CFP SCMS panel Boston 2012

[shota ogawa]

Dear KineJapanists,

I am hoping to put together a panel for the next SCMS annual meeting.
Please see below or the attachment for details.
I'd appreciate it if you could forward this to anyone who might be
interested.
Thank you.

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*Panel title: Citation and Appropriation: Film Remembers (through) Film*


SCMS annual meeting: March 21-25, 2012 Boston Park Plaza Hotel and Towers.


This panel will explore the rich history of the practice of incorporating
pre-existing footage in films

and discuss the implications of this practice on our understanding of
history and memory.

Can archival footage in documentary films substantiate historical events or
does it mark the absence of

past events as such and/or the inaccessibility of certain memories?

Do newsreel footage, home movies, and other found materials add to the
narrative

(history-as-narrative) or do they challenge its truth value?

The panel welcomes papers that explore the ways in which filmmakers use
pre-existing footage to

draw and redraw the boundary between (private) memory and (public) history.

Panelists might analyze local examples within a film or a group of films
that make use of newsreel footage

and ‘actuality films’ to challenge the generic convention of documentary and
fiction.

Alternatively, papers might focus on individual directors or
collectives/movements that propose a distinctively

cinematic genre of historiography (‘historiophoty’ as opposed to
historiography in Hayden White’s term).


Suggested topics include but are not limited to the following:

-          ‘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 *Look
Back on 1930!*, *The Movie Album*, and *Ye Olde Time Newsreel*. Or in a
rather unique instance, Esther Schub’s *The Fall of the Romanov
Dynasty*used films from the bygone regime to mark the start of a new
era. More
recently, the 100th anniversary of the film’s birth gave an impetus to a
wide variety of films/video works from Godard’s ambitious *Histoire(s) du
Cinema* to Oshima Nagisa’s *100 Years of Japanese Cinema*.

-          ‘Memorabilia films’: as talkies replaced silent films, studios
produced films/series such as *Out of the Past*, *The March of the Movies*,
and *Screen Souvenirs *which nostalgically looked back to the silent era
through editing together scenes from silent films.

-          War propaganda films

-          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.


For all questions about the panel, please contact the organizer,


Shota Ogawa (shota.ogawa at gmail.com)


For details about the conference:
http://www.cmstudies.org/?page=call_for_submissions




-- 
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Shota Ogawa
Ph.D. Candidate
Graduate Program in Visual and Cultural Studies
424 Morey Hall
University of Rochester
Rochester, NY 14627
Eastman-eiga （Japanese） <http://d.hatena.ne.jp/Eastman-eiga/>
OnFilm Project (English) <http://www.rochester.edu/College/onfilm/>
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