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<div class="PlainText">Apologies for cross-posting</div>
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<div class="PlainText">Call For Papers: This is the Sea: Cinema at the Shoreline<br>
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Edited by Brady Hammond, Victoria University of Wellington, and Sean Redmond, Deakin University, Melbourne<br>
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We would like to propose a collection that looks at those films in which the relationship between the sea, shoreline and beach are of particular narrative, aesthetic, and ideological significance. This is the Sea: Cinema at the Shoreline will explore the ways
in which the meeting places between land and sea offer up sites where complex issues around identity, belonging, otherness, nomadism, death, and renewal are played out. For the editors of this collection, the shoreline holds particular significance for understanding
the way in which the relations between sea and land can create liminal, often transgressive, possibilities for representational and phenomenological encounters between people who ‘find themselves’ at the water’s edge.
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In recent years, the question of space and place in cinema has provided fertile ground for analysis and discussion. For example, exciting work has emerged on; the rural in cinema (Fowler, Helfield, 2006); landscape and heritage (Higson, 2003); the geographies
and trajectories of the city (Abbas, 1997, Clarke, 1997, Mennel, 2008); and on the complex, multi-relational, visual-mobile spaces of cine architecture (Bruno, 2002). However, little sustained work has taken place on this specific (‘non’) location, on this
dry and wet landscape where key transformations and happenings take place. The editors intend for This is the Sea: Cinema at the Shoreline to be an exciting addition to the literature on cinema landscapes, offering valuable new insights into the way this
location or site of transformation can be read and experienced. <br>
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Indicative Themes<br>
Disaffected youth at the shoreline<br>
Suicide at the beach, at the water’s edge<br>
Death (physical, existential, symbolic)<br>
Birth (physical, existential, symbolic)<br>
Love and romance at the beach<br>
The journey down stream <br>
The watery arrival of the monster/creature/alien<br>
The ‘blockbuster’ shoreline, beach<br>
The conquest/landing/occupation<br>
The harbour<br>
Ecology at the water’s edge<br>
Deterritorialisation<br>
The beach as escape, hideout, prison, body<br>
Class, race, gender, sexuality and the beach<br>
The shoreline, beach, harbour as heterotopia of compensation and/or illusion<br>
Purification, renewal, and re-birth at the beach<br>
The beach, shoreline as national myth<br>
The sea as limit<br>
The beach as a site of nostalgia, play, innocence lost or regained<br>
Transgression, hedonism, at the water’s edge<br>
The beach as a space, a location, a time of subtraction, of negative space<br>
Contemplation – the cerebral shoreline<br>
Colour sensation – the aesthetics of the beach, harbour.<br>
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Indicative Films<br>
The Seventh Seal<br>
Jaws<br>
Planet of the Apes<br>
The 400 Blows<br>
Road to Perdition<br>
The Warriors<br>
Hana-bi, A Scene at the Sea, Sonatine, Kikijuro,<br>
>From Here to Eternity<br>
Ponyo<br>
A Ma Soeur!<br>
Bhaji on the Beach<br>
Les Vacances de M. Hulot<br>
Coming Home<br>
8 1/2<br>
Cast Away<br>
Saving Private Ryan<br>
Blue Hawaii<br>
300<br>
Y Tu Mamá También<br>
Maborosi<br>
Dark City<br>
Blue Lagoon<br>
The Piano<br>
Rain<br>
On the Waterfront<br>
Brighton Rock<br>
Point Break<br>
The Big Wednesday<br>
Godzilla/Gojiro<br>
The Woman of the Dunes<br>
The Beach<br>
Rumble Fish<br>
The Secret of Roan Inish<br>
Floating Weeds<br>
Jason and the Argonauts<br>
Whale Rider<br>
Pirates of the Caribbean: The Curse of the Black Pearl<br>
Forgetting Sarah Marshall<br>
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Submission guidelines and time line<br>
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Enquiries and 500 word abstracts (attached as a word document) should be sent to Brady Hammond at Brady.Hammond@vuw.ac.nz and Sean Redmond at s.redmond@deakin.edu.au by the 1st April 2011.
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Accepted abstracts/contributors will be notified by the 1st May 2011<br>
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Articles of between 6,500-7,000 words due by 1st November 2011<br>
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Final Drafts by 1st February 2012<br>
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Brady Hammond is a completing PhD candidate in the Film Programme at Victoria University of Wellington, looking at violence and negative peace in the pre and post 9/11 blockbuster film.<br>
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Sean Redmond is Associate Professor of Media and Communication at Deakin University, Melbourne, and editor of the journal Celebrity Studies and author of Flowering Blood: the Cinema of Takeshi Kitano (Forthcoming, Columbia University Press)
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