantly to what is arguably the largest motion picture preservation effort in history. To the best of our ability, we will work with the chosen candidate(s) to ensure that their specific internship program credit requirements are met. If you are looking for a way to help shape public perceptions of archivists and the field of motion picture preservation, contribute to the growth of a worthwhile project, and develop new non-profit project management skills, this is the opportunity for you!




The 9th British Silent Cinema Festival - Channel Crossings
Anglo-European film relations before 1930 - Part Two
Broadway Nottingham 6-9th April 2006 Advance notice and call for submissions
Deadline for submissions 27 February 2006

The 2006 British Silent Cinema will develop key strands of debate and themes explored at the highly successful 2005 event including the 1909 Congresses and the early European film business, Film Europe, silent cinema scriptwriting practices, the common European literary heritage in film and the influence of European film on Britain promoted through the Film Society.

We are particularly keen to include presentations from film historians, and scholars working across Europe on the following broad themes:

- The early European film business
- British European co-productions
- Traffic of personnel, ideas and aesthetics between Britain and = Europe
- The influence of European avant-garde movements in British film
- British representations of Europe
- European representations of Britain
- Non fiction filmmaking practice across Europe
- Comparative technical developments in film across Europe

Proposals are sought for 20-minute presentations on areas relevant to the main theme and any new research in the field of silent British film. All presentations should be illustrated and presenters are encouraged to contact Bryony Dixon at the bfi National Film and Television Archive, to arrange viewing and selection of material at bryony.dixon@bfi.org.uk www.bfi.org.uk

The British Silent Cinema Festival exists to promote the exhibition and study of British Cinema before 1930. It features screenings with live music, illustrated presentations, talks, debates, educational seminars and social events. Anyone is welcome to attend and to make a proposal for a contribution.

For more information or to be placed on our email or postal list please contact laraine@broadway.org.uk

ART21 Seeks Archivist/Archive Consultant
Art21, a non-profit contemporary art organization based in New York City, seeks an archivist/archive consultant to advise on the organization of the Art21 archive and the creation of a web-based platform to catalogue and access the existing archive, as well as new material to be added to archive in the future. We would like the archivist to start work at Art21 in January 2006 if possible, and no later than February 2006. Work will be on a temporary, consultant basis, for a total of approximately 160 hours. Salary commensurate with experience.

Art21 produces the Emmy-nominated PBS documentary series Art:21–Art in the Twenty-First Century, and the video material for this series is the core component of the Art21 archive. To date, three seasons of Art:21 have been completed: each season consists of four one-hour broadcast programs, and each program profiles 3-5 contemporary visual artists. Art21 has thus far filmed 500-600 hours of footage for the series (with corresponding written transcripts), primarily on anamorphic 16x9 Digital Beta, with some mini-DV, DV-Cam, film (transferred to DigiBeta) and other formats. Season Four of the series is in pre-production and all material created for new season will be added to the archive.

The first stage in creating the database is to create the Archive database and Web interface for internal use by Art21 staff. Art21 will transfer its current video and film database to the new Archive database, indexing all footage according to standardized search terms. Art21 staff will use the new Web interface to catalogue all new tapes as they are created, ensuring the accuracy of indexed information and the effectiveness of search terms.

The second stage is to introduce the Online Catalogue as a public resource, allowing users worldwide to search the catalogue and request access to unedited footage and transcripts. Finally, Art21 will create a system to track the use of the Online Catalogue.

In addition to the broadcast programs, Art21 creates companion books, extensive education and outreach programs, and a highly-trafficked web site – www.pbs.org/art - which provides further information on this project. Art21 also produces additional videos, beyond the Art:21 series. While the Art:21 raw footage is the first priority to be organized by the archivist, Art21 would ultimately like to organize all materials – including supplementary video research materials, still images, etc. - created by Art21 into a comprehensive archive which can eventually be accessed by both internal Art21 staff and external users.

Art21 does not discriminate on the basis of race, sex, color, religion, national origin, age, disability or veteran status, and honors and welcomes all qualified applicants to apply. Please send resumes, via email only, to eve@art21.org

Job Announcement - National Archives and Records Administration
While the position title for the announcement is Photographer (Presrevation), this is for a Motion Picture Preservation Laboratory position at NARA's College Park, MD location. The Duties and requirements are as follows and the full description, instructions, and application are online at: http://jobsearch.usajobs.opm.gov/getjob.asp?JobID=38075316

MAJOR DUTIES:
At the full performance level the incumbent is expected to be fully proficient in carrying out assignments relating to the preservation, restoration, and reproduction of motion picture archival records ensuring that these procedures are performed in a cost effective manner. The incumbent utilizes a full range of standard and specialized equipment processes, procedures, and materials used by the lab, and possesses sufficient experience to deal with most situations requiring deviation from instructions and consults with the supervisor or senior specialist only when the complexities of the particular assignment require higher level technical assistance.

Operates all professional equipment used in all phases of typical archival motion picture preservation and production work. Properly handles old, damaged, fragile, shrunken, or deteriorated film. This includes film created on unusual or unstable materials such as nitrate film stock. Incumbent repairs film, uses techniques to manipulate, treat, or enhance images, and produces prints ensuring that the finished products meets archival standards.

Performs timing of motion pictures including the ability to select the light intensity to be used for each scene, prepare a computerized punch tape for automatic light change control consistent with the recorded light selections, and when necessary prepare cues on the film with notches on the edge at the beginning of each scene where needed to trigger automatic light charges in the printers.

Selects and operates appropriate optical and contact printing machines. This includes monitoring the machine to ensure that the film passes through properly and the machine is running at the appropriate speed to produce the best image or sound quality, monitoring voltage or amperage, inserting filters, and ensures that the picture and track of sound film are properly matched to provide a synchronized reproduction. When necessary, synchronizes picture and sound by reduction matching frame to frame, etc.

Exercises skill and enhances knowledge in the proper development of motion picture films by operating motion picture processors. Included is the monitoring of temperature of the chemical solution and drying chamber, the replenishment flow rate of chemicals, and mixes photographic chemicals when necessary.

Analyzes and inspects processed film for picture and sound quality, sound synchronization, scene to scene balance, density levels, and flaws or defects that may have been introduced to the film.

QUALIFICATIONS REQUIRED:
To be considered for this position at the GS-7 level, you must have 1 year of specialized experience equivalent to the GS-6 in the federal service.

To be considered for this position at the GS-8 level, you must have 1 year of specialized experience equivalent to the GS-7 in the federal service.

To be considered for this position at the GS-9 level, you must have 1 year of specialized experience equivalent to the GS-8 in the federal service.

Specialized Experience is experience which shows that you have the knowledges, skills, and abilities to perform the duties of this position successfully. This type of experience is generally obtained from having worked in a position similar to the position being filled. Examples of specialized experience include performing motion picture preservation, restoration, and reproduction.

You must be a U.S. citizen to qualify for this position.

A background investigation will be required for this position: a preliminary criminal history check and credit check may be initiated prior to final offer of employment.

Time-in-grade restrictions apply for current Federal employees applying under merit promotion procedures.

You must have one year of Federal service at the GS-6 to be eligible for the GS-7.

You must have one year of Federal service at the GS-7 to be eligible for the GS-8.

You must have one year of Federal service at the GS-8 to be eligible for the GS-9.

Time-in-grade restrictions do not apply under public notice procedures.

HOW YOU WILL BE EVALUATED:
Category rating is being used for this position. Category rating combines the applicant's total qualifying experience and education/training into a single quality category. If you meet the basic qualification requirements, we will further evaluate your entire application package to determine the quality and extent of your experience, education, training, etc., for placement in one of the following categories: 1) Best qualified, 2) well qualified, or 3) qualified. This evaluation determines which candidates will be referred to the selecting official for final consideration.

Best qualified candidates are those who meet minimum qualifications, are highly proficient in the major requirement(s) of the position, and proficient or highly proficient in most of the non-major aspects of the position.

Well qualified candidates are those who meet minimum qualifications and are proficient in most aspects of the position.

Qualified candidates are those who meet minimum qualifications but are not proficient in most aspects of the position.

On plain paper, list each of the following knowledges, skills, abilities, and other characteristics (KSAOs) separately and explain how your experience, education, training, self-development activities, appraisals, awards, etc. relate to each KSAO and this position. Please limit your narratives to one page per KSAO. KSAO summary statements that address all KSAOs together are not acceptable.

Demonstrated knowledge of theory, standards, procedures, and practices of black and white and color motion picture laboratory work.

Demonstrated ability to perform processing work including timing, color correction, printing, quality control and the use of motion picture equipment for chemical development and processing of film.

Demonstrated ability to analyze and inspect motion picture film for picture and sound quality, density/contrast level, flaws, and defects.

Demonstrated ability to recommend changes to standard procedures related to the proper handling, repair, and reproduction of unique and fragile historical motion picture film.

To be considered for this position, you must submit KSAO narrative statements with your application package.
Fourth Annual Meeting of the Cultural Studies Association
The program for the Fourth Annual Meeting of the Cultural Studies Association (U.S.), to be held April 19-22, 2006, at George Mason University, Arlington, VA, is now posted on our website at http://www.csaus.pitt.edu/frame_home.htm. Information about accommodations and registration is also there.

Please note that all participants must preregister by March 1 to have their names and papers printed in the program. For a roommates link-up, please see http://groups.yahoo.com/group/csa_roommates/. We urge all participants and conference attendees to make their hotel reservations early. The hotels are close by and transportation is readily available, but we cannot guarantee rooms if you register late.

THIRD INTERNATIONAL CONFERENCE OF MUSEOLOGY 2006
"Audiovisuals as cultural heritage and their use in museums"
Mytilene, University of the Aegean, June 5-8, 2006
Municipal Theatre of Mytilene - Auditorium of the Commercial Chamber

The Department of Cultural Technology & Communication of the University of the Aegean, the Hellenic Committee of ICOM and the International Committee for the Audiovisuals in Museums AVICOM organize the Third International Conference of Museology and the AVICOM Annual Conference in Mytilene, from June 5th to June 8th, 2006 on: "Audiovisuals as cultural heritage and their use in museums".

The Hellenic Broadcasting Corporation (ERT) - General Directorate of Hellenic Television participates in the Conference.

AIMS AND THEMES OF THE CONFERENCE
The sound and image technologies, as well as their applications play an essential role within the realms of contemporary cultural institutions, as evidence that require to be collected, curated and protected, as means of managing and interpreting cultural material, as communication and promotional tools for the cultural heritage, as educational tool, etc.

The aims of the conference are:
· To focus on these technologies and create a discourse through a wide array of theoretical and practical approaches.

· To engage in the theory, methods and uses of these mediums in museums, cultural heritage sites, historical sites and other institutions at an international level.

· To create a collaboration framework among individuals, entities and institutions producing sound and image works within the field of cultural heritage.

· To examine the future perspectives and to discuss new directions, collaborations, new technologies of audiovisual production.

The conference will be divided into the following units:
1. Audiovisual medium as exhibits, including digital arts. 2. Film museums, Film archives, Audiovisual archives. 3. Methods and systems of registration, documentation and classification of audiovisual material, including digital arts. 4. The new sound and image technologies as collections management tools, including issues around digital preservation. 5. The audiovisual as promotion and communication vehicle.

5.1. The sound (audio guides, soundtopia, sound as an exhibit) and image technologies as interpretative tools in contemporary museums. 5.2. Multimedia and Internet applications in museum communication. 5.3. Portable devices as promotion, interpretation and communication vehicles.
5.4. The new sound and image technologies and society (special public groups, collaboration with communities, artists, etc). 5.5. The museum as a producer of audiovisual material. 6. New business partnership models for museums to develop a/v production.

EVENTS
1. The Hellenic Broadcasting Corporation (ERT) - General Directorate of Hellenic Television will participate at the conference with a workshop on public radio and television archives in the information society.

2. The conference will be accompanied by a film festival, documentaries, television programs, etc. related to museums and cultural organizations.

3. During the conference, museum audiovisual production companies will present their activities.

PAPERS - LANGUAGES OF THE CONFERENCE
If you wish to participate in the conference with a paper or/and a projection of audiovisual material for museums, please submit an abstract (500 words approx.) including full contact information (name, institutional affiliation if any, mailing address, phone, fax and email) in Greek, English or French at the email address conf2006@ct.aegean.gr.

The duration of each paper will be 20 minutes.

DATES TO REMEMBER
Submission of an abstract of a paper or/and of an audiovisual work by January 30th, 2006.
Acceptance of the abstract by February 28th, 2006. Submission of papers (full text) or/and audiovisual works by April 30th, 2006.
Final submission by May 10th, 2006.

REGISTRATION COST
The conference registration cost is:

Before May 20th, 2006
Participants 200 €
Speakers 150 €
Students * 50 € (* please send a photocopy of your student card)

After May 20th, 2006 and until the day of the conference Participants 230 €
Speakers 180 €
Students * 50 € (* please send a photocopy of your student card)

The registration cost covers:
· Participation in all conference sessions · Printed material of the conference · Conference proceedings in printed or/and electronic form (will be sent to the participants) · Refreshments during the conference intervals · Free entrance in the museums and the archaeological sites of Mytilene during the conference · Attendance of the audiovisual works' festival during the conference · Participation to the welcome reception and the farewell party

ACCOMMODATIONS
Information about hotel accommodations and the optional excursion that will take place after the conference can be found on the website www.aegean.gr/culturaltec/museum/2006.

REGISTRATION PROCESS
1. Please fill out the participation application form and forward it to the email address conf2006@ct.aegean.gr or to (+30) 22510 - 36609 (fax) or to the postal address: Department of Cultural Technology and Communication, University of the Aegean, Harilaou Trikoupi & Faonos, Mytilene 81100, Greece.
2. Payment of registration cost by bank money order. Information about the bank account details can be found on the conference website.

COMMUNICATION AND INFORMATION
For any information regarding the conference and the registration process, please visit the conference website www.aegean.gr/culturaltec/museum/2006
or, alternatively, contact the conference organizing committee, Dr. Alexandra Bounia (conf2006@ct.aegean.gr), or the Hellenic Committee of ICOM, Miss Elena Papadaki, 15, Ag. Asomaton, Athens 105 58, Tel/Fax: (+30)
210-3239414 (icom@otenet.gr), Mrs. Amalia Tsitouri (+30) 210 3304030).

Director of the Harvard Film Archive
Harvard College Library - Fine Arts Library
* Responsible for the administration, development, and promotion of the Harvard Film Archive, including the care, documentation, research, conservation, preservation, and expansion of the film collection, and programming for the Cinematheque.
* Oversees and authorizes collection acquisitions.
* Plans and prioritizes cataloging, conservation and preservation of the collections.
* Works closely and collaboratively with faculty, administration and staff to determine accessibility of the collections to FAS faculty, students, outside researchers and other institutions and to actively encourage and support use of collections.
* Increases awareness and appreciation of the Archive and its collections through educational programs, lectures, teaching, and professional publications and activities.
* Solicits, cultivates and maintains relations with donors.
* Identifies and develops proposals for potential grant and fund-raising opportunities.
* Hires, trains, leads and motivates staff to accomplish Archive’s goals.
* Prepares and manages the annual budget for the HFA.
* Coordinates with academic programs in Visual and Environmental Studies and other university departments.
* May teach one course in film history.
* Reports to the Head of the Fine Arts Library of Harvard College Library.
* Advanced degree in film studies or related field, or equivalent scholarship demonstrated through publication.
* Significant and progressively responsible curatorial experience with film.
* Fiscal management, planning, staff supervision and project management.
* Commitment to fostering appreciation and understanding of film demonstrated through a combination of programming, teaching, lecturing, exhibitions, and publications, and a strong interest in undergraduate education.
* Excellent communication and leadership skills.
* Ability to develop and maintain effective working relationships; problem solve; innovate; collaborate.
Interested parties are invited to apply on-line at http://jobs.harvard.edu, Requisition # 25276.

Harvard University is an Affirmative Action/Equal Opportunity Employer.


The new issue of Scope: An Online Journal of Film Studies - issue 3 (new
series) - has just been published. The table of contents is reproduced below.

All issues of Scope published between 1999 and 2004 are now available in the journal's Archive
(http://www.nottingham.ac.uk/film/scopearchive/index.htm).

SCOPE: AN ONLINE JOURNAL OF FILM STUDIES - Issue 3 (November 2005)
Articles
The Mark of Cain: Blood Simple and The Man Who Wasn't There
Paul Coughlin

Disembodied Stars and the Cultural Meanings of Princess Mononoke's Soundscape
Rayna Denison

Encapsulated Noir: Hybrid Genres and Social Mobility in Alex Proyas' Dark City
Steffen Hantke

Anti-Theatre on Film
Temenuga Trifonova

Book Reviews
Production Design: Architects of the Screen, By Jane Barnwell & Visions of the Apocalypse: Spectacles of Destruction in American Cinema By Wheeler
Winston Dixon
Reviewer: Kevin Hunt

Contemporary World Television, By John Sinclair and Graeme Turner (eds>) & The Television History Book Edited by Michele Hilmes
Reviewer: Dan Leopard

Photography on the Color Line: W.E.B. Du Bois, Race, and Visual Culture,
By Shawn Michelle Smith
Reviewer: David A Gerstner

Generation Multiplex: The Image of Youth in Contemporary American Cinema,
By Timothy Shary
Reviewer: Geoff Lealand

Cultural Sutures: Medicine and Media, By Lester D. Friedman (ed.)
Reviewer: Frances Pheasant-Kelly

The Audience Studies Reader, By Will Brooker and Deborah Jermyn (eds.)
Reviewer: Kerry Gough

Screen Traffic: Movies, Multiplexes, and Global Culture, By Charles R.
Acland & SuburbiaNation: Reading Suburban Landscape in Twentieth-Century American Fiction and Film By Robert Beuka
Reviewer: Sarah Heaton

Simone Signoret. The Star as Cultural Sign, By Susan Hayward & The French
Cinema Book Edited by Michael Temple and Michael Witt
Reviewer: Cristina Johnston

Coming Attractions: Reading American Movie Trailers, By Lisa Kernan
Reviewer: Deborah Allison

Underground U.S.A: Filmmaking Beyond the Hollywood Canon, By Xavier Mendik
and Steven Jay Schneider (eds.) with Foreword by Lloyd Kaufman
Reviewer: Rebecca Feasey

Transatlantic Crossings: British Feature Films in the USA, By Sarah Street
& British Cinema of the 1950s: A Celebration Edited by Ian MacKillop and
Neil Sinyard
Reviewer: Peter Hutchings

Jacking in to the Matrix Franchise: Cultural Reception and Interpretation,
By Matthew Kapell and William G. Doty (eds.) & Superman on the Couch: What Superheroes Really Tell Us About Ourselves and Our Society By Danny Fingeroth
Reviewer: Elizabeth Rosen

The Inquisition in Hollywood: Politics in the Film Community, 1930 to 1960, By Larry Ceplair and Robert Englund & Blacklisted: The Film Lover's Guide to the Hollywood Blacklist By Paul Buhle and Dave Wagner & Joseph Losey (British Film Makers Series) By By Colin Gardner
Reviewer: Graham Barnfield

Film Reviews
Batman Begins
Reviewer: Michael Duffy

3-Iron
Reviewer: Jia Jun

War of the Worlds
Reviewer: Ian London

Kinsey & Secret History: Kinsey's Paedophiles
Reviewer: Jonathan A. Cullum

Madagascar
Reviewer: Jo Eadie

Russkoe [Things Russian]
Reviewer: Andrei Rogatchevski

Conference Reports
MeCCSA and AMPE Joint Annual Conference. 5- 7 January 2005, University of Lincoln
Reporter: Serena Formica

EastEnders 20th Anniversary: Inventing the Modern Soap Conference. 19 February 2005, University of Westminster, London.
Reporter: Charles Jason Lee

The School of Sound Conference. 30 March - 2 April 2005, South Bank Centre, London
Reporter: Roy Perkins

Society for Cinema & Media Studies, March 31 - April 3, 2005, Institute of Education, University of London, UK
Reporter: Rayna Denison & Liza Palmer

Pornography's Not About: On Pornography, Obscenity, & Spectacle, April 7-9, 2005, The University of Western Ontario
Reporter: Gregory Brophy

Senior Lecturer/Reader in Film Studies - School of Modern Languages
Department of Film Studies
£38685-£43850 per annum - [PS094/05]

This position represents a unique opportunity to join the newly established Department of Film Studies and contribute to its consolidation and further development with fresh initiatives. Joining the Department, you will be expected to take on a key role in this dynamic unit within one of the leading UK institutions. The department, which successfully launched a new undergraduate programme of joint degrees in 2005, is expanding its postgraduate provision with a new MLitt degree in Film Studies. The Centre for Film Studies offers a thriving research environment and facilitates exchanges with leading international researchers.

We are seeking a highly motivated and energetic individual, who has a range of organizational skills, as well as commitment to excellence in teaching. You will have a PhD in Film Studies (or a cognate discipline), as well as an internationally recognised reputation and commitment to innovative research in the field that can contribute significantly to the Department’s research culture. Preference may be given to candidates with interests in transnational cinemas, but those with other relevant research interests are also encouraged to apply. Candidates will have advanced administrative competence and, preferably, experience in postgraduate supervision, and they are expected to contribute to the further development of the undergraduate programme.

The post will start on 1 August 2006, or as soon as possible thereafter.

Informal enquiries to the Head of SoML, Prof. Ronnie Ferguson (Tel. +44 (0)1334 463652; email: rgf@st-andrews.ac.uk) or the Chair of the Film Studies Department, Prof. Dina Iordanova (Tel. +44 (0)1334-467-474; email: di1@st-andrews.ac.uk)

Further particulars (click through at
http://www.st-andrews.ac.uk/hr/recruitment/vacancies/vacancy-list/Vacancy.20 05-12-20.5039

Closing date: 17/02/2006
For a paper application form, e-mail: jobline@st-andrews.ac.uk, tel: 01334 462571, fax: 01334 462570. Quote reference PS094/05.

Barbara Goldsmith Conservation and Preservation Department New York University Libraries
Moving Image Preservation Specialist

The Preservation Department of New York University Libraries seeks an energetic individual to manage a three-year, grant-funded project for the Libraries' moving image and sound preservation program. The program comprises a modest suite of activities that begins with appraisal, format identification, condition review, cleaning, re-housing, and preservation remastering for motion picture film, video and sound recordings. The moving image preservation specialist also oversees grant-related projects. S/he directs, trains and supervises full-time and part-time staff to assist in these activities. Moving image materials currently held in New York University Libraries include: 8mm, 16mm, 35mm motion picture film and a mixture of video formats spread across several archives and special collections. An assortment of formats can also be found among the audio collections.

The Moving Image Preservation Specialist assists in the development of preservation goals, objectives, procedures, and policies for moving image and sound materials. S/he evaluates collections to assess preservation needs and collaborates with curators in setting priorities and arranging treatment and processing schedules. The specialist implements standard procedures for handling, examining, describing, and assessing moving image collections; ensures adherence to established access, storage, and handling policies for these materials; manages workflow for media transfers, including preservation remastering operations to meet preservation standards; communicates with vendors for outside services needed; and manages day-to-day activities of an active moving image preservation program. In administering the program, the specialist trains and supervises one full-time staff and two part-time graduate assistants from the Moving Image Archiving and Preservation Program (MIAP), in the NYU Tisch School. The moving image preservation specialist also supervises staff working on grant-related programs for media, as needed, within the Libraries' preservation department.

The Moving Image Preservation Specialist position is a three-year, professional appointment and reports to the head of the Libraries' Barbara Goldsmith Preservation and Conservation Department. NYU Libraries recently established a comprehensive preservation program for motion picture, video and audio collections equipped with two labs designed to facilitate viewing, describing, cleaning, rehousing, and reformatting of moving image materials. Further development within this structure is needed to add an audio lab. The specialist will manage the program and provide leadership as the program continues to develop and continues to mature. The incumbent will assist in grant-writing and grant project initiatives, as needed.

The Moving Image Preservation Specialist will participate in professional organizations and maintain professional memberships and participate in related professional development.

Qualifications: Formal training in motion picture film and video technologies or equivalent experience; experience in moving image archiving and preservation, including knowledge of the recommended practices and guidelines for archival restoration and transfer of moving images; strong organizational skills and demonstrated ability to work independently and productively in a fluid, complex organization and to communicate effectively both verbally and in writing. Degrees in relevant fields (eg. MLS, MA, MFA) desirable. Excellent benefits package. Salary is commensurate with experience. Please send a letter stating your interest in the position and your resume by January 23, 2006, to:

Janet Koztowski
Director, Human Resources
NYU Libraries, 70 Washington Square South
New York, NY 10012.

NYU is an Equal Opportunity/Affirmative Action Employer.

Call for Papers - 2006 German Studies Association Convention
in Pittsburgh, PA September 28-October 1
A panel sponsored by the Organization for Women in German Cinema

Thanks to the discovery and analysis of previously unseen archival materials over the past ten years, scholars of German Cinema have greatly expanded their understanding not only of Weimar Cinema but also of the pre-Caligar period before 1919. In this context, renewed attention has been paid to the roles of women as characters, stars, and spectators. Yet we still have given little account of the important function of women as directors, producers, editors, screenwriters, and critics. The early pre-Weimar period deserves particular consideration as a time of exploration and of experimentation with the gendered division of labor in film production. We are seeking papers that address the contributions of and working conditions for female film workers in the silent and early sound eras. Examples include Fern Andra, Liesl Karstadt, Thea von Harbou, Asta Nielsen, Janet Wolf, Henny Porten, Lotte Reiniger, Leontine Sagan, Leni Riefenstahl, Ruth Goetz, and Luise Fleck, etc. Papers on women writing on film (Emilie Altenloh, Claire Goll, Malwine Rennert, etc.) are also encouraged.

Send one-page abstracts to Sara Hall and Elizabeth Frye sahall@uic.edu and efrye2@uic.edu by January 15, 2006.

IAMHIST member Dina Iordanova will deliver a keynote address at a conference on Migrant and Diasporic Cinema in Contemporary Europe from 6 to 8 July at Lincoln college Oxford
The deadline for the submission of proposals for this conference has been extended to 27 January 2006

CFP: Migrant and Diasporic Cinema in Contemporary Europe An International Conference hosted by Film Studies and the Institute for Historical and Cultural Research, Oxford Brookes University and held at Lincoln College, Oxford, 6 to 8 July 2006

With European cinemas becoming increasingly determined by multi cultural and multi-ethnic presences and themes, critical paradigms which examine these cinemas in terms of their national specificity do not adequately address the shift from the national to the transnational which has occurred in all areas of European cinema during the past twenty-five years. This conference seeks to explore how migrant and diasporic filmmakers have redefined our understanding

of European cinema. By adopting a comparative perspective in our search for the commonalities and specificities between migrant and diasporic cinemas across different European countries, we endeavour to transcend the borders and limitations of an analytical framework that privileges the concept of discrete national cinemas.

Confirmed keynote speakers include:
Professor Hamid Naficy, Rice University, Texas Professor Dina Iordanova, University of St. Andrews Professor Robert Burns, University of Warwick Pawel Pawlikowski, independent filmmaker (Last Resort, My Summer of Love)

The conference is supported by the Arts and Humanities Research Council. It is the first of a series of events organised by a Research Network which contributes to the AHRC Diasporas, Migration and Identities Programme.

Please visit the conference website for further details and a downloadable Call for Papers:

http://ah.brookes.ac.uk/conferences/migrant_cinema

Please send a proposal of 200 - 300 words for a paper of approx. 20 minutes, together with your contact details and a brief biographical note to the following email address: dberghahn@brookes.ac.uk

The deadline has been extended to 27 January 2006. Please mark subject box 'Migrant cinema conference'.

Dr Daniela Berghahn
Principal Lecturer in German and Film Studies Oxford Brookes University
School of Arts and Humanities
Headington Campus
Oxford
OX3 0BP
Tel +44 (0)1865 484141
Fax +44 (0)1865 483791

The Spanish Civil War
The University of Bristol in England will be holding a three day conference on the Spanish Civil War from the 17th to the 19th of July 2006. The Group for War and Culture Studies, run by Helena Scott at the University of Westminster is a film-friendly organization. The deadline for proposals is 31 January 2006.

War without Limits: Spain, 1936-39 and Beyond
10th annual conference of the Group for War and Culture Studies in association with Bristol Institute for Research in the Humanities and Arts, the University of Bristol

The University of Bristol, 17th-19th July 2006
Profoundly Spanish in origin, yet almost immediately internationalised, the Spanish Civil War had a marked impact on the politics and culture of many nations. Considered by many of its generation as the first ideological war, it has become for many since a precursor of the Second World War sometimes subsumed into, or obscured by, this latter in our memory of the period. Yet, its significance continues to be reflected in a variety of cultural representations of the conflict emanating from many different nations and cultures and in its continual pertinence and interest as a subject of historical research.

The aim of this three-day, international conference is to explore the international social, political, military and cultural history of this conflict from 1936 to the present. The organisers therefore welcome proposals for papers on any aspect of the conflict from established scholars or postgraduates working in a range of disciplines including, for example, social, political and cultural history, military history and war studies, intellectual history, cultural memory, literary studies, art history, photography, media studies, film studies.

Keynote speakers: Paul Preston, Helen Graham, Michael Richards, Rémi Skoutelsky

Proposals should not exceed 350 words and should be sent, in English or in French, the two official languages of GWACS, to either of the organisers at the addresses below by 31st January 2006.

Dr Martin Hurcombe,
Department of French,
University of Bristol,
19 Woodland Road,
Bristol,
BS8 1TE.
Tel 0117 9288447
E-mail: M.J.Hurcombe@bristol.ac.uk

Prof Debra Kelly,
School of Social Sciences, Humanities and Languages, University of Westminster,
309 Regent Street,
London, W1B 2UW
E-mail: kellyd@westminster.ac.uk

Film Screening: Between the Lines
December 14 2005, 4:00 p.m. - 6:00 p.m.

Since the first brick was laid to build the Berlin Wall in 1961, hundreds of East Germans lost their lives in search of political freedom and economic prosperity at the border. For East German politicians, the escapees were mere criminals attempting to disrupt a nations will to "protect" its boundaries. In contrast, in West Germany, every escapee was a survivor who left behind a political regime which imprisoned its people behind concrete walls and psychological fences. The essence of this tragedy is in the true story of two guards, Ulrich Steinhauer and Egon Bunge. In November 1980, Bunge decided to carry out his own plan of escape, and in the process killed Corporal Steinhauer, his official partner at the gate. Director Dirk Simon has carried this tale with him for years, ever since visiting the two soldiers home base as a boy. And for Simon its not an easy story to tell, the gray issues faced by border militia on the question of liberty far outnumbering the black and white.

RSVP Required at coldwar@wilsoncenter.org or via the CWIHP website at www.cwihp.org

TV ENGINEER (ASSET ENGINEER)
NATURE OF WORK: Under the direction of the Manager, TV Engineering & Operations, performs duties encompassing a variety of complex and specialized duties of a technical nature. These include operation and maintenance of television broadcast and production equipment, maintaining and enhancing storage procedures for a physical media library, setting archival standards for the storage, cataloguing and retrieval of digital content files. Responsible for organizing and maintaining a functional media library at Milwaukee Public Television stations WMVS-TV/DT & WMVT-TV/DT. Responsible for maintaining the flow of production, broadcast and related media. Participates in planning for new media asset management systems, working with technologists, engineering and other appropriate staff to research and develop asset management systems based on both physical and electronic storage needs.

PRINCIPAL DUTIES AND RESPONSIBILITIES: (Duties listed may vary in terms of relative importance and others may be added or eliminated as this position develops. Duties with a circle before the number are essential functions as defined by ADA).

1. View/search current and archival videotape material, make catalog decisions concerning the material and enter into appropriate databases. Designate manner by which data enters the metadata system and resolve issues of data storage. Set data base entry standards and guidelines.
2. Search, deliver and retrieve media to and from internal and external clients. Catalog and shelve media in MPTV media library. Establish and maintain a checkout procedure and tracking system for media.
3. Maintain MPTV media library as an organized system for all broadcast, production and program videotapes, CDs, DVDs, audio cassettes, promotion and related assets. Define appropriate stock levels for new and recycled physical media. Initiate timely recording of media.
4. Ingest programming into servers and operates asset automation and related MPTV systems. 5. Prepare and maintain necessary logs and records.
6. Track and share with internal clients emerging trends in digital media storage, indexing, retrieval and dissemination.
7. Operate automated and manual television broadcast equipment to include: Computer based multi-channel automated play out and record systems, master control switchers, digital video/audio servers, digital tape recorders, satellite receiver systems, digital encoders, broadcast transmitter remote control systems, and related computer interfaces.
8. Ensure that assets kept are preserved and migrated
9. Directs, instructs, or assists students in equipment setup and operations.
10. Performs other related duties as assigned.

QUALIFICATIONS: Requires a Bachelors Degree in Library Science, MLS or MIS preferred. Certificate or other training in video preservation desirable. Four (4) years work experience working in archives containing television, film or digital video media; or other equivalent combination of experience and training which provides the necessary knowledge skills and abilities to include the following:

1. Advanced working knowledge of video/audio cataloging principles and techniques using modern media systems.
2. A MLS (Masters of Library Science) degree or at least 4 years library science or media management experience is preferred. Certification by the Academy of Certified Archivists (ACA) preferred.
3. Demonstrated computer literacy required. An emphasis on Computer Science coursework preferred.
4. Knowledge of and ability to maintain all appropriate technical standards throughout the media manipulation process.
5. Ability to establish and maintain effective working relationships with producers, staff, students, and the general public.
6. Excellent ability to communicate through both oral and written means.
7. Completion of specialized manufacturers' training on media asset systems such as Artesia Teams and other broadcast equipment is desirable.
8. Experience with functions required for video archiving, inventory and preservation, including maintenance of inventory or project work preferred.
9. Knowledge of established and emerging metadata standards for audio visual materials (Dublin Core, SMIL, MPEG-7, METS)
10. Familiarity with SGML/XML required
11. Knowledge of current audio visual cataloging standards necessary

This description has been prepared to assist in evaluating various classes of responsibilities, skills and working conditions. It indicates the kinds of tasks and levels of work difficulty required of positions given this classification. It is not intended to limit or modify the right of any supervisor to assign, direct, and control the work of employees under supervision. The use of a particular expression or illustration describing duties shall not be held to exclude other duties not mentioned that are of similar kind or level of difficulty.

HIRING RANGE: $21.19 - $27.74 per hour
HOURS: P.M. Shift (Flexible hours 1:00 – 9:00 p.m.)
APPLICATION: To be considered for this position, an MATC application form must be completed and returned to the Office of Human Resources. Review of applications will begin on December 21, 2005. Resumes and letters of application will not be accepted in lieu of an official MATC application form.

Librarian I, DC Library - Turner Broadcasting
United States - District of Columbia - Washington
Full Time

Qualifications: MLS from an ALA-accredited university required; at least one year of professional experience desired; experience and interest in a news library environment; highly-motivated individual with a propensity towards working independently and under deadline pressure; excellent online searching skills with a particular proficiency with Lexis-Nexis, Factiva, and the Internet; prior television production experience or background concentrating heavily on video and experience with digital archives desired. May involve some evening and weekend hours.

Duties: The CNN DC library functions as both a research center and video archive, making the news librarian position extremely diverse and exciting. The primary role of news librarian is to support the research and video needs of the editors, producers, and journalists of the CNN DC bureau. Responsibilities include performing video research using the in-house database system to find sound and visual elements for reporters, producers, and editors. The News Librarian also conducts information research to find facts, opinions, analysis, excerpts and articles using Lexis-Nexis, Factiva, the Internet and traditional reference materials in support of news production. Processes, catalogs, and assigns appropriate indexing terms to cut and raw video generated by the news production team. Participates in various library projects to improve video archive and research services that include but are not limited to, tape selection, maintaining the accuracy and consistency of the thesaurus, prepping materials for off-site storage, intern supervising, intranet web page design and creation, tape circulation, development of internet training classes, and print and serial collection maintenance. Apply online at www.timewarner.com and enter Requisition number - 50340BR. All questions should be directed to Rick Denius, rick.denius@turner.com  
Turner Broadcasting System, Inc. and its subsidiaries are Equal Opportunity Employers

MOTION PICTURE DEPARTMENT
CURATORIAL ASSISTANT FOR SPECIAL PROJECTS

The Curatorial Assistant supports the Motion Picture Department in the performance of administrative activities and special projects, including processing routine administrative correspondence and coordinating the Curator’s daily appointment calendar. Secondary duties include but are not limited to assisting in the overall management of the collections in such tasks as inventorying and processing moving image and photographic materials, posters and other artifacts in the department’s collections; the management of the collection storage vaults, including the nitrate collection stored near Rochester in the Louis B. Mayer Conservation Center, Chili, N.Y.; assisting in the exhibition, projection and presentation of motion pictures and other activities in the Dryden Theatre; coordinating and maintaining the inventory of equipment and supplies required for processing and maintaining the collections; the retrieval, inspection, repair and shipping of film and non-film materials; assisting in the routine maintenance of the department’s equipment and facilities; assisting and instructing students, interns, volunteers. Additional tasks may be assigned as necessary. Depending on duties assigned the Curatorial Assistant reports to the Curator, Assistant Curator, and other designated staff members.

Those wishing to apply should send a letter of intent, their curriculum vitae and two separately mailed letters of recommendation to:

Patrick Loughney, Curator
Motion Picture Department
George Eastman House
900 East Ave.
Rochester, N.Y. 14607

Applications must be received by January 31, 2006. George Eastman House is an equal opportunity employer.

Senior University Lecturer (Associate Professor) in Television and Popular Culture
for 1.0 fte (38 hours p/w)
vacancy number 05-3049
For both internal and external candidates
 
The Television and Popular Culture teaching team includes specialists in television, popular culture and media history; their research is characterised by a combination of engagement with and criticism of the medium. Subjects of study include both traditional fiction and non-fiction genres and hybrid forms of information, entertainment and culture. The programme includes modules relating to the theory, history and technology of television, as well as analysis of content, context and audience. The team cooperates closely on teaching and curriculum development.

Candidates for this position will be expected to be familiar with a wide variety of theoretical approaches within the humanities, including cultural studies, visual analysis, television history, genre theory and qualitative audience research. In addition, the senior lecturer should preferably be interested in issues like media policy and broadcast politics. Since the Senior university lecturer will be in charge of coordinating the Television and Popular Culture teaching team, candidates need to have proven management qualities and leadership skills.

Requirements
• PhD, preferably in the field of television studies, visual culture or media theory.
• at least five years of teaching experience, preferably at various levels of university education; an interest in new methods of teaching (especially the use of audio-visual digital technology and electronic learning environments)
• outstanding research skills, demonstrated by publications in international refereed academic journals and academic publishers
• fundraising experience, e.g. acquisition of research projects through government agencies or the private sector
• experience in supervising PhD research
• proven leadership qualities; experience in administration, organisation and coordination of university education and research
• enthusiasm and an interdisciplinary attitude; a strong team spirit; ability to motivate team members
• sound knowledge of ICT developments in the field
• flexibility, readiness to participate in interdisciplinary cooperation and multidisciplinary development
• the ability to operate in an international environment and strong ties with international academic networks
• excellent command of both Dutch and English; preferably international teaching experience. If Dutch is not the native language, an active and passive command of it must be acquired within two years of appointment.

More information
For further information, please contact Professor José van Dijck, Chair of the Department of Media Studies, telephone +31 (0) 20 525 2980, e-mail j.vandijck@uva.nl.
Appointment
 
This is a tenure track appointment, which means that the initial appointment will be two years. Depending on teaching evaluations and professional assessment, tenure may be granted after two years. Gross monthly salary for a fulltime appointment (38 hours a week) will be between € 4,100 (scale 13) and € 5,489 (scale 14).

Job application
 An application letter and full resume must be submitted before 3 January 2006 to the Universiteit van Amsterdam, to the attention of drs. Leo van Ruijven, Director of the Faculty of Humanities, Spuistraat 210, 1012 VT Amsterdam, The Netherlands. Please mark the job reference number (05-3049) on the top left corner of the envelope.

Alternatively, applications may be e-mailed to ‘solliciteren2005-FGW@uva.nl’.

For more details please visit The Universiteit van Amsterdam website

Cinema in Context conference - Amsterdam 20-21 April 2006
The international conference "Cinema in Context: sharing histories of moviegoing" will take place at the University of Amsterdam, 20-21 April 2006. The conference is closely linked to the HOMER workshop, preceding it on 19 April 2006. The aim of the conference is to discuss the current state of research in the history of moviegoing and film exhibition.

It is time to reflect on that research, its strengths and weaknesses. The growing number of case studies in local film history increases the need for comparative studies of cities, regions, and nations. The relationship between micro history and macro history has become a major challenge. The analysis of patterns and networks in film culture calls for special attention to methodology. How do we make sense of the expanding universe of digital information? Clearly, sharing data on the web is a major step towards sharing histories of film exhibition and moviegoing. At the same time, the growth in new databases has made the need for standards in data exchange much more pressing.

The conference will focus on questions, methods, tools, and digital data. It will present interesting examples of historical research, but requires that a broader perspective on sharing questions, methods and data is central to all contributions. The programme committee is asked to cover the main issues in five panels. Keynote speakers are invited to cast their net as wide as possible. Finally, the conference will also celebrate the launch of the Cinema in Context website, a research tool for the history of film culture in the Netherlands.

Please send your proposal for a contribution to the chair of the programme committee before 1 January 2006: Karel Dibbets k.dibbets@uva.nl

The conference organization will do its best to support participants who are not in a position to finance their visit to the conference.

Karel Dibbets
Universiteit van Amsterdam
k.dibbets@uva.nl

Herkimer County Community College
Herkimer County Community College is inviting submissions of papers or multimedia presentations from scholars of all disciplines to be presented at a conference entitled Chester, Grace and Dreiser: The Birth of An American Tragedy on June 22-24, 2006. This conference will be part of a series of events that will mark the 100th anniversary year of the murder of Grace Brown by Chester Gillette, the sensational 1906 case that became the inspiration for Theodore Dreiser's classic novel An American Tragedy as well as the 1931 film An American Tragedy directed by Josef von Sternberg and the classic award winning 1951 film A Place in the Sun and the Tobias Picker Opera An American Tragedy, debuting in December 2006.

The Conference will take place in Herkimer, NY, the village where the 1906 murder trial was held. All topics for presentations will be considered however, of especial interest will be papers exploring such questions as the following: Why did the Gillette case become such a good basis for a novel and movies? Why has the Gillette murder case, and its fictional adaptations, held the public's interest for nearly a century? Why did the Gillette murder trial in particular, and other famous American trials in general, become such media sensations? Would Chester Gillette/Clyde Griffiths/George Eastman still be convicted in today's society and a modern court of law? How did fact evolve into fiction and the different versions of the story evolve over time? Prospective panelists should submit a proposal or completed paper to be presented in no more than twenty minutes, together with curriculum vitae, to the address below by December 31, 2005. Email submissions are welcome.

Jeffrey Steele
Instructor of History and Social Science Herkimer County Community College 100 Reservoir Road Herkimer, NY 13350 Fax: (315) 866-7253
Email: steelejs@herkimer.edu

Notes: Herkimer, NY is located on exit 30 of the New York State Thruway (I-90), roughly midway between the cities of Albany and Syracuse. It is also within driving distance of many other locations related to the Gillette case such as Cortland, South Otselic, Big Moose Lake and Auburn. Conference details are currently being finalized and will be posted on the website of the International Theodore Dreiser Society, http://www.uncw.edu/dreiser/ . Specifics on fees, meals, housing, and transportation options will be forthcoming shortly. For the most up to date conference information contact HCCC's Office of Community Education at (315)866-0300 ext. 8251 or communityed@herkimer.edu.

National Film and Sound Archive staff rescue 65,000 treasures from freak hail storm in Canberra
Tuesday 29 November 2005: Responding to an emergency alarm system, a team of 17 people saved more than 65,000 photographs and scripts from damage at the National Film and Sound Archive in the aftermath of a major hail storm in Canberra last Saturday, 26 November.

“Thanks to the prompt action of staff, no collection items were lost,” said the NFSA’s Director, Paolo Cherchi Usai. “Of the 2000 or so items needing attention from our conservators as a result of the storm, we estimate that only around 200 will require intensive conservation treatment to restore them to the collection.”

The massive quantity of hail that fell over a very short period blocked the downpipes of an NFSA storage building in the suburb of Mitchell. With the gutters then unable to cope with the heavy rain, water ran back under the eaves of the warehouse into the facility. Most of the water penetration occurred in sections of the area housing documents and photographs.

The NFSA’s Disaster Recovery Plan was immediately implemented. Within two hours, a rescue team had intervened to remove the boxes containing the collection items from the area affected by the storm and gave immediate treatment to the artefacts.

“The recovery team has done a fantastic job under very unusual and challenging circumstances”, said Cherchi Usai. “Their dedication and effectiveness makes me feel confident about the integrity of the national audiovisual collection, and proud of working with such an expert team.”

The National Film and Sound Archive has a collection of over 1.3 million items. Almost half of them are precious posters, scripts and photographs which document the history of moving image and recorded sound in Australia and abroad.

“In qualitative terms”, said Cherchi Usai, “the storage facilities of the NFSA rate very highly in the archival and museum field. The fact that the alarm systems prompted staff to intervene immediately proves that our security procedures are quite effective even under the freakish circumstances of the hail storm that hit the Mitchell area of Canberra.”

No structural damage was suffered by the Mitchell vaults because of the storm. While the NFSA conservation team is at work on the restoration of the affected items, operations in the storage facility are expected to return to normal within days.

Media Enquiries: Carolyn Grant, Avviso PR for the AFC (02) 9368 7277 carolyng@avviso.com.au 0407 898 727

Toofy Film Fest 2006 - Boulder, CO
Location: Colorado
Date: 2006-07-01
Description: The Toofy Film Fest 2006 is now accepting international film submissions including animations, narratives, music videos, documentaries and more. The Toofy Film Fest 2006 is also apart of the Withoutabox network making the submission process quicker and easier. For more information, visit http://www <http://www/
Contact: submissions@toofy.com
URL: www.toofy.com

Cinema Studies' Historical Turn: The Influence and Implications of Early Cinema
Graduate Conference on Cinema
Conference Date: Saturday April 1, 2006, University of Chicago Keynote Address: Jennifer Bean, University of Washington
DEADLINE FOR ABSTRACTS: December 15, 2005

Cinema Studies' Historical Turn: The Influence and Implications of Early Cinema will be the third Graduate Cinema Conference at the University of Chicago, a one-day event that will bring together new work being done by graduate students on cinema history and historiography. Since the late 1970s, the scholarly study of early cinema history has revolutionized the field of cinema studies and led to the critical reassessment of many long-held assumptions about film history. Today, the way scholars approach the beginnings of cinema history largely determines how they view the broader implications of film history, theory, and practice. Nevertheless, as a recent issue of Cinema Journal (Winter 2005) has pointed out, historical research only figures as approximately twenty percent of the work being done in the field. If those numbers are indicative of the interests of a newer generation of film scholars, the so-called "historical turn" in cinema studies has only made a partial revolution. In order for it to come full circle, those working on issues of historiography must continue to confront the important questions of why and, more importantly, how we ought to study film history, particularly in light of previous work done on early cinema.

A central goal of the conference is to provide a forum for graduate students who are exploring questions about early cinema's status in film history, theory, and practice and, more broadly, the historiographic issues that such questions raise for cinema studies as a whole. Early cinema continues to offer scholars a framework both for conducting historical research and for engaging with fundamental concerns about the nature of the medium-concerns relevant both at cinema's inception and in its historical transformations. Early cinema was, for example, the first global cinema: it was produced and distributed around the world, and the influence and implications of its circulation still raise relevant questions for today's media histories and practices. Additionally, early cinema has itself become inspiration for more recent films such as Guy Maddin's Archangel and Bill Morrison's Decasia. While such historically-inflected productions have roots in the experimental work of a prior generation of filmmakers (e.g. Hollis Frampton, Ernie Gehr, Ken Jacobs), they also emerge from and are indebted to cinema studies' historical turn. The ways in which they reflect upon the historicity of film raise significant questions for cinema studies, particularly now in the 21st century when the future of the medium is an open and pressing issue.

We welcome papers from graduate students that explore historiographic questions specifically in relation to the study of early cinema. In particular, we are interested in proposals pertaining to the following areas:

* early cinema's historiographical impact on the development of the discipline of cinema and media studies

* how the methodologies developed for the study of early cinema might be applied to different historical contexts and to other critical and theoretical questions (e.g. approaches to genre, gender, class, or race; intermedial genealogies; intersections with modernity; aesthetic histories)

* conceptual frameworks for exploring the international character of early cinema in relation to later global media cultures

* perspectives on what early cinema history might teach us about the present and future possibilities of the medium, particularly as it pertains to more recent cinematic practices (e.g. Guy Maddin and Bill Morrison; digital, experimental, and post-classical filmmaking, etc.)


The keynote speaker for the conference will be Jennifer Bean, Assistant Professor of Cinema Studies, Comparative Literature, and Women's Studies at the University of Washington. She is editor, with Diane Negra, of A Feminist Reader in Early Cinema (Duke University Press, 2002) and is currently completing a book titled Bodies in Shock: Gender, Genre, and the Cinema of Modernity, 1912-1924.

The deadline for abstracts (300-400 words) is December 15, 2005. Please e-mail all abstracts to cine-media@uchicago.edu with "Conference Abstract" in the subject heading.

Limited financial assistance for travel may be available for international students.

For more information, contact Sarah Keller: skeller@uchicago.edu; or Joshua Yumibe: jyumibe@uchicago.edu.

“Fair Use? Here’s another attempt at describing what it is and how it works…"
Thought some on the list would be interested in this document:
Documentary Filmmakers' Statement of Best Practices in Fair Use
http://www.centerforsocialmedia.org/fairuse.htm

Heather M. Wagner
Audiovisual Specialist
Hoover Institution Archives

History of Australian television conference 8-10 December
2005 at the Powerhouse Museum and UTS

Begins: 2005-12-08
Description: UTS and the Powerhouse Museum are holding a three-day conference exploring the histories of television in Australia. This conference is associated with the Australian Television History Project (UTS) and sets the scene for the forthcoming Powerhouse Museum exhibition on the history of Australian tel...

Contact: allison.cadzow@uts.edu.au
URL: www.transforming.cultures.uts.edu.au/news_events/index.html#tvhistories
Announcement ID: 148603
http://www.h-net.org/announce/show.cgi?ID=148603


2006-2007 FELLOWSHIPS
Charles Warren Center for Studies in American History
Cultural Reverberations of Modern War

The Charles Warren Center invites applications from scholars of the arts, ethnic and gender studies, and history, to participate in a workshop considering the relevance of modern war to American culture and artistic expression. When the state declares others enemies, what happens to national self-understanding and artistic motivation? How does international conflict realign Americans' cultural interactions with other nations? The period from the 1890s to the 1950s will provide a focus for these questions. This era saw the most massive destruction of human lives by state intention in human history. Yet it was also a time of unprecedented technological advance, absorbing the impact of telephone, cinema and photograph, radio and television, automobile and airplane. It witnessed exceptional cultural dynamism and innovation amidst acute apprehension and despair.

Fellows participate in a seminar led by Nancy Cott (History) and Carol Oja (Music), presenting their own work and discussing that of invited speakers. Applicants may not be degree candidates and should have a Ph.D. or equivalent degree. Fellows are University members with library access, and receive a private office which they must use for at least the 9-month academic year. Stipends are individually determined in accordance with the needs of each fellow and the Center's resources. Applications are due in the Center by January 15, 2006; decisions will be announced in early March. Obtain an application from the Center (Emerson 403, Harvard University, Cambridge, MA 02138) or from our web site.

Phone: 617.495.3591
Fax: 617.496.2111
cwc@fas.harvard.edu
www.fas.harvard.edu/~cwc

The National Baseball Hall of Fame invites graduate students interested in pursuing an archival career and enrolled in an Archival, Library and Information Science, or Film Preservation program to apply for an internship in the recorded media archiveThe National Baseball Hall of Fame invites graduate students interested in pursuing an archival career and enrolled in an Archival, Library and Information Science, or Film Preservation program to apply for an internship in the recorded media archive. The Recorded Media Archive collects and preserves motion picture and recorded sound materials related to the history of baseball. Possible intern projects could include original cataloging of materials, archival video and audio transfering, and the processing of oral history materials.

The ten-week paid internship program begins in June and ends in August. For a full description of the program, other internship departments and to apply online, visit the Hall of Fame's website, baseballhalloffame.org. You may also submit a cover letter and resume to: Melissa Marietta, National Baseball Hall of Fame, 25 Main St, Cooperstown, NY 13326.

The deadline is January 31, 2006.

CFP: 2006 Film and Literature Conference at FSU, Extension of Deadline to Nov. 1
From: filmlitconference@lists.fsu.edu
31st Annual Film and Literature Conference at Florida State University Documenting Trauma, Documenting Terror February 2-5, 2006 Call for Papers - Deadline Extended to November 1, 2005

As terms denoting psychological states, "trauma" and "terror" each mark limits of expression. Representations of the traumatic past may just as easily repeat or act out an injury as resolve or work through it. Terror's present is famously blind, unthinking, sublime. Each of these terms thus suggests a failure of representation. Yet both trauma and terror have become central to the political discussions that chart our future, discussions that often aim to solidify and make actionable the difference between perpetrators and victims, terrorists and the terrorized, inhuman atrocity and justifiable retribution.

What does it mean to document trauma or terror under such historical conditions? How might attempts to work through traumas be distinguished from the act of compulsively repeating them? Can the two ever be fully distinguished? These questions have long been central to considerations of how filmmakers, writers, and artists document the Holocaust. They have been important to investigations of U.S. racism, from the Middle Passage and Indian Removal, through lynching campaigns and the internment of Japanese Americans, to more recent hate crimes. Questions about what it means to document trauma are also increasingly germane to representations of September 11, 2001. The 2006 FSU Film and Literature conference will extend these inquiries and look beyond them to considerations of many traumas and terrors.

We hope the conference will also discuss the comparative field generated by "trauma" and "terror" as rubrics. Is it appropriate to see all traumas as comparable, as posing similar ethical challenges of documentation? Or do holocausts, lynchings, genocides, and hate crimes demand different explanatory frames? Are particular procedures necessary to represent an event as a trauma or an act of terror? If so, what are they? Do they differ in visual and verbal media? Do forms characterized as fiction employ different procedures from those characterized as nonfiction? In what ways and to what ends have filmmakers, playwrights, novelists, poets, journalists, and other documenters distinguished the perpetrators from victims and bystanders? How and with what consequences have they challenged or undermined those distinctions?

Finally, the conference will consider the role the act of documenting plays in making traumatic histories possible. In what ways have assertions of the "way things are"--whether they represent traumas or not--contributed to unfolding horrors? We imagine a wide range of discussion from considerations of the figure of "the terrorist" in recent U.S. films and newspapers, to inquiries into the German and American propaganda films of World War II.

Keynote Speakers
Dominick LaCapra is Professor of History and Bowmar Professor of Human Studies and Comparative Literature at Cornell University. LaCapra is the recipient of various awards, including the 2001 Dactyl Foundation Award for Aesthetic Theory. His books include: History, Politics, and the Novel (1987); Representing the Holocaust: History, Theory, Trauma(1994); History and Memory after Auschwitz (1998); Writing History, Writing Trauma (2001), and most recently, History in Transit: Experience, Identity, Critical Theory (2004).

Brian Winston, is a Pro-Vice Chancellor (Vice-President) at the University of Lincoln. As an active journalist, documentary filmmaker, and writer, he worked as a producer/director at Granada Television and BBC-TV in the 1960s and 1970s. In 1985, he won a U.S. prime-time Emmy for documentary scriptwriting (at WNET, New York). His books include: Media Technology and Society (1998); Lies, Damn Lies, and Documentaries (2000); and Messages: Free Expression, Media, and the West from Gutenburg to Google (forthcoming, October 2005).

Janet Walker is Professor of Film Studies at the University of California, Santa Barbara where she is also affiliated with the Women's Studies Program. She is the recipient of various awards, including a 2001 Distinguished Teaching Award from UCSB and a recent grant from the California Council for the Humanities to make a series of experimental video portraits of local Holocaust survivors and refugees. Her edited and authored books include: Feminism and Documentary, editor with Diane Waldman (1999); Westerns: Films through History (2001); and most recently, Trauma Cinema: Documenting Incest and the Holocaust (2005).

Keith A. Beauchamp is a filmmaker who has dedicated 10 years of his life to telling the story of Emmett Till, the 14-year-old black boy brutally slain in Mississippi in the summer of 1955. His self-financed documentary is entitled The Untold Story of Emmett Louis Till. Beauchamp studied Criminal Justice and Civil Rights at Southern University (Baton Rouge, LA) and then moved to New York to become a filmmaker. He has worked in music video production with Big Baby Films and is founder of Till Freedom Comes Productions (TFCP), which is devoted producing, developing and distributing high quality entertainment that is both socially significant and educational.

The deadline for conference panel proposals and abstracts is November 1, 2005.

For further updates, please visit our website at http://english3.fsu.edu/~filmlit2006

Conference Organizers:
Caroline "Kay" Picart (English), Mark Garrett Cooper (English), and Frank P. Tomasulo (Film School)

NOMINATIONS for the 2006 ARSC AWARDS FOR EXCELLENCE
You are invited to propose candidates for the 2006 ARSC Awards for Excellence in Historical Recorded Sound Research. Nominations may be made by anyone, ARSC member or not. The deadline for nominations is January 31, 2006.

Eligible publications include any original printed work -- book, monograph, article, liner notes, etc. -- first published during 2005. The work may treat any subject related to recorded sound, but must embody the highest research standards. It should deal primarily with historical subjects, pertaining to periods at least ten years prior to the year of publication, with the exception of works related to modern preservation or playback technology.

The ARSC Awards typically recognize histories, discographies, or biographies representing the "Best Research" in these recording genres: Blues or Gospel Music; Classical Music; Country Music; Folk or Ethnic Music; Jazz; Popular Music; Rock, Rhythm & Blues, or Soul; and Spoken Word. Additional categories include: General Research in Recorded Sound; Record Labels or Manufacturers; Phonographs; and Preservation or Reproduction of Recorded Sound.

The Awards Committee especially welcomes information concerning eligible journal articles, as well as foreign and small-press publications that might otherwise be overlooked.

NOMINATIONS for the ARSC LIFETIME ACHIEVEMENT and DISTINGUISHED SERVICE AWARDS
The ARSC Lifetime Achievement Award is presented annually to an individual, in recognition of a life's work in research and publication.

The ARSC Award for Distinguished Service to Historic Recordings honors a person who has made outstanding contributions to the field, outside of published works or discographic research.

Nominations for either of these awards must be received by January 31, 2006.

SUBMISSIONS
Nominations for the ARSC Awards for Excellence must include the name of each nominee, together with the names of co-authors, the publication title, and the publisher's name and address. Please submit nominations to:

Robert Iannapollo
Sibley Music Library
Eastman School of Music
27 Gibbs St.
Rochester, NY 14604-2504

riannapollo@esm.rochester.edu

2006 ARSC AWARDS COMMITTEE
Robert Iannapollo (Awards Committee Co-Chair) Roberta Freund Schwartz (Awards Committee Co-chair) Brenda Nelson-Strauss (ARSC President) James Farrington (Book Review Editor, ARSC Journal) David Hamilton (Classical Music Judge) Kip Lornell (Judge-at-Large) Dan Morgenstern (Jazz Music Judge) William L. Schurk (Popular Music Judge) Richard Spottswood (Judge-At-Large)

Additional information about ARSC, including a list of past ARSC Award Winners, may be found at www.arsc-audio.org .

Into the Light: Photography in 19th Century Ireland
Institute of Art, Design & Technology, Dun Laoghaire, Wednesday 2nd November 2005
(Though not strictly speaking relevant to either Film, Radio, or Television, this conference on photography in 19th century Ireland may be of interest to IAMHIST members.)

IADT is please to announce that it will be holding a one day conference on the history of photography in 19th century Ireland on Wednesday the 2nd of November 2005. The conference will bring together academics and professionals from across Ireland to look at the role of photography in 19th century Ireland and the speakers cover a range of disciplines from the history of photography, art history, sociology, modern Irish history and cultural geography. This is the first conference to take place in Ireland to specifically examine the history of Irish photography and will be of interest to professionals working in the field of museums libraries and archives as well as the history and visual culture of Ireland in the 19th Century.

The conference will feature two guest speakers; Professor Graham Smith, Professor of Art History, University of St. Andrews and editor of the History of Photography Journal and Dr. James R. Ryan, Lecturer in Cultural Geography at the University of Leicester and author of 'Picturing Empire: Photography and the Visualisation of the British Empire', Reaktion Books, 1997

Registration information for the conference together with travel and accommodation listings and a conference programme are available on the Events Bulletin of the IADT website www.iadt.ie . Places at the conference are limited and we encourage all those interested in attending to register well before the closing date of 25th October 2005 to avoid and disappointment. Registration forms should be sent to:

Roisin Doyle
Development Office
Carriglea Building
Institute of Art, Design & Technology
Kill Avenue
Dun Laoghaire
Co. Dublin

For more information please contact the conference organiser; Justin Carville, justin.carville@iadt.ie

Dr. Justin Carville
Historical & Theoretical Studies in Photography School of Creative Arts Institute of Art, Design & Technology Kill Avenue Dun Laoghaire Co. Dublin Ireland

Email: justin.carville@iadt.ie
phone: 01+2144937

THE WORKING LIFE - CALL FOR PAPERS
Seventh Annual Northeast Historic Film Summer Film Symposium Thursday, July 20 - Saturday, July 22, 2006

Working life and moving images are at the heart of Northeast Historic Film (NHF). In 1985, NHF co-founders David Weiss and Karan Sheldon restored Alfred Ames' 1930 amateur film From Stump to Ship for the University of Maine. Ames, president of a lumber company, had documented the twilight of the long lumber industry in the state. Weiss and Sheldon brought Ames' 16mm film back to life for audiences throughout New England. In 1986, they founded Northeast Historic Film and began collecting a wide range of amateur, documentary, personal and industrial films that captured images of work and everyday life of people in New England.

Today, NHF houses over six million feet of film and holds an international reputation as a regional archive at the forefront of collecting, preserving and studying moving image heritage. To celebrate the 20th Anniversary of NHF and the legacy of From Stump to Ship, the theme of the Seventh Annual Summer Film Symposium is "The Working Life."

We invite papers and presentations that explore the working life as a subject of amateur and non-commercial film. We are interested in moving images that offer us a new historical, cultural, and critical understanding of work since the late 19th century.

By examining moving images of the working life made by amateurs and for noncommercial purposes the aim of this symposium is to consider the details, diversity and perspectives on work that often escape recognition in mainstream media representations. Potential paper topics might include, but are not limited to subjects such as:

Blue collars, white collars; Factory life; Labor history; Leisure as
work; Work as leisure; Time and motion studies; Sweatshops; Unions;
Value of work; Industrial Ruins; Fairs and exhibitions; Migrant Work;
Farming; Consumption; Trade shows; Techniques and skills; Mechanization;
Labor at sea; Riots; WPA film projects; Production lines; Protests;
Uprisings; Fraternal Organizations; Hierarchy and difference

The NHF Summer Film Symposium is a multi-disciplinary gathering devoted to the history, theory, and preservation of moving images. The Symposium is noted for bringing together archivists, scholars, and artists in an intimate
setting. NHF is located in Bucksport, a town of 5,000 on the coast of Maine (for more info on NHF, please visit: http://www.oldfilm.org

Presenters have a full hour in which to deliver their paper and engage in discussion with their colleagues. Typically, presentations are 30 minutes, including moving images, and followed by 30 minutes of discussion. The symposium is open to archivists, artists and scholars from all disciplines.

NHF houses a 125-seat cinema with 35mm, 16mm, videotape, and DVD projection, and we are looking for presentations that include interesting moving images.

Please send 250-500 word abstracts outlining your paper ideas to the symposium organizers at the address below. We prefer e-mail submissions, but will accept any format. We are happy to discuss your presentation ideas with you in advance of a formal submission. The Symposium Program Committee will begin reviewing proposals on February 15, 2006. Please send proposals and inquiries to:

Mark Neumann, Associate Professor
mneumann@cas.usf.edu

Janna Jones, Associate Professor
jjones1@cas.usf.edu

Department of Communication, CIS 1040
University of South Florida
Tampa, FL 33620-7800 USA

The National Film Preservation Foundation Announce Grants
The National Film Preservation Foundation announced today grants to 18 archives, museums, and universities to save historically and culturally significant American films not preserved by commercial interests. Among the grant-winning projects are the only known film of George Balanchine’s Don Quixote (1965), with the choreographer himself in the title role and Suzanne Farrell as Dulcinea; a nitrate short documenting Illinois Day at the 1933 Chicago World’s Fair; home movies of the 1959 and 1960 Jubilees for Tupperware regional distributors; Trip to New Orleans (1936) filmed by a steamboat captain as he traveled down the Mississippi; and avant-garde works by Red Grooms, Dorothy Wiley, Ken Jacobs, and Jack Smith.

Among the other motion pictures slated for preservation are home movies of the 1953 Soap Box Derby in Augusta, Georgia; aviation films (1929-38) by aircraft innovator Lewis Reisner; Black Moderates and Black Militants (1969), Cicero March (1966), and The People’s Right to Know: Police Versus Reporters (1969) by the Film Group of Chicago; test footage of Arthur Piver’s pioneering multi-hull sailboats (early 1960s), two Appalachia documentaries from the early 1970s by Appalshop, and two silent-era shorts The Professor=92s Painless Cure (1915) and The Chalk Line (1916).

The grants distribute federal funds authorized by The National Film Preservation Foundation Act of 1996 and secured through the Library of Congress, as well as preservation services contributed by public-spirited laboratories and postproduction houses. Since starting operations in 1997, the NFPF has provided preservation support to American archives, libraries, museums, and universities across 37 states, the District of Columbia, and Puerto Rico. The NFPF programs have saved more than 830 films.

A complete list of grant recipients can be found on the NFPF web site www.filmpreservation.org.

Jeff Lambert
Assistant Director
National Film Preservation Foundation

Leen Engelen Awarded Doctorate
The Association's new General Secretary, Leen Engelen, has just been awarded her Doctorate from the Catholic University of Leuven. She's now an assistant professor at the department of Media Studies at the University of Amsterdam. (www.mediastudies.nl)

She continues to be interested in Belgian films of the first world war, and has begun a project on the colonial cinema in the Belgian Congo. She's also emphasized that her general interest in African film and history continues unabated.

I would like to announce the publication of my former PhD thesis in History (University of Hamburg): Regina Aggio, Cinema Novo. (Original title of thesis: Gardez Verlag: Remscheid, 2005.)

Sources of  the  cultural-political origins of the contextualization of new hispano-brasilan cultural events from 1934 to 1944

Regina Aggio, Neues brasilianisches Kino 1954-1964. (Cinema Novo. The New Brazilian Cinema 1954-64.) The title of the thesis on which this work is based is "Cinema Novo - ein kulturpolitisches Projekt in Brasilien. Ursprünge des neuen brasilianischen Films im Kontext der Entwicklungspolitik zwischen 1956 und 1964." 'Cinema Novo-- a cultural-political project in Brazil. The origins of new Brazilian films in the context of  the politics of development between 1956 and 1964.’  Gardez Verlag, Remscheid, 2005

Regina Aggio

CALL FOR REVIEWERS
We are seeking North American based scholars who will write and submit a finished documentary film review to academic print or online journals, association newsletters, email listservs etc. Reviewers must have a publication(s) in mind, know that it will publish film reviews, and will be responsible for corresponding with the editors. [First Run/Icarus Films cannot submit.] Interested persons should contact me directly, off-list.

Dylan M. McGinty
Director of Operations / First Run/Icarus Films, Inc.
32 Court Street, 21st Floor, Brooklyn NY 11201
Tel (718) 488-8900/(800) 876-1710
Fax (718) 488-8642
Email: dylan@frif.com
Web: www.frif.com

SHI'ISM: WAITING FOR THE HIDDEN IMAM
http://frif.com/new2005/shi.html
Filmed in Iran, Lebanon and Iraq, SHI'ISM illuminates the historical roots of this minority branch of Islam, from its origins in the 7th- century to the ensuing theological war between Sunni and Shi'ite followers, throughthe mythology of martyrdom after the Karbala massacre in 662 and centuries of persecution, and outlines its basic tenets, including belief in the twelfth Imam. SHI'ISM blends both contemporary and historical footage and graphics with interviews with Muslim scholars, philosophers, writers, politicians and religious leaders, including Iran's Ayatollah Mussa Zein al-Abidin, Lebanon's Sheikh Mohammad Hassan al-Amin, and Islamic Encyclopedia Director Mohammad Kadhim Bujnurdi, among many others. The film also visits Shia holy sites, including the Tomb of Imam Hussein in Karbala,Iraq, and the Mausoleum of Imam Abdul Azim and the Tomb of Bibi Shahrbanoo in southern Tehran.

THE ROAD TO KERBALA
http://frif.com/new2005/kerb.html
In 2004, after Saddam's 30-year moratorium, Iraq's Shiites were free to commemorate Ashura, the most important holy day on the Shiite calendar.Shia adherents from throughout the Mideast made the pilgrimage to Kerbala, Iraq's Holy City, to visit the tomb of Imam Hussein and Imam Abbas, grandsons of the Prophet Muhammad who died as religious martyrs in 680 A.D. In THE ROAD TO KERBALA filmmaker Katia Jarjoura and writer Hamid el Mokhtar join the procession on the 100-kilometer walk from Baghdad to Kerbala, a journey that offers rare insights into the political and religious turmoil of post-Saddam, U.S.-occupied Iraq.

SHIRIN EBADI: A SIMPLE LAWYER
http://frif.com/new2005/shir.html
This documentary profiles Iranian attorney Shirin Ebadi -the 2003 NobelPeace Laureate-who fights for democracy and human rights, in particular for the rights of women and children, and against the misuse of religion in government. Featuring Ebadi visiting the children's center she founded,giving speeches at international conferences, and giving an engrossing, wide-ranging interview in her Tehran office, A SIMPLE LAWYER is a captivating introduction to this remarkable Iranian woman.

CFP: Migrant and Diasporic Cinema in Contemporary Europe
An International Conference hosted by Film Studies and the Institute for Historical and Cultural Research, Oxford Brookes University and held at Lincoln College, Oxford, 6 - 8 July 2006

With European cinemas becoming increasingly determined by multi- cultural and multi-ethnic presences and themes, critical paradigms which examine these cinemas in terms of their national specificity do not adequately address the shift from the national to the transnational which has occurred in all areas of European cinema during the past twenty-five years. This conference seeks to explore how migrant and diasporic filmmakers have redefined our understanding of European cinema. By adopting a comparative perspective in our search for the commonalities and specificities between migrant and diasporic cinemas across different European countries, we endeavour to transcend the borders and limitations of an analytical framework that privileges the concept of discrete national cinemas.

Please visit the conference website for further details and a downloadable Call for Papers:
http://ah.brookes.ac.uk/conferences/migrant_cinema

Please send a proposal of 200 - 300 words for a paper of approx. 20 minutes, together with your contact details and a brief biographical note to the following email address: dberghahn@brookes.ac.uk

The deadline is Saturday, 31 December 2005. Please mark subject box 'Migrant cinema conference'.

Second Call for Expressions of Interest and Proposals
Diaspora Experiences: German-Speaking Immigrants and their Descendants
Waterloo Centre for German Studies
University of Waterloo, Ontario, Canada
24-27 August 2006

The Waterloo Centre for German Studies at the University of Waterloo invites expressions of interest and, subsequently, proposals for papers of thirty minutes length to be given in English (preferred) or German at an international interdisciplinary conference on the diaspora experiences of German-speaking immigrants and their descendants. The Kitchener-Waterloo region, home to the Waterloo Centre for German Studies and University of Waterloo, is Canada’s most prominent area of German settlement.

The conference will explore commonalities and differences experienced by German-speaking immigrants and their descendants when living in geographical and linguistic settings other than those of their own ethnic origin. These can include individuals and groups in all continents of the world. Sessions will be planned with a focus on history, linguistics, literature and film. Topics within these may include, among others:

SPECIAL FILM SCREENING
A RETROSPECTIVE LOOK AT THE FILMS OF JOHN BISHOP 2005
American Anthropological Association Annual Meetings , Washington, DC Time: Thursday, December 1st, 7 - 10 PM Location: Ballroom C and D in the Marriott Wardman Park Hotel, 2660 Woodley Road, NW (The hotel is adjacent to the Woodley Park/Zoo/Adams Morgan metro stop on the Red Line)

The Society for Visual Anthropology invites you to a retrospective screening of films by John Bishop, spanning his 30 year career in ethnographic film production. The occasion for the event is the presentation of a 2005 Lifetime Achievement Award from SVA for his contributions to the field. John Bishop will be in attendance at the screening to introduce the films and answer audience questions. You do not have to be registered for the meetings to attend the screenings.

The screenings precede the panel discussion, "Phantoms, Festivals, Dances, Anthropology, and Other Blues: A Conversation with John Bishop, the Filmmaker," chaired by Guha Shankar, AFC, on Friday, December 2nd at the meetings.

Please check the meeting schedule on the AAA website for any changes to the program: http://aaanet.org/mtgs/mtgs.htm. Additional information about these films, including where and how to order copies, can be found at www.media-generation.com.

Scheduled screenings:

Tango in the Toilet (1998) 3 min - A video interpretation of Victoria Marks' architecturally inspired choreography celebrating the triumph of youth over the gravity of place.

Dalai Lama's Birthday (2000) 6 min (first public screening) - The feeling and activity around the Boudhanath stupa on the morning of the Dalai Lama's birthday in 2000.

Hosay Trinidad (1998) 45 min - Ethnographic documentary about the creolization of Indo-Islamic cultural performances in the Caribbean.

Hand Play (1986) 7 min - A documentary about minkeys and lurmeys, a menagerie of hand creatures created by a nine-year-old boy.

Red Top Snuff (1999) 9 min (first public screening)- - About the last tobacco mill making snuff in the Merrimack Valley of Massachusetts, shot in 1975 and rescued from the archive 24 years later.

Himalayan Herders - Ritual & Religion (1997) 20 min excerpt - An ethnographic portrait of Melemchi, a temple village in the Nepal Himalaya. The DVD is programmed so that in addition to viewing the whole film, themes within the film can be viewed as excerpts.

Yoyo Man (1978) 12 min - A visit with Nemo Concepcion, one of the first Duncan yo-yo demonstrators, who tells how a traditional Filipino toy became part of American children's repertoire.

New England Dances (1990) 30 min - A spirited visit to some old dances, focusing on the callers and musicians who make them happen. It features Phil Johnson calling squares in Lebanon, Maine with the Maple Sugar band; John Campbell and Norman MacEachern at the Canadian Club in Watertown, Massachusetts; William Chaisson and Joe Cormier at the French American Victory Club in Waltham, Massachusetts; Arcade Richard and Victor Albert in Leominster, Massachusetts doing quadrilles; and Charley Mitchell at the Blue Goose in Northport, Maine doing contra dances. Also included are some bravura dance sequences by Irish step dancers Liam Harney and Deirdre Goulding, and Cape Breton step dancer Harvey Beaton.

The Land Where the Blues Began (1979) 16 min excerpt - Film about the musical and societal origins of the blues. This section includes railroad crews and levee camp veterans. The fieldwork for the film informed Alan Lomax s book of the same name fifteen years later.

Indulgence at La Cueva (2005) 3 min (first public screening) - Like Shavasana, the relaxed pose that ends a yoga practice, this metaphoric journey through the mangroves eases the viewer back into the stream of life.

Homeless Cinema
A unique museum risks losing its residence
By Antonina Frolenkova The Moscow News
 
A group of people who call themselves "Friends of the Cinema Museum" organized a picket in front of the premises of the Russian Union of Cinematographers. The Moscow Cinema Museum, whose unique collection comprises over 40,000 exhibits and which is well-known for regularly showing contemporary intellectual and rare old movies, is in acute danger of becoming homeless.

It has been announced that the museum's archives and halls in the center of Moscow are going to be replaced with something more commercially beneficial.

Read the full article.

UNITED STATES HOLOCAUST MEMORIAL MUSEUM
Evening Program - Filmmakers for the Prosecution: Budd Schulberg, Stuart Schulberg, and the Nuremberg Trial
Tuesday, November 29, 2005 - 7 p.m.

"Members living in the Washington D.C area are invited to a program at the Goethe Institute of films about the 1945-46 Nuremberg trials. Director Budd Shulberg (On the Waterfront) will speak of his involvement in preparing films for the prosecution."

Massacres in Yugoslavia. Genocide in Rwanda. The legal framework for prosecuting these crimes and other massive wartime atrocities was created in the aftermath of the Holocaust, at the Trial of the Major War Criminals at Nuremberg in 1945-46.

Commemorating the 60th anniversary of the landmark International Military Tribunal at Nuremberg, the Museum's Steven Spielberg Film and Video Archive is presenting a special evening of film and conversation.

Hear from legendary filmmaker and author Budd Schulberg (On the Waterfront, What Makes Sammy Run?) and view excerpts from The Nazi Plan, a film he was instrumental in creating, used as evidence during the Nuremberg Trial.

View selections from Stuart Schulberg's documentary Nuremberg: Its Lesson for Today, introduced by his daughter, filmmaker and publisher Sandra Schulberg.

FREE and open to the public. For reservations please call 202.488.0407.

Please Note: Both films will be shown at the Goethe-Institut in Washington D.C.

The Nazi Plan - November 29/ 2 p.m.
Nuremberg: Its Lesson for Today - November 30 / 4:15 p.m. To purchase tickets: www. boxofficetickets.com/Goethe. Information: 202.289.1200 or www. Goethe.de/Washington.

UNITED STATES HOLOCAUST MEMORIAL MUSEUM
100 Raoul Wallenberg Place, SW (15th Street) Washington, DC 20024-2126 www.ushmm.org Metro: Smithsonian (Blue/Orange line)

We are currently advertising for a Film and Video Technician at our premise's at Duxford, near Cambridge in the UK. We also have a short-term appointment on offer for an Accessions Assistant at the same location.

Closing dates for both is 16 November, and you can find full details on www.iwm.org.uk/ under Recruitment

Discovery Communications currently is hiring 3 staff for the following position:
Library Information Specialist:
Position Summary:
Barcode physical media, enter all data relating to incoming DCI media assets into PMM, PDS and other systems, stage assets to other teams in Library. As part of Digital Discovery, initiate, enter and qc metadata, define access on electronic program files, and digitize physical media into systems. Report on delivery compliance issues and send delivery notifications. Work with Production Center staff to input, maintain and archive data tapes in Digital Storage System. Coordinate with management to define process flows for digital asset management within Library, Production Center, and throughout DCI.

Responsibilities:
1) Technical and metadata entry and maintenance of physical media and digital media into all systems, including future digital asset management systems.
2) Maintain media in Digital Storage System including adding new media and archiving old media.
3) Systems and procedures development and implementation.
4) Perform other duties as assigned.

Requirements:
* Three to four years experience in media library or with digital asset management systems
* MS in Library Science with emphasis on managing digital moving image collections
* Excellent communication skills and a proven ability to work well with little direct supervision
* Comprehensive knowledge of Digital Asset management principles, standard practices, and systems; familiarity with all broadcast media and data formats
* Experience in implementation of a digitization strategy for moving image collections preferred
* Must have the legal right to work in the United States

For further information and submission information, please go to:
http://corporate.discovery.com/careers/careers.html

Research/Sabbatical/Vacation Housing
Available Jan 4-April 30, 2006 and Aug. 1, 2006-May 30, 2007.
Longer term rentals (two weeks or more) preferred. Child friendly. Newly renovated apartment in Lucca, Tuscany,Italy. 880 square feet with 400-square-foot terrace. Two bedrooms and studio
or three bedrooms, depending on use, plus spacious kitchen/living room and bathroom. Ideally equipped for researchers (high-speed internet, voltagetransformers, etc.). Air conditioned with dishwasher and washing machine.

Tenants entitled to 10% discount on Italian language courses. For more information, photos, and prices see: www.film.queensu.ca/Burke/Lucca.html.
Prices are for single or double occupancy.
Email contacts:
Frank Burke at burkef@post.queensu.ca,
Annette Burfoot at burfoota@post.queensu.ca.

Call For Contributions: Secrets and Spies: Reading Alias
Edited by Stacey Abbott (Roehampton University) and Simon Brown (Kingston University)
Reminder: The Deadline for Proposals for the following collection is approaching: 14 November, 2005.
We are seeking proposals for a new edited collection on the American TV series Alias.

As well as being an important series in its own right, Alias stands at a central point in issues of American Quality Television (AQT). Its launch came on the heels of the major supernatural based series like The X-Files and Buffy the Vampire Slayer (BtVS), part of a move in AQT towards more government agency and institution based series such as Without a Trace, 24 and CSI. Alias however remains the only such series to retain the supernatural elements of its predecessors. Furthermore, the series' first season came in the wake of the events of September 11, an event that, given its preoccupation with American government institutions and terrorism, was to prove influential to the series' trajectory. In a world where suddenly your neighbour could be a threat to you, no-one could be trusted, and anyone who wasn't you was Other, Alias' themes of doubles and duplicity was perfectly placed to comment upon both contemporary global relations and the personal paranoias of post 9/11 citizens. But as much as Alias has reflected issues of global politics, at its core have been issues of family and relationships, revolving around the central character, Sydney Bristow.

The main aim of this collection is to bring together a wide range of critical approaches from film and television studies, as well as from other disciplines, to engage with the series' narrative structure, character complexity, style, gender, fan culture, and socio-political context. In addition, it aims to explore developments within American Quality Television by considering how the series functions in relation to other key AQT texts, such as BtVS, The X-Files, The West Wing and 24.

Proposals are welcome on, but not limited to, the following topics:

* Family: Fathers and daughters; mothers and daughters; sisters
* Female superspies
* Gender identities and gender politics
* Feminism and post-feminism
* Feminism and the action heroine (e.g. Sydney as post-Buffy action heroine)
* Fights, stunts and special fx
* Characters, actors, guest stars (all welcome)
* Narrative Structure
* Fluidity of good and evil
* Doubles, doppelgangers and aliases
* Rambaldi, treasure hunting and the mystical |
* Heroes(?): Agencies and Institutions: representations of CIA, KGB
* Villains (?): Terrorists and terrorist threats * Post 9/11 global politics
* Alias in relation to other AQT Dramas (e.g. X-Files, BtVS, Angel, 24, The West Wing, CSI etc.)
* Aesthetics (e.g. sound, music, special effects, lighting, locations, set design)
* Genre hybridity and intertextuality
* Fashion and gadgetry
* The role of the TV creator
* Beyond the series (novelisations, DVD packaging, web sites, comics)
* Fiction and fan fiction
* Fans and audiences

This collection will be published by I.B Tauris, adding to their existing publications in the field of television studies, which include Reading the Vampire Slayer (2004), Reading Sex and the City (2004), Reading Angel (2005) and Reading Six Feet Under (2005).

Proposals are required by Monday 14th November 2005. They should be approximately 500 words and accompanied by a brief biography. Proposals should be submitted by e-mail to readingalias@yahoo.co.uk.

Stacey Abbott is a Senior Lecturer in Film and Television Studies at Roehampton University. She is the editor of Reading Angel: The TV Spin-Off with a Soul and the author of Celluloid Vampires (forthcoming University of Texas Press, 2007).

Simon Brown is a film historian and Senior Lecturer in Film Studies at Kingston University. He has published on such eclectic subjects as James Cameron's Titanic, colour in British documentaries of the 1930s, and early Twentieth Century erotic cinema in Britain.

The US National Parks service is looking for a curator for the Thomas Edison laboratory and home
PROFESSIONAL NON-TEACHING POSITIONS/ARCHIVES/MUSEUMS/PUBLIC HISTORY
National Park Service - Supervisory Museum Curator, Laboratory and Home of Thomas Alva Edison (NJ, United States)
http://www.h-net.org/jobs/display_job.php?jobID=29862

The State University of New York in Albany is looking for an assistant professor of Historical Documentary production and theory.
University of New York - Albany - Assistant Professor, Historical documentary production and theory (NY, United States)
http://www.h-net.org/jobs/display_job.php?jobID=29898

Announcement
James Chapman, a member of the executive committee, will be leaving the Open University in December to take up a position as Professor of Film at the University of Leicester.

POSITION: Metadata Librarian/Archivist
DEPARTMENT: Digital Library of Georgia

PURPOSE AND SCOPE: The Metadata Librarian is responsible for metadata and authority control, student hiring and supervision, quality control, and other duties related to the development of digital resources as a part of the Civil Rights Digital Library Initiative at the Digital Library of Georgia, University of Georgia (http://dlg.galileo.usg.edu/).

The Metadata Librarian reports to the Project Manager and Digital Metadata Coordinator for the Digital Library of Georgia and works as a member of the DLG's Metadata and Site Development unit. The position is funded through a 2-year National Leadership Grant for Libraries awarded by the federal Institute of Museum and Library Services.

The Civil Rights Digital Library Initiative consists of three primary components: 1) Web-accessible archive of streaming video derived from original news film from Atlanta and Albany, Georgia television stations, 2) civil rights portal providing a seamless virtual library on the Movement by aggregating metadata on a national scale, and 3) a learning objects component to deliver secondary Web-based resources to support the use of the video archive in the learning process. The Metadata Librarian will play principal roles in the video archive and portal components of the initiative.

DUTIES AND RESPONSIBILITIES
Describes digital objects using national and local standards. This includes the application of AACR2, AMIM2, and the Dublin Core metadata standard and the gathering and recording of technical, preservation, structural, and rights-related metadata.

Engages in authority work to provide intellectual control over the application of subject headings, personal names, and place names as a component of the metadata process. Uses LCSH, Moving Image Materials Genre Terms, and Art and Architecture Thesaurus. The Digital Library of Georgia employs a local database for controlling personal and place names in conjunction with the Library of Congress Authority File.

Collects, analyzes, and maps Civil Rights-related descriptive metadata from partner digital initiatives to facilitate the creation of an interoperable Civil Rights portal.

Participates in the hire and supervision of student employees engaged in data entry and other tasks associated with the creation of digital resources. Proofs the work of student employees to maintain a high level of quality for the resources generated.

Participates in planning for digital projects and communicates with Digital Library of Georgia and GALILEO personnel to coordinate work effort.

Measures outputs by generating and collecting statistics.

Contributes to the mission of the Digital Library of Georgia by participating in the development and evaluation of policies and services, assessing user needs and satisfaction with learning outcomes, serving on appropriate committees, and maintaining an awareness of changes in allied departments.

Develops and maintains professional skills by participating in continuing education and professional development activities such as conferences, workshops, and committee work; by conducting research or writing for publication; or by engaging in other creative and learning activities.

Maintains awareness and acts upon changes and needs in the organization by assuming similar duties and responsibilities.

QUALIFICATIONS
ALA-accredited or Georgia Board of Regents approved MLS, or relevant Master's degree (ACA certification expected in 5 years for continued employment); Knowledge of AACR2, LCSH, Dublin Core metadata standard, familiarity with MARC; Effective oral and written communication skills; Ability to establish and maintain effective working relationships; Familiarity with data content standards (AMIM2), data structure standards (METS, MEPG7) and emerging preservation metadata best practices and guidelines preferred; Experience creating metadata, catalog records, or archival description preferably for non-book resources preferred; Digital library experience preferred.

BENEFITS
Standard benefits package includes life, health and disability insurance; mandatory participation in state or optional retirement system, 21 days annual leave, 12 paid holidays. Salary minimum: $32,000.

APPLICATION PROCEDURE
Send letter of application addressing all qualifications, detailed resume, and the names, addresses, email and phone numbers of three references by November 28, 2005, to:

Florence E. King
AUL for Human Resources
University of Georgia Libraries
Athens, Georgia 30602-1641
libjobs@uga.edu

CALL FOR PAPERS
British television drama and US imports: Aesthetics, Institutions, Histories. Friday 24 March 2006.

A one-day symposium organised by the Centre for Television Drama Studies at the University of Reading, under the auspices of the AHRC-funded project British TV Drama and Acquired US Programmes 1970-2000.

While the study of British television drama and US television drama respectively continues to thrive, little work exists on the interconnections between British and US television. American television programmes have been extremely popular in Britain, yet they are frequently omitted from critical discourse on British television. On the basis that a nation's television landscape never consists merely of indigenous production, this symposium aims to explore how British television drama is affected by the import of television drama from the USA.

In particular (though not exclusively) we welcome papers that address the following questions:

. What shapes the selection processes involved in the acquisition of US TV drama? What are the institutional and practical factors involved in this acquisition (e.g. regulation, package deals, scheduling and cost)?

. How are US imports used by, and how do they work as part of, British broadcasting (especially in terms of scheduling, promotion, channel identity and public service)? What are the aesthetic consequences of these broadcast processes?

. How do the meanings of television texts change because of their transatlantic journey?

. How has the import of US television drama influenced aesthetic forms, genres, representations (e.g. gender, class, race), and production practices of British domestic television drama?

. How have US imports affected the viewing experience of British television audiences?

. What may be the national specificity of television drama from Britain and the US, and what may be shared? How does television drama locate this specificity?

. How do the different histories, institutions and evaluative schemas in the US and Britain inflect the term quality differently and contribute to the quality debate?

. Conversely, how are British programmes exported to the US? How are they used, scheduled, received, and what is their influence?

The day is expected to run from 10am - 5pm. Papers should be no more than 20 minutes in length (including any audio-visual extracts). Please send abstracts of 250 words by Monday 16 January 2006 to Simone Knox via email (s.knox@reading.ac.uk) or post: Simone Knox, University of Reading, Department of Film, Theatre & Television, Bulmershe Court, Woodlands Avenue, Reading, Berkshire, RG6 1HY.

Visit the symposium website at
www.rdg.ac.uk/fd/research/BritishTVdramaandUSimports.htm.

Call for Papers 'War without Limits: Spain 1936-39 and Beyond'
10th annual conference of the Group for War and Culture Studies in association with Bristol Institute for Research in the Humanities and Arts, the University of Bristol

Profoundly Spanish in origin, yet almost immediately internationalised, the Spanish Civil War had a marked impact on the politics and culture of many nations. Considered by many of its generation as the first ideological war, it has become for many since a precursor of the Second World War sometimes subsumed into, or obscured by, this latter in our memory of the period. Yet, its significance continues to be reflected in a variety of cultural representations of the conflict emanating from many different nations and cultures and in its continual pertinence and interest as a subject of historical research.

The aim of this three-day, international conference is to explore the international social, political, military and cultural history of this conflict from 1936 to the present. The organisers therefore welcome proposals for papers on any aspect of the conflict from established scholars or postgraduates working in a range of disciplines including, for example, social, political and cultural history, military history and war studies, intellectual history, cultural memory, literary studies, art history, photography, media studies, film studies.

Keynote speakers: Paul Preston, Helen Graham, Michael Richards

Proposals should not exceed 350 words and should be sent, in English or in French, the two official languages of GWACS, to either of the organisers at the addresses below, by 31st December 2005.

Dr Martin Hurcombe,
Department of French,
University of Bristol,
19 Woodland Road, Bristol,
BS8 1TE.
Tel 0117 9288447
E-mail: M.J.Hurcombe@bristol.ac.uk

Prof Debra Kelly,
School of Social Sciences,
Humanities and Languages,
University of Westminster,
309 Regent Street, London,
W1B 2UW
E-mail: kellyd@westminster.ac.uk

Telling Stories: History, Medium, and Message
“Telling Stories: History, Medium, and Message" will be the subject of a two day Symposium, which aims to provide a scholarly forum for the discussion of the uses of media from oral and scribal culture to print media, digital media, and beyond‹in the understanding and interpretation of history. The symposium will be held in Toronto on February 10 and 11th 2006.

“The aim of this conference is to explore scholarly research into the relations between history and the media as well as the production of historically informed documentaries, radio shows, and other media texts. It is our hope”, say the organizers, “to provide a forum for graduate students and faculty to present work in progress and receive feedback from their colleagues."

The key note speaker will be Professor Natalie Zemon Davis. The questions she raised in her recent study Slaves on Screen will underwrite the scope of our proposed investigations and will undoubtedly direct our dialogue during the Symposium. We are particularly fascinated by her suggestion that film might accomplish a similar function as does micro-history by seeking to illuminate the experiences of the emotional subject from varied time and place co-ordinates.

See our web-site for more information: www.chass.utoronto.ca/~frunchak/TS

The Pacific Film Archive in Berkeley California is looking for a Film and Video Collection Assistant
PFA Film and Video Collection Assistant

The University of California, Berkeley Art Museum and Pacific Film Archive is known for its presentations of intellectually challenging, culturally diverse, and often risk-taking exhibitions and film programs. For more information, visit the BAM/PFA website at www.bampfa.berkeley.edu

Duties: Play a key role in maintaining the PFA film and video collection, making it accessible, and keeping up-to-date records. Perform conservation and preservation duties such as the identification, detailed inspection, projection, storage, and shipping of fragile materials according to archival standards. Monitor print condition, perform checks / tests for vinegar syndrome, and coordinate a complex schedule of print inspections. Log in/out film and video. Verify correct negatives, answer prints, release prints, magnetic and optical sound tracks, videotape formats, and new media. Accession new acquisitions. Create and update database and paper records; prepare lists and reports. Research history of print use and ensure that current print condition is known. Supply correct versions of films and videos for research use. Participate in the evaluation of materials for possible preservation. Assist with film collection grant proposals and reports. Handle collection shipping and monitor timely return of loans. Organize film and video storage and monitor environment of off-site vault. Transport film and video. Provide support for collection projects.

Requirements and Qualifications: Knowledge of cinema history. Technical knowledge of film and video. Understanding of archival principles and ethics. Related record keeping experience. Skill in organizing and prioritizing tasks to meet deadlines efficiently, and in following through simultaneous projects to meet established goals. Demonstrated extreme accuracy and attention to detail; legible handwriting. Good communication skills. Professional training or experience, and demonstrated skill, in handling and inspecting archival motion picture films. Proficiency with MAC applications including Filemaker Pro and Microsoft Word. Technical/mechanical aptitude sufficient to operate power rewind machine, 16mm projector, and video equipment. Ability to handle vinegar syndrome prints without allergic reaction. Clearance for heavy lifting up to 65 pounds and to handtruck up to 200 pounds (four 35mm feature films); ability to shelve films using a ladder. Valid CDL and safe driving record.

Hours: This is a 75% position (30 hrs/wk) Monday - Friday, with occasional additional hours.

Salary: The full-time annual salary range is $30,720 - $33,408. The actual salary will reflect hours worked.

Deadline: Applications must be received by November 18, 2005.

To Apply: Visit http://jobs.berkeley.edu and search for keyword 3591 (the job number for this position), and follow the application process detailed on the website. To be considered, applications must be completed through the campus online website. If you have trouble completing the online application call 510-643-4443 between 10:00 am and 3:00 pm for assistance.

The University of California, Berkeley is an Equal Opportunity Employer. We offer a diverse working environment, competitive salaries, and comprehensive benefits.

NEWS LIBRARIAN - CNN WASHINGTON, DC
The CNN DC library functions as both a research center and video archive, making the news librarian position extremely diverse and exciting. The primary role of news librarian is to support the research and video needs of the editors, producers and journalists of the CNN DC bureau.

Responsibilities include performing video research using the in-house database system to find sound and visual elements for reporters, producers and editors. The News Librarian also conducts information research to find facts, opinions, analysis, experts and articles using Lexis-Nexis, Factiva, the Internet and traditional reference materials in support of news production.

Additional responsibilities include processing, cataloging and assigning appropriate indexing terms to cut and raw video generated by news production team. As this is a small department where teamwork is essential and tasks rotate, the Librarian will participate in various library projects that include but are not limited to, videotape selection, maintaining the accuracy and consistency of the thesaurus, prepping materials for off-site storage, intern supervising, intranet web page design and creation, tape circulation, and development of internet training classes.

Qualifications: MLS from an ALA-accredited university required; two or more years of professional experience desired; experience and interest in a news library environment; interest in US government and politics, highly-motivated individual with a propensity towards working independently and under deadline pressure; excellent online searching skills with a particular proficiency with Lexis-Nexis, Factiva, and the Internet, experience in intranet page maintenance, prior television production experience or background concentrating heavily on video and experience with digital archives desired. May involve some evening and weekend hours.

Please apply online at the Turner Jobs website www.turnerjobs.com and send a resume and cover letter to sydney.murphy@turner.com Reference job number Librarian I No 50340BR. No phone calls please. CNN is an EOE.
Paul Lesch and Paul Kieffer will be participating in the First Amateur film day
Two IAMHIST members, Paul Lesch and Paul Kieffer will be participating in the First Amateur film day, sponsored by the Luxemburg National Audiovisual center, on November 6 2005. Details can be found, in French, on the   center's website:  www.cna.lu

LC Vacancy - Moving Image Cataloger
The Library of Congress Motion Picture, Broadcasting and Recorded Sound (MBRS) Division is seeking to fill the permanent full-time position of Moving Image Cataloger. The person in this position will work initially in the MBRS Division offices in Washington, DC and will relocate to Culpeper, Virginia in late 2006 upon the opening of the Library's new National Audio Visual Conservation Center (relocation funds are authorized for the move from Washington, DC to Culpeper, VA). For complete information and application instructions go to: http://jobsearch.usajobs.opm.gov

Contact Name: Employment Office
Contact Phone: 202-707-5627
Contact Email: jobhelp@loc.gov

Appalshop Director Position Available
Appalshop is seeking a Director of the organization to provide leadership in strategic planning and development, and to maximize the vision and creative energies of a talented staff of 20+. The Director will work with an Executive Board, with input from staff, to develop long-range plans and organizational policies, and with a Management Team to implement policies and develop synergies in programming. The Director will work closely with staff leaders to develop fundraising strategies and to raise an annual budget of $2 million from foundations, public agencies, and individual donors. The Director will supervise the day-to-day development and administrative operations of the organization and represent Appalshop in a variety of settings.

Qualifications we are looking for in a Director:
- Success in fundraising with foundations, public agencies and individuals
- Experience in strategic planning and guiding its implementation
- Excellent communication skills including verbal and written
- Experience in managing staff and the ability to work in a democratic manner
- Ability to travel throughout the region and the country to represent Appalshop in a wide range of settings
- Knowledge & understanding of community-based arts and the roles that arts and culture can play in promoting social justice
- Knowledge of history and culture of Appalachia and/or other rural or underserved regions

Organizational Profile
Widely recognized for its commitment to developing a vibrant community-based arts presence in Appalachia and beyond, Appalshop is a nonprofit arts and education center based in eastern Kentucky. Established in 1969 as a media training program, Appalshop has developed into a multi-disciplinary arts and social justice organization. The staff of 20+ full-time workers currently produce documentary films, tour original musical theater, present community arts programming and conduct a variety of youth educational and arts training programs. Appalshop owns and manages a dynamic community radio station that is run, in part, by volunteer programmers from the local community. Every year Appalshop productions and services reach several million people nationally and internationally.

At the heart of this diverse body of work is the shared proposition that the world is immeasurably enriched when local cultures garner the resources, including new technologies, to tell their own stories and to listen to the unique stories of others. The creative acts of listening and telling are Appalshop's core competency.

Appalshop's work environment is creative and cooperative. Employees have a strong voice in designing and implementing the day-to-day work, management and governance of the organization. We desire self-directed employees who are capable and willing to work collaboratively with others.

Visit the Appalshop website for more information www.appalshop.org

Salary and Benefits
Salary range for Director is $38,000 to $49,000, commensurate with experience. Benefits include employer-paid full family health (medical and dental) insurance, disability insurance, retirement plan, sick days and vacation.

To Apply
We would like to receive applications by November 30, 2005. Review of applications will continue until the position is filled. Appalshop is an Equal Opportunity Employer

Send a cover letter and resume to:

Director Search Team
Appalshop
91 Madison Ave.
Whitesburg, KY 41858

Visual Curator Librarian and Assistant Professor
Visual Curator Librarian and Assistant Professor position Archives and Special Collections J.D. Williams Library University of Mississippi

A twelve-month, tenure track, assistant professorship that offers an opportunity to work independently and collectively with an extensive collection of world class photographic and film materials specializing in the American south and civil rights.

Interested parties can find a detailed job description and complete the application process here

DEPARTMENT OF COMMUNICATION
UNIVERSITY OF MASSACHUSETTS AT AMHERST
The Department of Communication of the University of Massachusetts Amherst invites applications for three tenure-track positions.

Position One: Film Studies (Assistant Professor). A scholar of North American cinema, preferably trained with a Cultural Studies perspective, whose research addresses historical or contemporary audiences or production practices. A focus on race, class, or generation and experience with multiple research methods are desirable.

Position Two: Media Effects/Political Communication (Assistant Professor). Empirical research on media effects in political communication or journalism studies. Specific focus could include news and public opinion, agenda setting, effects of campaign coverage, or media and the public sphere. Expertise in quantitative research required.

Position Three: Information and Communication Technologies (ICTs) and Public Policy (Assistant or Associate Professor). Research focus could include qualitative or quantitative approaches to ICT uses or impacts in local and transnational contexts, or investigation of ICTs in relation to identity, social equality, the public sphere, or political formation. ICT practices examined may cover computer-mediated communication, on-line communities, text messaging, blogging, or other developments in digital media. The appointment will be in Communication and the Center for Public Policy and Administration (as part of a new College initiative in Science, Technology, and Society) with the tenure line in the Department of Communication and teaching duties in both units. Grant-seeking and participation in the University's Information Technology program are expected.

For each position duties will include maintaining an active research program and supervising students at B.A., M.A., and Ph.D. levels. Completed Ph.D. by September 1, 2006 appointment is required. Salary is competitive, and each position is contingent upon funding. Review of applications will begin on November 15, 2005, and will continue until each position is filled.

Direct three letters of reference and send a letter of interest, a curriculum vitae, and an article-length example of research to:

Michael Morgan, Chair
Department of Communication
Machmer Hall
240 Hicks Way
University of Massachusetts
Amherst, MA 01003-9278.

Go to www.umass.edu for information on UMass Amherst, the flagship campus of the University of Massachusetts system. The university is an Equal Opportunity/Affirmative Action employer; applications from women and members of minority communities are strongly encouraged.

Educational Testing Service (ETS) is recruiting academics to provide authentic-sounding lecture samples. We need 10-minute recordings on subjects from various academic fields. The "lecturer" can be a graduate student, a professor, or an independent scholar, anyone who is able to speak on the subject with authority. The 10-minute "mini-lectures" will serve as a basis to prepare scripts for the Listening Comprehension section of TOEFL (Test of English as a Foreign Language). ETS pays $250 for every accepted mini-lecture.

Please contact Kele Marsters at kmarsters@ets.org for more information.

Let me give you some background information: As you probably know, ETS creates standardized tests for various purposes. One of our tests is TOEFL (Test of English as a Foreign Language), a test administered to non-native English speakers who wish to study at North American colleges. Accordingly, TOEFL tests language used in North American college environment. In the Listening Comprehension part of TOEFL, for example, we ask test takers to listen to an excerpt from an academic lecture and then answer questions about it. To make our "mini-lectures" sound as authentic as possible, we have been recording academics lecturing on subjects in their fields of expertise, and using the lecture transcripts as a basis for our mini-lecture scripts. However, since we need many more recordings than we have, we decided to recruit academics to send us tapes with lecture samples they narrated and recorded themselves. We pay a fee for each sample we accept.

The World Congress of History Producers
The World Congress of History Producers will be held from December 1 to December 4 in Rome (Italy, not New York…)
Two Iamhist members; Adrian Wood and Taylor Downing will be members of a panel trying to figure out "Who Owns History" at 11:15 on Saturday December 3.
Contact: info@history2005.com

Brattle Theatre In Boston Under Threat
I am not normally one to send out emails over a cause, but this is one that deeply affects my local community, so I thought I'd share.

The Brattle Theatre, the only independent repertory film theatre left in Boston, will close its doors at the end of December unless they can raise a half million dollars. I suppose it's sort of strange that someone who works at a competing theatre in Harvard Square would be sending this email, but the Brattle is an institution we cannot live without.

The idea of living in Cambridge without the Brattle is, well it's miserable. It's the only place left that will play a Greta Garbo film one night and a Japanese mondo film the next. The building has housed a theatre for more than 100 years (and the film program is on its 52nd year) and though it is a historic building, if the Brattle closes it is unlikely the space will be used as a theatre.

If you have ever been to Harvard, Cambridge or Boston and have visited the Brattle, I strongly urge you to consider donating to the Brattle Theatre Foundation. Even if it's only ten bucks. For further information please see:
http://www.brattlefilm.org/brattlefilm/filmfoundation/legacy_campaign.html

Many thanks,

Julie Buck
Conservator
Harvard Film Archive
100 Talcott Avenue
Watertown, MA 02472
T: 617.496.8647
F: 617.496.8155

Women's Film Preservation Fund Seeks Proposals
Deadline: November 30, 2005

Founded by New York Women in Film & Television (http://www.nywift.org/), the Women's Film Preservation Fund seeks proposals for the preservation or restoration of American films, from any era, in which women have held significant creative positions, including, but not limited to, writer, director, producer, editor, and performer.

Individuals and not-for-profit organizations are eligible to apply; organizations must submit evidence of tax-exempt status. Films may be of any length, on any subject matter, and in any format or base.

Grant amounts are usually under $10,000, although larger grants may be made. (In-kind grants for up to $25,000 are also awarded from Cineric, Inc.) Grants may only be used for actual costs connected with the restoration/preservation of film (not for salaries or general administrative costs).

Selection criteria include the artistic, historic, cultural, and/or educational importance of the film, especially its relation to the role of women in film history; the significance of the key creative women in the production; evidence of the artistic and technical expertise of those planning and executing the project; the urgency of the need to preserve the film; appropriateness of the budget for the proposed work; and a realistic plan for making the film available to professionals, scholars, and interested audiences.

See the fund's Web site for complete program information and application procedures.

RFP Link: http://fconline.fdncenter.org/pnd/5000402/nywift

For additional RFPs in Arts and Culture, visit, http://fdncenter.org/pnd/rfp/cat_arts.jhtml

The British Silent Cinema Festival
The British Silent Cinema Festival, now in it's eighth year, is a celebration of British cinema before 1930 and is organized in collaboration with the British Film Institute National Film and TV
archive in London. The Festival aims to showcase the vast collection of feature films and documentaries produced in Britain before the advent of sound and many of the films are 're-discoveries' and will not have been seen in public for several decades.

This year the theme is 'Channel Crossings' - Anglo-European film relations before 1930.

For further information see www.BritishSilentCinema.com



American Studies Conference on the Culture and Science of Vision
New England American Studies Association, Annual Conference
Sponsored by the Worcester Polytechnic Institute & the American Antiquarian Society Politics
September 23-24, 2005 at the American Antiquarian Society & Worcester Polytechnic Institute, Worcester, Massachusetts

This conference brings together new work in history, cultural studies, art and film studies, literary studies, and the growing field of science studies on the pivotal issue of vision. Our goal is to gain a fuller picture of vision from start to finish — from the biology and neurobiology of how we see, to the cultural factors that frame what we see, and, finally, to the art, maps, and constructs that result from those views.

As an American Studies conference, the meeting welcomes studies of political and cultural views of America, and the fashioning of an American national and global view. What role does vision play in organizing American culture along lines of race and class? How does a cultural, philosophical, and technical understanding of sight help us to understand representations of the seen and unseen in American history and culture?

Proposals are welcome for both panels and individual papers. Proposals that draw upon the collections of the American Antiquarian Society and the Worcester Art Museum will be of particular interest. The program committee also seeks proposals for several one-hour “keyword sessions,” in which 5 panelists speak for 3 to 5 minutes on one or a group of words pertinent to issues of vision.

Send c.v. and 1- to 2-page abstracts for all talks and presentations (plus a 1-page rationale for panels) to
Sarah Luria
English Department
College of the Holy Cross
Worcester, MA 01610
or sluria@holycross.edu.

Submissions should be postmarked by March 15, 2005.



CFPs: Cinema, War and a Society of Spectacle
Forthcoming Conference: Cinema, War and a Society of Spectacle 9 June 2005, University of Cambridge

The Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), in association with the Cambridge University Film Seminar, invites submissions for a one-day conference on cinema and war.

In light of the predominance of a binary between innocence and evil that frequently characterizes a contemporary political vernacular and Hollywood representation, the need for critical thought remains crucial. This conference will interrogate the interplay between the events of war and their representations in film and video in relation to our implication in the construction and deconstruction of such imagery.

While certain representations suppress the inherent tensions and ambiguities contributing to a war's emergence and its lasting devastation, several thinkers including Virilio, Baudrillard, Zizek and others have turned a reflexive gaze inwards upon our voyeuristic fascination. Our delight in total visibility through film and instantaneous fragments of real time media characterizes our time. But the thoroughness of our cultural saturation provokes questions concerning the dangers of such image assimilation.

To what extent is our gaze aligned with insidious modes and bodies of power that participate in games of surveillance and paranoid rationalisations? How and why do images of destruction, which are disseminated at the speed with which weapons are engaged, enthral and mesmerize; moreover, what is at stake in our attraction? How are these images a means to identity creation, at the cost of certain exclusions and inclusions? What is at stake in the expansion of a society of spectacle? We invite researchers, postgraduates, artists and those engaged with questions pertaining to war and its representations in film and video to forward abstracts for 20-minute papers/presentations. Interdisciplinary approaches, ranging across media, and theorizations of war in relation to philosophical, literary, cultural, political, historical, sociological, anthropological, architectural and other branches of thought are expressly encouraged.

Themes might include:
--propaganda, spectacle, truth
--constructions of ethnicity, gender, race, class or nation and the aestheticization of war --surveillance, paranoia, voyeurism or imprisonment --visibility/invisibility --temporality, continuity/discontinuity or narrativization and comprehension --relations between cinematic and other representational and performative forms (e.g. digital media, television, literature, theatre, visual art) --the moment and instant of death

One-page abstracts and short C.V.s should be sent to
Conference Convenor
Nadine Boljkovac
nrb34@cam.ac.uk

Deadline for submission: 17 March 2005



Call for Papers — European Cinema Research Forum 2005
To be held at the University of Leeds — 1-3 July 2005

This year's ECRF conference is sponsored by a British Academy Networks Project, 'Screening Identities: Reconfiguring Identity Politics in Contemporary European Cinema'

Papers are invited on topics such as:
The 'star system' in Europe; the role of festivals and the changing shape of the European film distribution network; cinema funding and the EU; audiences and European cinema; film and European national/regional identity; language and culture in European cinemas; European 'dialogues' with Hollywood; European cinema as World cinema? European cinema and its eastern and southern neighbours; cinema and Globalization: European dimensions; contemporary European film: film style and form; 'art cinema' versus 'popular cinema'; 'minority' cinemas in European nations; images of Europe in World cinemas

Please submit a brief (2-300 word) abstract by 7 February 2005 to either Paul Cooke (p.cooke@leeds.ac.uk) or Danielle Hipkins (d.e.hipkins@leeds.ac.uk).



Senior Film Curator
The mission of the UC Berkeley Art Museum and Pacific Film Archive

(BAM/PFA) is to inspire the imagination and ignite critical dialogue through art and film. One of the largest university art museums in the United States, in physical and budget size and attendance, BAM/PFA has developed an international reputation for presenting one of the most active and ambitious exhibition programs as well as for the quality of its art and film collections and research resources. BAM/PFA is an institution with a stellar history and an exciting future. For more information visit our website: http://www.bampfa.berkeley.edu

The Senior Curator of Film is responsible for leading an internationally renowned and dynamic cinema program that interests and engages the broad range of PFA and museum visitors. The Senior Curator provides overall vision and supervises the excellence, balance, and budget of the film archive program. The Senior Curator actively participates in fundraising and cultivation and represents the PFA locally, nationally, and internationally.

Duties: Conceptualizes and curates film and video exhibition programs. Writes and edits scholarly materials that appeal to the range of visitors. Organizes tours of exhibition programs. Works with UCB faculty to develop programs that support UCB course work. Plays a significant role in the design of moving image exhibition spaces for the new building project. Supervises film and video curatorial staff, and has a significant role in film and video collection development. Team teaches annual graduate level course on film curating through Film Studies. Holds leadership role in the international film field, through FIAF, close working relationships with international curators, festivals, and filmmakers, and original scholarly research. Cultivates support and raises funds for PFA exhibition programs, PFA operations, and the future building project. Develops grant materials. Solicits gifts of film and video. Develops and oversees annual film and video curatorial department budgets.

Requirements and Qualifications: Requires advanced degree in Film History or equivalent with extensive knowledge and appreciation for full range of moving image styles, both past and present. Advanced knowledge of and experience in international film and video exhibition curating and collection development. Executive-level leadership and management of a complex public film and video exhibition program. High-level cultivation and grant expertise. College-level teaching. Demonstrated project planning and execution. Long-term and strategic planning. Budget development and management. Excellent verbal and written communication abilities, including the ability to communicate complex concepts about films and film history to an audience that ranges from casual film goers to academics. Awareness and understanding of communities served, locally, nationally, and internationally. Intellectual curiosity, creativity, and enthusiasm for bringing scholarly research to a broad public in accessible ways. Ability to ensure the program responds successfully to changes in technology. Ability to cultivate effective relationships with artists, donors, and the international film community. Ability to work collaboratively internally and externally.

Salary: Competitive, with an excellent benefits package, including three weeks vacation and benefits for specified domestic partners and family members.

Deadline: The position is open until filled. Application review will begin on February 21, 2005.

To Apply: Visit http://jobs.berkeley.edu and search for keyword 2231 (the job number for this position), and follow the application process detailed on the website. To be considered, applications must be completed through the campus online website.

The University of California, Berkeley is an Equal Opportunity Employer. We offer a diverse working environment, competitive salaries, and comprehensive benefits.

Laurie Kossoff
Human Resources Director, Berkeley Art Museum and Pacific Film Archive kossoff@uclink.berkeley.edu



The Carfax-IAMHIST Prize for Outstanding Articles
IAMHIST and Carfax Publishing, Taylor & Francis Ltd sponsor two prizes for the most outstanding articles published in the Historical Journal of Film, Radio and Television each year.

The winners for 2002 are:
Stephen Hughes: The ‘Music Boom’ in Tamil South India: gramophone, radio and the making of mass culture. ( Vol. 22, Number 4, pp. 445-473) - best article,
Joseph Dmohowski: The Friendly Persuasion (1956) Screenplay Controversy: Michael Wilson, Jessamyn West, and the Hollywood Blacklist. (Vol. 22, Number 4, pp. 491-514) – best article by a younger author.

To read an earlier prize winning article
Download this PDF file (1.2 MB) of Stephen Bottomore's "The Panicking Audience: Early cinema and the 'train effect'", - which was voted best article for 1999, (Vol. 19, Number 2).



Visualising the City
June 27-28th 2005 Symposium
(deadline for abstracts Jan 31st 2005)

Organized by the Centre for Screen Studies, the School of Arts, Histories and Cultures, and the School of Languages, Linguistics and Cultures at the University of Manchester

Plenary and Invited Speakers include: Dietrich Neumann (Brown Univ.), Tony Kaes (UC Berkeley), Susan Hayward (Exeter), David B. Clarke (Leeds), Francois Penz (Cambridge), John Fullerton (Stockholm Univ.), Ian Wiblin (Glamorgan) and Mark Shiel (Leicester).

This interdisciplinary symposium will seek to draw upon interests in popular film and television, photography, architecture, history, cultural geography, art history, and sociology. In doing so, we aim to explore how film and photographic depictions filter and shape the way we understand and interact with the built environment. Possible topics which intersect the overarching theme of the symposium include (but are not limited to):

- the genre of ‘the city film’
- the transnational vs the provincial city
- dreaming the city
- city as celebratory site
- representations of anti-urbanism
- city as labyrinth
- urban insiders and outsiders
- counter-hegemonic stories of the city
- Bollywood and the city film
- the Noir city
- the virtual city
- the challenge of the urban future

Submissions are invited from scholars of film, visual culture, gender and cultural studies, history, art history, literature, architecture, sociology and cultural geography. Proposals from postgraduates are also welcome. A collection of conference papers will be selected for an edited publication by the organizers.

Brief abstracts and title (150 words) for 20-minute papers, with a short biographical statement should be submitted by 31 Jan. to
Alan Marcus, Drama SL.06,
The Martin Harris Bldg.,
University of Manchester, Oxford Road,
Manchester M13 9PL, UK.

Please email your abstract to alan.marcus@man.ac.uk (mark your email subject line ‘Visualising the City Symposium’).

Proposals may also be considered for panels (of four papers): 150-word rationale should include panel title, brief description of panel theme, name of the panel chair, and 150-word abstracts of each paper and contact details for each presenter (name, institutional affiliation postal address and email address).



Call for Papers: Media(ted) Deviance Conference
We invite panel and individual-paper proposals for the Media(ted) Deviance Conference, to be held at Plymouth State University (Plymouth, New Hampshire) April 22-23, 2005. The members of the conference committee are seeking contributions that explore noteworthy representations of "deviancy," broadly defined, in various media forms (e.g., film, television, the Internet, newspapers, books, etc.). Submissions pertaining to any historical era are desired. Participants are encouraged to interpret the conference theme broadly and innovatively. Individual presentations will be limited to 20 minutes in length.

We encourage submissions from scholars, educators, and students at all levels, and from disciplines including anthropology, communications, cultural studies, film studies, GLBT studies, history, literature, media studies, popular culture, sociology, and television studies. Selected papers will be published (with author’s permission) in a special anthology pertaining to the conference theme. As a bonus, please note that the conference dates allow presenters to take advantage of a much-needed weekend getaway before the end-of-semester "insanity" kicks in!

Persons submitting individual-paper proposals are asked to submit a one-page abstract with complete contact information (name, institutional affiliation, snail-mail and e-mail addresses, daytime telephone number, fax number). Panel proposals (featuring three paper-presentations total) should include panel title, brief description of panel theme, name of the panel chair, one-page abstracts of each paper in the panel, and complete contact information for each presenter on the panel (name, institutional affiliation, snail-mail and e-mail addresses, daytime telephone number, fax number). In order to be considered, all proposals must be received no later than February 2, 2005. Individuals will be notified of the status of their proposals within two weeks of the submission deadline.

Please mail or e-mail conference proposals to:
Media(ted) Deviance Conference,
Attn: Kylo-Patrick Hart, Department of Communication Studies,
Plymouth State University,
17 High Street, MSC 60, Plymouth,
NH 03264;
krhart@plymouth.edu

For specific inquiries prior to submitting a proposal, please contact Kylo-Patrick Hart at (603) 535-3122 or Metasebia Woldemariam at (603) 535-2965.



The Beirut Institute for Media Arts (BIMA) at the Lebanese American University announces its 5th Annual Media Conference — Religion, Media and the Middle East
How religion in the media, and particularly on television, contribute to the shaping of Middle East society
October 2-5, 2005 - Lebanese American University - Beirut Campus

Sub-themes:
a.. Are religious talk shows reshaping Islam?
b.. Are media contributing to the rise of fundamentalism?
c.. Are media helping to unlock the debate on religion?
d.. How influential are US tele-evangelists in shaping U.S. foreign policy on the Middle East?
e.. Is Christian-Moslem dialogue helped or hampered by the rise of religious programming?
f.. What role does religion play in Israeli media?
g.. What role for religious television in the Arab World?
h.. Is the rise of religious programming a threat to the secular state?
i.. Is Islamic popular music here to stay?
j.. Is Islamic art being reshaped by new media?
k.. Is entertainment TV threatening to traditional Islam?
l.. Christian and minority television in the Arab World

Deadline for abstracts: 400-word abstracts: May 15, 2005
For more information contact Dr. Ramez Maluf at rzmaaluf@lau.edu.lb
For information on LAU see www.lau.edu.lb
A website for the conference will be advertised by the end of January.



LIBRARY OF CONGRESS COCA-COLA FELLOWSHIP FOR THE STUDY OF ADVERTISING AND WORLD CULTURES

Applications are now being accepted for the Library of Congress Coca-Cola Fellowship for the Study of Advertising and World Cultures, which will be awarded annually for the next two years. Administered by the Library's Motion Picture, Broadcasting and Recorded Sound Division (M/B/RS) in collaboration with the Library's Office of Scholarly Programs, awards are made to researchers studying the interrelationships among advertising, culture, commerce and the media. The fellowship provides recipients with access to resources for an extended period of in-depth, multi-disciplinary research into the Library's broadcast advertising and other audio-visual collections. A supporting stipend of $20,000 is provided for the duration of the fellowship, which must include three months residency in the Washington, DC, area to conduct research in the Library's collections. Scholars of all nationalities are invited to apply.

Selection of the Coca-Cola Fellow will be made by the Librarian of Congress upon the recommendation of a three-person Selection Committee, chosen from the broader academic community. The Selection Committee members will be appointed by the Librarian of Congress in consultation with the staff of the Motion Picture, Broadcasting and Recorded Sound Division. The deadline for completed applications for the 2005 award is March 15, 2005, with the recipient to be announced on May 1, 2005. For more information on how to apply for the Coca-Cola Fellowship, visit the web site at www.loc.gov/rr/mopic/cokefellowship/.

THE CURRENT APPLICATION DEADLINE IS: March 15, 2005.



CALL FOR PAPERS — Screen Studies Conference 2005 organised by Screen journal
University of Glasgow, Scotland — 1-3 July 2005

The 15th international Screen Studies Conference will offer a mix of keynote addresses, panels and workshop sessions.

Please note that this is an open call for papers, which may be on any topic in screen studies. There is no set theme for this year's conference. Please send us your 200-word proposal to arrive no later than 30 January 2005. Joint submissions of up to four speakers forming a panel are also welcome.

Proposals and enquiries should be sent to Caroline Beven by Email:
screen@arts.gla.ac.uk
Please mark subject box 'Conference 2005'

Notification of acceptance will be sent out around the end of February 2005. Further details of the 2005 conference programme and a registration form will be posted on the Screen website as they become available.

Details of previous conference programmes and papers (2004 and 2003) are also viewable on the site: http://www.screen.arts.gla.ac.uk/

The Ingmar Bergman Symposium 2005
The Film Studies Department at Stockholm University and The Ingmar Bergman Foundation are currently planning a joint venture, The Ingmar Bergman Symposium 2005, to take place in Stockholm May 31 - June 1, 2005.
For more info, please visit www.ingmarbergmanfoundation.com.



SCREEN MEDIA AND SEXUAL POLITICS CONFERENCE

We invite panel and individual-paper proposals for the SCREEN MEDIA AND SEXUAL POLITICS CONFERENCE, to be held at Plymouth State University (Plymouth, New Hampshire) October 8-9, 2004. The members of the conference committee are seeking contributions that explore the evolution, representation, and social construction of sex, gender, sexuality and/or related phenomena in various screen-media forms (e.g., film, video, television, the Internet) from 1895 to the present. Conference participants will investigate the complex relations between screen-media forms/styles and sexual politics (past and present), as well as the ideological and social ramifications of those relations. Participants are encouraged to interpret the conference theme broadly and innovatively. Papers may not exceed 20 minutes presentation time.

We encourage submissions from scholars, educators, and students at all levels, and from disciplines including anthropology, communications, cultural studies, film studies, GLBT studies, history, literature, media studies, popular culture, sociology, and television studies.

SELECTED PAPERS WILL BE PUBLISHED (WITH AUTHOR’S PERMISSION) IN A SPECIAL ANTHOLOGY PERTAINING TO THE CONFERENCE THEME

As a bonus, please note that the conference dates correspond with the ideal time to enjoy New England’s breathtaking fall foliage!

Persons submitting individual-paper proposals are asked to submit a one-page abstract with complete contact information (name, institutional affiliation, snail-mail and e-mail addresses, daytime telephone number, fax number). Panel proposals (featuring three paper-presentations total) should include panel title, brief description of panel theme, name of the panel chair, one-page abstracts of each paper in the panel, and complete contact information for each presenter on the panel (name, institutional affiliation, snail-mail and e-mail addresses, daytime telephone number, fax number). IN ORDER TO BE CONSIDERED, ALL PROPOSALS MUST BE RECEIVED NO LATER THAN JULY 1, 2004. Individuals will be notified of the status of their proposals within three weeks of the submission deadline.

Please mail or e-mail conference proposals to:
Screen Media and Sexual
Politics Conference, Attn: Kylo-Patrick Hart, Department of Communication Studies
Plymouth State University
17 High Street, MSC 60, Plymouth, NH
03264
Email: krhart@plymouth.edu

For specific inquiries prior to submitting a proposal, please contact
Kylo-Patrick Hart at (603) 535-3122 or krhart@plymouth.edu.



Congratulations to Iamhist Member Adrian Wood
Adrian Wood has been honoured by the British Academy of Film and Television Arts at this year's BAFTA Craft Awards.

The BAFTA Special Award, given in the Gift of the Academy, was given to film researcher Adrian Wood. Special Awards are given to those who have made an outstanding creative contribution to British television. Amongst Adrian's numerous credits are The Nazi's - A Warning from History, The Second World War in Colour, Britain At War in Colour, America's War and Japan's War.

Details of other award winners can be found on the website: www.bafta.org.



2003 Kraszna-Krausz Moving Image Book Award
This Film is Dangerous: A Celebration of Nitrate Film edited by Roger Smither and associate editor Catherine A. Surowiec  (FIAF – International Federation of Film Archives, Brussels) – best book in the Business, Techniques and Technology category.  The judges praised this huge undertaking for being a “long needed work which thoroughly explores the issues of film preservation for the first decades of cinema when nitrate film was in use, a book which balances the concerns of the archivist with the insights of a scholar.  A collection of papers by close to 100 contributors from 35 countries, offering a rare mixture of fascinating stories and detailed technical information”.

The Kraszna-Krausz Book Awards are made annually, with prizes for books on still photography alternating with those for books on the moving image.  The 2004 Awards will be for the best books on still photography.

More information on Andor Kraszna-Krausz and the work of the Foundation can be seen at www.k-k.org.uk and from Andrea Livingston at awards@k-k.org.uk.



Call for Papers: The Hollywood Left
Steve Neale (University of Exeter, UK) and Peter Stanfield (University of Kent, UK) are co-editing a special issue of the journal Film Studies: An International Review (Manchester University Press) and are inviting essay contributions on the films and television productions that involved members of the Hollywood Left.

Much is now known about the input made by the Hollywood Left to films, television programmes, radio and theatre in the 1930s, 1940s, 1950s and 1960s. However, with some notable exceptions, there has so far been very little detailed discussion of the films, programmes, plays, novels and stories they wrote or directed. In particular, there has been a lack of work that is sensitive both to the role of creative workers and the institutional contexts of production, distribution, exhibition and consumption. The editors are looking for work that will contribute to a greater understanding of the creative process either within an individual title, across a cycle of films, an individual's body of work, or a particular production company's output.

Please send proposals for essays of 6-8,000 words to both s.m.b.neale@exeter.ac.uk and p.stanfield@kent.ac.uk. Accepted essays must be completed by May, 2004.



Call for Papers
War Without Limits: Spain 1936-1939 and Beyond Group for War and Culture Studies
University of Bristol, 17th-19th July 2006

Profoundly Spanish in origin, yet almost immediately internationalised, the Spanish Civil War had a marked impact on the politics and culture of many nations. Considered by many of its generation as the first ideological war, it has become for many since a precursor of the Second World War sometimes subsumed into, or obscured by, this latter in our memory of the period. Yet, its significance continues to be reflected in a variety of cultural representations of the conflict emanating from many different nations and cultures and in its continued pertinence and interest as a subject of historical research.

The aim of this three-day, international conference is to explore the international social, political, military and cultural history of this conflict from 1936 to the present. The organisers therefore welcome proposals for papers on any aspect of the conflict from established scholars or postgraduates working in a range of disciplines including, for example, social, political and cultural history, military history and war studies, intellectual history, cultural memory, literary studies, art history, photography, media studies, film studies. Proposals should not exceed 350 words and should be sent, in English or in French, the two official languages of GWACS, to either of the organisers at the addresses below by the 31st December 2005.

Dr Martin Hurcombe,
Department of French,
University of Bristol,
19 Woodland Road,
Bristol,
BS8 1TE
U.K.
Tel (+44) (0)117 928 8447
E-mail: M.J.Hurcombe@bristol.ac.uk

Prof Debra Kelly,
School of Social Sciences, Humanities and Languages, University of Westminster,
309 Regent Street,
London, W1B 2UW
U.K.
Tel (+44) (0)117 928 8447
E-mail: kellyd@westminster.ac.uk



The Politics of VISUAL PLEASURE 30 years on: The Work of Laura Mulvey
Saturday June 18th 2005, The Queen's Building, Emmanuel College, Cambridge, UK

2005 marks the thirtieth anniversary of the publication of Laura Mulvey’s seminal essay ‘Visual Pleasure and Narrative Cinema’, which polemically tracked the gendered nature of spectatorship in Hollywood cinema. The essay appeared in the journal Screen, which itself became the rallying point for a new kind of post-’68, politically-impelled, psychoanalytically-informed screen theory. In this one-day conference, we acknowledge the importance of Mulvey’s work, which became extraordinarily influential in that rich interdisciplinary terrain where ideas from post-structuralism flooded into film, literary and cultural studies, stimulating innovative directions in textual and phenomenological analyses and in media and cultural sociology; but which also, as significantly, envisaged a meeting point between film theory and the practice of film-making. As a consequence of its fertility, the essay entered the canon and, as Mulvey has acknowledged, attained the status of orthodoxy.

In the conference we ask: how has Mulvey’s work subsequently developed? What is its legacy today and for the future? Do its insights migrate well to new objects, such as the soundtrack, or African cinema? Can Mulvey’s approach be refashioned to analyse the modes of filmic experience given by digital technologies? Does the psychoanalytic core of Mulvey’s work stand the test of time, in light of historical and empirical studies of spectatorship? Does her work have broader implications for psychoanalytic cultural theory? What happened, in the embrace of Mulvey’s work by the international academy, to the politics of ‘Visual Pleasure..’, and are they relevant to a ‘post-feminist’ present?

Among the speakers are Laura Mulvey, Mandy Merck, Annette Kuhn, Emma Wilson, Diane Negra and Andrew Webber, with Colin MacCabe, Henrietta Moore, Juliet Mitchell, Mary Jacobus, David Trotter and others as discussants and session chairs.

The conference will be of interest to scholars and students from film, media and English studies, from gender, cultural and music studies, to sociologists and anthropologists of media and culture, as well as to those engaged with psychoanalytic cultural theory.

The conference forms part of the activities of the Cambridge Media Research Group. We gratefully acknowledge the support of Emmanuel College, Cambridge, the Department of Sociology and Faculty of English, University of Cambridge.

Full details of the programme are available on the event website:
http://www.am-design.co.uk/mulvey.html

REGISTRATION
You will need to register in advance for the conference. A registration fee of £12.50 for students and £25.00 for non students, should be made payable to 'Cambridge University'.

Please download one of the registration forms below and send it, with an enclosed cheque, to:

Heather Tilley
c/o New Hall College, Huntingdon Road,
Cambridge, CB3 0DF

Download registration form [pdf document 160mb]
http://www.am-design.co.uk/mrgweb/images/registration_form.pdf

Download registration form [word document 36mb]
http://www.am-design.co.uk/mrgweb/images/registration_form.doc

For any enquiries regarding registration please email Heather on hat21@cam.ac.uk


MORE ARCHIVED NEWS
Report on the Berlin conference (1999) [in German]
Report on IAMHIST XIX - CHANGING IDENTITIES IN FILM AND TELEVISION (2001)
Report on IAMHIST XVIII - HISTORY AND TELEVISION (1999)
New Italian Archive