Dear KineJapanists,<br><br>I am hoping to put together a panel for the next SCMS annual meeting.<br>Please see below or the attachment for details.<br>I'd appreciate it if you could forward this to anyone who might be interested.<br>
Thank you.<br><br>------<br><br>
<p class="MsoNormal"><b>Panel title: Citation and Appropriation: Film Remembers (through) Film</b></p>
<p class="MsoNormal"><br></p><p class="MsoNormal">SCMS annual meeting: March 21-25, 2012 Boston Park Plaza
Hotel and Towers.</p>
<p class="MsoNormal"><span style="line-height: 200%;"><br></span></p><p class="MsoNormal"><span style="line-height: 200%;">This panel will explore the rich history of the
practice of incorporating pre-existing footage in films <br></span></p><p class="MsoNormal"><span style="line-height: 200%;">and discuss the
implications of this practice on our understanding of history and memory. <br></span></p><p class="MsoNormal"><span style="line-height: 200%;">Can archival
footage in documentary films substantiate historical events or does it mark the
absence of <br></span></p><p class="MsoNormal"><span style="line-height: 200%;">past events as such and/or the inaccessibility of certain memories? <br></span></p><p class="MsoNormal"><span style="line-height: 200%;">Do newsreel footage, home movies, and other found materials add to the narrative <br>
</span></p><p class="MsoNormal"><span style="line-height: 200%;">(history-as-narrative) or do they challenge its truth value?</span></p>
<p class="MsoNormal"><span style="line-height: 200%;">The panel welcomes papers that explore the ways in
which filmmakers use pre-existing footage to <br></span></p><p class="MsoNormal"><span style="line-height: 200%;">draw and redraw the boundary between
(private) memory and (public) history. <br></span></p><p class="MsoNormal"><span style="line-height: 200%;">Panelists might analyze local examples
within a film or a group of films that make use of newsreel footage <br></span></p><p class="MsoNormal"><span style="line-height: 200%;">and ‘actuality
films’ to challenge the generic convention of documentary and fiction. <br></span></p><p class="MsoNormal"><span style="line-height: 200%;">Alternatively, papers might focus on individual directors or
collectives/movements that propose a distinctively <br></span></p><p class="MsoNormal"><span style="line-height: 200%;">cinematic genre of
historiography (‘historiophoty’ as opposed to historiography in Hayden White’s
term). <span style=""><br></span></span></p><p class="MsoNormal"><span style="line-height: 200%;"><span style=""><br></span></span></p>
<p class="MsoNormal"><span style="line-height: 200%;">Suggested topics include but are not limited to the
following: </span></p>
<p class="MsoNormal" style="margin-left: 0.45in; text-indent: -0.25in;"><span style="line-height: 200%;"><span style="">-<span style="font: 7pt "Times New Roman";">
</span></span></span>‘Compilation film’: a term that Jay Leyda reluctantly
used in 1964 to describe the many films that edited archival and found footage.
In peace and war time, filmmakers made films that marked historical moments by
editing existing films. Every decade is ‘remembered’ by films such as <i style="">Look Back on 1930!</i>, <i><span style="line-height: 200%;">The Movie
Album</span></i><span style="line-height: 200%;">, and <i>Ye Olde Time
Newsreel</i></span><span style="line-height: 200%;">. Or in a rather unique instance, </span>Esther
Schub’s <i style="">The Fall of the Romanov Dynasty</i>
used films from the bygone regime to mark the start of a new era. More
recently, <span style="line-height: 200%;">the 100<sup>th</sup> anniversary of the film’s birth gave an impetus to
a wide variety of films/video works from Godard’s </span>ambitious <i style="">Histoire(s) du Cinema</i> to Oshima Nagisa’s
<i style="">100 Years of Japanese Cinema</i>.<span style="line-height: 200%;"></span></p>
<p class="MsoNormal" style="margin-left: 0.45in; text-indent: -0.25in;"><span style=""><span style="">-<span style="font: 7pt "Times New Roman";">
</span></span></span>‘Memorabilia films’: as talkies replaced silent
films, studios produced films/series such as <i><span style="line-height: 200%;">Out of the Past</span></i><span style="line-height: 200%;">,</span><span style="line-height: 200%;"> <i>The March of the Movies</i>, and <i>Screen Souvenirs
</i><span style="">which nostalgically looked back to
the silent era through editing together scenes from silent films. </span></span></p>
<p class="MsoNormal" style="margin-left: 0.45in; text-indent: -0.25in;"><span style=""><span style="">-<span style="font: 7pt "Times New Roman";">
</span></span></span>War propaganda films </p>
<p class="MsoNormal" style="margin-left: 0.45in; text-indent: -0.25in;"><span style=""><span style="">-<span style="font: 7pt "Times New Roman";">
</span></span></span>Uses of pre-existing footage in first-person
documentary. Julia Erhart observed that first-person documentary films
effectively used film-within-film (or video-within-video) as stand-ins for
memories that a person/persons ought to have but remain missing or
inaccessible. <span style=""> </span></p>
<p class="MsoNormal"><br></p><p class="MsoNormal">For all questions about the panel, please contact the
organizer,</p>
<p class="MsoNormal"><br></p><p class="MsoNormal">Shota Ogawa (<a href="mailto:shota.ogawa@gmail.com">shota.ogawa@gmail.com</a>)</p>
<p class="MsoNormal"><br></p><p class="MsoNormal">For details about the conference: <a href="http://www.cmstudies.org/?page=call_for_submissions">http://www.cmstudies.org/?page=call_for_submissions</a></p>
<p class="MsoNormal"> </p>
<br clear="all"><br>-- <br>----------------------------------------<br>Shota Ogawa<br>Ph.D. Candidate<br>Graduate Program in Visual and Cultural Studies<br>424 Morey Hall<br>University of Rochester<br>Rochester, NY 14627<br>
<a href="http://d.hatena.ne.jp/Eastman-eiga/" target="_blank">Eastman-eiga （Japanese）</a><br><a href="http://www.rochester.edu/College/onfilm/" target="_blank">OnFilm Project (English)</a><br>----------------------------------------<br>