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<div class="MsoNormal"><span style="font-size:14.0pt"><b><i>Call for papers:<span style="mso-spacerun: yes"> </span>Untimely cinema: cinema out of time – </i></b></span><span style="font-size:14.0pt">a special Issue of<i> <b>Screening the Past </b></i></span><span style="font-size:14.0pt"><b>(2011) </b></span><span style="font-size:14.0pt"><o:p></o:p></span></div>
<div class="MsoNormal"><br></div><div class="MsoNormal">Guest Editors: Jodi Brooks and Therese Davis<o:p></o:p></div><p class="MsoNormal" style="margin-left:1.0cm">“Untimeliness deployed as an
effective intellectual strategy, far from being a gesture of indifference to time,
is a bid to reset time.” Wendy Brown, <i>Edgework </i><span style="font-style:
normal">p.4<o:p></o:p></span></p>
<div class="MsoNormal">Over the last few years untimeliness has become an area of
increasing interest across a number of disciplinary fields from political
theory to performance studies. The work of Wendy Brown on untimeliness and
critical theory, Jacques Derrida’s <i>Spectres of Marx, </i><span style="font-style:normal">and some of Jacques Rancière’s work have played an
important role in this turn to the untimely. Film, which arguably has a
privileged relationship to untimeliness, has often made an appearance in recent
critical work on the untimely though this has primarily been in work from
disciplines other than film theory.<span style="mso-spacerun: yes">
</span>This special issue of </span><i>Screening the Past</i><span style="font-style:normal"> sets out to explore some of the various ways in
which untimeliness underlies and informs cinema. We are interested in papers
that explore films and/or cinema as “out of time” in any of the various
meanings of the phrase: out of time in the sense of </span><i>running out of
time</i><span style="font-style:normal"> (as for instance when, in the
post-celluloid era,<span style="mso-spacerun: yes"> </span>cinema is
understood as operating on “borrowed time”); out of time in the sense of being </span><i>out
of step </i><span style="font-style:normal">(films or film practices that
perform or summon an aesthetics of untimeliness); and out of time in the sense
of being (seemingly) </span><i>disconnected from the present, or out of history
</i><span style="font-style:normal">(as in film practices considered too
marginal, too local, to be “in” history, film practices that have been
understood as belated, too early or too late, as </span><i>out of step with </i><span style="font-style:normal">history). <o:p></o:p></span></div>
<div class="MsoNormal">Paper proposals for papers of 5000-7500 words are sought on
any of the following topics:<o:p></o:p></div><p class="ListParagraph" style="margin-left:38.25pt;text-indent:-18.0pt;
mso-list:l0 level1 lfo1"><span style="font-family:Symbol">·<span style="font:7.0pt "Times New Roman""> </span></span>Aesthetics
of untimeliness in particular films and/or film practices.<o:p></o:p></p><p class="ListParagraph" style="margin-left:38.25pt;text-indent:-18.0pt;
mso-list:l0 level1 lfo1"><span style="font-family:Symbol">·<span style="font:7.0pt "Times New Roman""> </span></span>Films
that have, or have had, an “untimely” reception. <o:p></o:p></p><p class="ListParagraph" style="margin-left:38.25pt;text-indent:-18.0pt;
mso-list:l0 level1 lfo1"><span style="font-family:Symbol">·<span style="font:7.0pt "Times New Roman""> </span></span>Untimely
spectatorship/untimely spectatorial practices (including papers addressing the
ways that changing forms of exhibition and distribution can produce untimely
spectatorial practices).<o:p></o:p></p><p class="ListParagraph" style="margin-left:38.25pt;text-indent:-18.0pt;
mso-list:l0 level1 lfo1"><span style="font-family:Symbol">·<span style="font:7.0pt "Times New Roman""> </span></span>The
ways in which cinema shapes/has shaped our experiences of—and understandings
of—untimeliness. <o:p></o:p></p><p class="ListParagraph" style="margin-left:38.25pt;text-indent:-18.0pt;
mso-list:l0 level1 lfo1"><span style="font-family:Symbol">·<span style="font:7.0pt "Times New Roman""> </span></span>The
ways that film might offer what Brown calls “a different sense of the times and
a different sense of time” (Brown 15), including both the current political
times and the times of this particular moment in cinema’s history.<span style="mso-spacerun: yes"> </span><o:p></o:p></p><p class="ListParagraph" style="margin-left:38.25pt;text-indent:-18.0pt;
mso-list:l0 level1 lfo1"><span style="font-family:Symbol">·<span style="font:7.0pt "Times New Roman""> </span></span>Film’s
residues and returns through various forms of media convergence and/or through
new sites and forms of exhibition.<o:p></o:p></p>
<div class="MsoNormal">We are also interested in papers that examine the discipline
of film theory itself in relation to ideas of the untimely.<o:p></o:p></div>
<div class="MsoNormal">This issue aims to generate different ways of thinking about
film and politics both by looking at how film, and indeed how film theory, can
“reset” time and by looking at how cinema’s place in “our times” is being
proposed and understood.<o:p></o:p></div>
<div class="MsoNormal">Please send abstracts of 500 words to Dr Jodi Brooks (<a href="mailto:j.brooks@unsw.edu.au"><span style="color:windowtext">j.brooks@unsw.edu.au</span></a>)
or Dr Therese Davis (<a href="mailto:therese.davis@arts.monash.edu.au"><span style="color:windowtext">therese.davis@arts.monash.edu.au</span></a>)<span style="mso-spacerun: yes"> </span>by November 30<sup>th</sup>. Papers
selected for publication will be due July 4<sup>th</sup> 2011. <o:p></o:p></div>
<div class="MsoNormal"><b>Screening the Past</b><span style="font-weight:normal">
is a refereed journal and is ranked an A* journal in the ARC-ERA rankings of international
scholarly journals in both the Film, Television, and Digital Media category and
the Historical Studies category.<o:p></o:p></span></div>
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