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Category — Call for Papers

CFP: Wide Screen 5.1 A Century of Indian Cinema

Wide Screen Special Issue: A Century of Indian Cinema

Edited by Kartik Nair and Kuhu Tanvir

Indian Cinema: A Hundred Years, A Hundred Cinemas


Indian Cinema has overwhelmingly been thought and written of as the sum of its stars, songs, and studios, which come together on-screen in melodramas about life and death, love and marriage. For this special issue of Wide Screen, we invite papers that prospect the cinematic terrain beyond these big-budget, mass-audience, song-and-dance spectacles. This is not simply to fill in the blanks of film history, but to critically expand our understanding of the diverse practices, pleasures, and publics that have constituted ‘cinema’ in the subcontinent over the past century.

Contributors are invited to reflect on the many films, filmmakers and filmgoers that have participated in (and perhaps even thrived outside) the territory of India’s popular cinema(s). This is an opportunity to focus on moving images in excess of the hallowed melodramatic mode: special-effects driven devotionals, horror films, wrestling pictures and revenge thrillers, rape dramas and sex-ed films. Equally, we encourage contributions that focus on the material infrastructures through which India’s popular cinemas have been made and moved: activities of production, circuits of distribution, sites of exhibition, and forms of consumption.

Possible topics of interest include (but are not limited to):

  • Film Genres and Film Cycles: student films, insurgency videos, propaganda films, newsreels, documentaries, as well as the genres mentioned above
  • Cinematic Subcultures Across Regions and Languages
  • Cinematic Afterlives in the Digital Era: Parody, Archive, Tribute videos
  • ‘B’ and ‘C’ Grade directors and actors
  • Fan activities and publications
  • Film Criticism: English and Vernacular Presses, Blogs
  • Exhibition: Morning Shows, Video Parlors….
  • The Global Before Globalization: Indian cinema’s transactions with international personnel, styles, and audiences


Send paper abstracts (300 words) by 15 December, 2012 to kartiknair@gmail.com or kuhutanvir@gmail.com

November 20, 2012   No Comments  

CFP: WS Special Issue: Art and Music in Documentary




The art of the documentary has been explored at some length in documentary studies. John Grierson famously defined the documentary as the “creative treatment of actuality.” Less, however, has been written about the relationship between documentary and the arts, the impact of documentary on art and artists and vice-versa. The diversity of issues related to representation and interpretation, and the challenges involved in the representation of one medium by another, complicates the discursive spaces of production of art, music and documentary. From the early debates around fidelity and dynamism to the more contemporary ones around interactivity and performativity, the relationship between art, music and documentary is a rich terrain for exploration. [Read more →]

October 2, 2011   No Comments  

8th Orphan Film Symposium

NYU Tisch School of the Arts, Department of Cinema Studies, and the Moving Image Archiving and Preservation program present the 8th Orphan Film Symposium, April 11-14, 2012 at the Museum of the Moving Image, Astoria, NY, USA. [Read more →]

February 6, 2011   No Comments  

CFP: Journal of War and Culture Studies

Volume 3
Issue 2
War, Culture, Technology
Editors Martin Hurcombe and Simon Kitson
Deadline for receipt of articles: 15 February 2010
Publication date: July 2010

The aim of this issue will be to consider the ways in which cultural representations of warfare have embodied, reflected and contributed to the often problematic dialogue between science and the arts since the advent of mass, industrialized warfare in the late nineteenth century.

Issue 3: Performance and War
Editors Debra Kelly and Luke Dixon
Deadline for receipt of articles: 7 May 2010
Publication date: October 2010

The concept of the ‘theatre of war’ is both a military and a cultural one. The very essence of the dramatic situation is necessarily predicated on conflict, and war and theatre have been locked in a productive tension since the beginnings of western dramatic production. This issue will focus on how war has been represented in a variety of dramatic forms in the twentieth and twenty-first centuries, and on the effects of war on dramatic creativity and production. We are keen to receive papers from a drama as well as a conflict perspective.

Submission details
The Journal of War and Culture Studies is interdisciplinary and international in scope. We welcome the submission of work by both established and younger scholars in the field.

All articles should be 5,000–6,000 words in length, and
follow the Intellect style guide, available online at:

Articles should be sent as e-mail attachments to Helena Scott: H.Scott@westminster.ac.uk

January 29, 2010   No Comments  

CFP: Cinemas of the Arab World – Wide Screen special issue

Cinemas of the Arab World
Call for papers  – special issue of Wide Screen
Editor: Latika Padgaonkar (film scholar, former Executive Editor, Cinemaya and festival director, Osian’s Cinefan Festival)

The Arab world may be bound by language and religion, but it is in no sense homogeneous, neither in its history nor in its customs. Yet, over the years, what has largely been common to many Arab countries in the field of cinema is a set of shared problems: decline in film production, closure of halls consequent to the video revolution, censorship, issues of distribution, diminishing investment, narrowing of the domestic market and the invasion of American films and television programmes, quite apart from the pervasive and longstanding influence of Egyptian cinema to which several countries were called upon to adjust in an earlier day.

For all that, a large number of Arab films have, in recent years, made a mark in the international arena. These films have been made in the face of odds – economic, material and psychological. They continue to grapple with their past and, increasingly, with their present: a past linked to their colonial experience, war and displacement, and a present that is trying to shape an identity. The colonial yoke may have been shed but the region is now battling turbulent issues of another kind.

Wide Screen attempts an engagement with cinemas of the Arab world by asking questions on a variety of topics that are pertinent to this region – from censorship to the new cinema, from the position of women to the question of identity, from the implications of foreign funding to the diversities and similarities of the cinemas of these countries.

Apart from inviting general articles that may be specific to a director, film or a theme in Arab cinema (as a whole or from a particular film culture), here are a few very broad ideas that can be incorporated in the suggestions we make to people who want to write for the journal and even as guidelines for ourselves.

  • Focus on one director – an entire section of the special issue could have articles/essays and interviews and reviews of films made by one director.
  • Censorship – articles dealing with censorship in Arab cinema. Is it just censorship of content by the state machinery, or is it also self-censorship – a kind of moral policing done socially. Is there also a censorship of form? How accepting is the audience and the state to non-linear forms? How much has that changed over the years.
  • Showcasing cinema – the rest of the world knows precious little about the cinephile culture in Arab countries despite a growing cinema culture. Examination of cinema halls, the kinds of films they showcase, box office returns etc can be interesting to look at. Furthermore, what is the kind of give-and-take with other popular cinemas, for instance Hollywood and popular Indian cinema. Do locally produced films get more popular than foreign films? What is the state and role of film festivals in Arab countries.
  • Articles dealing with Arab audience and also audience of Arab cinema
  • Identity – film cultures across the world, be they art films or popular ones have obsessed over questions of a Muslim identity ever since 9/11. How does Arab cinema engage with this question? Is Arab cinema (and within it cinemas of individual countries) put on a defensive, loaded with the notion of proving innocence? Apart from content, how does form deal with this question? The most important question here is, What is Arab cinema?
  • Women – when it comes to Arab cinema, a look at the representation and position of women in the film industry is inevitable. How many women directors are there? Are big actors ready to work with them? Are female stars paid as much as their male counterparts. Who are the directors that are working on issues relating to women. What is the kind of opposition they have to face.

Deadline for paper submission: 15 March 2009.

Papers can be submitted at: http://widescreenjournal.org/index.php/journal/about/submissions#onlineSubmissions

or emailed to: kuhutanvir@gmail.com

Author guidelines, copyright notice and other information can be accessed at: http://widescreenjournal.org/index.php/journal/about/submissions

January 23, 2010   No Comments  

CFP: Wide Screen

Issue 2, Vol 1 2009

Wide Screen encompasses a broad range of perspectives and approaches and we invite papers on film studies reflecting the journal’s aims. We welcome papers on (not limited to):

Film Theory
Film Practice
Film Criticism
Film Audience
Film Policy
Film and Culture
Research Methods

We also invite comment articles, interviews, book reviews and film reviews.

The details about various sections and their policies are defined here:

Send an abstract of your paper (preferably 500 words) to kuhu@widescreenjournal.org or kishore@widescreenjournal.org by October 30, 2009.

We adhere to a strict double blind review policy, which is defined here:

To access the first issue of Wide Screen, go to:

September 12, 2009   No Comments  

CFP: European Producers and Production (Wide Screen spl issue)

Call For Papers – Special Issue of Wide Screen [Read more →]

July 16, 2009   No Comments  

(CFP) Cinematic Representation of Immigration, Spaces and Identities

NEMLA, April 7-11 2010, Montreal, Canada

Cinematic Representation of Immigration, Spaces and Identities: The representation of immigration and immigrants through films is very often linked to the space in which they choose to live. How could we define the dynamic between the notions of immigration, spaces and identities through movies in today’s cinema from different countries? How do immigration spaces foster the immigrants that live in them? How do these spaces affect their identity? Do immigrants also reshape the place where they have found asylum? This is the main frame of analysis that this panel will explore. [Read more →]

May 20, 2009   No Comments  

(CFP) Human Rights and Cinema

Virginia Bonner/SAMLA 2009 Conference in Atlanta

In keeping with the theme of the 2009 SAMLA Atlanta convention, this panel seeks papers that address the link between human rights and the humanities via national cinema(s). Possible topics may include but are not limited to: Ethics, Theories of Spectatorship, Documentary, Memory and Trauma, Individual vs. Collective Consciousness, Living in Exile, and Politics and Humanities. By June 14, 2009, please send proposals of approximately 500 words with presenter’s name, academic affiliation and contact information (including e-mail and mailing addresses) to Virginia Bonner, Clayton State University, at vbonner@clayton.edu

May 20, 2009   No Comments  

(CFP) Hollywood Politics: The Popular Culture Factor in 21st Century Politics

Editor: Leah A. Murray

In 2008 we saw a continuation and maybe even an acceleration of the trend of popular culture having a real effect on politics. From The Daily Show ,to Obama’s Blackberry, to candidates’ use of Facebook and MySpace, we have seen politics opening up to new ways of thinking and acting as we come online for the next generation. As this next generation grows up in a politicized popular world (or perhaps a popularized political world) where issues like torture are dealt with on shows like 24 and we have fictional presidents on The West Wing who deal with real-life policy choices, it is in our interest to understand how this coverage affects the discourse. This edited collection seeks to enhance the discussion of the popular culture effect on our understanding of politics. [Read more →]

February 2, 2009   1 Comment