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<p class="MsoNormal" align="center" style="text-align:center;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Call for Papers:</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" align="center" style="text-align:center;background:white"><u><span style="font-size:12.0pt;font-family:Helvetica;color:black">Epistolary Forms in Film, Media and Visual Culture</span></u><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" align="center" style="text-align:center;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Edited by Catherine Fowler and Teri Higgins</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" align="center" style="text-align:center;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"><a href="https://epistolaryforms.home.blog/2019/10/31/call-for-papers-epistolary-forms-in-film-media-and-visual-culture-2/" title="https://epistolaryforms.home.blog/2019/10/31/call-for-papers-epistolary-forms-in-film-media-and-visual-culture-2/"><span style="color:purple">https://epistolaryforms.home.blog/2019/10/31/call-for-papers-epistolary-forms-in-film-media-and-visual-culture-2/</span></a></span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" align="center" style="text-align:center;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" align="center" style="text-align:center;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">"We are living in a great epistolary age, even if no one much acknowledges it. Our phones, by obviating phoning,</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">have reestablished the omnipresence of text. Think of the sheer profusion of messages … that we now send. "</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">(Sally Rooney, 2019)</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">As Irish novelist Sally Rooney observes, despite the frequent assumption that technological advances</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">provide constantly new forms of communication, these new forms: the email, the blog, the text message,</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">the tweet, the update are actually haunted by old ‘epistolary’ forms: the letter and the diary. Both the letter</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">and the diary have strong historical relationships to privacy, secrecy and intimacy, as well as to anonymity</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">masquerade and deception, all notions that are both prevalent and highly contested in our current age.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">By focusing on the connection between a wide-range of media and these epistolary forms our aim is to</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">consider their continuing significance for the mediation of self-expression and the building of relationships.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">On the one hand, in mainstream cinema epistolary forms appear to produce storytelling that focuses</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">on emotion rather than action, as such, they challenge the superficiality of post-feminist narratives centered</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">on consumption and continue the melodramatic tradition, specifically the protagonist's “desire to express all… [and]</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">give voice to their deepest feelings” (Brooks, 1991) (See <i>You’ve Got Mail</i> [1998], <i>Bridget Jones’s Diary</i> [2001], </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:black">Sisterhood of the Travelling Pants </span></i><span style="font-size:12.0pt;font-family:Helvetica;color:black">[2005], <i>The Lake House</i> [2006] <i>P.S
I Love You</i> [2007], <i>The Young Victoria</i> [2009],</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:black">Julie and Julia </span></i><span style="font-size:12.0pt;font-family:Helvetica;color:black">[2009], and most recently, <i>I Love Dick</i> [2016], <i>Love,
Simon</i> [2018], and <i>To All The Boys I’ve Loved</i></span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:black">Before</span></i><span style="font-size:12.0pt;font-family:Helvetica;color:black"> [2018]). Several films also ask us to consider emotional masculinity;
specifically the relationship between men, </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">vulnerability, and letter writing ([<i>Dear, John </i>(2010], and <i>Love, Simon </i>2018], and Charlie in <i>The Perks of Being a Wallflower</i> 2012]).</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">On the other hand, we find masquerade and deceit as the counter to intimacy and emotional expression. These</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">themes are increasingly prevalent as epistolary forms move online (<i>A Cinderella Story </i>[<i> </i>2004] as a digital </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">take on a classic, <i>Sierra Burgess Is a Big Loser</i>, [2018], as the most recent re-telling of Cyrano de Bergerac,</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">and in the omniscient narration of <i>Gossip Girl </i>[2007-2012])<i>. </i></span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">In less mainstream film and media letters, diaries, emails, and blogs have provided ways to play with the space of the personal</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">and auto-biographical, providing intersections with the Essay Film genre. In this space epistolary forms offer genres of self-expression</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">that adopt intimate, emotional, confessional tones; in contrast to the essayistic they are often characterised by a lack of reflection,</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">as writers are too close to experiences, unable to make sense of them, writing them in the moment and/or caught up in the quotidian</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">detail. Hamid Naficy finds epistolary forms particularly prevalent for expressions of exile ‘driven by distance, separation, absence</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">and loss’ (Naficy, 1992: 101), (for example, Mona Hatoum’s <i>Measures of Distance </i>[1988]<i> </i>and<i> </i>Fernando Solanos<i> Tangos: Exile
of</i></span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:black">Gardel </span></i><span style="font-size:12.0pt;font-family:Helvetica;color:black">[1985]). Naficy’s words fit Indigenous collectives: the Chiapas
media project (for Zapista communities in Mexico) who have</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">created politicised videos that use ‘letters, interviews and testimonials’ (Davis et al, 2015: 54) and independents from Chantal</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Akerman and Jonas Mekas to Abbas Kiarostami (with Victor Erice).</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Beyond cinema, in the art world and on other media, it is the themes of intimacy, privacy self-expression and masquerade raised by letters</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">and diaries that we find most frequently addressed. Artist Hito Steyerl, writing about online scamming letters, has gone so far as to argue</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">that: ‘[t]he strongest affective address of the digital happens in the epistolary mode. As a brush with words divorced from actual bodies.’(58)</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Meanwhile visual artists including Sophie Calle and Miranda July have created subversive melodramas from their use of letters and diaries.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">The goal of this proposed collection is to embark on a deep engagement with epistolary forms and their presence in culture and on screen.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">We look forward to hearing from contributors working on all aspects of film, media and visual studies who share an interest in the many</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">connections between the audio-visual and epistolary forms. Contributors may choose to focus on a specific film or media text or pursue</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">an analysis that draws from a range of examples. As ‘epistolary forms’ we include letters, diaries, emails, blogs, texts, tweets and online</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">social media.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Proposals may consider (but should not be limited to) the following themes and issues:</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left:18.0pt;text-indent:-18.0pt;mso-list:l1 level1 lfo2;background:white">
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Histories of epistolary forms in film and media</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Re-defining self-expression on screen</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Implications for contemporary representations of intimacy</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Relationships with gender & sexuality, especially masculinity</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Intersectionality and epistolary forms</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Centrality to cultures of confession,</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Re-inventions of emotionality</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Extending notions of masquerade</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Relationships with genres (melodrama, romantic comedy, exile cinema, essay film)</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">World Cinema/race, ethnicity, the inter-cultural</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Relation to other media forms (television; video games; social media)</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">The letter in the digital age (social media; scams)</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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</span></span></span><![endif]><span style="font-size:12.0pt;font-family:Helvetica;color:black">Instagram and other social media platforms as diaristic forms</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Proposals of up to 350 words, along with a short bio should be sent to the editors: </span><span style="font-size:12.0pt;color:black"><a href="mailto:Catherine.fowler@otago.ac.nz"><span style="font-family:Helvetica;color:#1155CC">Catherine.fowler@otago.ac.nz</span></a></span><span style="font-size:12.0pt;font-family:Helvetica;color:black"> and </span><span style="font-size:12.0pt;color:black"><a href="mailto:theterihiggins@gmail.com"><span style="font-family:Helvetica;color:#1155CC">theterihiggins@gmail.com</span></a></span><span style="font-size:12.0pt;font-family:Helvetica;color:black"> by <b>January
10th 2020</b>. Final chapters will be due January 2021. Details regarding publication (publisher and timeline) will be sent when proposals are accepted.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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<p class="MsoNormal" style="background:white"><u><span style="font-size:12.0pt;font-family:Helvetica;color:black">References</span></u><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Brooks, Peter. "The Melodramatic Imagination." <u>Imitations of Life: A Reader on Film and</u> </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> <u>Television Melodrama.</u> Ed. Marcia Landy. Detroit: Wayne State University Press, 1991. </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> 50-68.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Davis, Glyn, Kay Dickinson, Lisa Patti and Amy Villarejo. <u>Film Studies - A Global Introduction</u>. London and New York: Routledge, </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> 2015.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Naficy, Hamid. <u>An Accented Cinema: Exilic and Diasporic Filmmaking</u>. Princeton: Princeton </span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:Helvetica;color:black"> University Press, 2001.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;color:black"><a href="https://apc01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.newyorker.com%2Fmagazine%2F2019%2F01%2F07%2Fsally-rooney-gets-in-your-head&data=02%7C01%7Ccatherine.fowler%40otago.ac.nz%7C4cc29e5100c34b38c97008d70e39eb63%7C0225efc578fe4928b1579ef24809e9ba%7C1%7C1%7C636993514246540079&sdata=80BocCqAF4Jk%2B8ASD%2Brz9aKe%2Fe8XwW91y%2F6qpNyGPKs%3D&reserved=0"><span style="font-family:Helvetica;color:#1155CC">https://www.newyorker.com/magazine/2019/01/07/sally-rooney-gets-in-your-head</span></a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;font-family:Helvetica;color:black">Steyerl, Hito. “Epistolary Affect and Romance Scams: Letter from an Unknown Woman.”</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-size:12.0pt;font-family:Helvetica;color:black"> October,</span></i><span style="font-size:12.0pt;font-family:Helvetica;color:black"> Vol. 138, (Fall 2011), pp. 57-69.</span><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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