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IAMHIST conference 2009: Social Fears and Moral Panics, Aberystwyth, 8-11 July 2009
FINAL CALL FOR PAPERS
This is the final call for papers for the XXIII biennial International Association for Media and History (IAMHIST) conference, incorporating the 3rd Gregynog Media History Conference, on the theme Social Fears and Moral Panics.
The conference will explore both the role of the media in addressing, highlighting or perpetuating social fears, and the mass media itself as a perceived moral agent and/or threat. We welcome paper proposals that address the theme in both contemporary and/or historical perspective; proposals which engage with the theme comparatively (both geographically and temporally); and proposals which engage with theoretical approaches, including the social theory of moral panic. We also welcome proposals for complete panels (three themed papers); and proposals from postgraduate and early-career scholars in the field of media history, including on ‘off-theme’ topics.
Abstracts of no more than 300 words per paper should be sent to Dr Sian Nicholas at iamhist2009@aber.ac.uk c/o Department of History and Welsh History, Aberystwyth University, Penglais, Aberystwyth, Ceredigion SY23 3DY, Wales UK, by 10 December 2008. Please note, this is the final deadline.
The conference is being organised by IAMHIST, in association with the Centre for Media History and Departments of History and Welsh History, and Theatre, Film and Television, Aberystwyth University, the Department of Media and Communications, Swansea University, and the journals Historical Journal of Film, Radio and Television and Media History, with the support of the National Screen and Sound Archive of Wales, National Library of Wales, Aberystwyth.
Confirmed speakers include Chas Crichter, Julian Petley, Martin Barker, Steve Chibnall, Virginia Berridge, Aled Jones, Jason McElligott, Michele Hilmes, Bridget Griffin-Foley, Sir Quentin Thomas (President, British Board of Film Classification) and Merfyn Jones (BBC Governor for Wales during the Hutton Report).
For further details and updates, see www.aber.ac.uk/history/research/centreformediahistoryIAMHIST2009.html
Wende Museum Film Archiving Internship
Established in 2002, the Los Angeles-based Wende Museum is a non-profit organization dedicated to acquiring, preserving, and enabling access to the cultural products, everyday objects, personal histories and documentary materials of Cold War-era Eastern Europe. The Museum offers a broad and comprehensive collection of over 100,000 objects and archival materials including household consumer products, clothing, folk art, political iconography, posters, films, textbooks, paintings, sports awards, and children's toys.
Responsibilities:
The Museum's Audiovisual Archive intern will aid in the accessioning, cataloging, and digitizing of East German film, slides, film strips, audiotape, and LPs. The collection consists of instructional, amateur, documentary, and feature films produced within the Soviet Bloc between 1946 and 1990.
The candidate should preferably have an interest in one or more of the following:
Film Archiving
Museum Studies
East German Cinema
Library Science
The internship will involve a great deal of hands-on work with various film formats. The intern will learn how to accession, inspect, repair and catalog film media, in preparation for digitization and archival storage. He/She will also have the opportunity to partake in digitizing the 16mm collection, using our HD film scanner and specialized computer software. In addition to audiovisual responsibilities, the intern will, from time to time, be asked to accession general items for the museum's main collection.
Interns are encouraged to develop their own projects in order to gain a stronger knowledge of the collection. This unpaid internship may be used for college credit.
For more information or to apply,
please contact:
Carla Arton
Film Archivist
5741 Buckingham Parkway Suite E
Culver City, CA 90230
310-216-1600
www.wendemuseum.org <http://www.wendemuseum.org/>
carton@wendemuseum.org
Original PDF of posting available if requested.
NBC Universal Assistant Archivist Position
To apply go to www.nbcunicareers.com Do a search for the Job Number 1035148. I have no hiring contact information for this position.
Assistant Professor/Postproduction
Organization: Watkins College of Art, Design and Film
Location: TN
Start Date: August 1, 2009
Application Deadline: July 1, 2009
Point of Contact: Steven Womack, Chair
Website: www.watkins.edu
Summary: The Watkins Film School, a division of the Watkins College of Art, Design and Film, seeks a full-time postproduction assistant professor in its film and video editing curriculum.
Dean, School of Arts and Communications
Organization: The College of New Jersey
Location: NJ
Start Date: September 1, 2009
Application Deadline: June 3, 2009
Point of Contact:
Summary: The College of New Jersey (TCNJ) invites applications and nominations for the position of Dean of the School of the Arts and Communication.
Endowed Chair, screenwriting Deadline is Approaching!
Organization: Ithaca College, Los Angeles
Location: CA
Start Date: August 16, 2009
Application Deadline: April 17, 2009
Point of Contact:
Summary: he James B. Pendleton Center in Los Angeles, a program of the Park School of
Communications at Ithaca College, invites applications for a full-time, renewable, two-year, non-tenure eligible Assistant/Associate Professor appointment, beginning August 16, 2009.
Assistant Professor of Film Production One-year replacement, contingent on funding Deadline is Approaching!
Organization: St. Cloud State University
Location: MN
Start Date: March 17, 2009
Application Deadline: April 13, 2009
Point of Contact: Chris Jordan, Department of Theatre, Film Studies, and Dance
Website: http://www.stcloudstate.edu/theatrefilmdance
Summary: Salary: Commensurate with education and experience
Northeast Historic Film
Northeast Historic Film, a non-profit moving image archives, located on the
coast of Maine, seeks to fill the full-time professional position of
Technical Services Director. The position is to be filled as soon as
possible.
Primary duties-
Manage the technical services department to process film transfer and video
re-formatting jobs for external customers as well as NHF's own archival
holdings. Control workflow from intake and reformatting to billing and
shipping. Responsible for client relations including estimates and
scheduling. Coordinate with the Collections Manager to generate collection
access copies needed for internal purposes. Work with preservation labs and
facilities for needs beyond in-house capabilities. Handle stock footage
research and production requests.
Working knowledge of film, video and digital formats and preservation
standards needed. Also must have proficiency in film repair techniques, and
an understanding of film lab procedures, video and digital production
techniques. Experience with FinalCut Studio and other digital editing
software helpful.
Additional responsibilities-
Work with Facility Manager and Collections Manager to prioritize equipment
needs. Also responsible for alerting the Collections Manager to potential
acquisitions encountered in technical services jobs. Assist with NHF
outreach endeavors such as workshops and public presentations. There is a
strong digital production component to this position. Working knowledge of
open source digital video standards and software and drive to learn
essential.
Must be willing to step in and help with all departments as needed. Small
staff requires a team player as well as ability to work independently.
Reports to the Executive Director.
Please send cover letter and resume to:
gemma@oldfilm.org or
Northeast Historic Film
Attn: Gemma Perretta
PO Box 900
Bucksport, ME 04416
For more information about Northeast Historic Film: www.oldfilm.org
To view this posting on-line please visit www.oldfilm.org/Employment
Call for papers for a conference in October
I am attaching a call for papers for a international conference to be held
in Pamplona, Spain, next October.
IMAGEing Reality: Representing the Real in Film, Television and New Media
School of Communication
Universidad de Navarra
Pamplona, Spain
22-24 October 2009
Contemporary society finds itself increasingly shaped and conditioned by the
audiovisual media, from the traditional ones, such as the cinema and
television, to the newer platforms (computers, mobile phones, mp4, etc.), as
well as by its growing reliance on the Internet as a content supplier. Our
screens are fed with images and sounds registered by ever-more ubiquitous
cameras: professional products for the traditional screens now compete with
amateur and domestic images, or with the anonymous world of the omnipresent
security cameras. At the same time, the effectiveness and popularity of
“metaverses” such as Second Life are imposing the idea of a virtual,
alternative reality. An audiovisual world is being formed, therefore, that
is beginning to show the appropriateness of Borges’s famous metaphor of the
map whose scale coincides with that of the real world it represents; an idea
that Baudrillard formalized in the concept of the simulacrum. These
metaphors inevitably carry us to the contemporary debate on the consistency
and reliability of audiovisual representation, and to the question as to
whether images support and extend our knowledge of the world, or whether
they act more and more as a simulacrum that anesthetizes our senses.
Against this backdrop, an interesting tension can be observed between an
increasing distrust of the true character of audiovisual representation, and
the idea—strongly rooted in our popular culture— which is expressed in the
phrase that “the image never lies”. In spite of the revolution introduced by
digital technologies, we continue to rely on the audiovisual “document”—in
the form of news, documentaries, home videos—and we continue to be
captivated by the “realism” of the representation of human interactions and
conflicts that cinema and television offer us, both in the classic modes of
fiction and non-fiction and in newer formats such as reality TV.
The XXIV International Conference of the School of Communication of the
University of Navarre aims to create a forum for reflection and debate on
these issues, building on the understanding of the historical and
theoretical contexts developed during the last century, while also exploring
the present and future configurations of our audiovisual societies.
Topics for consideration could include, but are not restricted to:
- From Bazin to Baudrillard. Theoretical approaches to the nature of
reality
in audiovisual representation.
- Technological mediation. The impact of the consolidation of the
digital
media on the debate about the indexical nature of the image.
- From live broadcasts to reality television. The consequences of the
growth
of the rhetoric of live broadcasting in contemporary audiovisual culture,
from cinéma vérité and direct cinema to the reality show format.
- Documentary as a site of collision between the theoretical proposals
of
deconstructionism and its traditional vocation as social witness.
- Realism in fiction film. Engagements with the diverse proposals of
“realistic cinema,” in its historical, rhetorical, narrative and aesthetic
dimensions.
- Audiovisual creation on the frontiers. The hybridization of styles
and
modes—fiction, documentary, experimental—and their new proposals for the
representation of the real.
Papers can be presented in English or Spanish. The Conference will provide
simultaneous translation to both languages.
Deadline for proposals: Friday 5 June 2009.
Proposals must be addressed to Efrén Cuevas (ecuevas@unav.es), and include:
- a 300 word abstract
- a brief list of bibliographic references related to the proposal
- a brief curriculum vitae
Final notification of acceptance will follow in the first week of July.
Conference Organizers
Efrén Cuevas. Universidad de Navarra (ecuevas@unav.es)
Alberto N. García. Universidad de Navarra (albgarcia@unav.es)
Advisory Board
Josep María Catalá (Universitat Autónoma de Barcelona)
John Corner (University of Leeds)
Arild Fetveit (University of Copenhagen)
Richard Kilborn (University of Stirling)
Roger Odin (Université Sorbonne Nouvelle)
Àngel Quintana (Universitat de Girona)
Laura Rascaroli (University College Cork)
Storytelling in World Cinemas:
Narrative Forms and Contexts
Call for Papers
Chapters are solicited for the edited collection "Storytelling in World
Cinemas", edited by Lina Khatib (Senior Lecturer, Department of Media
Arts, Royal Holloway, University of London).
The collection will be published by Wallflower Press.
Please send a 250-word abstract and a short biography to
lina.khatib@rhul.ac.uk by April 22, 2009.
Chapters should be framed within the following parameters:
In how many ways can cinema tell a story? Where does this storytelling
come from? And what purpose does this storytelling serve? This collection
aims at locating cinema within a wider cultural framework through focusing
on the theme of storytelling in cinema. In particular, the collection will
focus on how different cinemas tell stories, i.e., with the issue of
narration in cinema. The collection will deal with non-classical
narratives in different cinemas that are influenced by, among others,
aural/oral, literary and religious storytelling traditions. For example,
Ousmane Sembene's films are highly influenced by the griot, or the village
oral storyteller, but are also often adaptations of his literary novels.
Iranian cinema (especially Kiarostami's work) often tells stories that are
communicated as moments or feelings, not as plots, and is influenced by
Iran's poetic tradition. And films from the Arab world have been inspired
by the episodic narrative tradition of 1001 Nights. In addition, the
collection will include chapters about the influence of social and
political context on the way stories are told in films (such as the impact
of revolution or dictatorship). This collection is an examination of the
different ways stories are told in cinemas, and the cultural/political
context in which this storytelling exists. It begins with an investigation
into the necessity of cinema narrative, and ends with an exploration of
how cinema can go "beyond" the narrative. In between, it goes on a journey
linking cinema with issues such as (but not limited to) religion,
literature, theatre, music, poetry and oral epics, as well social and
political contexts. So far, there is work done on those different
narratives, but those studies tend to either look at such cinemas in
isolation, or in comparison to the classical Hollywood narrative. This
collection will bring together experts on those different cinemas in order
to highlight how they converge and diverge and to arrive at a well-rounded
examination of the cultural context in which storytelling in cinema exists
and which it is shaped by.
Completed chapters are expected to be 5000 words long and are expected to
be delivered by the end of June 2009.
In particular, chapters on the following topics are solicited:
- Non-narrative films (like Tropical Malady)
- Film narratives in Arab cinemas
- Film and revolution in Latin America
RESEARCHING CINEMA HISTORY
Perspectives and Practices in Film Historiography
6th - 7th July 2009
A symposium hosted by the University of Portsmouth and the British
Universities Film & Video Council held at:
Geological Society
Burlington House
Piccadilly
London W1J 0BG
For full details and registration, visit www.cinemahistory.org.uk
Historiography has produced one of the richest seams of enquiry for cinema
and film researchers. Yet rarely are matters of research perspective or
methodology reflected upon. Bringing together an experienced body of
researchers, this symposium provides a context in which to explore and
interrogate the conceptual perspectives, methodological principles and
practical working procedures involved with researching cinema history. The
event provides an opportunity for cinema and film researchers to engage in
critical reflection on how to do cinema history.
Speakers:
Robert C. Allen (University of North Carolina, Chapel Hill)
Gerban Bakker (London School of Economics)
Karel Dibberts (University of Amsterdam)
Mark Glancy (Queen Mary, University of London)
Julia Hallam (University of Liverpool)
Linda Kaye (British Universities Film & Video Council)
Steve Neale (University of Exeter)
Andrew Spicer (University of the West of England)
Phil Wickham (Bill Douglas Centre for the History of Cinema & Popular
Culture, University of Exeter)
NOTE: For anyone planning to travel onwards to the IAMHIST (International
Association for Media and History) conference in Aberystwyth over 8-11 July
2009, this is to confirm the second day of the symposium will conclude by
1.30pm on Tuesday 7 July.
Prof. Paul McDonald
Professor of Film and Television
School of Creative Arts, Film and Media
University of Portsmouth
St George's Building
141 High Street
Portsmouth PO1 2HY
United Kingdom
(t) ++44 (0) 23 9284 3035
(m) 07786 514 550
(f) ++44 (0) 2392 845372
(e) Paul.McDonald@port.ac.uk
(w) http://www.port.ac.uk/research/ceisr/members/title,60662,en.html
CALL FOR PROPOSALS
Northeast Historic Film, 2009 Summer Symposium
Bucksport, Maine, USA
24-25 JULY 2009
Ways of Watching
What happens to amateur, regional and non-commercial films after filmmakers
finish crafting them? How do audiences watch them and why? While
researchers,
scholars and archivists have made great inroads into understanding the
cultural significance of non-commercial films and filmmakers, less is
understood about the habits of their audiences and their exhibition. The
2009 Northeast Historic Film Summer Symposium focuses on an investigation of
how, where and why we watch amateur and noncommercial films in both the past
and the present. We seek papers and presentations examining the varied
practices of film viewing and exhibition, particularly as they pertain to
amateur, regional and non-commercial film.
Potential topics include, but are not limited to:
Practices of viewing Home theaters Family
viewing
Mobilized cinema Itinerant projection Non-commercial
exhibition
Amateur film contests Community exhibition New & old
distribution Networks
Social habits of audiences Amateur cinema clubs Amateur news
&
I-reports
Projection technologies Surveillance practices Voyeurism
Screens--mini, mega, and mobile Amateur film as political witness Home
3-D
Organizations & film exhibition Amateur film as observation Visible
evidence
The Northeast Historic Film Summer Symposium is a multi-disciplinary
gathering
devoted to the history, theory, and preservation of moving images. 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. Past topics are described
here, http://oldfilm.org/symposiums.
Typically, presentations are 30 minutes, 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. We encourage presentations that include interesting moving
images.
We prefer e-mail submissions. Please send 250-500 word abstracts outlining
your paper ideas to the symposium organizers at the address below. 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
April 1, 2009.
Please send proposals and inquiries to:
Mark Neumann
Mark.Neumann@nau.edu
School of Communication
Northern Arizona University
Janna Jones
Janna.Jones@NAU.EDU
School of Communication
Cinema and Visual Culture Program
Northern Arizona University
Snowden Becker
snowdenbecker@gmail.com
School of Information
University of Texas, Austin
Fully funded PhD Studentships
School of Film and Television Studies
University of East Anglia
The School of Film and Television Studies is pleased to announce its
success in the block grant bids and that it therefore has two fully
funded PhD studentships per year for the next five years (i.e. these
cover both fees and a maintainence allowance) and one fully funded
studentship for the MA in Film Studies and one for the MA in Film
Studies with Archiving. In addition, both the School and the Faculty
have a number of other fully funded studentships.
Furthermore, due to the terms of the block grant award, we have
revised the deadline by which applicants must apply to us in order to
be considered for one of these awards. The new deadline is now 3 April.
To be considered for any awards in the School, students simply have to
apply for a place on one of our programmes. Please visit the following
information links to help you with making your application.
https://www.uea.ac.uk/hum/PostgraduateResearchOffice
http://www.uea.ac.uk/polopoly_fs/1.92330!guidancenotes.pdf
https://www.uea.ac.uk/hum/PostgraduateResearchOffice/admissions
Any candidates that have already applied to us are welcome to submit
revised versions of their proposal (or other sections of their
application if they so wish) by the deadline, although this is
certainly not a requirement and will not be necessary in most cases.
Professor Mark Jancovich
Head of School,
Film and Television Studies
University of East Anglia
Norwich, NR4 7TJ
Tel: 01603 592787
email: m.jancovich@uea.ac.uk
Britain and the End of the Cold War
CALL FOR PAPERS: CCBH Summer Conference 2009
Institute of Historical Research
In November 1989 the Berlin Wall was dismantled. This event marked the beginning of the end of the Cold War.
The Cold War is often seen as an ideological battle between the two superpowers that emerged from the Second World War, the USA and the USSR. Nations like the UK were thought of as adjuncts to the superpower they were in alliance with. However, more recent scholarly analysis of the Cold War has ‘decentred’ the conflict, by examining how the Cold War was fought at the peripheries; and by exploring the activities of so-called subsidiary actors, the UK included. The latter analysis shows that the each country’s involvement in the development of the Cold War was conditioned by a number of factors, in particular the international role of the country.
After 1945 the UK remained a global player, even though progressively ceasing to be an Imperial power, because of her sustained political, diplomatic and economic links with post-colonial countries around the globe. The UK was also the USA’s most ‘reliable ally’ and ideologically hostile to communism and UK governments believed that they had the right to sit at the international top table. Fighting the Cold War, therefore, was an integral part of UK policymaking. The Cold War also had an impact on British culture, as can be seen in film, radio, television and the arts, and on the development of science and technology. With the fall of the Berlin Wall and the end of the Cold War, the UK sought to expand its influence in the former Soviet bloc.
The 20th anniversary of the fall of the Berlin Wall is the ideal time for a systematic and academic assessment of the ways in which the Cold War and the end of the Cold War affected Britain and we invite papers on this. Possible areas for papers include (but are not limited to) the following:
The Cold War in Africa, Asia, Latin America and the Caribbean
Defence reviews: Sandys, East of Suez, Nott
The end of Empire
Nuclear defence and protest
NATO
The Commonwealth and the Cold War
Gender and the Cold War
The BBC and the Cold War
The Grenada crisis, 1983
The British presence in Germany
The development of the armed forces
The Strategic Defence Initiative
The intelligence services
Science and technology
Armament and disarmament
UK attitudes to the United States
Cold War culture - films and literature
Red Scare
UK reactions to perestroika
Policy after the fall of the Berlin Wall
The Thatcher-Reagan-Gorbachev relationship
Eastern Europe and the Know-How funds
Please send a short synopsis (up to 300 words) of your paper with your contact details to Dr Michael Kandiah, michael.kandiah@sas.ac.uk, by 16th January 2009.
UCLA 14th Festival of Preservation Opens This Weekend!
If you’re in SoCal, you might want to check out some of the UCLA Film & Television Archive’s “14th Festival of Preservation,” which screens at the Billy Wilder Theater in Westwood, March 13 – April 26.
The Festival opens with A Woman Under the Influence (1974, John Cassavetes) and a panel discussion featuring: Lelia Goldoni (Shadows), Seymour Cassell (Faces, Minnie and Moscowitz), Bo Harwood (Cassavetes’ longtime composer), Mike Ferris (Cassavetes’ longtime cinematographer), and David Armstrong (editor of A Woman Under the Influence).
Also, during the Festival’s first week:
– Josef von Sternberg’s first feature, The Salvation Hunters (1925), shot on location in San Pedro
– a double-feature of early Frank Borzage films
– pioneer filmmaker J. Stuart Blackton’s original The Film Parade (1933)
– a film noir evening with The Prowler (1951, Joseph Losey) and James Ellroy in person
– two from director John Sayles
– an evening of Hal Roach silent comedies.
Info and Tickets:
http://www.cinema.ucla.edu/calendar/calendardetails.aspx?details_type=2&id=323
Hollywood History Internship
Wilkman Productions is producing a ten-hour series for Turner Classic Movies entitled, "Moguls and Movie Stars: A History of Hollywood" for broadcast in 2010. We are seeking an intern that has a deep understanding & enjoyment of film history, technical skills in processing & cataloging digital archival assets and is interested in catapulting their career with a stronger sense of Hollywood and American history. This is an exciting opportunity to explore the entire history of the people behind and in front of the scenes of American movies, as well to be a part of a major documentary series.
Job tasks will include: Scanning historic photographs and adding metadata in Adobe Photoshop, Researching old movies/photographs/newspaper articles, creating summations of books, and light office administrative work. New duties will arise depending on the experience that the intern brings in beyond these needs. We are a PC & MAC environment. Intermediate experience with Adobe Photoshop, Microsoft Word/Excel and a love of Film History is required.
Office hours are 9-6pm, Monday-Friday. Interns will be expected to work a minimum of 20 hours per week for an entire semester or quarter
To apply for a start date in March 2009, please send a cover letter and resume by email to: stephon@wilkman.com
Thank you very much, and I look forward to hearing from you!
Stephon Litwinczuk
Assistant Editor/Researcher
Moguls and Movie Stars: A History of Hollywood
Wilkman Productions
1320 N. Wilton Place
Hollywood, CA 90028
stephon@wilkman.com
University at Albany, SUNY to offer M.A. in History and Media
January 2009: The University at Albany’s Department of History has introduced a new 36-credit History and Media concentration to its Masters program, allowing students to learn and apply specialized media skills — digital history and hypermedia authoring, photography and photoanalysis, documentary filmmaking, oral/video history, and aural history and audio documentary production — to the study of the past. The History and Media concentration builds on the Department’s strengths in academic and public history and its reputation as an innovator in the realm of digital and multimedia history. Visit the website at http://www.albany.edu/history/histmedia/historymedia.pdf <http://www.albany.edu/history/histmedia/historymedia.pdf>
Among the History and Media courses to be offered beginning in the fall of 2009 are: Introduction to Historical Documentary Media; Narrative in Historical Media; Readings and Practicum in Aural History and Audio Documentary Production; Readings and Practicum in Digital History and Hypermedia; Readings in the History and Theory of Documentary Filmmaking; Readings in Visual Media and Culture; Introduction to Oral and Video History; Research Seminar and Practicum in History and Media.
Instructors in the History and Media concentration will vary but will include a core faculty including: Gerald Zahavi, Professor; Amy Murrell Taylor, Associate Professor; Ray Sapirstein, Assistant Professor; Sheila Curran Bernard, Assistant Professor.
For more information, contact Gerald Zahavi, zahavi@albany.edu; 518-442-5427; http://www.albany.edu/history/histmedia/historymedia.pdf <http://www.albany.edu/history/histmedia/historymedia.pdf>
Job Announcement - British Film Institute (BFI) FILM PRESERVATION ENGINEER
Salary £21,959 to £25,689
We are looking for a Film Preservation Engineer to maintain and repair all
machinery and equipment within the Archive Film Lab.
You will assist with servicing and maintenance, to component level, of all
equipment, including film cleaning, film inspection and repair, printing,
projection and ancillary apparatus. You will also be required to schedule
routine maintenance and safety compliance testing throughout all technical
areas of the archive film lab and maintain a diverse range of serviceable
equipment and machinery to support all film formats held within the BFI
National Archive.
You will need to have previous experience working in relevant maintenance
environments and a thorough working knowledge of film laboratory equipment
and machine maintenance and repair procedures. You will also need a higher
education qualification, or relevant experience, with the ability to work
under your own initiative and often without close supervision.
You will be based at the BFI National Archive in Berkhamsted (nearest
station is Berkhamsted).
You will enjoy benefits such as a final salary pension scheme, 28-33 days
annual leave, free tickets to BFI Southbank events plus many other
discounts and benefits.
Further details about the post and the BFI can be obtained by visiting
www.bfi.org.uk/jobs or by email: jobs@bfi.org.uk. Closing date for
applications is 20 March 2009 and interviews will be held in the week
commencing 30 March 2009.
Article on Center for Social Media and fair use
The Independent, a major online publication for independent filmmakers,
just published an extensive article on one of the Center for Social
Media's key projects, on fair use and creative practice. This is a
milestone for us, since it alerts the field of working filmmakers to the
well-established, insurance-vetted utility of the Documentary Filmmakers'
Statement of Best Practices in Fair Use, now beginning its fourth year of
existence. We're really thrilled to see this quality of news coverage for
an initiative that has expanded freedom of expression. Since the author is
correct that fair use is a "use it or lose it" right, spreading the word
about the value and utility of the Statement is critical. If you know
creators who could use this information, if you have colleagues who could
incorporate this information into their teaching, or if you have students
who could use this information, please share it with them. And as always,
feel free to get in touch with me for more information on this. Thanks so
much! Here's the article:
http://www.independent-magazine.org/magazine/2009/02/fairuse
Pat Aufderheide, Professor and Director
Center for Social Media, School of Communication
American University
3201 New Mexico Av. NW, #330
Washington, DC 20016-8080
www.centerforsocialmedia.org
paufder@american.edu
202-885-2069
The Screen Anniversary Béla Balázs Symposium, Friday 1st May 2009,
Univer sity of London
Speakers: Sabine Hake, (University of Texas), Hanno Loewy, (Jewish Museum,
Hohenems), Erica Carter, (University of Warwick), Andrew Webber
(University of Cambridge)
The symposium's objective is to develop film-critical awareness of the
work of the Hungarian-born film critic and theorist, Béla Balázs, by
situating him as one of the writers of the interwar period trying to think
through the aesthetics of the then-new medium; and also to open up
discussion of the relevance of Balázs's work to understanding contemporary
media aesthetics.
The Béla Balázs Symposium is one of a series of events celebrating the
50th anniversary of the journal Screen ( http://www.screen.
arts.gla.ac.uk <http://www.screen.%20arts.gla.ac.uk%20> ), and is
scheduled to coincide with publication of the first-ever English
translation from the original German (in Berghahn's Film Europe series,
and part-funded by Screen) of Balázs's two early works of film theory,
Visible Man (1924) and The Spirit of Film (1930). The new translation will
recuperate Balázs for Anglophone film studies by situating his work within
the wider context of his early film theory.
Organised by Professor Annette Kuhn (School of Languages, Linguistics and
Film, Queen Mary, University of London) and Professor Erica Carter
(Department of German, University of Warwick).
With the kind support of Screen, with Queen Mary, University of London,
the University of Warwick, the University of London Screen Studies Group,
Berghahn Books and the Hungarian Cultural Institute.
For more details on the event programme and how to register please go to
http://igrs.sas.ac.uk/index.php?id=350 or contact igrs@sas.ac.uk.
CONFERENCE ANNOUNCEMENT: “Serial Forms”
University of Zurich, June 4–6, 2009
Organized by the Institute of Cinema Studies
Characterized by repetition and duplication on the one hand, and diversity
and progression on the other, serial forms have always been a key feature of
media practices. One of the most common manifestations of seriality is the
serialised narrative, especially popular in television where it regularly
attracts large audiences. Yet serials, soaps, and sequels are not only
interesting from an economic standpoint; increasingly, they are used as a
framework to experiment with innovative narrative techniques and to address
issues of political and social concern.
Outshining many theatrical films – not only regarding the complexity of
their story lines and characters, but often also with respect to their
formal style – so called quality television series such as LOST, THE WIRE,
or THE SOPRANOS present the latest trend. In a recent interview even the
French cineaste Chris Marker confessed that he hardly ever goes to the
cinema anymore but instead feeds his hunger for fiction with tv serials.
Media scholar Jason Mittell compares the proclaimed golden age of American
television to the New Hollywood cinema of the late sixties and early
seventies. During that period too, social, technological, and economic
changes inspired the production of extraordinarily innovative works, with a
new generation of filmmakers challenging prevailing norms of the
entertainment industry and, in part, transforming it profoundly.
Bringing together scholars from various countries and disciplines, the
conference takes the recent trend of quality television series as a starting
point to explore the phenomenon of serial forms on a broad canvas. While the
main focus will be on serial forms in cinema and television from the past
and present, we would also like to discuss the role of serial forms in other
media and art forms.
Speakers include: Jennifer M. Bean, Glen Creeber, Nicola Dusi, Jens Eder,
Lorenz Engell, Ursula Ganz-Blaettler, Wolfgang Hagen, Britta Hartmann, Jason
Mittell, Greg M. Smith, Jörg Schweinitz, Jörg Türschmann, and Rainer Winter
For more information please visit the conference website at:
http://www.film.uzh.ch/tagung/index.html
EASTERN EUROPE SCHOLARSHIP FOR THE FIRST INTERNATIONAL MASTER OF MEDIA ART HISTORY
(Low residency; English language, international faculty)
The Department for Image Science is pleased to announce a half-tuition
scholarship for the Master of Arts (MA) course starting in May 2009!
=> EASTERN EUROPE SCHOLARSHIP FOR MEDIA ART HISTORIES
The scholarship should help artists and researchers from the eastern
countries working in the field of conservation, documentation and
presentation of media arts or for persons interested in researching this
field.
=> FIRST INTERNATIONAL MASTER OF MEDIA.ART.HISTORIES
(International Faculty, low residency, parallel to employment, English
language)
The postgraduate program MediaArtHistories conveys the most important
developments of contemporary art through a network of renowned international
theorists, artists and curators like: Steve DIETZ, Erkki HUHTAMO, Lev
MANOVICH, Christiane PAUL, Paul SERMON, Edward SHANKEN, Jens HAUSER, Sean
CUBITT, Christa SOMMERER, Gerfried STOCKER, Knowbotic Research, Frieder
NAKE, Oliver GRAU and many others.
http://www.donau-uni.ac.at/en/studium/medienkunstgeschichte/06318/index.php
Artists and programmers give new insights into the latest and most
controversial software, interface developments and their interdisciplinary
and intercultural praxis. Keywords are: Strategies of Interaction &
Interface Design, Social Software, Immersion & Emotion and Artistic
Invention. Using online databases and other modern aids, knowledge of
computer animation, net art, interactive, telematic and genetic art as well
as the most recent reflections on nano art, CAVE installations, augmented
reality and wearables are introduced. Historical derivations that go far
back into art and media history are tied in intriguing ways to digital art.
Important approaches and methods from Image Science, Media Archaeology and
the History of Science & Technology will be discussed.
=> DANUBE UNIVERSITY KREMS ˆ located in the UNESCO world heritage Wachau is
the first public university in Europe which specializes in advanced
continuing education offering low-residency degree programs for working
professionals and lifelong learners.
With its new modular courses the DEPARTMENT FOR IMAGE SCIENCE at Danube
University Krems offers an educational program unique in Europe. Without
interrupting their career, students have the opportunity to learn through
direct, hands-on experience, social learning in small groups and contacts
with labs and industry. They gain key qualifications for the contemporary
art and media marketplace.
http://www.donau-uni.ac.at/en/studium/medienkunstgeschichte/10365/index.php
The Center in Monastery Göttweig, where most MediaArtHistories courses take
place, is housed in a 14th century building, remodeled to fit the needs of
modern research in singular surroundings. International experts analyze the
image worlds of art, science, politics and economy and elucidate how they
originated, became established and how they have stood the test of time. The
innovative approach at the Department for Image Science is reinforced by
praxis-oriented study.
Application documents:
- Letter of Motivation
- Application form
- Copies of your certificates
- Copy of your passport
- Photo
Application Deadline: 2nd, April 2009
Further Information:
http://www.donau-uni.ac.at/mediaarthistories
www.virtualart.at
www.mediaarthistories.org
Archival/Film History Internship - Los Angeles
Dear AMIAmigos,
Wilkman Productions is producing a ten-hour series for Turner Classic Movies entitled, "Moguls and Movie Stars: A History of Hollywood" for broadcast in 2010. We are seeking an intern that is ideally a Critical Studies in Film, Film History and/or Archival studies student. This is an exciting opportunity to explore the entire history of the people behind and in front of the scenes of American movies, as well to be a part of a major documentary series.
Job tasks will include: Scanning photographs and adding metadata in Adobe Photoshop, Researching old movies/photographs/newspaper articles, creating summations of books, and light office administrative work. New duties will arise depending on the experience that the intern brings in beyond these needs. We are a PC & MAC environment. Intermediate experience with Adobe Photoshop, Microsoft Word/Excel and a love of Film History is required.
Office hours are 9-6pm, Monday-Friday. Interns will be expected to work a minimum of 20 hours per week for an entire semester or quarter We prefer credit-based interns for this unpaid position.
To apply for a start date in March 2009, please send a cover letter and resume by email to: stephon@wilkman.com Thank you very much, and I look forward to hearing from you!
PhD scholarships at the University of St. Andrews
The Centre for Film Studies at the University of St Andrews is offering up
to four PhD fees-waiver scholarships in Film Studies. Focus is open but
broadly defined as work that falls within the areas of expertise of members
of the Centre.
These 3-year bursaries will be awarded in May 2009 to four PhD applicants
with outstanding research potential, to enable them to pursue studies at St
Andrews from September 2009 until August 2011. Applicants are invited to
apply via the Postgraduate Office for a place on the programme, and their
applications will be considered for these bursaries along with those of
other applicants.
DEADLINE FOR APPLICATIONS TO REACH US: 15 April 2009.
We also expect to be awarding one fully funded PhD studentship under the
AHRC block grant, pending the outcome of the University's application. This
will be known later in the week and announced on our web-site,
http://www.st-andrews.ac.uk/filmstudies
Key members of the Centre include: Dr. Will Brown, Prof. Robert Burgoyne,
Dr. Elisabeta Girelli, Prof. Dina Iordanova (director, CFS), Dr. David
Martin-Jones, Dr. Leshu Torchin.
Prof. Dina Iordanova Director of the Centre of Film Studies, Director of
Research for the School of Philosophical, Anthropological and Film Studies
Postgraduate Convener University of St. Andrews 99 North Street, St.
Andrews, Fife KY16 9AD, Scotland, UK
DinaView (www.DinaView.com) covers world film, culture, festivals, and
more. Check it out, subscribe, spread the word.
IAMHIST PRIZE FOR A WORK IN MEDIA AND HISTORY AWARDED
Hearty congratulations to the winners of the 2009 IAMHIST PRIZE FOR A WORK IN MEDIA AND HISTORY. The prize is a biennial award given to the book, radio or television programme or series, film, DVD, CDRom, or URL making the best contribution on the subject of media and history to have been published or shown in the preceding two years. Thanks to an especially strong field of entries, two winners were chosen: Reconstructing American Historical Cinema From 'Cimarron' to 'Citizen Kane,’ by Dr. Jennifer E. Smyth (University of Warwick), and Voices in Ruins: German Radio and National Reconstruction in the Wake of Total War, by Dr. Alexander Badenoch (Technical University of Eindhoven). Both works were cited by the prize committee as making outstanding contributions to the field, based on excellence of research, originality, accessibility, and scholarly usefulness.
For more information, please visit the website for Dr. Smyth's book, and for Dr. Badenoch's book.
The prize was awarded for the first time in 2007. The winner was Professor Wendy Webster (University of Central Lancashire), for her book Englishness and Empire, 1939-1965 (Oxford University Press, 2005). The prize was awarded at the XXIInd IAMHIST conference in Amsterdam (July 18-21, 2007).
This year’s winners were selected by a sub-committee of the IAMHIST Governing Council, under the chairmanship of IAMHIST Treasurer, Cynthia Miller. The prizes will be formally recognized and awarded at the XXIIIrd IAMHIST conference, which will be held in Aberystwyth, Wales, this summer (July 8-11, 2009).
Kansas Silent Film Festival
will host U.S.A. Premiere and Kansas Premiere at 2009 February event
The 13th annual Kansas Silent Film Festival will be held on February 27th and 28th, 2009 and will play host to both the U.S.A. Premiere of a restored ‘lost’ feature film and the Kansas Premiere of a new documentary on silent film star, Mary Pickford. Sponsored by Washburn University, this event will take place at White Concert Hall on campus. Admission is free and open to the public. For more current information, check out our website at www.kssilentfilmfest.org and if you would like to volunteer, please contact our Volunteer Coodinators – Jane Bartholomew and Phil Figgs.
The U.S.A. Premiere is BARDELYS THE MAGNIFICENT, a previously ‘lost’ MGM feature film from 1926 starring John Gilbert in a swashbuckling romantic adventure based on a novel by Rafael Sabatini. It’s a sumptuous, exciting tale set in 17th Century France with a cavalier lover who steals women’s hearts, but cannot find the words for the woman he truly loves. There’s a rousing climax that outdoes most of the adventures of Douglas Fairbanks, who was better known for these costume epics. Film restoration expert David Shepard (who worked on this film) will be in attendance to introduce it. The Mont Alto Motion Picture Orchestra of Boulder, Colorado will be on hand to premiere their newly commissioned music score for BARDELYS ‘live’ on the Concert Hall stage.
The Kansas Premiere is a new documentary entitled MARY PICKFORD: THE MUSE OF THE MOVIES and it celebrates the life and work of the greatest leading lady of silent films. Her Centennial year in the movies will be in 2009 (her first film appearance was in 1909 in a short film by D.W. Griffith). Producer/Director Nicholas Eliopoulos will be introducing his documentary and fielding questions from the audience who see it. The Pickford documentary will be preceded by the 1919 feature film, THE POOR LITTLE RICH GIRL, one of Mary Pickford’s greatest successes. For the full event schedule visit www.kssilentfilmfest.org.
Deadline for UEA studentships fast approaching
Can I warn anyone who is planning to apply for the PhD (or even vaguely
thinking about it) that the deadline for studentship applications is 1
March, which is only about 5 weeks away. I would therefore advise anyone
who is thinking of applying contact me immediately. Of course, if anyone
has any extenuating circumstance why you can't make this date, you
should also contact us immediately so that we can assess the case and
see if there are any special arrangements that we can set in place, but
this will only be considered in extraordinary circumstances.
Prof. Mark Jancovich
Head of School
Film and Television Studies
University of East Anglia,
Norwich, NR4 7TJ,
United Kingdom.
Tel: 01603 592787
Email: m.jancovich@uea.ac.uk
UCLA Film & Television Archive Travel/Research Funding
To support the work of scholars and encourage access to collections, the
UCLA Film & Television Archive's Research and Study Center is offering a
Visiting Researcher Stipend program for 2009. Two stipends in the amount of
$2000 will be awarded. UCLA Film & Television Archive Travel/Research
Funding
To support the work of scholars and encourage access to collections, the
UCLA Film & Television Archive's Research and Study Center is offering a
Visiting Researcher Stipend program for 2009. Two stipends in the amount of
$2000 will be awarded.
Applications are open to current students, faculty and staff from all
academic disciplines. For eligibility and application information, visit the
Archive's website at:
http://www.cinema.ucla.edu/access/researchstipend.html. Application
materials must be postmarked no later than March 31, 2009.
About the Archive's Collections
The UCLA Film & Television Archive holds over 250,000 films and television
programs produced from the 1890s to the present. The collection includes
independent and studio-produced shorts and feature films, advertising and
industrial films, documentaries, local and network TV programming,
commercials, news and public affairs broadcasts, and 27 million feet of
newsreels produced between 1919 and 1971.
Mark Quigley Manager, Archive Research & Study Center UCLA Film & Television
Archive arsc@ucla.edu Applications are open to current students, faculty and
staff from all academic disciplines. For eligibility and application
information, visit the Archive's website at:
http://www.cinema.ucla.edu/access/researchstipend.html. Application
materials must be postmarked no later than March 31, 2009.
About the Archive's Collections
The UCLA Film & Television Archive holds over 250,000 films and television
programs produced from the 1890s to the present. The collection includes
independent and studio-produced shorts and feature films, advertising and
industrial films, documentaries, local and network TV programming,
commercials, news and public affairs broadcasts, and 27 million feet of
newsreels produced between 1919 and 1971.
Mark Quigley Manager, Archive Research & Study Center UCLA Film & Television
Archive arsc@ucla.edu
New online gateway to the UK’s Screen Heritage collections launched
http://joseph.bufvc.ac.uk/rgo
The first online guide to the UK's screen heritage was launched this week at the Foyle Centre, The British Library. The Researcher’s Guide to Screen Heritage is the result of a project to identify the whereabouts of collections of artefacts, ranging from costumes and sets to cameras and cars, and gives access to the collections of over 700 institutions.
The website (http://joseph.bufvc.ac.uk/rgo) delivers a comprehensive links directory to the leading collections of content and artefacts related to the history of moving image and sound in the United Kingdom. Aimed at anyone with an interest in the history of cinema, television and related media, it is a gateway which is of particular interest to students, researchers and academics. For the first time, it is possible to discover immediately where films, television programmes, documents, images and associated physical artefacts are held in the UK.
The Researcher’s Guide to Screen Heritage is the result of a partnership between the National Media Museum, the British Universities Film & Video Council, and Screen Archive South East which are all members of the UK Screen Heritage Network. The project was funded by the Museums Libraries and Archives Council UK.
Building upon the BUFVC’s established database of moving image archives and document collections, the project sought to add the missing part of the jigsaw – information on the physical objects or artefacts residing in museums and other collections nationwide. It has uncovered some surprises, such as entire cinemas that have been painstakingly relocated brick-by-brick to museums, such as the Museum of Welsh Life at St Fagans and the Black Country Living Museum. Then there are those undergoing large-scale restoration, such as the Plaza Super Cinema in Stockport and Tyneside Cinema.
Specialised collections relating to or donated by film and television industry personnel are often ‘hidden’ in museums or universities. Through this gateway you will find your way to the collections of Stanley Kubrick at the University of the Arts, London, John Logie Baird at the Hastings Museum and Art Gallery and Lindsay Anderson at the University of Stirling. Magic lanterns and other pre-cinema objects are to be found in unlikely organisations such as Anti-Slavery International.
Michael Harvey, Curator of Cinematography at the National Media Museum said: “This has been a successful collaboration resulting in an extremely useful tool for everyone interested in finding out more about the UK’s rich screen heritage. Even those familiar with the field will make new connections and discoveries that will enrich their knowledge.”
Murray Weston, Director of the British Universities Film & Video Council said: “Following a productive national survey led by BUFVC Research Executive Linda Kaye, the Researcher’s Guide to Screen Heritage now identifies some 90 specialist collections of film and television-related artefacts alongside data on around 600 film, television and radio collections. The Researcher’s Guide to Screen Heritage will link in with the planned outputs of the UK Film Council/BFI Strategy for UK Screen Heritage. The British Universities Film & Video Council, which is building upon a 60-year track record promoting moving image and sound in scholarship, is delighted to have been associated with this initiative.”
To start your own screen heritage discovery trail, go to http://joseph.bufvc.ac.uk/rgo
Research Assistant position, Ireland
Research Assistant: “Capturing the Nation: Irish Home Movies, 1930-1970", 1-year fixed-term post (start date: 1/3/2009), full time (35 hours per week)
Funded by IRCHSS (Irish Research Council for the Humanities and Social Sciences), the research project “Capturing the Nation: Irish Home Movies, 1930-1970” is a collaboration between a team of researchers at University College Cork and the Irish Film Archive at the Irish Film Institute, Dublin, where the Research Assistant will be based. See full details. For an informal discussion, please contact the Principal Investigator, Laura Rascaroli, Film Studies & Department of Italian, University College Cork, +353 (21) 4902471, email: l.rascaroli@ucc.ie
Library Technician (Vacancy #: 080326) [5 openings]
GS-1411-05 Library Services (Processing Unit of the Recorded Sound Section, Motion Picture, Broadcasting and Recorded Sound (MBRS) Division at the National Audio-Visual Conservation Center (NAVCC)) $31,751.00 - $41,271.00 <Promotion Potential to GS-8)
Opening Date: Dec 16, 2008
Closing Date: Jan 16, 2009
<<<Note: There is a promotion ladder to a GS-8 such that employees fulfilling the requirements for the job are eligible for promotion to the next GS level every six months. In this manner, those hired for these positions can potentially be at the GS-8 level after eighteen months of successful employment.>>>
You can find the announcement at the following address:
http://www.loc.gov/hr/employment/jobposts.html
Audio Visual Technician (Vacancy #: 080327) (1 opening)
GS-1001-05 Library Services (Collections and Services, MBRS, Preservation Services, Recording Lab) $31,751.00 - $41,271.00 (Promotion potential to GS-7)
Opening Date: Dec 12, 2008
Closing Date: Jan 12, 2009
Located in Culpeper, Virginia
<<<<<<Note: There is a promotion ladder to a GS-7 such that employees fulfilling the requirements for the job are eligible for promotion to the next GS level every six months. In this manner, those hired for this position can potentially be at the GS-7 level after one year of successful employment. >>>
You can find the announcement at the following address:
http://www.loc.gov/hr/employment/jobposts.html
Cinmathque suisse (Swiss Film Archive) is currently
accepting applications for four positions
The Cinmathque suisse (Swiss Film Archive) is currently
accepting applications for four positions. For information
please visit the web-site:
http://www.cinematheque.ch/F/postes.htm
Call for Submissions--MadCat Women's Film Festival
Dear Filmmaker, The MadCat Women’s International Film Festival Call for
Submission is now open. The Festival accepts films of all genres and lengths
directed and co-directed by women. If you are one such filmmaker send us
your stuff! If not, please help us spread the word!
Pasted below is an entry form and guidelines for your review. Please readthrough our guidelines thoroughly as some things have changed. More
information, a downloadable entry form and a FAQ can be found at www.madcatfilmfestival.org. We are also registered on Withoutabox.com.
P. 415 436-9523
E. abendov@madcatfilmfestival.org
W. www.madcatfilmfestival.org
'The Visual Archive: The Moving Image and Memory' workshop
28th-29th May 2009
CRESC (Centre for Research in Socio-Cultural Change) The Open University
Walton Hall
Milton Keynes, UK
Call for papers
Questions of archiving and their relationship to issues of memory have in recent years attracted considerable interest from scholars working across the arts, humanities and social sciences. Much of this attention has focused upon the archive as a repository of written material. This workshop directs attention to the visual archive, particularly archives of moving images, and the role they play in the (re)production, organisation, and contestation of collective memory. These archives are currently experiencing a significant period of change and reassessment, stemming from the impact of digitisation and the challenges and possibilities this presents for their organisation and accessibility. The workshop is presented in combination with the British Film Institute and the launch of their InView archive of digital moving image material.
This workshop will examine two broad aspects of the visual archive, aspects which can be brought productively into dialogue with one another. The first concerns the formation, administration and management of visual archives and the ways in which these practices underpin the form archives take. Here we are concerned with the conceptual and methodological dimensions of the work of archiving, and their relevance to the social role of visual archives as distinctive cultural technologies. The second concerns the terms in which these archives are engaged with by users, exploring their encounters with visual archives and the questions, issues and possibilities visual archives generate for scholarship and critical practices engaged with the (re)production of memory. Papers addressing the connections between these two issues are especially welcome.
The workshop seeks to bring together archivists and related practitioners along with scholars from across disciplines, utilising a range of methodological approaches, to examine and assess the spectrum of issues outlined here.
Keynote speakers: Pelle Snickars, Head of Research, Swedish National Archive of Recorded Sound and Moving Images Christopher Pinney, University College London Roly Keating, Director of Archive Content, BBC
Those wishing to present a paper should submit an abstract of 200-300 words along with brief biographical details to CRESC-Visual-Archive@open.ac.uk by 14 February 2009. (All queries in regard to the workshop should also be sent to this address).
We also welcome proposals for panels - made up of three papers. Panel organisers should submit abstracts of each of the papers along with the author's biographical details to the same email address also by 14 February 2009. Panel organisers may wish to contact the workshop organisers with initial ideas for panels.
The registration fee to cover both days of the workshop is £60 and for a single day £45. Payment details along with further information on the workshop will be forthcoming.
Job Posting! National Archives Motion Picture Preservation Specialist
The US National Archives is seeking to hire a Motion Picture Preservation Specialist.
Located at the Archives I building in College Park MD the new hire will work with the archival unit for initial processing of collections, inform the archival unit of preservation needs and carry out preservation, reformatting and duplication of motion picture film or other non-textual records, utilizing conservation treatments, and archival-quality technology.
The new hire will also perform duties associated with digitizing original motion pictures and audio records, managing digital surrogates and derivatives, creating technical/administrative metadata, and producing physical media copies.
This includes operation of professional equipment used in all phases of typical archival motion picture preservation and production work including printing, editing, and creating/managing digital motion picture, audio, and video files.
OPEN APPLICATION PERIOD: Monday, November 03, 2008 - Friday, November 28, 2008
SALARY RANGE: 48,108 - 75,669
Applications will be accepted from US Citizens, from current and former competitive service Federal employees, and people eligible under special hiring authorities. MORE INFO HERE.
The Film Studies department at St. Andrews is growing with the addition of a second Professorial position.
The search is now open, and the closing date for applications is 24 November 2008. The interviews will be held in January 2009
for a starting date of August 2009.
Please see the advert and further particulars at the University's employment site <http://www.st-andrews.ac.uk/employment/Code,25281,en.html> and on jobs.ac.uk <http://www.jobs.ac.uk/jobs/MD320/Professor/>.
I am happy to respond to inquiries about the position.
Prof. Dina Iordanova
Film Studies, University of St. Andrews
99 North Street, St. Andrews, Fife
KY16 9AD, Scotland, UK
Job Announcement - British Film Institute (BFI)
SECTION LEADER FILM LAB Salary £27, 230 to £31, 855 We are currently looking for an individual to lead a section of Technical Archivists and Film Technicians in providing conservation and technical expertise in order to support Curatorial and other services. The Section Leader will ensure that duties such as servicing, technical identification, comparison, diagnosis of conservation needs and acquisition processing are carried out within the section. You will be required to carry out protective preparation and technical conservative tasks. You will also need to work closely with the Production Officers and Curators in fulfilling plans for conservation, preservation and restoration work. You will have experience of a role either in the field of post production, film production, conservation or preservation, with an understanding of conservation and quality control and effective report writing skills. You will be based at Berkhamsted (nearest station is Berkhamsted Station). You will enjoy benefits such as a final salary pension scheme, 28-33 days annual leave, free tickets to BFI Southbank events plus many other discounts and benefits. Further details about the post and the BFI can be obtained by visiting www.bfi.org.uk/jobs or by email: [log in to unmask] Closing date for applications is 5th November 2008 and interviews will be held in the week commencing 17th November 2008.
The Nitrate Film Interest Group
The Nitrate Film Interest Group is proud to announce that it has created a website where archives, labs and collectors from around the world can go to upload frame scans from unknown films in hopes of getting them identified. We have created a pro account with Flickr and will be able to upload pictures as well as videos. The great thing about this website is that people will be able to leave comments about the frame scans, thus enabling film buffs to work off of the information provided by one another. Please visit our site: http://www.flickr.com/people/nfig/
You will need to click on “Photostream” in order to see the frame scans. Any films where multiple frame scans were taken have been put into “sets” which will show up along the right side of the screen. By clicking on the title of the set, information will show up that pertains to all of the frame scans of that film. By browsing through those pictures, more details will show up below each photo. If someone comments on a “set” then other viewers will have to go under the title-like page of that set and click on the comments link under the title in order to see those comments. If you would like to make a comment but are not a Flickr member and do not wish to create a free account, then just email the account at the address below and we will post the comment for you.
All questions, photos as well as any available information pertaining to the frame scan will need to be emailed to the address nitratefilminterestgroup@yahoo.com where they will be uploaded within a few days. Please note that photos must be under 20MB while videos must under 150MB. If may also be helpful if you could also make a frame scan that shows the frame lines and perforations of a couple of frames for those people out there who are great at dating films by their stock. We hope to eventually add a section of film defects, stocks, color processes, etc. Feel free to begin makin g frame scans of any of these and email them to the above address. Through constant monitoring and evaluati on of the Flickr site, we hope to make it a place that is useable to all people in the archiving industry. Thank you and enjoy!
Rachel Parker
film archivist
Academy Film Archive
1313 Vine Street
Hollywood, CA 90028
rparker@oscars.org
[BBC-HISTORY] IAMHIST conference 2009: Social Fears and Moral Panics, Aberystwyth, 8-11 July 2009
IAMHIST conference 2009: Social Fears and Moral Panics, Aberystwyth, 8-11 July 2009 SECOND CALL FOR PAPERS
The International Association for Media and History (IAMHIST) announces a second call for papers for the XXIII biennial IAMHIST conference, incorporating the 3rd Gregynog Media History Conference, on the theme Social Fears and Moral Panics. The aim of the conference is to explore both the role of the media in addressing, highlighting or perpetuating social fears, and the mass media itself as a perceived moral agent and/or threat. Topics to address might thus include questions of media content and/or language; concerns about public intrusion; censorship and the freedom of information; the reporting of crimes or disasters; invasion and security fears in times of peace or war; religious, cultural and/or linguistic fears; fears relating to youth or children, or to minority groups; fears relating to particular behaviours, pursuits or leisure activities; ?golden ageism?.
Confirmed speakers include Chas Crichter, Julian Petley, Martin Barker, Steve Chibnell, Virginia Berridge, Aled Jones, Jason McElligott, and Sir Quentin Thomas (President, British Board of Film Classification)
We welcome paper proposals that address the theme in both contemporary and/or historical perspective; proposals which engage with the theme comparatively (both geographically and temporally); and proposals which engage with theoretical approaches, including the social theory of moral panic.
We also welcome proposals on their work in progress from postgraduate and early-career scholars in the field of media history, including on topics that may not be on the conference theme.
Proposals for complete panels (three themed papers) are welcome, as well as individual paper submissions. Papers presented at the conference should be 25-30 minutes in length and should use illustrative material (for instance film clips) wherever possible.
Abstracts of no more than 300 words per paper should be sent to Dr Sian Nicholas at iamhist2009@aber.ac.uk c/o Department of History and Welsh History, Aberystwyth University, Penglais, Aberystwyth, Ceredigion SY23 3DY, Wales UK, by 14 November 2008.
The conference is being organised by IAMHIST, in association with the Centre for Media History and Departments of History and Welsh History, and Theatre, Film and Television, Aberystwyth University, the Department of Media and Communications, Swansea University, and the journals Historical Journal of Film, Radio and Television and Media History, with the support of the National Screen and Sound Archive of Wales, National Library of Wales, Aberystwyth.
For further details and updates, see http://www.aber.ac.uk/history/research/centreformediahistoryIAMHIST2009.html
Ohio University - Film, Assistant Professor in Interdisciplinary Arts
Assistant Professor of Interdisciplinary Arts
Available: September 1, 2009
Salary: Commensurate with experience
Film scholar for an interdisciplinary position with the School of Interdisciplinary Arts, the School of Film, and the Department of African American Studies. Must be able to teach graduate courses in film theory and history and undergraduate film courses in African American Studies. Ability to teach critical theory, African film, or theories of transnationalism also desirable. We welcome applications from a range of backgrounds including cinema studies, literature, cultural studies, visual culture, anthropology and communications. Duties include teaching undergraduate and graduate film courses, interdisciplinary graduate seminars, as well as thesis/dissertation advising and supervising undergraduate research/creative activity. The professor is expected to be an active scholar in the field. This is a tenure-track, assistant professor position appointed to the School of Interdisciplinary Arts.
Qualifications: Ph.D. required by the date of appointment in film or related field; teaching experience at the college/university level; publication record.
Institution and Setting: Ohio University is a public residential Doctoral/Research Extensive University. Chartered in 1804, it is the oldest university in the Northwest Territory. Enrollment on the Athens Campus is currently 20,146 students with another 7,832 students on five regional campuses. The College of Fine Arts consists of six schools: Art, Interdisciplinary Arts, Dance, Film, Music and Theater. The School of Interdisciplinary Arts offers a unique doctoral program of study in the arts. The Ph.D. program educates scholars who are grounded in a single discipline and able to view that area through the lens of the other arts. Areas of study include aesthetics and theory, African arts and literatures, film, music, performance studies, theater and visual arts. Additional information on the School and Ohio University is available at the university web site: http://www.ohiou.edu.
To view the posting details and apply on line, please use this link to Ohio University's Employment web site: www.ohiouniversityjobs.com/applicants/Central?quickFind=54873.
Please be prepared to attach the following documents electronically: Resume/curriculum vitae, cover letter which should include your teaching philosophy and a statement of your research interests, writing sample and a list of 3 professional references with current contact information. In addition, applicants must arrange for 3 letters of recommendation to be sent to:
Dr. William Condee, Search Committee Chair School of Interdisciplinary Arts
Ohio University
120 Lindley Hall
Athens, OH 45701
Application Deadline: Review of applications will begin on September 30, 2008, and will continue until the position is filled.
Preferred candidate would contribute to the climate of diversity in the College; including a diversity of scholarly approaches.
Contact Info:
Dr. William Condee, Search Committee Chair School of Interdisciplinary Arts
Ohio University
120 Lindley Hall
Athens, OH 45701
Website: http://www.finearts.ohio.
Communication/Mass Communication
The University of California, San Diego Department of Communication announces a tenure track position in social, cultural and critical theory and practice of media production at the Assistant Professor level beginning July 1, 2009, pending budget approval. The position includes participation in our interdisciplinary undergraduate and Ph.D. programs.
Qualifications: The department seeks a candidate with a Ph.D. or MFA or equivalent qualifications who can provide an imaginative blend of creative work and scholarly research in new or traditional media with a focus on documentary media or forms that challenge the distinction between fiction and non-fiction. Video, non-fiction multimedia, audio/radio, software-based practices or other media will be considered. We especially encourage candidates who work with Pan Pacific Asian or Asian American issues or topics to apply, though the position is open to candidates working on all areas and topics.
Review of applications will begin on November 22, 2008 and continue until the position is filled. Applications should include a statement of current research and media practice, curriculum vitae, samples of creative work and of critical or scholarly writing, statement of teaching interests, sample course syllabi and names of referees and will be accepted electronically at http://communication.ucsd.edu under the "Faculty Recruitment" link. Applicants are also invited to submit a summary of leadership efforts, especially those that contribute to diversity. Samples of creative work can be submitted in the form of a web link or on CD or DVD to Faculty Recruitment, Department of Communication (0503), University of California, 9500 Gilman Drive, La Jolla, CA 92093-0503. Salary is based on published UC pay scales. UCSD is an equal opportunity/affirmative action employer committed to excellence through diversity. Applicants are invited to preview campus diversity resources and programs at http://diversity.ucsd.edu. Further inquiries should be addressed to Zeinabu Davis, Search Committee Chair, by e-mail at zdavis@weber.ucsd.edu.
Please apply on line through our website http://communication.ucsd.edu/
Google's audio search (text-to-speech) tool
http://www.daniweb.com/blogs/entry3192.html
"
RUDOLF ARNHEIM SCHOLARSHIP IN THE FIELD OF MEDIA.ART.HISTORIES
The Department for Image Science is pleased to announce a half-tuition scholarship for the Master of Arts (MA) course starting in Nov. 2008!
> Rudolf Arnheim Scholarship for Media Art Histories: The Department for Image Science offers this scholarship as an encouragement to concentrate on the further development of the scientific work of the recently deceased art historian and cognition psychologist Rudolf Arnheim and his significance for the history of Media Art. Closing date for submission: Sept. 30th, 2008.
Further Information:
http://www.donau-uni.ac.at/mediaarthistories www.virtualart.at
www.mediaarthistories.org
=> FIRST INTERNATIONAL MASTER OF MEDIA.ART.HISTORIES (International Faculty, low residency, parallel to employment, English language)
The postgraduate program MediaArtHistories conveys the most important developments of contemporary art through a network of renowned international theorists, artists and curators like: Steve DIETZ, Erkki HUHTAMO, Lev MANOVICH, Christiane PAUL, Paul SERMON, Edward SHANKEN, Jens HAUSER, Sean CUBITT, Christa SOMMERER, Gerfried STOCKER, Knowbotic Research, Frieder NAKE, Oliver GRAU and many others.
http://www.donau-uni.ac.at/en/studium/medienkunstgeschichte/06318/index.php
Artists and programmers give new insights into the latest and most controversial software, interface developments and their interdisciplinary and intercultural praxis. Keywords are: Strategies of Interaction & Interface Design, Social Software, Immersion & Emotion and Artistic Invention. Using online databases and other modern aids, knowledge of computer animation, net art, interactive, telematic and genetic art as well as the most recent reflections on nano art, CAVE installations, augmented reality and wearables are introduced. Historical derivations that go far back into art and media history are tied in intriguing ways to digital art. Important approaches and methods from Image Science, Media Archaeology and the History of Science & Technology will be discussed.
=> DANUBE UNIVERSITY KREMS ˆ located in the UNESCO world heritage Wachau is the first public university in Europe which specializes in advanced continuing education offering low-residency degree programs for working professionals and lifelong learners.
With its new modular courses the DEPARTMENT FOR IMAGE SCIENCE at Danube University Krems offers an educational program unique in Europe. Without interrupting their career, students have the opportunity to learn through direct, hands-on experience, social learning in small groups and contacts with labs and industry. They gain key qualifications for the contemporary art and media marketplace.
http://www.donau-uni.ac.at/en/studium/medienkunstgeschichte/10365/index.php
The Center in Monastery Göttweig, where most MediaArtHistories courses take place, is housed in a 14th century building, remodeled to fit the needs of modern research in singular surroundings. International experts analyze the image worlds of art, science, politics and economy and elucidate how they originated, became established and how they have stood the test of time. The innovative approach at the Department for Image Science is reinforced by praxis-oriented study.
Contact:
Sabine Weber, MSc.
Department for Image Science
Danube University Krems
Dr.-Karl-Dorrek-Str. 30, A-3500 Krems
Tel: +43(0)2732 893-2569
sabine.weber@donau-uni.ac.at
www.donau-uni.ac.at/dis
“Downfall, the film about Hitler in his Bunker, has been mercilessly parodied on Youtube, and for that reason each version has been mercilessly expunged by its distributers. If this link doesn’t work, blame them, not IAMHIST”
http://www.youtube.com/watch?v=YvZZNwDnJuk
NATIONAL FILM AND SOUND ARCHIVE RESEARCH FELLOWSHIP - APPLY NOW FOR 2009
The National Film and Sound Archive (NFSA) invites research proposals from academics, performers, artists, audiovisual industry and archive professionals to draw fresh, innovative perspectives from the national audiovisual collection. Fellows will use the NFSA’s collection to create a new sound or moving image work, a publication, an exhibit, a live audiovisual event or a combination of these and other approaches.
The Fellowships offer specially facilitated access and research into the national collection; close collaboration with NFSA curatorial and technical experts; access to the Library; modern accommodation; and a fully equipped work space provided on-site.
Applications for the Fellowships are open all year. For further information and application forms, please visit http://www.nfsa.gov.au/sar
The International Association for Media and History (IAMHIST) announces its call for papers for the XXIII biennial IAMHIST conference, incorporating the 3rd Gregynog Media History Conference, on the theme Social Fears and Moral Panics taking place at Aberystwyth, 8-11 July 2009.
The aim of the conference is to explore both the role of the media in addressing, highlighting or perpetuating social fears, and the mass media itself as a perceived moral agent and/or threat. Topics to address might thus include questions of media content and/or language; concerns about public intrusion; censorship and the freedom of information; the reporting of crimes or disasters; invasion and security fears in times of peace or war; religious, cultural and/or linguistic fears; fears relating to youth or children, or to minority groups; fears relating to particular behaviours, pursuits or leisure activities; 'golden ageism'.
We welcome paper proposals that address the theme in both contemporary and/or historical perspective; proposals which engage with the theme comparatively (both geographically and temporally); and proposals which engage with theoretical approaches, including the social theory of moral panic. We also welcome proposals on their work in progress from postgraduate and early-career scholars in the field of media history, including on topics that may not be on the conference theme.
Proposals for complete panels (three themed papers) are welcome, as well as individual paper submissions. Papers presented at the conference should be 25-30 minutes in length and should use illustrative material (for instance film clips) wherever possible.
Abstracts of no more than 300 words per paper should be sent to Dr Sian Nicholas at iamhist2009@aber.ac.uk c/o Department of History and Welsh History, Aberystwyth University, Penglais, Aberystwyth, Ceredigion SY23 3DY, Wales UK, by 14 November 2008. The conference is being organised by IAMHIST, in association with the Centre for Media History and Departments of History and Welsh History, and Theatre, Film and Television, Aberystwyth University, the Department of Media and Communications, Swansea University, and the journals Historical Journal of Film, Radio and Television and Media History, with the support of the National Screen and Sound Archive of Wales, National Library of Wales, Aberystwyth. For further details and updates, see http://www.aber.ac.uk/history/research/centreformediahistoryIAMHIST2009.html
Aberystwyth University is located overlooking the seaside town of Aberystwyth on the west Wales Cardigan Bay coast. Direct trains to Aberystwyth run from Birmingham New Street via Shrewsbury. The nearest airports are Birmingham (best for train links), Manchester and Cardiff. Accommodation will be available on campus throughout the conference.
FRAMING NARRATIVES:
THE SECOND WORLD WAR AND OCCUPATION IN FRANCE 1939-2009 MAJOR INTERNATIONAL CONFERENCE ON THE OCCASION OF THE 70th ANNIVERSARY OF THE DECLARATION OF the SECOND WORLD WAR TO BE HELD AT THE UNIVERSITY OF LEEDS, UK
14-16 SEPTEMBER 2009
Speakers will include:
William Cloonan
Hanna Diamond
Laurent Douzou
Ruth Ginio
Richard Golsan
Claire Gorrara
Lynn Higgins
Nicholas Hewitt
Margaret-Anne Hutton
Debra Kelly
Sylvie Lindeperg
Gisele Sapiro
Susan Suleiman
first CALL FOR PAPERS
FRAME is an AHRC-funded major research project carrying out a comprehensive reappraisal of the nature, place and function of narratives of Occupation and the Second World War in French cultural history, primarily through the development of a comprehensive interactive database of fictional narratives across the period.
As the project nears completion, the FRAME research group wishes to host an international conference, both to share its work and to bring together leading scholars across a range of disciplines. The conference will examine in detail the narratives and metanarratives which have shaped understanding of the period, and the ways they have changed over these seven decades.
Papers are now invited which will explore the changing landscapes of representation within the period, the validity of existing critical and historical views of the evolution of cultural narratives of resistance and collaboration across the period, the relations between narratives of war and occupation and their own contemporary context and how these may change across the decades, the ways representations of war and occupation have acted as vehicle and framework for other social conflicts, and their role in France's distinctive historicisation of its culture and national identity.
Suggested topics and fields (other suggestions welcome):
Fiction
Philosophy
Bande Dessin?e
History
Cinema
Lifewriting; autobiography; autofiction
Uses of biography
Children's literature
Memory and commemoration
Generic boundaries
Visual/textual
Historiographies of war, conflict, occupation, resistance and collaboration
France and Francophonie
Collective/Subjective
Transgressions
Everyday
Sexuality and eroticism
Gender
Experience and its representation
WW2 and WW1
Figurations of memory
Class
Local and national identities
Suggestions for panels with speakers are also invited.
Papers can be in French or English. There are plans to publish a selection of conference papers.
Further details about the project can be found at www.frame.leeds.ac.uk
Titles and Abstracts of about 250 words should be sent to Dr Nina Sutherland (n.a.sutherland@leeds.ac.uk). Suggestions for panels should include title, names of speakers and abstracts.
DEADLINE: 30 September 2008
Conference Steering Committee
Margaret Atack, University of Leeds
Christopher Lloyd, University of Durham
Nina Sutherland, University of Leeds
IAMHIST conference 2009: Social Fears and Moral Panics, Aberystwyth, 8-11 July 2009
The International Association for Media and History (IAMHIST) announces its call for papers for the XXIII biennial IAMHIST conference, incorporating the 3rd Gregynog Media History Conference, on the theme Social Fears and Moral Panics. Please download the CFP
The aim of the conference is to explore both the role of the media in addressing, highlighting or perpetuating social fears, and the mass media itself as a perceived moral agent and/or threat. Topics to address might thus include questions of media content and/or language; concerns about public intrusion; censorship and the freedom of information; the reporting of crimes or disasters; invasion and security fears in times of peace or war; religious, cultural and/or linguistic fears; fears relating to youth or children, or to minority groups; fears relating to particular behaviours, pursuits or leisure activities; ‘golden ageism’.
We welcome paper proposals that address the theme in both contemporary and/or historical perspective; proposals which engage with the theme comparatively (both geographically and temporally); and proposals which engage with theoretical approaches, including the social theory of moral panic.
We also welcome proposals on their work in progress from postgraduate and early-career scholars in the field of media history, including on topics that may not be on the conference theme.
Proposals for complete panels (three themed papers) are welcome, as well as individual paper submissions. Papers presented at the conference should be 25-30 minutes in length and should use illustrative material (for instance film clips) wherever possible.
Abstracts of no more than 300 words per paper should be sent to Dr Sian Nicholas at iamhist2009@aber.ac.uk c/o Department of History and Welsh History, Aberystwyth University, Penglais, Aberystwyth, Ceredigion SY23 3DY, Wales UK, by 14 November 2008.
The conference is being organised by IAMHIST, in association with the Centre for Media History and Departments of History and Welsh History, and Theatre, Film and Television, Aberystwyth University, the Department of Media and Communications, Swansea University, and the journals Historical Journal of Film, Radio and Television and Media History, with the support of the National Screen and Sound Archive of Wales, National Library of Wales, Aberystwyth.
For further details and updates, see http://www.aber.ac.uk/history/research/centreformediahistoryIAMHIST2009.html
Aberystwyth University is located overlooking the seaside town of Aberystwyth on the west Wales Cardigan Bay coast. Direct trains to Aberystwyth run from Birmingham New Street via Shrewsbury. The nearest airports are Birmingham (best for train links), Manchester and Cardiff. Accommodation will be available on campus throughout the conference.
The Visible Evidence conference will be held at the University of Lincoln in the UK from August 4 to 8.
A full programme can be found at www.visibleevidence.org
Public Programs Assistant - AMPAS Science and Technology Council
PUBLIC PROGRAMS ASSISTANT
The Public Programs Department of the Academy of Motion Picture Arts and Sciences' Science and Technology Council invites applications from skilled, self-motivated individuals for the full-time position of Public Programs Assistant. The Public Programs Assistant will help facilitate an extremely busy year-round schedule of motion picture technology-related public programs and frequent exhibitions. The Council offices are located at 1313 Vine Street in Hollywood, CA.
A complete job description is available on the Academy's website: http://www.oscars.org/employment/public_programs_asst.html
Please send job applications and correspondence to the fax number listed at the bottom of the job description.
Call for Papers: An Interdisciplinary Collection of Essays on the Zombie
We are seeking proposals for an interdisciplinary edited volume discussing the zombie from a wide variety of perspect
ives and within a wide range of contexts. We encourage submissions from any discipline, including but not limited to English literature, film studies, media studies, cultural studies, gender studies, queer studies, philosophy, religious studies, anthropology, sociology, history, psychology, economics, and political science. We especially welcome new approaches to the study of zombies. In addition to theoretical essays on zombies, we also welcome critical discussions of specific zombie films, novels, and graphic novels, including those both pre- and post-Romero.
Proposals should be between 200 and 300 words. Authors are asked to include brief biographical details along with their submissions, including name and academic affiliation. Please submit proposals either electronically or by regular mail. Deadline for submissions is October 31st, 2008. Submit to either:
Dr. Cory James Rushton
Dept. of English
St. Francis Xavier University
PO Box 5000
Antigonish, Nova Scotia
B2G 2W5
Canada
crushton@stfx.ca
or
Dr. Christopher M. Moreman
Dept. of Philosophy
California State University, East Bay
25800 Carlos Bee Blvd.
Hayward, CA 94542
U.S.A.
christopher.moreman@csueastbay.edu
Film and History spring issue
We are pleased to announce that the spring issue, "Documentaries, Part 1," of Film & History is now available.
Here's a look at the Table of Contents. Please see the Subscriptions page on our website (www.uwosh.edu/filmandhistory <http://www.uwosh.edu/filmandhistory> ) for ordering your copy.
Feature Issue: Documentaries, Part 1
Hearts and Minds and Bodies: Reconsidering the Cinematic Language in The Battle of the Somme, Page 9 John Hodgkins
The Civil War: A Battleground of Meaning, Page 20 Judith Lancioni
Documenting Racism in an Agricultural Extension Film, Page 33 J. Emmett Winn
The Holocaust Repressed: Memory and the Subconscious in Lars von Trier's Europa, Page 45
Udi Greenberg
Cultural Learnings of Borat Make for Benefit Glorious Study of Documentary, Page53
Leshu Torchin
Film Reviews
Joyeaux Noel (Merry Christmas), Page 65
William A. Pelz
The Perfect Corpse, Page 66
A. Bowdoin Van Riper
March of the Bonus Army, Page 67
John C. Tibbetts
Nam June Paik: Lessons from the Video Master, Page 69 Wheeler Winston Dixon
Blockade, Page 70
Tony Osborne
The Empire in Africa, Page 71
Ted Nannicelli
Iran: A Cinematic Revolution, Page 73
Lindsey Hair
Rachel Carson's Silent Spring, Page 75
Lawrence Mastroni
Negroes with Guns: Rob Williams and the Roots of Black Power, Page 76 Patrick D. Jones
Absolute Wilson, Page 78
John Cline
Book Reviews
The Battle of Britain on Screen: "The Few" in British Film and Television Drama, Page 80
Robert Fyne
War Cinema: Hollywood on the Front Line, Page 81 Robert W. Matson
Textual Fidelity, Page 82
Laurence Raw
Phallic Frenzy: Ken Russell and His Films, Page 83 Cynthia Miller
The Columbia History of American Television, Page 85 Robert Fyne
Stoogeology: Essays on the Three Stooges, Page 86 Tony Osborne
Freedom To Offend: How New York Remade Movie Culture, Page 87 Michael Marino
Plagues, Apocalypses and Bug-Eyed Monsters: How Speculative Fiction Shows Us Our Nightmares, Page 88
Adam Capitanio
Watching Jim Crow: The Struggles Over Mississippi TV, 1955-1969, Page 90 Travis Vogan
The Cinema of Attractions Reloaded, Page 92 Dan Hassler-Forest
Lights, Camera, History: Portraying the Past in Film, Page 93 Sally E. Parry
Sound Design & Science Fiction, Page 95
Benjamin Wright
MORE NEWS can be found on NEWS PAGE 2.
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
