*Deadline Approaching*  Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen

Submissions are invited for the third annual BAFTSS conference at Manchester Metropolitan University, 16-18 April 2015. The title of the conference is “Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen”. We are delighted to announce that the recipient of the Lifetime Achievement Award for 2015 is Professor Christine Geraghty. In addition, the 2015 conference will see BAFTSS present a Memorial Award honouring the work of Professor Stuart Hall. With these awards in mind, we would like to invite papers and/or panels on all areas of television, film and screen studies. Where not proposing a full paper, PG students are welcome to submit proposals for poster presentations. Proposals for papers, panels and poster presentations should focus on one or more of the following:

 

Quality and value

Aesthetics and style

Genre

Gender

Performance

Media specificity and convergence

Audience studies

Patterns of production, distribution and reception

Screen Practice

Rhythms and representations of the ordinary and the everyday

Race

Sexuality

The conference will host Christine Geraghty’s ‘Desert Island’ screening event and a screening of John Akomfrah’s documentary The Stuart Hall Project (2013), two keynote talks (one by the Lifetime Achievement Award recipient, one by a television practitioner), a Memorial Award, the BAFTSS Awards Ceremony, a Postgraduate/Early Career development session, conference dinner and publishers’ stands.

Proposals for individual papers (with or without a panel proposal) should be 250 words long, plus a brief biography (100 words) including affiliation details. Proposals for poster presentations should be 150 words, plus a brief biography. Proposals for panels should be submitted to the conference committee (at j.m.andrew@keele.ac.uk)by Monday, 20 October 2014Proposals for individual papers and poster presentations should be submitted to the conference committee (at b.l.johnson@keele.ac.uk) by Monday, 10 November 2014. Please state in the title of your email if you are proposing a paper, a panel or a poster presentation. You must be a member of BAFTSS to present your research at the conference. To join, please go to http://www.baftss.org/join/ (£20 salaried, £10 unsalaried). Free places will be awarded to a very limited number of volunteer PG helpers and notice of these will be made available after papers have been reviewed. All proposers will be notified by 1 February 2015.

Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen

Submissions are invited for the third annual BAFTSS conference at Manchester Metropolitan University, 16-18 April 2015. The title of the conference is “Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen”. We are delighted to announce that the recipient of the Lifetime Achievement Award for 2015 is Professor Christine Geraghty. In addition, the 2015 conference will see BAFTSS present a Memorial Award honouring the work of Professor Stuart Hall. With these awards in mind, we would like to invite papers and/or panels on all areas of television, film and screen studies. Where not proposing a full paper, PG students are welcome to submit proposals for poster presentations. Proposals for papers, panels and poster presentations should focus on one or more of the following:

 

Quality and value

Aesthetics and style

Genre

Gender

Performance

Media specificity and convergence

Audience studies

Patterns of production, distribution and reception

Screen Practice

Rhythms and representations of the ordinary and the everyday

Race

Sexuality

The conference will host Christine Geraghty’s ‘Desert Island’ screening event and a screening of John Akomfrah’s documentary The Stuart Hall Project (2013), two keynote talks (one by the Lifetime Achievement Award recipient, one by a television practitioner), a Memorial Award, the BAFTSS Awards Ceremony, a Postgraduate/Early Career development session, conference dinner and publishers’ stands.

Proposals for individual papers (with or without a panel proposal) should be 250 words long, plus a brief biography (100 words) including affiliation details. Proposals for poster presentations should be 150 words, plus a brief biography. Proposals for panels should be submitted to the conference committee (at j.m.andrew@keele.ac.uk)by Monday, 20 October 2014. Proposals for individual papers and poster presentations should be submitted to the conference committee (at b.l.johnson@keele.ac.uk) by Monday, 10 November 2014. Please state in the title of your email if you are proposing a paper, a panel or a poster presentation. You must be a member of BAFTSS to present your research at the conference. To join, please go to http://www.baftss.org/join/ (£20 salaried, £10 unsalaried). Free places will be awarded to a very limited number of volunteer PG helpers and notice of these will be made available after papers have been reviewed. All proposers will be notified by 1 February 2015.

 

BAFTSS 3rd Annual Conference 2015 – Manchester Metropolitan University, April 16-18 2015

Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen

Submissions are invited for the third annual BAFTSS conference at Manchester Metropolitan University, 16-18 April 2015. The title of the conference is “Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen”. We are delighted to announce that the recipient of the Lifetime Achievement Award for 2015 is Professor Christine Geraghty. In addition, the 2015 conference will see BAFTSS present a Memorial Award honouring the work of Professor Stuart Hall. With these awards in mind, we would like to invite papers and/or panels on all areas of television, film and screen studies but with particular foci on:

 

Quality and value

Aesthetics and style

Genre

Gender

Performance

Media specificity and convergence

Audience studies

Patterns of production, distribution and reception

Screen Practice

Rhythms and representations of the ordinary and the everyday

Race

Sexuality

 

There will be Christine Geraghty’s ‘Desert Island’ screening event and a screening of John Akomfrah’s documentary The Stuart Hall Project (2013), two keynote talks (one by the Lifetime Achievement Award recipient, one by a television practitioner), a Memorial Award, the BAFTSS Awards Ceremony, a Postgraduate/Early Career development session, BAFTSS book and essay prize winners (awarded in September 2014), best Postgraduate paper prize of a place for the 2016 conference, conference dinner and publishers’ stands.

Proposals for individual papers (with or without a panel proposal) should be 250 words long, plus a brief biography (100 words) including affiliation details. Proposals for panels should be submitted to the conference committee (at j.m.andrew@keele.ac.uk)by Monday, 20 October 2014. Proposals for individual papers should be submitted to the conference committee (at b.l.johnson@keele.ac.uk) by Monday, 10 November 2014. You must be a member of BAFTSS to present your research at the conference.

 

To join, please go to Join (£20 salaried, £10 unsalaried). Free places will be awarded to a very limited number of volunteer PG helpers and notice of these will be made available after papers have been reviewed. All proposers will be notified by 1 February 2015.

 

BAFTSS Award Ceremony – 2014

 

BAFTSS Prize-giving 2014

Sarah Street was awarded First Prize in the 2014 British Association for Film, Television and Screen Studies Best Book Prize for Colour Films in Britain: The Negotiation of Innovation 1900-55 (BFI/Palgrave Macmillan, 2012).

 

 P1050842

 

Comments by judges:

 

 

This book boasts a wealth of original research and embraces the technological, aesthetic, cultural and industrial nexus of ideas around colour on film. The British historical context is particularly illuminated. Street teases out the nationalistic discourses around the UK’s use of Technicolor and its innovations ably and persuasively. What this amounts to is a gripping story about how cultures deal with change. The book is quite brilliant and admirably lucid in the way it describes the sensibilities of colour perception. A breath-taking level of archival work underpins the writing here, and Street vitally incorporates a commentary about all of the difficulties of dealing with fragile, faded material; hence she takes care to be tentative in her analysis. This feels like a book which is destined to make us all more colour conscious.

 

 P1050841

 

Additional reviews from the Palgrave website:

 

In addition to the quality of the research, the book is also beautifully-designed. It features numerous colour illustrations – primarily frame enlargements – which are very helpful in comprehending Street’s many detailed analyses of individual films. The book also features two appendices that enhance its value as a reference work: a list of the colour films distributed in Britain between 1938 and 1955 (based on Kinematograph Weekly), and a concise and very useful description of the colour film processes and technologies discussed in the book (compiled by Simon Brown). Colour Films in Britain succeeds both as a comprehensive national film history and as a reflection on colour in cinema, and will be a valuable and lasting contribution to the field of film studies. European Journal of Media Studies.

‘Sarah Street’s groundbreaking study is that rare film history text which is at once absolutely authoritative, and pitched at a very high level in terms of discourse, but still readily accessible to the general reader. In addition, the volume is richly — and I mean intensely – illustrated with numerous, exquisitely printed frame blowups from the many films it examines, all in full color, and Street’s analysis of the development of color, not only in the commercial British cinema, but also in the the experimental work of artists such as Len Lye, is meticulous and detailed.’ – Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, USA, ‘Frame by Frame’, University of Nebraska-Lincoln’s Film Blog.

 

 

 

 

 

Ian Christie was awarded Runner-Up Prize in the 2014 British Association for Film, Television and Screen Studies Best Book Prize for Audiences: Defining and Researching Screen Entertainment Reception (Amsterdam University Press, 2012).

 

 P1050839

 

Comments by judges:

 

 

This volume is more than the sum of its parts. It is a test case in what an edited collection can be. It benefits from the many voices and the many perspectives, and throughout there is a keen sense that what’s here has been intelligently curated by Ian Christie. Where ‘audience studies’, for all its insights, has emerged from qualitative and quantitative statistics with a sociological impetus (and has necessarily had to reflect at length on its own methodology), this volume is wider-ranging. It is an energetic (and jargon free) exploration of how and where films have been and continue to be seen. The set of interests here is very impressive: cinema design, stage aesthetics, address to audience, cinema-going, the use of statistics, emerging technologies, and bio-cultural understandings of how we respond to film. Cinephilia in the digital age is explored; a fascinating piece on mobile phones is included; there is back to basics and refreshed consideration of cognitive psychology, as well as a defence of the merits of what the discipline of ‘audience studies’ can bring. As a whole, this is a serious, broad-ranging and immensely readable volume, a genuine contribution to scholarship, and it asks us to think again about what watching a movie actually entails.

 

 

 

 

 

Belén Vidal was awarded an Honourable Mention in the 2014 British Association for Film, Television and Screen Studies Best Book Competition for Figuring the Past: Period Film and the Mannerist Aesthetic (Amsterdam University Press, 2012)

 

P1050838 

 

Comments by judges:

 

 

A finely observed, minutely detailed exploration of style in the period drama, productively borrowing from art history to expound on the rhetoric of mannerism (a painterly self-consciousness) in recent examples of the genre. This is written with relish. Choice phrases leap out at the reader, and the acute attention to detail allows for the basic premise to be finessed. Scorsese’s Age of Innocence is quite brilliantly attended to, the book capturing precisely the way it lures the spectator into its world while at the same time rendering it’s pastness strange. Enriched rather than hamstrung by its post-structural theoretical foundations, Vidal is deft in explaining the way matters of form and style mobilise senses of fantasy, of desire and of fidelity. This reads like a labour of love.

 

 

 P1050836

 

 

 

 

 

 

 

Lee Grieveson was awarded First Prize in the 2014 British Association for Film, Television and Screen Studies Best Article Prize for ‘The Work of Film in the Age of Fordist Mechanization’ in Cinema Journal 51: 3 (Spring 2012).

 

 

P1050834

 

Comments by judges:

 

 

Lee Grieveson’s essay is notable for its attempt to broaden the focus of film studies through an examination of the under-studied area of industrial and educational film and for its sophisticated exploration of the relationship between film and political economies. It is a rigorously scholarly piece of research making extensive use of archival sources and it significantly expands our understanding of filmmaking practices of the 1910s and 1920s.

 

 

 

 

 

 

Catherine Fowler was awarded Runner-Up Prize in the 2014 British Association for Film, Television and Screen Studies Best Article Prize for  ‘Remembering Cinema “elsewhere”: From Retrospection to Introspection in the Gallery Film’ in Cinema Journal 51: 2 (Winter 2012)

 

 

Comments by judges:

 

 

Catherine Fowler’s essay also broadens the discipline of film studies, through its focus on gallery films often consigned to the field of visual studies. Her insightful analysis of moving image installations that utilise and reflect on sequences from existing films suggests new ways of thinking about our engagement with cinema history, and provides an interesting intervention into contemporary debates around the notion of cinephilia.







BAFTSS Conference 2014 – Registration

We are very happy to announce that BAFTSS 2014 conference registration is now open to the speakers. Please book your tickets over the next month. At the beginning of March, the registration details will be publicised more widely to non-speakers. It looks like it could be a really exiting event and there are lots of great papers. A draft schedule and abstracts document is attached. We will try to accommodate changes IF we can but I am sure you will realise that the bigger the event the more complex that can get. However, we have reflected any requests that came to us. To book your place, follow the link through. There is more information on this site. There are limited places available, though, so do get your booking in soon (if all speakers book, there will be about 15-20 spare places for non-speakers only: the limit is because of physical needs only).

https://www.quaytickets.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=97B860F1-B36C-4328-9BD5-A73A36D497BF

 

The fees are under £100 for the three days and under £50 for concessionary places, as we hoped. There are options of booking days separately and this might look a little complicated but Quay Tickets are running the site for us and assure us everything should run smoothly for you. If you have any problems, do contact them, they have been very helpful to us. You will note that we ask you to indicate if you would like to attend a conference dinner. Senate House are currently trying to find a venue which can accommodate us and we will be looking at a per capita price of around £25 but all this will be confirmed in due course. There is also a cap in place for the screening on Thursday evening of Pakeezah, you are asked to indicate your plan to attend this too – the cap is because of size limits in Birkbeck’s Institute of Moving Image Cinema.

 

Lastly, it is our pleasure to announce that we are able to offer ONE place free to any PG student who would be willing help out with Registration and Conference Pack preparation before (on the 24th) and during the conference. We already have one other person in place but if you would like to help out (this would necessitate you missing the PG/Early Career Event however), please email Anna at eac14@le.ac.uk<mailto:eac14@le.ac.uk>

 

BAFTSS 2014 is taking place at the Institute for Advanced Legal Studies on Russell Square in London. We would like to thanks Birkbeck College and BIMI (and especially Laura Mulvey and Ian Christie who invited us), Senate House and the Screen Studies Group (particularly Dorota Ostrokowska) at the University of London for their support and sponsorship of BAFTSS 2014,.

BAFTSS CONFERENCE – REGISTRATION

BAFTSS Conference 2013 booking is now open. Follow this link through to the University of Lincoln website to fill out the forms.

Book by March 1st and get a £20 discount from your full fee of £200

Postgraduates save £80 on the full conference fee

There are also daily and session rates available and you can book your accommodation with Lincoln on the website too (accommodation is not part of the fee). If you want to bring a guest to tour Lincoln will you talk all things visual, we also have a conference dinner only option.

The programme will be available at the beginning of March but we have speakers on a wide variety of topics and from across the world as well as our very special guests and an event just for research students run by the BFI and BUFVC. If you would like more information about the programme before it goes live, please email Anna Claydon at eac14@le.ac.uk

BAFTSS 1st conference – Lincoln April 2013 – Cfp

First Call for Papers

BAFTSS 1st Annual Conference 2013 (British Association of Film, Television and Screen Studies) University of Lincoln, April 19-21 2013

 

Critics & Criticism: Writing on Audiovisual Media

 

Submissions are invited for the first annual BAFTSS conference at the University of Lincoln, 19-21 April 2013. The theme of the conference is “Critics and Criticism: Writing on Audiovisual Media”. The unrelenting expansion of digital cultures, including social networking and blogging, forces us to revise the role of the critic, including the academic, the journalist and the amateur. In particular, political pressures on Humanities research and calls for open-access research publication will affect the place and style of academic writing. Within this context, further investigation is needed into the histories and likely developments of audiovisual criticism and critical schools.

As well as papers addressing this theme, the conference will consider relevant proposals on any area of film, television and screen studies, including their learning and teaching, from A-levels to Higher Education, and any other developments pertaining these disciplines.

Pre-constituted Panel proposals are preferred, but proposals can be made for individual papers, workshops or master classes. If proposing a panel or workshop, please indicate a panel title in your proposal. If proposing a workshop, please include details of your workshop aims and your target audience. We also encourage proposals from media professionals, postgraduate students as well as academics and independent scholars.

 

The conference will include BAFTSS General Meeting, presentations by the first BAFTSS book and essay prize winners (awarded in September 2012), conference dinner and publishers’ stands.

 

A Lifetime Achievement Award will be presented during the conference to Professor Laura Mulvey.

 

Keynote speakers will be announced in due course.

 

Proposals for individual papers (with or without a panel proposal) should be 250 words long, plus a brief biography (100 words) including affiliation details. Proposals should be submitted to the conference committee (at eac14@le.ac.uk, j.m.andrew@keele.ac.uk and BWinston@lincoln.ac.uk) by Monday, 4 February 2013. Proposers will be notified by 1 February 2013. There will be an “early bird” discount when booking before 15 February but our aim is to make an affordable conference experience for all participants. If you are not a member of BAFTSS, attending the conference will activate your membership.