Events & Schedule for 2008
Upcoming Journal Topics:
April/May 2008: Issue 38.1 (Featured Section: The Documentary Tradition, Part 1)
October 2008: Issue 38.2 (Featured Section: The Documentary Tradition, Part 2)
April 2009: Issue 39.1 (Featured Section: Pedagogy) > Read the CFP <
Film & History Conference (Oct. 30 - Nov. 2)
Chicago, The Westin O'Hare (use the link below for our reduced conference rate):
http://www.starwoodmeeting.com/Book/FHJ29A
(The special group rate--$129/day--is available until October 08, 2008)
Summer Discount:
Register before Aug. 31, 2008,
and get a two-year subscription to Film & History
Video Presenters
In Memoriam: Stan Winston (1946-2008)
Second-Round Deadline for Paper Propoals/Abstracts: May 1, 2008
Click here for a list of Areas, Chairs, and Contact Information
Conference Fees (which automatically include a one-year subscription to Film & History) :
Standard (from Feb. 1 to Sept. 30, 2008): $200
Late (from Oct. 1 to Nov. 2): $225
Students: Deduct $25 from the applicable fee above
You may pay by credit card (click here), or you may send a check or money order--payable in U.S. dollars--to "Center for the Study of Film and History" (or to "Film & History"). Send your remittance to the address below:
Center for the Study of Film and History
University of Wisconsin Oshkosh, Polk 305
Oshkosh, WI 54901, USA
F&H Panels at the National PCA/ACA Conference
010 Yerba Buena Nob Hill ABCD | Film & History I
Crime as Normalcy: Images and Narratives of Murder on the Big Screen
Chair: Tom Pollard
The Film-Noir Couple: the Seductress Meets the Lost Soul
Tom Pollard, National University, San Jose
Girls Gone Wild: Female Killers in Contemporary Film
Laurie Nalepa Los Angeles Community College
Hitchcock’s Murders: Uncovering the ‘Morbidity of Daily Life’
Carl Boggs, National University, Los Angeles
044 Yerba Buena Nob Hill ABCD | Film & History II
Cinematic Images of Women of Color
Chair: Sandra Garcia Myers
The Black Woman Is Beautiful: Women’s Fashion in the 1970s and Strong Blaxploitation Female Characters
Risa Nakayama, Okinawa National College of Technology
The Tragic Mulatta Throughout History and the Media
Anamita Gall, Bowling Green State University
Out of the Shadows: Shedding New Light on Latina Representation in Hollywood’s Spanish Language Films of the 1930’s
Sandra Garcia-Myers, University of Southern California
079 Yerba Buena Nob Hill ABCD | Film & History III
The Documentary Film Tradition
Chair: Marina Fedosik
The Documentary Film Unit and the Cornish Aboriginal: The Case of Bill Blewitt
Scott Anthony, Wolfson College
Monster and the Aileen Documentaries: Recording and Revising History on Film
Sean Heuston, The Citadel
Representations of Transnational Adoptees in Autobiographic Documentary: Daughter from Danang vs. First Person Plural
Marina Fedosik, University of Delaware
114 Yerba Buena Nob Hill ABCD | Film & History IV
The Mark of the Filmmaker
Chair: Matt Thomas
Italian Stereotypes in D.W. Griffith’s Films
Bahar Gursel, Bilkent University
Infernal Hollywood: American History through the Lens of David Lynch
Brett Pace, University of Notre Dame
The American Revolution on “Main Street U.S.A.”: Walt Disney’s Version of the British Colonies’ Fight for Independence
Marianne Holdzkom, Southern Polytechnic State University
Spike Lee: Theorist of Whiteness
Matt Thomas, University of Iowa
148 Yerba Buena Nob Hill ABCD | Film & History V
Ethnic and National Cinemas
Chair: Nizan Ben Shaul
Enter through the Golden Gate: How San Franciscans Brought Chinese Film to America
Ramona Curry, University of Illinois, Urbana-Champagne
The Foreigner in Subtitled French Films
Sheila Turek , University of Wisconsin, Whitewater
The Conformists: Creativity and Decadence in the East European Cinema: 1945-1989
Evgenija Garbolevsky, Brandeis University
Ethnicity, Nation and Globalization in Recent Israeli Cinema: The Case of Late Wedding
Nizan Ben Shaul, Tel Aviv University
185 Yerba Buena Nob Hill ABCD | Film & History VI
Representing an Era on Film
Chair: Stephen Sharot
Hollywood as Depression Savior: Gender and Social Solidarity in Thirties Film
David Horowitz, Portland State University
In Loco Parentis: John Hughes’ Teen Films and the ‘Me’ Decade
Greta Methot, Rhode Island School of Design
‘The ‘New Woman’, Star Personas, and Cross-Class Romance Films in the 1920’s
Stephen Sharot, Ben Gurion University of the Negev
211 Yerba Buena Nob Hill ABCD | Film & History VII
Film, Labor, and History
Chair: Carol Siegel
Whose Ink and Paint?: The Erasure of Labor and the Re-Drawing of Popular Front History in Disney’s Roger Rabbit
Brian Dolber, University of Illinois, Urbana-Champagne
World (Sex) War III: Trade and Contentions in Feminist Theories of Sex Work
Carol Siegel, Washington State University
255 Yerba Buena Nob Hill ABCD | Film & History VIII
Film and Social Commentary
Chair: Peter Caster
Recovering History for the American Imagination: Movies as Agents of Social Change”
Carrie Marjorie Peirce, Azusa Pacific University
Prison Documentary Bound by Narrative Convention and Actual Incarceration
Peter Caster, University of South Carolina, Upstate
289 Yerba Buena Salon 14 | Film & History IX
Images and Imaginings of the Cold War - 1
Chair: A. Bowdoin Van Riper
William Holden: Hollywood’s Cold-Warrior without a Cause
John Lenihan, Texas A&M University
All the Physicist’s Men: Hollywood and the Manhattan Project, 1945-1995
A. Bowdoin Van Riper, Southern Polytechnic State University
356 Yerba Buena Salon 5/Salon 6 | Film & History X
Film, Truth, and Sense-Making
Chair: Tony Steyger
World Trade Center: Representing the Incomprehensible
Karen Randell, Southampton Solent University
‘Now Showing!’: Exhibition Research and the Questionable Legacy of Film Studies
Mike Chopra-Gant, London Metropolitan University
Telling the Truth
Tony Steyger, Southampton Solent University
388 Yerba Buena Nob Hill ABCD | Film & History XI
Images and Imaginings of the Cold War - 2
Chair: Ron Briley
How the West Was Changed: Degradation of the Townspeople after World War II in the American Western
Aaron Barlow, City University of New York
Communism, Consumerism, and Romantic Comedy: The Role of Ninotchka in Creating and Sustaining a Cold War Argument
Rhiannon Dowling, University of Maryland, Baltimore County
Representation of a moral dilemma: A close reading of Istvan Szabo’s Taking Sides
Seyda Aylin Gurses, University of Miami
The Politics of Fear: The Assault upon Reason in Don Siegel’s Invasion of the Body Snatchers (1956)
Ron Briley, Sandia Preparatory School
434 Yerba Buena Nob Hill ABCD | Film & History XII
Contextualizing War and Atrocity on Screen
Chair: Liam O’Brien
Historicizing the Trauma: Holocaust Representations in Cultural Context
Ilan Avisar, Old Dominion University
Representations of War: America, the Iraq Wars, and Three Kings
Herbert Gooch, California Lutheran University
Keeping the Aspidistra Flying: Today’s Ministry of Truth and Michael Radford’s Adaptation of Orwell’s 1984
Liam O’Brien, Quinnipiac University
434 Yerba Buena Nob Hill ABCD | Film & History XIII
Technology in Film
Chair: Marlissa Santos
Picturing Citizenship under an Orwellian Gaze: Movies and the Orwellian Infrastructure
Michael Cary, Seton Hill University
Good Weapons, Bad Science: The Science of Future Weapons as Compared to Science Fiction
Sarah Jackson, Montana State University
‘The Pleasure of Anticipation’: Truth, Fantasy and Technical Allusions in Heavenly Creatures
Michael S. Duffy, Independent Scholar
‘I’m gonna fix it, so you don’t hear the bullets’: Technology and Communication in Film Noir
Marlisa Santos, Nova Southeastern University
629 Yerba Buena Nob Hill ABCD | Film & History XIV
Exploring Film Genres: Characteristics, Evolutions, and Hybrids
Chair: Yukinori Tokuyama
Bride and Prejudice: It’s Hollywood, it’s Bollywood; it’s neither, it’s both!
Natasha Ali, San Diego State University
Modernism’s Cultural Identity Crisis and the Early Horror Film: Terrifying Dialectics of Power and Reality
Theodora Danylevich, Georgetown University
Transformation, Evolution or Subversion of Road Movie?: Fandango Transcends Easy Rider
Yukinori Tokuyama, Meio University
660 Yerba Buena Nob Hill ABCD | Film & History XV
Imperialism in and on Film
Chair: Jo Carlisle
History Is Calling It a Day”: The Heuristic Potential of “Story” and the “Popular” in Guy Vanderhaeghe’s The Englishman’s Boy
Janice Morris, University of British Columbia
Imperial Film in a Colonial Contest: The Reception of The Battle of Somme in Toronto, Canada
Brenda McDermott, University of Calgary
Walker: Temporal Acquisition and Imperialist Reach
Jo Carlisle, University of Florida
694 Yerba Buena Nob Hill ABCD | Film & History XVI
Authenticity and Historical Drama on Film
Chair: John Shelton Lawrence
Between History and Myth: Vicente Aranda’s Historical Drama Juana la Loca
Kevin Poole, Clemson University
The Irish Family Divided: Ken Loach’s The Wind That Shakes the Barley
Thomas Mullen, Dalton State University
Strategies of Documentary Authenticity in Demille’s Ten Commandments (1923, 1956)
John Shelton Lawrence, Morningside College, Emeritus
727 Yerba Buena Nob Hill ABCD | Film & History XVII
Cinematic Icons, Legends, and Deities
Chair: Keith Harrison
Pocahontas: Legend, Heroine, Blockbuster Sex Kitten
Michelle Jordan, Carnegie Mellon University
Jesus Christ Superstar
Nicole CuUnjieng, University of Pennsylvania
Ladies and Gentlemen, Mr. Leonard Cohen: The Performance of Self, Forty Years On
Keith Harrison, Malaspina University-College
746 Yerba Buena Nob Hill ABCD | Film & History XVIII
Film and the Environment; The Environment of Film
Chair: TBA
Argosy History: The Importance of San Francisco as the Setting for Alfred Hitchcock’s Vertigo
Verlan Lewis, Brigham Young University
Dirty Pretty Earth: Film Ecocriticism as Environmental Science
Claudia Hemphill, University of Idaho
Erin Brockovich: Ecofeminist Sensitivity
Kiyomi Myedomari, Independent Scholar
F&H Panels at the SW/TX PCA/ACA Conference
208 Fiesta 3 | Film & History
Special Screening: Portrait in Sepia Tone
Chair: Tobias Hochscherf, Northumbria University, UK
Screening: Portrait in Sepia Tone
Nancy J. Membrez, University of Texas, San Antonio
227 Fiesta 3 | Film & History
Publish and Flourish: A Guide to Scholars Who Wish to Publish and Flourish
Chair: Peter C. Rollins
Discussants:
Cindy Miller, Emerson College
Deborah Carmichael, Michigan State University
Peter C. Rollins, Ridgemont Media
247 Fiesta 3 | Film & History
Religion, Ethnicity, and Terrorism
Chair: Ron Briley
United 93, World Trade Center and Faith in America
Alasdair Spark and Elizabeth Stuart, University of Winchester, UK
Hollywood’s Untold Story of Arabs and Camels
Waleed Mahdi, University of New Mexico
Worth Pondering: The Cinematic Representation of Terrorism’s Root Causes in The Battle of Algiers (1966) and Caché (2005)
Ron Briley, Sandia Preparatory School, Albuquerque
266 Fiesta 3 | Film & History
The Frontier, Cowboys and Native Americans on Screen
Chair: Carol MacCurdy
The Clash of Cultures: English-Native American Contact as Portrayed by Disney
Marianne Holdzkom, Southern Polytechnic State University
The Lone Hero: No Longer Alone, No Longer at Home on the Range
Rebecca Bell-Metereau, Texas State University, San Marcos
3:10 to Yuma (1957) and 3:10 to Yuma (2007)
Carol MacCurdy, California Polytechnic State University
285 Fiesta 3 | Film & History
Cinema and Ideology
Chair: Tom Saunders
‘Does it end with Gypsy Women?’: Documentary Films on Flamenco as Political Art in Franco's Spain
Rosamaria Cisneros Kostic, University of New Mexico
Fairies Fighting Fascism: Magic and the Unrepressed in Pan’s Labyrinth
Thomas Prasch, Washburn University, Topeka
The Back of Beyond: The Survival of Non-Theatrical Cinema Exhibition in Rural Australia
Kate Bowles, University of Wollongong, New South Wales, Australia
The Cinema of National Arousal – Filming the Flag in Nazi Germany
Tom Saunders, University of Victoria, Canada
299e Fiesta 3 | Film & History
Cold War Cinema
Chair: Tobias Hochscherf
Communism, Consumerism, and Romantic Comedy: The Role of Ernst Lubitsch’s Ninotchka (1939) in Creating and Sustaining a Cold War Argument
Rhiannon Dowling, University of Maryland, Baltimore County
Apocalypse How? Coppola and the Construction of the Vietnam War
Robert Hamilton, Manchester Metropolitan University, UK
Screening the Berlin Airlift in Film and Television: The Big Lift and Die Luftbrücke – Nur der Himmel war frei
Tobias Hochscherf, Northumbria University, UK
308 Fiesta 3 | Film & History
Notions of Cinematic Realism
Chair: Betty Bettacchi
Filming the Real in the 1910s: Roberto Bracco’s Sperudi nel Buio before Neorealism
Armando Rotondi, University of Rome “La Sapienza”, Italy
Endless Cycling towards Reality: A Comparative Study on Cinematic Realism in The Bicycle Thief and Beijing Bicycle
Ji Nian, University of Arizona
“Tango One Is Down”: Adapting the Life of Martin Cahill, the Irish Godfather
Betty Bettacchi, Collin College, Plano, TX
327 Fiesta 3 | Film & History
Spectatorship and Representations of Gender
Chair: Jonathan York
Silencio Reál: The Historical Voice of Afro-Latinas in I Am Cuba and Anne B. Real
Grisel Y. Acosta, University of Texas, San Antonio
After the Code: The Sinister Politics of the Sexual Revolution in Carnal Knowledge and Bob & Carol & Ted & Alice
Christie Milliken, Brock University, Canada
Heroic Women and Violent Spectacle: Questions of Visual Pleasure, Gender, and the Foundations of Today’s Violent Women
Tamy Burnett, University of Nebraska, Lincoln
Decolonization and Women’s Emancipation: Misogynist Violence in Chabrol’s Le Boucher
Jonathan York, South Dakota State University
343 Fiesta 3 | Film & History
Hollywood Popular Genre Cinema
Chair: Julie M. Gale
300
Melissa Peck, Purdue University, West Lafayette
From Chariots to Podracers: Space, Spectacle, and Racing in Hollywood
Sara Ekins, University of Arizona
Progressing Towards a Mature Union: Apatow and the Modern Comedy of Remarriage
Chelsey Crawford, Oklahoma State University
Joan Crawford: Her Greatest Performance
Julie M. Gale, Arlington Theater School
359 Fiesta 3 | Film & History
Genre Cinema and National Identity
Chair: Tom Donnelly
The Tortuous ‘Happy Ending’ in Post-Authoritarian Chilean Cinema
Chad Redwing, Modesto Junior College, CA and Harrison Middle University, Albuquerque
Dance of the Dead: Political Allegory in 28 Days Later
Paul Booth, Manchester Metropolitan University
Hollywood History in the Mythmaking: Mr. Smith (1939) and the “Yellow Brick Road” of Myth-History
Tom Donnelly, Leeds Trinity & All Saints, UK
377 Fiesta 3 | Film & History
Auteurism and Alternative Cinemas
Chair: Horace Fairlamb
Hitchcock, Wilcox and the Yellow Canary: An Historical Investigation
Douglas Bonner, Fuzhou University, China
Dreams as Symptom of Historical Trauma in Hitchcock and Crowe
Elizabeth Bilbrey, University of Texas of the Permian Basin
Promoting Picture Shows on Main Street: Shifting Gears at the Drive-In
Deborah Carmichael, Michigan State University
Evolution of a Cinematic Counterculture in the 1960s and 1970s
Horace Fairlamb, University of Houston, Victoria
408 Fiesta 3 | Film & History
Representations of Race/Ethnicity and Post-Colonial Cultures
Chair: Cheryl Greene
Film Fatalities: Why the Black Man Has to Die in the Movie
Narcel Gerard Reedus, University of Texas, Arlington
Latino Contributions and Images in the Classic American Film: A Case Study of Dolores Del Rio
Paula Barreiro, University of Arizona
Between Problems and Hope: Post-colonial Representations of Africa in Contemporary Films
Cheryl Greene, Stanford University
426 Fiesta 3 | Film & History
Cinematic Time and Space
Chair: Cynthia A. Melendy
The Depiction of the Future through Film Language
Brittany Geldmacher, University of Arizona
Border Theory and the Politics of Place, Space, and Memory in John Sayles’ Lone Star
Cordelia Barrera, University of Texas, San Antonio
Filming Paradise: Winds Across the Everglades and A Flash of Green
Cynthia A. Melendy, University of South Florida
444 Fiesta 3 | Film & History
Theory and Pedagogies
Chair: Ron Briley, Sandia Preparatory School, Albuquerque
Using Film to Teach History & Politics
Ernest Giglio, Lycoming College, Williamsport, PA
Tribal Sovereignty and Federal Indian Policy: An Analysis of the Swinging Pendulum Theory
Caroline Williams and Martina Dawley, University of Arizona
