CALL FOR PAPERS - Digital Divide: Departures, Ruptures, & Futures - 1st International Conference on the Emerging Trends on Film Practice

 

 

Call for Papers

 

Digital Divide: Departures, Ruptures, & Futures

1st International Conference on the Emerging Trends on Film Practice

9-11 June 2015, Philippines

 

Organized by the University of the Philippines Film Institute (UPFI)

            The advent of digital technology in the realm of filmmaking and cinematic praxis has not only changed the art and poetics of filmic production but has also penetrated the sphere of historical, philosophical, institutional, and theoretical discourse. The pervasive digitalization of cinema in contemporary times, therefore, should go beyond technological and democratized advancement affecting film practices. This is an engaging moment in cinematic discourse that is birthing contending theoretical stakes and vicissitudes from media critics, film historians, academicians, film practitioners, and cultural theorists. The utilization of digital technology, may it be in commercial cinema, independent films or other media texts, has been a pivotal nexus that generated a reframing of representational and theoretical positions both in the field of cinematic poetics and knowledge production.

            The conference aims to gather cultural scholars, film historians, media critics, film practitioners, and academicians who have done scholarly works on the subject of digital cinema and other modes of investigation related to the theme. The conference aims to provide a venue for scholars and specialists in the field of cinematic and cultural discourse in order to re-examine and revaluate existing fields of inquiry, theoretical foundations and researches. Encompassing the national and globalized landscape on film practice, the conference also aims to cartographize the emerging trends and existing scholarly endeavors to be able to chart the future directions of film institutions, cinematic practice and theorizing.

            It is without a doubt that the digitalization of cinema has spurred contending debates and differing positionalities among film audiences, scholars, film historians and media practitioners. It is within these discursive lines and theoretical renderings that the nodal points of the conference theme –“ruptures,” “departures,” and “futures”—can be contextualized, re-examined and mapped out. The emergence of digital cinema both in the national and global arena of cinematic and cultural production can be seen simultaneously as a significant period of junctures and disjunctures.

Digital divide, as a terminology and concept, does not simply refer to the aesthetic chasm sparked by the arrival of digital technology in cinema but rather as a moment of rupture that has stimulated historical and ideological critiques from varying vantage points and counter-points. The digitalization of cinema has created a protuberance on how the development of film—as historical artifact and social discourse—should be understood and analyzed. It has been a site and sight of endless departures ranging from aesthetic experimentations, reframing of film historizations to the rethinking of existing modes of film production. 

The digitalization of cinema is an inherent reality that should be faced by scholars and practitioners of the field in order to traverse and envision the futures of cinema. The investigation of digital cinema might raise more questions than answers. But such is the path and world of cinema—it has no singular and homogenous narrative. The project of cinematic discourse has multiple futures. Thus, this conference would function as an arena of amalgamation and the crystallization of contending visions for the “futures” of cinema.

            Interested participants are welcome to submit finished scholarly works or works in progress pertaining to any of the major themes and topics listed below (groups and/or institutions may propose their own panels provided they fall under any of the major themes):

I.               Film Histories, Alternative Cinemas, and Altered Filmic Memories
a.      Reframing Film Histories;
b.     Conceptual/Experimental Studies;
c.      Indie Auteurs;
d.     Representations and Iconography;
e.      Archiving
f.      Independent/Guerilla/DIY Filmmaking;
g.      Issues, Prospects & Challenges 
II.             Political Economy of Cinema and the Politics of Power
a.      Globalization & Transnational Cinema
b.     Hegemony and Classical Hollywood Narrative Cinema;
c.      Third World Cinema
d.     Regional Cinema
e.      Ideological Film Studies
f.      Shifting Power Relations in Labor Practices;
g.      Unions and Guilds and Talent Management
h.     Emerging Productions In Film Financing; 
III.           Poetics, Practices, and Discourses in the Age of Digitalization
a.      Film Aesthetics (mise en scene, montage, narrative, styles and    sound)
b.     New Pornographies (poverty, crime and body politics)
c.      Reframing the Auteur
d.     Sutures and Identities
e.      Impact of Digital Technologies in Media Texts
f.      Marketing Paradigms and Platforms
g.      Issues, Prospects and Challenges
IV.           Critical Pedagogy and Media Education
a.       Best Practices in Media Pedagogy
b.       (Ir)Relevance of Formal Film Education
c.        Spaces and Gaps in Film Research and Scholarship
d.       Trans-disciplinal Mergings
e.        Media Literacy and Pedagogy
f.        Media-Related Software & Hardware
g.        Issues, Prospects and Challenges 
V.             Myths of Democratization and the Contending Imperatives of Globalization
a.        National Cinemas
b.       Transnational Cinemas
c.        Cinema of the Subaltern
d.        Diasporic Cinema
e.        Coopetition in Mainstream and Independent Filmmaking
f.        Ideologies and Geopolitics of Film Festivals           
g.        Globalization Issues in Film Production & Distribution
VI.           Worlding of Cinema and Charting the End of the Digital   
a.          Postcolonialism and Postmodernism in Cinema
b.         Revaluing or Romaticizing the Celluloid
c.          Cinema of the Spectacular
d.         Hyper-commercialism of Popular Cinema
e.          Fetishism and Consumerism in Film Industries
f.           Cinema Beyond Borders

 

Submit a 300-word abstract, along with your name, contact information, affiliation, 100-word biography, and any questions to upfi.ifc2015@gmail.com.
 
Accepted abstracts will be published in a Book of Abstract, which will be released during the conference; while completed papers will be published in a multi-volume monograph.
 
All proposals will be subjected to a double blind peer review procedure and a referee committee will check all completed papers. 

Paper presentations will be allowed maximum of 15mins during the conference.

 

Schedules

Abstract Deadline                                    :           January 15, 2015

Accepted Papers will be announced   :           January 30, 2015

Full Article Deadline                                :           February 28, 2015

Early Registration Fee Deadline          :           May 15, 2015