<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><br><div><br><div>Begin forwarded message:</div><blockquote type="cite"><div><font class="Apple-style-span" color="#000000"><br></font><br><br>Online Editor: David Wittner <<a href="mailto:dwittner@utica.edu">dwittner@utica.edu</a>><br><br><br>From: Marc DiPaolo <<a href="mailto:captainblackadder@hotmail.com">captainblackadder@hotmail.com</a>><br>Sent: Wednesday, August 03, 2011 5:10 PM<br>Subject: CFP Films of Yasujiro Ozu Anthology<br><br><br>Call for Anthology Submissions<br><br>Tentative Title: Ozu and Evolution: Reassessing an Icon of Japanese Cinema<br><br>Type: Edited Anthology<br><br>Final Submission Deadline: February 1, 2012<br><br>Length of Contribution: 6,000- 8,500 words (including notes)<br><br>Citation Style: latest Modern Language Association style<br><br>Subject:<br><br>This edited anthology will collect new scholarship on the career of<br>Yasujiro Ozu, the celebrated director and co-writer of such classic<br>Japanese films as I Was Born, But$B(B Story (1953). The goals of this<br>anthology are: to partly address the lingering shortage of English-<br>language studies of Ozu; to cover the director$B(Bs career in a comprehensive<br>a fashion as possible (moving beyond the notion that only $B(Blate-period$B(B<br>Ozu is worthy of study); and to explore how Ozu$B(Bs films can be taught<br>effectively in today$B(Bsclassrooms (or introduced to contemporary audiences<br>in other ways).<br><br>The essays will cover all phases of Ozu'$B(Bs career, from his silent films<br>(of which the earliest surviving is Days of Youth, 1929) through his final<br>color film (An Autumn Afternoon, 1962). We are interested in receiving<br>abstracts over the next few months, and completed papers that have not yet<br>been published. We invite submissions from scholars of various<br>disciplines, employing a range of critical approaches.<br><br>Topics may include, but are not limited to:<br><br>$B'(B Close readings of individual Ozu films<br><br>$B'(B Analysis of recurring themes and motifs in Ozu films (e.g., alcohol<br> use, parent-child relationships, gender relations, transitional<br> periods in life)<br><br>$B'(B Exploring differences between the various phases in Ozu$B(Bs career (e.g.,<br> did Ozu'$B(Bs earlier filmsreally have more of a $B(Bsocial conscience$B(B<br> than his later ones?)<br><br>$B'(B Ozu'$B(Bs distinctiveapproaches to directing (e.g., low camera positions,<br> $B(Bpillow$B(B shots, use ocolor, lack of concern for continuity) and their<br> impact on how his films are perceived<br><br>$B'(B The accessibility of Oz'$B(Bs film s$B(Bor lack thereof$B(Bto contemporary<br> audiences<br><br>$B'(B The relationship between Ozu and the contemporary directors he has<br> influenced (e.g., Wim Wenders, Jim Jarmusch, Mike Leigh)<br><br>$B'(B The importance (or lack thereof) of concepts such as mu and mono no<br> aware to understanding Ozu$B(Bsfilms.<br><br>$B'(B Ozu'$B(Bs position in theJapanese cinema canon, and his relationship to<br> contemporary or near-contemporary Japanese directors (e.g.,<br> Mizoguchi, Kurosawa, Imamura, Yamada)<br><br>$B'(B Ozu'$B(Bs demandingtreatment of actors/actresses and its impact on their<br> performances<br><br>$B'(B Ozu as co-scriptwriter of his films<br><br>$B'(B How Ozu depicts key elements of office or $B(Bsalaryman$B(B culture, such as<br> corporate hierarchies, retirement, commuting, and boredom<br><br>$B'(B Teaching Ozu to today'$B(Bscollege students (e.g., how can decades-old<br> Japanese films be made relevant to a generation more accustomed to<br> CGI spectacles?)<br><br>$B'(B Analysis of earlier English-language scholarship on Ozu--$B(Bincluding<br> the studies by Donald Richie, David Bordwell, and Paul Schrader$B(Band<br> its impact on how Ozu$B(Bs films are interpreted today<br><br>Contacts and editors:<br>Marc DiPaolo, PhD, Assistant Professor at Oklahoma City University'$B(Bs<br>Department of Moving Image Arts;<br>MD<br>e-mail: <a href="mailto:captainblackadder@hotmail.com">captainblackadder@hotmail.com</a><br>Brian DiPaolo, MFA<br>BD<br>e-mail: <a href="mailto:brianofpaul@hotmail.com">brianofpaul@hotmail.com</a><br><br>(Please write to both at once.)<br><br>Please contact both of us with your ideas before beginning significant<br>work on your submission, so we can ensure that contributors$B(B efforts do<br>not overlap (for example, we wouldn'$B(Bt want every essay<br>to be a close reading of Tokyo Story<br>).<br>Ideally, we would like you to contact us with ideas by November 1.<br><br>Final submissions are due February 1, 2012.<br><br>Please send abstracts and/or final submissions, along with a brief<br>biographical sketch, to both <a href="mailto:captainblackadder@hotmail.com">captainblackadder@hotmail.com</a><br>and <a href="mailto:brianofpaul@hotmail.com">brianofpaul@hotmail.com</a>.<br><br>A note about drafts: We would greatly appreciate<br><br>it if you could submit a rough/partial draft of approximately 3,500-$B(B5,000<br>words sometime in December or January. This will enable the editors to: 1)<br>gauge how the various essays might act in relation to each other, and<br>provide feedback on that point as they move toward completion; and 2)<br>expedite the publishing process, by helping us to secure publisher<br>interest and commitment. If you cannot do this, or do not like to work in<br>this manner, then this phase of production may be skipped and completed<br>drafts submitted by the final deadline as stated above. Thank you for your<br>interest.<br><br>Marc DiPaolo<br>Oklahoma City University<br><br>------------------------------------------------------------------------<br><br><br>You can manage your H-Japan subscription at H-Net Subscription Management<br>Page without requiring the use of LISTSERV commands by email. Change of<br>address operations, digest requests and temporary mail suspensions can be<br>handles by using this page.<br><br>The link to this page is: <a href="http://www2.h-net.msu.edu/lists/manage.cgi">http://www2.h-net.msu.edu/lists/manage.cgi</a><br></div></blockquote></div><br></body></html>