<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><br><div><blockquote type="cite"><div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><br></div> </div><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-size:13.0pt;font-family:Arial">Apologies for cross-posting.</span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-size:13.0pt;font-family:Arial">Please kindly circulate widely.</span></p><div style=""><span style="font-size:13.0pt;font-family:Arial"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" align="center" style="text-align:center;mso-pagination:none; mso-layout-grid-align:none;text-autospace:none"><span style="font-size:13.0pt; font-family:Arial"><u>Call for Papers</u></span></p><div style=""><span style="font-size:13.0pt;font-family:Arial"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" align="center" style="text-align:center;mso-pagination:none; mso-layout-grid-align:none;text-autospace:none"><span style="font-size:13.0pt; font-family:Arial"><b>The 3</b></span><span style="font-size:11.0pt;font-family: Arial"><b><sup>rd</sup></b></span><span style="font-size:13.0pt;font-family: Arial"><b> Annual Yale Film Studies Graduate Conference</b></span></p><p class="MsoNormal" align="center" style="text-align:center;mso-pagination:none; mso-layout-grid-align:none;text-autospace:none"><span style="font-size:13.0pt; font-family:Arial"><b> </b></span></p><p class="MsoNormal" align="center" style="text-align:center;mso-pagination:none; mso-layout-grid-align:none;text-autospace:none"><span style="font-size:13.0pt; font-family:Arial">SENSING CINEMA:</span></p><p class="MsoNormal" align="center" style="text-align:center;mso-pagination:none; mso-layout-grid-align:none;text-autospace:none"><span style="font-size:13.0pt; font-family:Arial">History – Theory – Body – Screen</span></p><div style="text-align: center; "><span style="font-size:13.0pt; font-family:Arial"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" align="center" style="text-align:center;mso-pagination:none; mso-layout-grid-align:none;text-autospace:none"><span style="font-size:13.0pt; font-family:Arial">April 8-9, 2011 – Yale University, New Haven, CT</span></p><div style="text-align: justify; "><span style="font-size:13.0pt;font-family:Arial"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" style="text-align:justify;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:13.0pt;font-family:Arial">Over the course of cinema’s history one of the most fundamental aspects of the medium, the relationship between the image on the screen and the spectator in front of it, has undergone a variety of technological and social shifts. Theoretical accounts of this relationship have likewise changed over time, since every new theory must in some way posit its own ideal spectator or wrestle with a conception of the spectator. Although such analysis of the spectator is not a new interest for film scholars, it is an important aspect of the study of film and is central in many ways to current scholarship. The shift into digital media particularly poses major new questions to film scholars and film departments, while film theoreticians are grappling anew with the variety of theoretical understandings of the spectator in their attempts to reassess the fundamental project of film studies itself.</span></p><div style="text-align: justify; "><span style="font-size:13.0pt;font-family:Arial"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" style="text-align:justify;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:13.0pt;font-family:Arial">This conference looks at the conceptualization of cinema in relation to the senses as a point of intersection between film theory and film history. On the one hand it is possible to trace the various ways in which the experience of cinema as a sensory encounter has changed over time in response to technological developments, new modes of exhibition, and new viewing practices. On the other hand, the current movement within film theory circles, as witnessed by the appearance of books such as Thomas Elsaesser’s <i>Film Theory: An Introduction Through the Senses </i></span><span style="font-size:13.0pt;font-family:Arial">and Dudley Andrew’s <i>What Cinema Is!</i></span><span style="font-size:13.0pt; font-family:Arial">, centers on the attempt to reorient the whole notion of a theory of cinema around the relationship between the spectatorial body and the screen. Sensing, viewed as the space in which body and screen meet, here opens up a way of conceiving the myriad interconnections between the multiple changing bodies and changing screens evident within both theoretical accounts and the historical development of cinema.</span></p><div style="text-align: justify; "><span style="font-size:13.0pt;font-family:Arial"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" style="text-align:justify;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:13.0pt;font-family:Arial">The conference invites papers on any aspect of the sensory experience of cinema, theoretical, historical, or both. Topics may cover cinema experience in any part of the world, at any time from the 19</span><span style="font-size:11.0pt; font-family:Arial"><sup>th</sup></span><span style="font-size:13.0pt; font-family:Arial"> to the 21</span><span style="font-size:11.0pt;font-family: Arial"><sup>st</sup></span><span style="font-size:13.0pt;font-family:Arial"> century. Submissions may take inspiration from, but are not at all limited to, the following topics:</span></p><div style="text-align: justify; "><span style="font-size:13.0pt;font-family:Arial"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" style="text-align:justify;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:13.0pt;font-family:Arial">The impact of changing technologies upon the senses, for example the coming of sound or the current transition to digital media – notions of embodied spectatorship, tactile viewing and the like – the impact of new media upon viewing practices – the experience of cinema within a social space – conceptualizations of pornography – filmmaking practice in relation to the spectator’s cognition, for example in Eisenstein’s work – the impact of live music or lectures versus recorded sound – the promise of the digital in developing countries – the commodification of the senses.</span></p><div style="text-align: justify; "><span style="font-size:13.0pt;font-family:Arial"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" style="text-align:justify;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:13.0pt;font-family:Arial">Please submit abstracts of 250 words or less to </span><span style="font-size:13.0pt; font-family:ArialMT"><a href="mailto:yalefilmstudies@gmail.com"><span style="font-family:Arial;color:#0000F6">yalefilmstudies@gmail.com</span></a></span><span style="font-size:13.0pt;font-family:Arial"> by February 15, 2011. Please include paper title, your name, institution, department, email and phone. Presentations may not exceed 20 minutes. Open to graduate students only.</span></p><div style=""><span style="font-size:13.0pt;font-family:Arial"> </span><br class="webkit-block-placeholder"></div><div style=""><span style="font-size:13.0pt;font-family:Arial"> </span><br class="webkit-block-placeholder"></div><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><font class="Apple-style-span" face="Arial" size="5"><span class="Apple-style-span" style="font-size: 17px;"><br></span></font></