CFP: Filmed Lives (9/15/01; NEMLA, 4/12/02-4/13/02)

From: A. Mary Murphy (ammurphy@canuck.com)
Date: Mon Jul 09 2001 - 09:40:02 EDT

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    The session is pre-approved for inclusion at NEMLA 2002 in Toronto.
    Please send proposals in the body of an e-mail message to
    ammurphy@canuck.com. All submissions will be acknowledged

    Biopics are emerging as an exciting subgenre in film, with filmmakers
    producing more and more filmed lives each year. As the popular culture
    and academic interest in all things biographical increases
    exponentially, the film industry recognizes the potential of filming
    lives. While there are many examples of biopics, historically these have
    been isolated incidents in the overall development of movies. However,
    the last decade has seen a marked increase in lives on film, to the
    point that three of five actors nominated for Academy Awards in 2001
    were nominated for their roles as biographical characters. Javier Bardem
    (Before Night Falls), Ed Harris (Pollock), and Geoffrey Rush (Quills)
    all played artists (two writers and a painter) in skillfully made films
    which granted centrality to the work which makes Arenas, Pollock, and de
    Sade characters of interest to audiences. This session hopes to attract
    papers which focus on literary lives (such as Wilde, Total Eclipse, and
    Mrs. Parker and the Vicious Circle), painters' lives (such as Artemisia,
    Carrington, and Vincent and Theo), political lives (such as Nixon,
    Ghandi, and Kundun), royal lives (such as Nicholas and Alexandra, The
    Last Emperor and Mrs. Brown) , and even film-directors' lives (such as
    Gods and Monsters and Ed Wood). The session might also include papers
    which discuss the broader theoretical issues of filming lives in
    general, or those which consider women's or men's lives, queer lives,
    sports lives, or musicians' lives. Although almost a decade behind the
    academy in its realization that individual lives are worthy of study,
    the motion picture industry is playing a generally high quality game of
    catch-up. The academy now has to keep up by studying filmed lives as
    well as print lives.

    A. Mary Murphy, Session Chair

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