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--></style></head><body lang=EN-AU link=blue vlink="#954F72"><div class=WordSection1><p align=center style='text-align:center'><b><span lang=EN-US style='font-size:14.0pt;font-family:"Calibri",sans-serif;color:black'>CFP: </span></b><b><span lang=EN-GB style='font-size:14.0pt;font-family:"Calibri",sans-serif;color:black'>Cine-feminisms and the Academy Symposium<o:p></o:p></span></b></p><p align=center style='text-align:center'><span lang=EN-GB style='font-family:"Calibri",sans-serif;color:black'>UNSW Sydney, 12-13<sup>th</sup> December 2019<o:p></o:p></span></p><p align=center style='text-align:center'><span style='font-family:"Calibri",sans-serif;color:black'><o:p> </o:p></span></p><p><span lang=EN-GB style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'>The contemporary media landscape is shaped by increasing precarity and awareness of gendered issues.</span><span lang=EN-GB style='font-family:"Calibri",sans-serif;color:black'> </span><span lang=EN-GB style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'>The global screen industry is grappling with the cultural and industrial shifts precipitated by the #MeToo and Time’s Up movements. For some, the Harvey Weinstein revelations and subsequent scandal resulted in a re-evaluation of the gendered operation of Hollywood. The industry has responded on the red carpet, through the media and in film festival juries. What role do – and can – forms of film feminisms (or cine-feminism) play within this context? </span><span style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'><o:p></o:p></span></p><p><span style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'><o:p> </o:p></span></p><p><span lang=EN-GB style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'>This symposium will explore questions around the state, place and forms of contemporary cine-feminisms. There is little question that w</span><span style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'>omen’s filmmaking is gaining new currency and profile in film festivals, in film funding and in academic publishing. Calls for greater gender equity in the film industry are resulting in shifts in the ways (some) film funding bodies allocate resources and in how (some) film festivals select and program work. Decades of lobbying by women working both within and on the margins of the film industry have been the driving force in creating these shifts, often in engagement with the long history of feminist film scholarship on the work of women behind the camera, in front of the camera, and in front of the screen. The recent commitments to greater gender equity in the film industry can also, of course, be understood as one way that the industry has responded to negative publicity (in particular, the high-profile cases of sexual harassment, sexual assault and gender-based discrimination that have captured public attention) and economic opportunity (targeting female viewers).<o:p></o:p></span></p><p><span style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'><o:p> </o:p></span></p><p><span lang=EN-GB style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'>While this (re)newed interest in women’s filmmaking has been enabled by cine-feminisms to what extent and in what ways does – or can – it create opportunities for feminist teaching and research in the academy? What place does cine-feminism have in the academy today? When, where and how does it shape and inform how both film history and film theory are understood and taught and how questions of authorship, genre, performance, intermediality, and industry are explored? In the shifting university sector, are there particular issues that cine-feminist work bumps up against in terms of syllabus design, recognition of engagement and outreach, research funding and publications? <o:p></o:p></span></p><p><span style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'><o:p> </o:p></span></p><p><span lang=EN-GB style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'>We invite proposals on any area related to cine-feminisms/film feminisms, including but not limited to:</span><span style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'><o:p></o:p></span></p><ul type=disc><li class=MsoNormal style='color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;mso-list:l0 level1 lfo1'><span style='font-size:11.5pt'>Contemporary and historical cine- and media feminisms<o:p></o:p></span></li><li class=MsoNormal style='color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;mso-list:l0 level1 lfo1'><span style='font-size:11.5pt'>Feminist screen theories and pedagogy<o:p></o:p></span></li><li class=MsoNormal style='color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;mso-list:l0 level1 lfo1'><span style='font-size:11.5pt'>“Doing” feminist screen studies<o:p></o:p></span></li><li class=MsoNormal style='color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;mso-list:l0 level1 lfo1'><span style='font-size:11.5pt'>Feminist cine-activisms – on screen, online, in press, on the streets</span><span style='font-size:11.5pt'><o:p></o:p></span></li><li class=MsoNormal style='color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;mso-list:l0 level1 lfo1'><span style='font-size:11.5pt'>Diverse feminist screen cultures in the digital age</span><span style='font-size:11.5pt'><o:p></o:p></span></li></ul><p><b><span lang=EN-GB style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'>Keynote will be delivered by Dr Anna Backman Rogers (University of Gothenberg, Sweden) <o:p></o:p></span></b></p><p><span lang=EN-GB style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'>Dr Anna </span><span lang=EN-GB style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'>Backman Rogers is a <span style='background:white'>Senior Lecturer in Feminism and Visual Culture at the University of Gothenburg, Sweden. She is the author of <i>American Independent Cinema: Rites of Passage and The Crisis Image</i> (Edinburgh UP, 2015) and <i>Sofia Coppola: The Politics of Visual Pleasure</i> (Berghahn 2018). She is also the co-editor with Laura Mulvey of <i>Feminisms</i> (Amsterdam UP, 2015) and the co-editor with Boel Ulfsdotter of <i>Female Authorship and the Documentary Image: Theory, Practice and Aesthetics and Female Agency</i> and<i> Documentary Strategies: Subjectivities, Identity, and Activis</i>m (both with Edinburgh UP, 2017). Her current research is on the films of Lynne Ramsay and Barbara Loden’s WANDA. </span></span><span style='font-size:11.5pt;font-family:"Calibri",sans-serif;color:black'><o:p></o:p></span></p><p><b><span lang=EN-GB style='font-family:"Calibri",sans-serif;color:black'><o:p> </o:p></span></b></p><p class=MsoNormal><b><span style='font-size:10.0pt;color:black'>CFP closes 13</span></b><b><span style='font-size:10.0pt;color:black'>th of September 2019. </span></b><span style='font-size:10.0pt;color:black'>Please send your proposals including a title, an abstract (250 words), and a short biography (80 words) to Dr Jessica Ford </span><a href="mailto:jessica.ford@newcastle.edu.au"><span style='font-size:10.0pt'>jessica.ford@newcastle.edu.au</span></a><span style='font-size:10.0pt;color:black'> and Dr Jodi Brooks </span><a href="mailto:j.brooks@unsw.edu.au"><span style='font-size:10.0pt'>j.brooks@unsw.edu.au</span></a><span style='font-size:10.0pt;color:black'> by <b>13th of September 2019</b>.</span><o:p></o:p></p></div></body></html>