Call for Papers: Northeast Modern Language Association Convention 2000
Buffalo, New York, April 7-8
*Writing in Film*
The proposed panel session attempts to determine points of entry
into the hitherto unexamined aspects of how writing in film functions
across generic or historical boundaries.
The range of possible formal questions around "screen writing"
include the emergence of intertitles as a cinematic device to frame
narrative structures and render speech visible, the notion of
cinematography as an act of "writing" itself, already articulated by
Alexandre Astruc's concept of the "camera-stylo" in 1948, or the
aesthetic relation of credit sequences to the overall film. Furthermore,
the session can provide room for a theoretical debate arising out of the
few instances so far that have emphasized "writing" as a crucial category
of the cinema, such as the Derridean notion offered by Peter Brunette and
David Wills in Screen/Play or Tom Conley's analysis of "film hieroglyphs."
Thematically, the concept of writing in film offers a space to
address such divergent issues as the genre of "epistolary films," the
significance of written texts in the films of Jean-Luc Godard, the figure
of the author in film, to cinematic representations of acts of writing as
imagined by contemporary Hollywood films like Barton Fink or The Player.
The underlying problem, however, that informs both approaches to the
category of writing here is the question of what the study of film can
hope to gain by obverting the idea of film as a text towards an
understanding of texts within films.
Submissions addressing any of these aspects or other related
topics are welcome. Send 1-2 page abstracts to:
Daniel H. Wild
Department of English
University of Pittsburgh
4200 Fifth Avenue - CL 501
Pittsburgh, PA 15260
Fax: 412-624 6639
email: dhwst5+@pitt.edu
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