Call for submissions to issue no. 8 of Mise Au Point ( “Theories of Cinema: Cliques and Quarrels”

Because there is, by general agreement, no truly indigenous theory of moving images, various approaches have been used to study film and television since they entered the university. Sometimes, when they lead to complementary interdisciplinary approaches, their co-existence is harmonious. This new issue of Mise Au Point, however, will be devoted to those other cases which lead to Balkanization or conflict.

There are at least two features of this antagonism. The first is their mutual indifference, leading to the constitution of autonomous cliques – something Christian Metz remarked late in life, lamenting the “lack of bridges” between them. The second is the many ways they are opposed. Sometimes this opposition takes the form of a simple criticism or by taking a dig at the other side at a conference; at other times (even if these are quite rare in the end) the opposing camp replies and a polemics break out in scholarly journals. Do these quarrels advance scholarly knowledge in any way, or do they simply demonstrate the existence of cliques separated by “incommensurable paradigms”?

We are thinking for example of:

– quarrels around methods (rationality vs. intuition, whether to use the hard sciences, etc.);

– quarrels around the definition of the object of study (whether to take the context into account, the author’s intentions, etc.);

– simply opposing a tool, concept or branch of thought (being against the Frankfurt School, psychology, psychoanalysis, “dispositif” theory, cultural studies, gender studies, queer studies, etc.);

– internecine quarrels within the same “school” or branch of thought;

– quarrels related to national traditions or to the growing internationalization of film studies (French vs. Anglo-Saxon, German or Japanese theoretical perspectives; theoretical transcendentalism vs. Eurocentrism or trans-nationalism, etc.).

These confrontations sometimes take a political turn (when theory allies itself with political practice or activism) or a corporatist turn (filmmakers, critics and scholars produce theory). The national dimension also appears, with a particular country said to be deaf to a particular approach and fond of another (Eurocentrism vs. a transnational perspective, for example). At other times the quarrel is connected to the images themselves, to their style or the techniques associated with them: the medium’s purity vs. its impurity, special effects vs. objectivity, absorption vs. distancing, film vs. audiovisual technologies, etc.

Contributions on the history of theories are anticipated, revisiting the controversies that stirred up the microcosm of film and audiovisual studies (structuralism vs. aesthetics, for example). We are also thinking, of course, of the epistemology and philosophy of the sciences and possible comparisons with other fields of study. Contributions which themselves are looking for a quarrel and polemicize are also welcome, as long as they also give voice to a position contradictory to the author’s – here one might imagine co-authored articles in the form of a dialogue of conflicting views.

Proposals must be submitted, in French or English, to Martin Lefebvre ( and Laurent Jullier ( by the deadline of 15 June 2014. Following study of the proposals by the editorial committee of the Cahiers de l’AFECCAV, authors whose submissions are accepted agree to complete their contribution by 1 March 2015.

“Film Criticism in Arts magazine (1952-1966). Godard, Rivette, Rohmer and Truffaut away from Bazin’s paradoxes”

Date: June the 10th, 2014


Location: ICA Studio, Institute of Contemporary Arts (London, The Mall).


Famously, Jean-Luc Godard, Jacques Rivette, Eric Rohmer and François Truffaut all wrote for the Cahiers du Cinéma journal (run by André Bazin) before becoming renowned filmmakers. Yet, at the same time, they all also wrote for Arts, a largely polemical and politically controversial weekly magazine that was no less decisive in imposing their “politique des auteurs”, the cult of cinematic authorship that proved immensely influential on film culture ever since. This symposium aims to reconsider the articles they published on Arts, a body of writings that is certainly neglected, little-studied and in some cases downright unknown: around twenty articles by Rivette and over 150 by Rohmer were not even listed in any known bibliography until very recently. In so doing, it will provide a more accurate view of what the “politique des auteurs” originally was (most notably as regards its theoretical premises), also in order to engage with the still ongoing, very lively debate on cinematic authorship. More generally, this event intends to contribute to the current rediscovery of that crucial period of French film criticism, brought forth among others by the shortly-forthcoming, recently-announced publication of André Bazin’s integral corpus of writings, and by the fresh release of a new, important biography on Eric Rohmer shedding a new light on his criticism.


In order to attend the symposium, no admission fee is required. However, registration prior to the event is mandatory: please send an email containing name, surname and affiliation (if any) to . French/English simultaneous interpretation through headphones will be provided.


The organization of the conference has been made possible thanks to the joint contribution of the Kent Institute for Advanced Studies in the Humanities (KIASH), of the Aesthetic Research Centre  (University of Kent), of the Centre for the Interdisciplinary Study of Film and the Moving Image (University of Kent), and of “Traverser Bazin”, an ongoing research project led by Prof. Hervé Joubert-Laurencin and recipient of the prestigious LABEX grant (Laboratoire d’excellence des arts et médiations humaines).




11am: Registration

11:15am: Introduction

11:30am: Prof. Marc Dambre (Université de Paris III – Sorbonne Nouvelle): “Arts et hussards dans leur temps: 1954-1960”

12:20am: Respondent: Zahra Tavassoli Zea (University of Kent)

12:30am: Dr. Douglas Morrey (University of Warwick): “Jacques Rivette’s Film Criticism for Arts

1:20am: Respondent: Dr. Cecilia Sayad

1:30am: Lunch (not offered)

2:30pm: Prof. Antoine de Baecque (Université de Paris X – Nanterre): “Eric Rohmer critique de cinéma pour Arts

3:20pm: Respondent: Dr. Richard Misek (University of Kent)

3:30pm: Dr. Marco Grosoli (University of Kent): “The Author Policy and its Political Underside. Arts in the wider context of the ‘Politique des auteurs’”

4:20pm: Respondent: Dominic Topp (University of Kent)

4:30pm: Break

5pm: Prof. Hervé Joubert-Laurencin (Université de Paris X – Nanterre): “André Bazin et la revue Arts

5:50pm: Respondent: Dr. Mattias Frey (University of Kent)

6pm: Final discussion


MARC DAMBRE is Emeritus Professor of Modern and Contemporary French Literature at the University of Sorbonne Nouvelle. He is the author of Roger Nimier Hussard du demi-siècle (Flammarion, 1989), has looked after the publication of Nimier’s works and edited the collections Les Hussards. Une génération littéraire (Presses Sorbonne Nouvelle, 2000) and Roger Nimier (Cahier de l’Herne, 2012). As regards contemporary literature, he has founded CERACC (UMR Thalim) Research Centre, and led a seminar with Bruno Blanckeman. He has co-edited several works for the Presses Sorbonne Nouvelle, among which L’Exception et la France contemporaine (2010), Romanciers minimalistes (1979-2003) (2012) and Mémoires occupées. Fictions françaises et Seconde Guerre mondiale (2013).


DOUGLAS MORREY is Associate Professor of French at the University of Warwick. He is the author of Jean-Luc Godard (Manchester University Press, 2005) and the co-author of Jacques Rivette (Manchester University Press, 2009). He is currently researching a study entitled ‘The Legacy of the New Wave in French cinema’.


ANTOINE DE BAECQUE is Professor of History of Cinema at the University of Paris Ouest-Nanterre. He has authored several articles and books about cinema, particularly regarding the history of Cahiers du Cinéma journal (for which he has also been the editor in chief between 1996 and 1998). A publisher and a biographer (of Truffaut with Serge Toubiana, and of Godard), he has published in 2014 (with Noel Herpe) a biography of Eric Rohmer also containing some previously unpublished texts by the critic/director. His published works include La Cinéphilie. Invention d’un regard, histoire d’une culture. 1944-1968 (Paris, 2003).


MARCO GROSOLI earned a Ph.D. in Film Studies from the University of Bologna; his dissertation regarded the integral corpus of writings (2600 articles) by film critic and theorist André Bazin. He is currently a British Academy Postdoctoral Fellow at the University of Kent (Canterbury). He has co-edited (with Monica Dall’Asta) a volume about the cinema of Guy Debord, and one (with Jean-Baptiste Massuet) about the use of motion/performance capture in recent cinema. He has published on several academic journals and edited collections, among which Fata Morgana, Il Mulino, Cinema & Cie. He collaborates also with various movie journals, such as Film Comment, La Furia Umana,,,


HERVÉ JOUBERT-LAURENCIN is Professor of Aesthetics and History of Cinema at the University of Paris Ouest-Nanterre, where he also directs the HAR-Cinéma research team. His main research interests are Pier Paolo Pasolini, the writings about cinema and animation cinema. He is currently leading a triennial international research project called “Traverser Bazin. Ecrits suscités par le cinéma” ( His published works include Opening Bazin. Postwar Film Theory and Its Afterlife (co-edited with Dudley Andrew, Oxford University Press, 2011), Ouvrir Bazin (co-edited with Dudley Andrew, Montreuil, 2014), Le sommeil paradoxal. Ecrits sur André Bazin (Montreuil, 2014).

Visions of Identity: Global Film & Media

The Fourth Annual London Film and Media Conference – 26-28 June 2014


Organised by Academic Conferences London

Venue: Institute of Education, University of London, UK


Call for Papers


Contributions are sought for FILM AND MEDIA 2014: The Fourth Annual London Film and Media Conference, to be held at the University of London Institute of Education Conference centre in Bloomsbury, London, UK, on Thursday 26 to Saturday 28 June 2014. Our theme for 2014 is ‘Visions of Identity: Global Film & Media’.


Launched in 2011, the event has become one of the largest of the European conferences in the field, and amongst the most culturally diverse. The 2013 event attracted some 200 Speakers, together with a further cohort of Delegates, from almost 40 countries.


For full details, including our Early Acceptances so far for 2014 and our free ebook downloads, please see our website at


Potential topics include:


– National Identities on Screen

– Global Identities on Screen

– Categorical imperatives: Race, Nation, Gender, Class, Age on Screen

– Familial Identities on screen

– Identities of Creed

– Character-isation on Screen

– Media Types and Stereotypes

– Individual and Collective Identities

– Identity and Otherness

– Contestations of Identity on Screen

– Identities of Media Authorship

– The Star System

– Media ’Celebrities’ and ‘Personalities’

– Audience Identities

– Human and Non-human Identities on Screen

– Identities and Environment

– Identities of the Virtual

– Processes of Media Identification

– Media, Identity and the Unconscious


Papers and Panels

We welcome proposals for individual 20-minute Papers (to which ten minutes of discussion will be allocated in each case) to be placed in appropriate Panels by us. We also invite proposals for pre-formed 90-minute Panels made up of three 20-minute Papers (to which a total of thirty minutes discussion will be allocated). Papers, to be presented in English, are not required in advance.



Proposals and Deadline

Proposals should be made only via the Proposal Form available on the conference website. Proposals are processed by means of sympathetic Peer Review. A formal response is made within one week. Proposal Deadline: 31 March 2014.



The event is organised by Academic Conferences London Ltd. The event takes place on 26-28 June 2014 at the University of London Institute of Education Conference Centre, 20 Bedford Way, Bloomsbury, London WC1, United Kingdom.


Conference Publications

Papers presented at FILM AND MEDIA 2014 will be eligible for consideration for inclusion in ‘The London Film and Media Reader 4: Visions of Identity – Global Film & Media’, to be published in Summer 2015. ‘The London Film and Media Reader 3: Visions of Identity’, containing nearly 60 essays from around the world, will be published in Summer 2014. Our earlier ebooks are available for free download on the conference website.



Enquiries (not Proposals):

Website (including Proposal Form):

Deviate! The Second International Alphaville: Journal of Film and Screen Media Conference

4 – 6 September 2014, University College Cork.


“Without deviation from the norm, progress is not possible” – Frank Zappa


Deviation—whether from the norm, the accepted, the anticipated or the prescribed—has always been a core element in advancing methods of production, distribution and exhibition, and shaping storytelling, characterisation, and, indeed, contemporary spectatorship within cinema, television and screen media. The fundamental role that deviation plays in these media can also be markedly evident in relation to aesthetics and the construction of texts, through diegesis, cinematography, sound design and representation.


Deviate! The Second International Alphaville Conference aims to interrogate the centrality of deviation in its myriad forms to cinema, television and screen media, thereby establishing under this inclusive framework a dynamic and productive exchange between scholars, practitioners and postgraduate students.


Possible topics include, but are not limited to:


Rebellion on- and off-screen (Directors, Stars, Characters)

The Innovator (Practitioners, Producers)

The Outsider

Deviation in Adaptation (Deviation from sources)

Deviation in Genre/Form

The Role of Film/Screen Media in Defining Deviance

Liminal Characters/Spaces

Abject Spaces/Languages


Remakes and discrepancies

Style as deviation

Avant-garde and deviation

Counter cinema and difference

Theory and deviation

Nonmainstream, nonconformist, nonaligned

New Departures in Production/Funding/Distribution/Exhibition


Abstracts of 250-350 words and a short biographical note should be sent to Pre-formed panels (of 3 or 4 people) will also be considered. Panel proposals should be sent in the same format as paper proposals, in addition to a 100-word thematic synopsis of the panel. The deadline for all abstract submissions is 11 April 2014. Papers should be 20 minutes in duration.

Location London Conference

The full programme for the upcoming Location London conference (March 7 & 8) can be found here:


Participants include: Martin Brady, Charlotte Brunsdon, Thomas Christensen, Ian Christie, Philip Horne, Angelina Karpovich, Karolina Kendall-Bush, Richard Koeck, Roland-François Lack, Eleni Liarou, Robert Murphy, Chris O’Rourke, Aileen Reid, Les Roberts, Maureen Thomas.


The conference also includes a preview of the film Another London by Ektoras Arkomanis and Robert Harbison.


You can book here, either for the whole conference or for individual days:


An AHRC Global Cult Cinema in the Age of Convergence Network Conference
Aberystwyth University, UK, Tuesday 15th – Wednesday 16th April 2014

Registration now open.  Please go to the conference website for further details and the registration form.

Keynote speakers:

Professor Barbara Klinger, Indiana University, USA
Professor Mark Jancovich, University of East Anglia, UK

Conference events include: A 3D screening of Creature From the Black Lagoon (Jack Arnold, 1954) in association with Abertoir: Wales’ International Horror Festival

While academic study of cult cinema can be traced back to the 1980s, there has recently been a surge of scholarly interest in – alongside an increasing popular awareness of – the field. In particular, the advent and development of digital networks has led to an increasing awareness of a variety of cult followings and access to unprecedented cult films from around the world. Research addressing the changes wrought by increased digitization and global connectivity has, however, been relatively scant, as have sustained attempts to discuss and debate these issues. The aim of this conference (organised in association with the AHRC Global Cult Cinema in the Age of Convergence Network) is to bring together scholars to engage in a sustained dialogue addressing the role of technologies in different areas of cult film culture.
If you have any queries relating to the conference, please email:

Jamie Sexton, Kate Egan, Matt Hills, Emma Pett and Rebecca Edwards (conference organisers)

Call for Papers The 7th International Conference and Festival on Global Cult Film Traditions

 B-Film: The Birmingham Centre for Film Studies & The Faculty of Art, Design and Media at Brighton University present

Cine Excess VII

European Erotic Cinema: Identity, Desire and Disgust

Midlands Art Centre, Birmingham 15-17 November 2013


Over the last 6 years, the Cine-Excess International Film Conference and Festival has brought together leading scholars and critics with global cult filmmakers. Cine-Excess comprises of a 3 day conference alongside plenary talks, filmmaker interviews and 5-7 UK theatrical premieres of up and coming cult releases. The event also features its own dedicated DVD label, with recent releases including the official UK Blu-ray release of Dario Argento’s Suspiria (1977). More recently, Cine-Excess staff assisted with the new director’s cut of Ruggero Deodato’s Cannibal Holocaust (1979), in conjunction with UK distributor Shameless Films.


Previous guests of honour to the annual Cine-Excess event have included John Landis (An American Werewolf in London, The Blues Brothers, Trading Places), Roger Corman (The Masque of the Red Death, The Little Shop of Horrors, The Intruder, The Wild Angels, Bloody Mama), Stuart Gordon (Re-Animator, King of the Ants, Stuck), Brian Yuzna (Society, Beyond Re-Animator, The Dentist), Dario Argento (Deep Red, Suspiria, Inferno) Joe Dante (The Howling, Gremlins, The Hole), Franco Nero (Django, Keoma, Die Hard II), Vanessa Redgrave (Blow Up, The Devils, Julia), Ruggero Deodato (Last Cannibal World, Cannibal Holocaust, House on the Edge of the Park) Enzo G. Castellari (Keoma, The Inglorious Bast***s) and Sergio Martino (Torso, All the Colours of the Dark).


With the recent relocation of Cine-Excess to the University of Brighton, a number of new developments connected to the event have been announced. These include the 2013 launch of the peer-reviewed Cine-Excess E-Journal, which will publish a selection of papers from the event on a twice yearly basis, while a new Cine-Excess feature film arm is also in development in conjunction with a range of international partners.


For this year’s event Cine-Excess is proud to be working with the University of Birmingham’s newly formed B-Film: The Birmingham Centre for Film Studies as part of the Cine-Excess VII event.


Cine-Excess VII considers Europe’s long and controversial relationship with the erotic image, considering the extent to which cult European traditions of desire reveal fascinating issues of nation and regional distinction.


From mainstream cinema’s first nude scene in Ekstase (1933) and the extreme arthouse imagery of Romance (1999) via the exploitation films of Joe D’Amato and Jess Franco, Europe has always been at the cutting edge of cinematic depictions of the erotic, pushing the boundaries of what it is legitimate to represent on screen. Employing varied genres and filmmaking modes – from the pseudo-educational sex films of Scandinavia and Germany to the surrealist exploits of Walerian Borowczyk or the arty bourgeois respectability of Emmanuelle (1974) – European cinema has shifted the paradigms through which the (eroticised) body can be represented and consumed, blurring and problematizing the boundaries between ‘art’ and ‘exploitation’. Often these celluloid sexual experimentations also traverse accepted boundaries of desire and disgust, with unsettling and controversial results. In so doing, these films prompt a profound re-mapping of the body, as well as of the concepts of art, commerce and even the very notion of ‘European’.


This conference will explore the history of European erotic cinema from a range of theoretical and methodological perspectives, while also considering a range of national traditions of carnality across a wide range of visual media that include film, television, literature, comics and digital media.

Several well-known filmmakers of European erotic cinema will also be in attendance to discuss their work and interact with academic speakers. Proposals are now invited for papers on any aspect of European cinema. However, we would particularly welcome contributions focusing on:


  • The National and the Naughty: eroticism and European identity;
  • Carnal and Cruel: Euro erotica and the horrific
  • New Territories, Old Taboos: Extreme desires in the new Europe;
  • Erotic Auteurs: Case-studies of the carnal cineaste;
  • Sin, Surgery and Sutures: The medicalization of European erotica;
  • Trans-generic desires: eroticism as celluloid hybrid;
  • Art or Arousal:  Problematic distinctions between pornography and the European erotic;
  • Deviant Distinctions: The erotic in ‘art’ and ‘exploitation’ cinema;
  • Carnal Cravings: Questions of consumption and reception;
  • Against God and State: Censorship and the erotic image;
  • From Desire to Disgust: Conflicted carnalities, confused cycles;
  • The Politics of the Erotic: Historical case-studies of arousal;
  • Basic Instincts: the cinema of Paul Verhoeven, Catherine Breillat and Just Jaeckin;
  • 50 States of Grey: European traditions of titillation abroad;
  • The Devil Within Her: Erotic Desires and the female body;
  • From Page to Porn: Adaptations of the literary erotic;
  • Institutions of Excess: Case-studies of European distribution;
  • Queer Europe: From the experimental frame to the exploitation image;
  • Small Screen Thrills: TV and erotic traditions;
  • Iconic Excess: Case-studies of erotic performance;
  • Brown Skins, White Marks: The transnational/transitional erotic body in film;
  • Sex and the Unsafe Space: Domestic fears and the erotics of home invasion


We welcome individual paper submissions, panels and roundtable proposals related to a range of European regions and traditions. Please send a 300-word abstract and a short (one page) C.V. by the 3rd September 2013 to:


Alex Marlow-Mann ( or Xavier Mendik (


A final listing of accepted presentations will be released on 17th September 2013.  A selection of conference papers from the event are scheduled to be published in the Cine-Excess E-Journal and as a separate anthology.


For further information and regular updates on the event (including information on guests, keynotes and screenings) please visit


TFTV: Exploring Theatre, Film and Television 4th Annual Postgraduate Symposium

Friday 24th May 2013

Keynote Speakers:

Pip Piper (director/producer) and Neil Hillman (sound mixer)

Pip and Neil will be discussing the production of their latest film, Last Shop Standing. The documentary charts the rise, fall and rebirth of the independent record shop in Britain and includes interviews with, among others, Paul Weller, Johnny Marr, Norman Cook and Richard Hawley. Their presentation will include an account of how the film was financed through the crowd-funding website, Indiegogo, and will be followed by a screening of the film and a Q & A session.

Call for Papers:

The Department of Theatre, Film and Television is currently inviting applications for papers to be given at the above symposium.

This event seeks to encourage a wide array of research interests and to incorporate interdisciplinary and multi-disciplinary approaches to the study of theatre, film and television. We are interested in receiving submissions from postgraduate students researching any and all aspects of the three disciplines and are open to presentations incorporating less traditional research methods, including demonstrations of practical and creative work.

Please see the TFTV Call for Papers  for application details.


Call for papers for a conference to be held Friday, November 23, 2012 at Birkbeck College, University of London.  Co-sponsored by the departments of the History of Art and Film, Birkbeck, Media Arts, Royal Holloway, and the University of London Screen Studies Group.


With Madonna’s W.E on the Wallis Simpson-Edward VIII romance attempting to exploit the Oscar-winning success of The King’s Speech and The Queen, and a film drama on Diana’s romance with heart surgeon Hasnat Khan in production, this Diamond Jubilee year seems the appropriate time to consider the historic past and current effusion of film and television representations of the British monarchy.


Moving images of British monarchs traverse the history of film and television, with documentary footage of Queen Victoria dating from 1897; Sarah Bernhardt’s Les Amours de la Reine Elizabeth in 1911; Bette Davis and Errol Flynn in The Private Lives of Elizabeth and Essex (1939); the Commonwealth Film Unit’s extensive archive of royal visits to far flung colonies; British television’s repeated attempts to humanize the Windsors at work, in interviews and enjoying a Balmoral barbecue; and a newly announced feature to star a regal Emma Thompson confronting a burglar in her Buckingham Palace bedroom.


Among the topics for possible consideration at this conference are:

–   The relation of royal representation to the attribution of ‘quality’ and ‘prestige’ to UK film and television production.

–    The republican rhetoric of TV drama in which royal occasions figure, e.g. The Price of Coal (1977), The Spongers (1978), and Royal Wedding (2010).

–     The political role of the documentation of British royalty produced by the Commonwealth Film Unit.

–  How diva figures like Helen Mirren, Judi Dench, Glenda Jackson, Bette Davis, Flora Robson, Sarah Bernhardt and Quentin Crisp inflect their royal roles with their screen queen personae.

– The queering of the British monarchy in the work of Derek Jarman, Alan Bennett and Sally Potter.

– The generic complexities of royal representation – Costume Drama?  Current Affairs? Docudrama? Melodrama? Biopic? Farce?

–   British royalty and Hollywood royalty in celebrity culture today.


Applicants to give 25 minute papers at this conference are asked to send a 200 word synopsis and a brief academic biography to Mandy Merck, Media Arts, Royal Holloway ( by April 30, 2012.