Fwd: CFP Films of Yasujiro Ozu Anthology

[Aaron Gerow]

Begin forwarded message:
> 
> 
> 
> Online Editor: David Wittner <dwittner at utica.edu>
> 
> 
> From: Marc DiPaolo <captainblackadder at hotmail.com>
> Sent: Wednesday, August 03, 2011 5:10 PM
> Subject: CFP Films of Yasujiro Ozu Anthology
> 
> 
> Call for Anthology Submissions
> 
> Tentative Title: Ozu and Evolution: Reassessing an Icon of Japanese Cinema
> 
> Type: Edited Anthology
> 
> Final Submission Deadline: February 1, 2012
> 
> Length of Contribution: 6,000- 8,500 words (including notes)
> 
> Citation Style: latest Modern Language Association style
> 
> Subject:
> 
> This edited anthology will collect new scholarship on the career of
> Yasujiro Ozu, the celebrated director and co-writer of such classic
> Japanese films as I Was Born, But$B(B Story (1953). The goals of this
> anthology are: to partly address the lingering shortage of English-
> language studies of Ozu; to cover the director$B(Bs career in a comprehensive
> a fashion as possible (moving beyond the notion that only $B(Blate-period$B(B
> Ozu is worthy of study); and to explore how Ozu$B(Bs films can be taught
> effectively in today$B(Bsclassrooms (or introduced to contemporary audiences
> in other ways).
> 
> The essays will cover all phases of Ozu'$B(Bs career, from his silent films
> (of which the earliest surviving is Days of Youth, 1929) through his final
> color film (An Autumn Afternoon, 1962). We are interested in receiving
> abstracts over the next few months, and completed papers that have not yet
> been published. We invite submissions from scholars of various
> disciplines, employing a range of critical approaches.
> 
> Topics may include, but are not limited to:
> 
> $B'(B  Close readings of individual Ozu films
> 
> $B'(B  Analysis of recurring themes and motifs in Ozu films (e.g., alcohol
>      use, parent-child relationships, gender relations, transitional
>      periods in life)
> 
> $B'(B  Exploring differences between the various phases in Ozu$B(Bs career (e.g.,
>      did Ozu'$B(Bs earlier filmsreally have more of a $B(Bsocial conscience$B(B
>      than his later ones?)
> 
> $B'(B  Ozu'$B(Bs distinctiveapproaches to directing (e.g., low camera positions,
>      $B(Bpillow$B(B shots, use ocolor, lack of concern for continuity) and their
>      impact on how his films are perceived
> 
> $B'(B  The accessibility of Oz'$B(Bs film s$B(Bor lack thereof$B(Bto contemporary
>      audiences
> 
> $B'(B  The relationship between Ozu and the contemporary directors he has
>      influenced (e.g., Wim Wenders, Jim Jarmusch, Mike Leigh)
> 
> $B'(B  The importance (or lack thereof) of concepts such as mu and mono no
>      aware to understanding Ozu$B(Bsfilms.
> 
> $B'(B  Ozu'$B(Bs position in theJapanese cinema canon, and his relationship to
>      contemporary or near-contemporary Japanese directors (e.g.,
>      Mizoguchi, Kurosawa, Imamura, Yamada)
> 
> $B'(B  Ozu'$B(Bs demandingtreatment of actors/actresses and its impact on their
>      performances
> 
> $B'(B  Ozu as co-scriptwriter of his films
> 
> $B'(B  How Ozu depicts key elements of office or $B(Bsalaryman$B(B culture, such as
>      corporate hierarchies, retirement, commuting, and boredom
> 
> $B'(B  Teaching Ozu to today'$B(Bscollege students (e.g., how can decades-old
>      Japanese films be made relevant to a generation more accustomed to
>      CGI spectacles?)
> 
> $B'(B  Analysis of earlier English-language scholarship on Ozu--$B(Bincluding
>      the studies by Donald Richie, David Bordwell, and Paul Schrader$B(Band
>      its impact on how Ozu$B(Bs films are interpreted today
> 
> Contacts and editors:
> Marc DiPaolo, PhD, Assistant Professor at Oklahoma City University'$B(Bs
> Department of Moving Image Arts;
> MD
> e-mail: captainblackadder at hotmail.com
> Brian DiPaolo, MFA
> BD
> e-mail: brianofpaul at hotmail.com
> 
> (Please write to both at once.)
> 
> Please contact both of us with your ideas before beginning significant
> work on your submission, so we can ensure that contributors$B(B efforts do
> not overlap (for example, we wouldn'$B(Bt want every essay
> to be a close reading of Tokyo Story
> ).
> Ideally, we would like you to contact us with ideas by November 1.
> 
> Final submissions are due February 1, 2012.
> 
> Please send abstracts and/or final submissions, along with a brief
> biographical sketch, to both captainblackadder at hotmail.com
> and brianofpaul at hotmail.com.
> 
> A note about drafts: We would greatly appreciate
> 
> it if you could submit a rough/partial draft of approximately 3,500-$B(B5,000
> words sometime in December or January. This will enable the editors to: 1)
> gauge how the various essays might act in relation to each other, and
> provide feedback on that point as they move toward completion; and 2)
> expedite the publishing process, by helping us to secure publisher
> interest and commitment. If you cannot do this, or do not like to work in
> this manner, then this phase of production may be skipped and completed
> drafts submitted by the final deadline as stated above. Thank you for your
> interest.
> 
> Marc DiPaolo
> Oklahoma City University
> 
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> 
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