We are pleased to announce our second open call for papers - the deadline for proposals is March 16, 2014. Selected contributions are due April 30, 2014. Submissions (as Microsoft Word e-mail attachments) and questions should be directed to firstname.lastname@example.org. Consult our style guide here. We look forward to receiving your contributions!
Given the scope of inquiry opened up by our first call for papers on a ‘New Realist Cinema,’ we’ve decided to focus the second issue of Photogénie on the related issue of ‘everydayness.’ An ever-growing field of study in cultural studies and cultural theory, everydayness is also still a governing aesthetic principle behind much of what is most exciting in contemporary art cinema: be it in political cinemas incorporating the precepts of new historiographies, like the French ‘Annales’ school, tracing collective perception through anecdotal accounts of everyday life; in slow or ‘contemplative’ cinemas enacting temporality and harking back to modernist or avant-gardist experiments with duration; in contemporary instances of surrealist cinema, discovering the marvelous and absurd in the everyday; in mumblecore anti-narratives hinging on aimless conversation; in the recent interest, both artistic and academic, in home movies and amateur filmmaking; or in observational, ethnographic or personal documentaries that start from lived experience. We are less interested in reiterating the cultural and social readings of everydayness inspired by Henri Lefebvre, Michel de Certeau, or, against the setting of modernity, Siegfried Kracauer and Walter Benjamin, than in highlighting the aesthetic choices or particularities, dare we say it, the routines of filmmakers working within the idiom of the everyday, in their ways of staging undramatic or non-events, repeated actions and general absence of classical narrative progression (resulting in delays, retardations and open endings). The cinematic language these filmmakers develop is often based on a self-imposed restriction or restraint: restriction of setting, camera movement, of the available technologies of shooting and processing, restraint in performance, dramaturgy and scoring. What appears instead is a heightening of specific expressive elements, like rhythm and tempo (of speech, movement, cutting), mise en scène (attention to particular objects), narration, framing and composition, or, at a more theoretical level, the exploration of stillness, contemplation and presence as both mediated and unmediated category. We welcome papers on all these topics and specifically encourage contributions on minimalism in new Asian and European cinemas; boredom, slowness and radical running times; ethnographic cinemas; the archeology of social change; filmed conversations; and on filmmakers like Wang Bing (whose Till Madness Do Us Part is pictured above), Ben Rivers, Hong Sang-soo, Pedro Costa, Lav Diaz, Lisandro Alonso, Apichatpong Weerasethakul, Albert Serra, Jia Zhang-ke, Corneliu Porumboiu, Richard Linklater and Andrew Bujalski.
P.S. Muriel Andrin pointed out that the list of filmmakers in our CFP is, once again, boys only. She's absolutely right; at the very least we should have added, Kelly Reichardt, Naomi Kawase, Song Fang, Mania Akbari, Lucretia Martel and, especially, Liu Jiayin.
Tom Paulus teaches film studies in the department of Theatre and Film Studies at the University of Antwerp. He has published on issues of genre and film style in such journals as Film International. His essays on pictorial style in the films of John Ford were published in three edited collections, John Ford in Focus (Stoehr & Connolly eds.) from McFarland, Westerns: Movies from Hollywood and Paperback Westerns (Paul Varner ed.) from Cambridge Scholars Press, and New Perspectives on The Quiet Man from the Liffey Press. His edited collection (with Rob King) Slapstick Symposium: Essays on Silent Comedy was published by Routledge in the American Film Institute Film Readers series.