Fwd: CFP: Comparative Melodrama

[Aaron Gerow]

Begin forwarded message:

> $B:9=P?M(B: Sheetal Majithia <sm188 at NYU.EDU>
> $BF|;~(B: November 3, 2010 2:44:47 AM EDT
> $B08 at h(B: SCREEN-L at bama.ua.edu
> $B7oL>(B: [SCREEN-L] CFP: Comparative Melodrama
> $BJV?. at h(B: Film and TV Studies Discussion List <SCREEN- 
> L at bama.ua.edu>
>
> Call For Papers: "Comparative Melodrama" at the 2011 ACLA conference  
> in Vancouver 3/31-4/3
> http://www.acla.org/acla2011/?p=638
>
> Cultural criticism and film history once approached melodrama as a  
> failed and lowbrow form of tragedy characterized by excessive  
> rhetoric, one-dimensional characterizations, and schematized moral  
> polarizations. Subsequently, feminist studies re-framed debates  
> about melodrama by studying it as a genre addressed to and about  
> women.  Moving from a focus on domestic and family dramas,  
> scholarship of the last few decades now exhibits a newfound interest  
> in melodrama as a mode representative of socio-cultural conditions,  
> particularly in transcolonial and transnational contexts.  If as  
> Peter Brooks argues, melodrama is a mode for the modern age, the  
> shift to a considering melodrama in a global framework raises the  
> challenge of understanding melodrama in a comparative framework.   
> How does melodrama articulate a sense of global modernity?  How has  
> melodrama$B!G(Bs migration from early capitalist Europe been  
> received in distinct local and national cultures? How have  
> vernacular performance traditions mixed with the genre to alter our  
> understanding of melodrama?  Has the move from use of melodrama as a  
> woman$B!G(Bs genre to its use as the dominant mode through which  
> national consciousness, ideology, and nostalgia are articulated in  
> non-Western culture altered our understanding of it as a genre? How  
> have theorizations of transcolonial and transnational melodrama led  
> to new understandings of the body, affect, and subjectivity? This  
> panel seeks papers interested in charting the field of comparative  
> melodrama studies with a particular focus on theoretical  
> understandings and approaches to its study.
>
> New Deadline for Paper Proposals: November 12th, 2010
>
> Please consider submitting a paper proposal for the seminar and/or  
> circulating this announcement to others who might be interested.  As  
> many of you might know, the ACLA has a unique  format, with seminars  
> of eight to twelve people meeting for two hours each day over the  
> course of the three day conference.  Unlike most large conferences,  
> this panel format tends to generate more substantive, collaborative,  
> and ongoing discussions. General information about the conference  
> may be found at the following site: http://www.acla.org/acla2011/
>
> All paper proposals must be submitted on the ACLA conference  
> website, located at http://www.acla.org/acla2011/?page_id=33.  
> Organizers cannot accept submissions via e-mail.  Please select the  
> "Comparative Melodrama" seminar from the menu accessible from this  
> page and your abstract will go directly to the conference  
> organizer.  If you have any questions prior to submitting your  
> abstract, please contact Sheetal Majithia, sm188 at nyu.edu.
>
>
> Sheetal Majithia
> Assistant Professor, Literature
> UAE: NYUAD, Behind the ADIA Building & Across Al Nasr Street from  
> the Cultural Foundation, PO Box 129188, Abu Dhabi, UAE
> USA: NYUAD, P.O. Box 903, New York, NY 10276-0903, USA
>
>
>

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