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<p class="MsoNormal" style="text-align:justify;background:white"><b><span style="font-family:"Times New Roman",serif;color:#222222">Call for Submissions:
</span></b><b><span style="font-size:11.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">FILM STOCK: HISTORIES, TECHNOLOGIES, AESTHETICS
</span></b><span style="font-size:11.0pt"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align:justify;background:white"><span style="font-size:11.0pt"> <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align:justify;background:white"><span style="font-family:"Times New Roman",serif;color:#222222">Co-edited by Alice Lovejoy, Kirsty Sinclair Dootson and Pansy Duncan</span><span style="font-size:11.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify;background:white"><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">Contributions are sought for <i>Film Stock: Histories, Technologies, Aesthetics</i>, a volume that
proposes to offer a critical overview of the history of film stock in its multiple material, technical, social, political, industrial, and aesthetic dimensions. The scope of the book is conceived in truly global terms: we particularly welcome contributions
that address non-Western contexts, as well as contributions that work between national or regional contexts. The book’s focus on film stock as a form of material culture is animated by a host of recent and emergent trends in the discipline of film and media
studies, and we anticipate that contributions will critically engage with film stock’s many material components, its ecological and environmental aspects, its economic and industrial histories, and the ideological underpinnings of its material and technical
bases. We welcome contributions not only from film scholars but also from archivists, preservationists, and practitioners; proposals for contributions of various lengths are welcome.
</span><o:p></o:p></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify;background:white"> <o:p></o:p></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify;background:white"><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">Because this volume aims to be a sourcebook, we seek contributions that are based in particular historical
and industrial contexts, but also address broader questions pertaining to the materiality of media, the history of cinema, etc. Essays should explore the production, distribution, and use of film stock from the 1890s to the present and may address, but are
by no means limited to, the following topics:</span><o:p></o:p></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify;background:white"> <o:p></o:p></p>
<ul style="margin-top:0cm" type="disc">
<li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">corporate histories of film manufacturers: Fuji, Ilford, Gevaert, Glanzfilm, Ferrania, etc.</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">connections between film aesthetics and new film stock technologies</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">the impact of sound, color, widescreen, and stereoscopy on film stock manufacturing and processing</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">film stock manufacturing processes and components; labor histories of stock manufacturing and processing</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">laboratory histories and/or cultures</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">the management and control of film stock under different political regimes</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">the relationship between film stock and other materials (e.g., plastics) and other industries</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">social and cultural histories of film stock addressing issues of representation and identity; e.g., race, ethnicity, gender, etc.
</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">the effect of new stocks on adjacent technologies such as lighting and make-up</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">questions of climate, environment, and travel upon the production and use of stock</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">the ecological impacts of film stock (extraction, production, waste)<o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">the movement of stock between different national contexts<o:p></o:p></span></li><li style="color:black;margin-top:0cm;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;mso-list:l0 level1 lfo1;background:white;vertical-align:baseline">
<span style="font-size:12.0pt;font-family:"Times New Roman",serif">comparisons of different stocks: e.g., nitrate and acetate</span><span style="font-size:12.0pt;font-family:"Arial",sans-serif"><o:p></o:p></span></li></ul>
<p style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:0cm;margin-left:36.0pt;margin-bottom:.0001pt;text-align:justify;background:white">
<o:p></o:p></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify;background:white"><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">Please send 500-word abstracts, including an indication of expected essay length, and short contributor
bios to Alice Lovejoy (</span><a href="mailto:alovejoy@umn.edu"><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#1155CC">alovejoy@umn.edu</span></a><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">), Kirsty
Sinclair Dootson (</span><a href="mailto:ksd28@cam.ac.uk"><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#1155CC">ksd28@cam.ac.uk</span></a><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">) and Pansy
Duncan (</span><a href="mailto:p.duncan@massey.ac.nz"><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#1155CC">p.duncan@massey.ac.nz</span></a><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">) by July
30, 2019. Contributors will be notified in August/September 2019, and finished essays will be due in August/September 2020. Queries may also be addressed to the editors at the above email addresses.</span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
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