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<TITLE>CFP: Journal of Chinese Cinemas - From Diasporic Cinemas to Sinophone Cinemas</TITLE>
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<FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:12.0px'>* Apologies for cross-posting* <BR>
Call for Papers: Special Issue of <I>Journal of Chinese Cinemas</I> (2012)<BR>
Title: From Diasporic Cinemas to Sinophone Cinemas<BR>
Guest Editors: Audrey Yue and Olivia Khoo <BR>
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<I>Journal of Chinese Cinemas </I>is the only refereed academic publication in English devoted to the study of Chinese film. <BR>
>From the critical and popular acclaim of Ang Lee’s <I>Crouching Tiger Hidden Dragon</I> (2000) to the Asian Australian success of Tony Ayres’s <I>The Home Song Stories</I> (2007), diasporic Chinese cinemas have created new filmic sites and visual practices that engage the complex relations between the constructs of ‘China’, ‘Chinese’ and ‘Chineseness’. While the notion of diaspora has broadened these concepts to new areas and new objects of inquiry, Chineseness remains largely a question of ethnicity, bound to nationality. <BR>
In <I>Visuality and Identity: Sinophone Articulations Across the Pacific</I>, Shu-mei Shih (2007) invokes the notion of the Sinophone to respond to the expiry date of the Chinese diaspora as second and third generations become more localized. As a critical concept, the Sinophone removes the emphasis on ethnicity and nationality, and instead highlights communities of Sinitic language cultures spoken and used ‘outside China and on the margins of China and Chineseness’. The Sinophone network connects new visualities and communities that have emerged as a result of global capitalism; it critiques home and host cultures, reflecting multi-accented, multilingual histories of transnational migration. <BR>
This special issue, edited by Audrey Yue and Olivia Khoo, focuses on the new cinemas emanating from the Sinophone network, and is scheduled for publication in early 2012. The editors of the special issue now invite abstract submissions of 250-300 words on any of the following aspects:<BR>
</SPAN></FONT><UL><LI><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:12.0px'>the political economy of Sinophone film production, distribution, consumption and regulation;
</SPAN></FONT><LI><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:12.0px'>cinematic practices of Sinophone resistance, complicity and transformation;
</SPAN></FONT><LI><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:12.0px'>Sinophone communities as sites of cultural production;
</SPAN></FONT><LI><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:12.0px'>new Sinophone visual economies and cultures
</SPAN></FONT><LI><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:12.0px'>examples of multilingual, multidialect or multi-accented Sinophone cinema in their historical, social or cultural contexts;
</SPAN></FONT><LI><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:12.0px'>comparative Sinophone film studies;
</SPAN></FONT><LI><FONT FACE="Verdana, Helvetica, Arial"><SPAN STYLE='font-size:12.0px'>papers ‘in defense’ of diasporic Chinese cinema frameworks and critiquing the Sinophone model. <BR>
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Each abstract should:<BR>
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- include your name, email and postal address, and institution;<BR>
- offer a summary of how your proposed essay engages the critical framework of Sinophone cinema. <BR>
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Important dates: <BR>
Deadline for abstract submissions: 1 December 2010<BR>
Acceptance notice: 15 January 2011<BR>
Deadline for paper submission (6000-8000 words): 1 June 2011<BR>
Abstract submissions (as word documents by email attachment) to: Audrey Yue (University of Melbourne, Australia): <FONT COLOR="#0000FF"><U>aisy@unimelb.edu.au<BR>
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Contact for journal information:</SPAN><FONT SIZE="1"><SPAN STYLE='font-size:9.0px'> </SPAN></FONT><SPAN STYLE='font-size:12.0px'>Song Hwee Lim (Chief Editor, <I>Journal of Chinese Cinemas</I>): <FONT COLOR="#0000FF"><U>S.H.Lim@exeter.ac.uk<BR>
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