Multiple CFPs for the Film & History Conference on “Film and Myth” - 2nd Round
Darryl Wiggers <[email protected]>
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From: Cynthia Miller <[email protected]> Subject: CFP: War Myths: Heroes and Anti-Heroes (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “War Myths: Heroes and Anti-Heroes in Fiction and Documentary Films” An area of multiple panels for the Film & History Conference on “Film and Myth” September 26-30, 2012 Milwaukee, Wisconsin, USA www.filmandhistory.org Deadline: June 1, 2012 This area, comprising multiple panels, will explore all aspects of the mythical underpinnings of the construction of heroism in war and combat in fiction, propaganda, and also documentary films. The discussion will include, but is not limited to, the ways in which these mythical motifs in war film narratives are used to justify specific ideological positions, shape the understanding of past and current military conflicts, support political agendas and institutions, and influence collective memory by providing images of heroism from past wars. In this context, the debunking of war myths is particularly relevant. Thus, papers that explore the creation of myths about heroism in war and war heroes in media, their propagation in diverse cinematic forms, their reception among different audiences, and in different historical and political contexts are especially welcome. Of further interest are the ways in which these myths are deconstructed in specific cinematic genres (such as anti-war films and documentaries) or subverted by various humorous strategies (such as parody, grotesque, spoof, or exaggeration) in both humorous and non-humorous genres. This area is also interested in highlighting issues related to racialized and gendered codings of heroism and their connection to myth-making processes: the establishing and questioning of male heroism in combat; the heroism of women in the context of war; and the different strategies used to represent male and female heroes in war narratives. Papers that explore such heroic mythmaking in various national cinematographies are also particularly welcome. Possible topics include, but are not limited to, the following: * 9/11: Myths about the loss of innocence * Propaganda and mythmaking about recruitment: Visual representations of war heroes in government films * The Great War and its heroes (Passchendaele, The Red Baron, Merry Christmas) * War and peace, and the end of heroes: All Quiet on the Western Front * Heroism as nation: Creating myth in WWII * Gender myths in war films: Female warriors in Hollywood narratives * Rosie the Riveter: Myths of women on the home front * Hurt Locker: Kathryn Bigelow, female authorship, and the male desire for combat * Documentary films on war: Anti-heroes and the deconstruction of myth * Bursting the bubble: Abu Ghraib and the lack of heroism * Heroism and race (Miracle at St. Anna, Glory, Letters from Iwo Jima) * Disillusioned myths and forgotten war heroes: Born on the Fourth of July * The military unit as hero (9th Company) * Surviving war: Myths about fighting the odds * Spielberg and myth: Fighting the war in the jungle and WWII (Saving Private Ryan) * Acts of compassion: Myths of human kindness and civil heroes (Schindler’s List) * The Cold War and the myth of the necessity of combat * Flawed war heroes: Stanley Kubrick and the anti-war film (Full Metal Jacket) Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please e-mail your 200-word proposal by June 1, 2012 to: Karen A. Ritzenhoff and Jakub Kazecki, Area Chairs 2012 Film & History Conference “War Myths: Heroes and Anti-Heroes in Fiction and Documentary Films” Central Connecticut State University [email protected] [email protected] --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: Food of the Gods: The Mythic Poetics of Food, Drink, and Eating in Film and Television (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “Food of the Gods: The Mythic Poetics of Food, Drink, and Eating in Film and Television” An area of multiple panels for the Film & History Conference on “Film and Myth” September 26-30, 2012 Milwaukee, Wisconsin, USA www.filmandhistory.org Deadline: June 1, 2012 This area of panels seeks papers that address the rich and textured presence—in other words, the special mythic import—of food and eating in film and television along two related trajectories. In one trajectory, papers will look at how myths on film use food in order to depict the epic subject matter that runs the film’s narrative. How do these plots use foods and scenes of eating to energize or organize a myth’s plot? Are there special filmic techniques to show how food and eating work in a mythic tale? Second, films and television shows that center around food suggest the ways in which the food itself contains specific mythic importance, as it enlivens, contains, or confounds the characters’ lives. In both, foods take up important and powerful places as filmmakers interrogate various notions of ethics, political economy, cultural value, and identity. How do these foods locate characters within networks of meaning? How does food help or hinder a character’s development? How does, in a deeply mythic sense, food matter? This area, comprising multiple panels, will explore the relationship of food, eating, and myth. Papers are welcomed on film and television from a variety of disciplinary backgrounds and national film traditions. Possible topics include, but are not limited to, the following: • Representation and import of the Hero’s Feast (Thor, Conan, Beowulf, Xena, Sparatcus) • Interrogations of reverence for food (Big Night, No Reservations/Mostly Martha) • Ritualizations of food (Babette’s Feast, Secret of the Grain, Last Holiday) • Food and complexity in rites of passage (American Pie, Scent of Green Papaya) • Spectacle, modernity, and food menace (Attack of the Killer Tomatoes, Modern Times) • Food or eating as cure, poison, or pharmakon (The Road to Wellville, Super Size Me) • The powerful organizing force of food and consumerism (Mad Men, Extract) • Food and eating as social space (My Dinner with Andre, Sideways) • Questions of family and food (Eat Drink Man Woman, Soul Food) • Eating foods of unspeakable origin (Soylent Green, Silence of the Lambs) Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please e-mail your 200-word proposal by June 1, 2012: Tom Hertweck, Area Chair, 2012 Film & History Conference “Food of the Gods: The Mythic Poetics of Food, Drink, and Eating in Film and Television” University of Nevada, Reno Email: [email protected] --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: Myth, Inc. (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “Myth, Inc.: The Business World in Film and Television” An area of multiple panels for the Film & History Conference on “Film and Myth” September 26-30, 2012 Milwaukee, Wisconsin, USA www.filmandhistory.org Deadline: June 1, 2012 The business world, as idealized in film and television, sustains many enduring myths of modern life, such as assuring audiences that anyone with the right stuff can rise from the ranks to “make it.” The right stuff, however, can mean anything from honesty and industry to rapacious ambition and avarice, depending on the requirements of the narrative. Wall Street, for example, is a perverted version of the Horatio Alger “rags-to-riches” myth, while 9 to 5 assures that “rags-to-riches” is a myth for women in business, too, if they’re bold and clever. The American Dream itself, nebulous as it is, is a type of business myth—at least in those interpretations that equate success with material trappings and a happy home life, as seen in Bewitched and Executive Suite. Counter-myths, such as reassurances that underlings are happier than their bosses, may also be seen across genres in narratives as diverse as The Man in the Gray Flannel Suit and The Jetsons’ office episodes. Similarly, lying, cheating, and stealing are legendary in cinematic and televised worlds of business, but even this widely embraced myth is the subject of challenge and parody: it has been satirized (The Hudsucker Proxy), spoofed (How to Succeed in Business Without Really Trying), and drowned in pessimism (The Method and Glengarry Glen Ross). This area, comprising multiple panels, invites contributions that explore the myths propagated in depictions of the business world in television and film, including, but not limited to: Chronicles of the business world (Startup.com, Salesman) The boss from hell (The Devil Wears Prada, Horrible Bosses) Take this job and … (Wanted, Office Space) Climbing the ladder (The Secret of My Success, Swimming with Sharks, Head Office) The underdog prevails (How to Succeed in Business Without Really Trying, 9 to 5) Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please e-mail your 200-word proposal by June 1, 2012: Tony Osborne, Area Chair, 2012 Film & History Conference “Myth, Inc.: The Business World in Film and Television” Gonzaga University [email protected] [email protected] (September through April) --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: Medieval Magic, Myths, and Legends (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “Medieval Magic, Myths, and Legends in Film and Television” An area of multiple panels for the Film & History Conference on “Film and Myth” September 26-30, 2012 Milwaukee, Wisconsin, USA www.filmandhistory.org Deadline: June 1, 2012 The Middle Ages have inspired some of the most enduring myths and legends of Western culture. Whether painted, on screen, in the bright colors of Camelot and The Adventures of Robin Hood or the drab grays and browns of Robin and Marian and Monty Python and the Holy Grail, they represent a world in which right and wrong, love and honor, heroism and villainy were clearly defined. Tales of larger-than-life medieval characters – whether adapted from original sources, or set in a wholly imagined middle ages – have been staples of film and television for generations. These medieval-themed narratives, featuring historical figures like Joan of Arc, beloved folk heroes such as Robin Hood, and worlds where dragons and other mythical beasts roam the Earth, have retold and adapted familiar stories of adventure, conquest, magic, and romance, while adding new ones to the ancient tradition. This area, comprising multiple panels, will treat all aspects of the myth and legend in films and television programs. Possible topics include, but are not limited to, the following: * Arthurian Legends and Myths * Legendary Heroes Fictional and Factual (Robin Hood, Beowulf, Sigfried, William Wallace, Alexander Nevsky, El Cid, etc.) * Legendary Saints and Sinners (Joan of Arc, St. Francis, Hildegard of Bingen, Pope Joan, Abelard and Heloise, etc.) * Norse Gods and Heroes (The Vikings, The Long Ships, Thor) * Dragons and Other Members of the Medieval Bestiary (Dragonslayer, Gargoyles, How to Train Your Dragon) * The Imagined Middle Ages (Tolkein, Monty Python, Ladyhawke, The Name of the Rose, The Princess Bride, The Seventh Seal) Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please e-mail your 200-word proposal by June 1, 2012: L. Larson, Area Chair, 2012 Film & History Conference “Medieval Magic, Myth, and Legend in Film and Television” Our Lady of the Lake University Email: [email protected] --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: Music, Motifs, and Mythmaking (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “Music, Motifs, and Mythmaking” 2012 Film & History Conference: Film and Myth September 26-30, 2012 Hyatt Regency, Milwaukee Hyatt Regency Milwaukee www.uwosh.edu/filmandhistory Deadline: June 1, 2012 AREA: Music, Motifs, and Mythmaking Would Star Wars carry as much "force" without its iconic score by John Williams? Would the sentiment “hey kids, let’s put on a show!” be embedded in American culture if Judy Garland did not then sing her heart out? Would the tragic love story in Titanic pack such an emotional punch without Celine Dion? Three mythic themes — a hero’s journey, youth’s triumph, and eternal love — that all have music at their core. “Music, Motifs, and Mythmaking,” an area comprising multiple panels, seeks papers and panels from a wide range of orientations, exploring how music and musicals add to our understanding of myths and enhance the process of mythmaking in film and television. Papers that explore the relationship between music and myth in cinematic traditions and industries beyond the United States are especially welcome. Papers might address (but are not limited to) the following: * the function of film scores and/or specific musical motifs in creating, structuring or perpetuating mythic narratives * the circulation, and/or creation, of mythic songs in film * films adapted from mythic ballads * the ways in which film musicals—or their television descendants, Glee and American Idol— operate under and help to create understandings of “Hollywood”, “Broadway”, or “the United States” * the ways in which music videos create particular kinds of new heroes and/or engage in mythmaking Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please send your 200-word proposal by June 1, 2012: Kathryn Edney, Area Chair, 2012 Film & History Conference “Music, Motifs, and Mythmaking” Dept. of History Regis College Weston, MA 02493 Email: [email protected] (email submissions preferred) --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: Myths R Us: Nationality in Film and Television (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “Myths R Us”: Nationality in Film and Television An area of multiple panels for the Film & History Conference on “Film and Myth” September 26–30, 2012 Milwaukee, Wisconsin, USA www.filmandhistory.org Deadline: June 1, 2012 The process of nation-building often relies on myth. Benedict Anderson famously contended that nations are “imagined political communities,” social constructions that exist only when a significant number of people consider themselves to be part of a nation or behave as if they have formed one. The idea of America, for example, is deeply entwined with the fantasies of the American Dream, the myth of the frontier, and American exceptionalism. Our mythologies define us, establishing boundaries between “us” and “them.” How do film and television create, revise, and challenge mythologies of nation and nationality? Do they exploit or succumb to national myths? How do colonialism, imperialism, and migration factor in myths of national identity? In an era of increasing transnationalism, is the idea of national cinema itself a myth? This area, comprising multiple panels, will treat all aspects of the mythological underpinnings of nationality in films and television programs. Papers that explore how national myths are played out in films and television programs from outside the US are especially welcome. Possible topics include, but are not limited to, the following: Founding Myths, Myths of Founding (e.g. The New World, 1776) Mediating Folklore and Tall Tales Favorite Sons and Daughters: National Heroes on Screen Embodying the Nation (e.g., Uncle Sam, Lady Liberty, John Bull) Landmarks of National Mythology (e.g., Mount Rushmore, the Eiffel Tower, Big Ben) Naming the Nation (e.g., Team America, This Is England, Captain America) The Special Relationship: Myths of International Relations (e.g., Love Actually, Cars 2) Propaganda as National Mythmaking (e.g., Triumph of the Will, Why We Fight) Mythic Nations (e.g., Freedonia in Duck Soup, Genovia in The Princess Diaries) Demythologizing the Other: Expatriates and Cultural Tourism (e.g., An Idiot Abroad) Myth Busters: Contesting Constructions of National Identity National vs. Transnational Film and Television Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please e-mail your 200-word proposal by June 1, 2012: Elizabeth Rawitsch, Area Chair, 2012 Film & History Conference “Myths R Us”: Nationality in Film and Television University of East Anglia Email: [email protected] --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: Animating History (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS Animating History: “Disney Americans” and Other Myths An area of multiple panels for the Film & History Conference on “Film and Myth” September 26-30, 2012 Milwaukee, Wisconsin, USA http://www.filmandhistory.org Deadline: June 1, 2012 We live in a world made of myths, legends, and histories that are communicated, and often, conflated, by our entertainment media. For many of us, history’s earliest lessons have been animated – brightly-colored and endearing, with soundtracks that range from comical to compelling – taught by movies and television programming. These lessons and legends, inextricably linked to the studios that produced them, are the building blocks of not only Western popular culture, but also, our collective constructions of the past. Disney’s Pocahontas, BBC’s Horrible Histories, and Animaniacs’ “The Ballad of Magellan” all shape our early understandings of histories and cultures, in ways that sometimes last long after we have turned off Saturday morning cartoons. How does animation shape our conception of history and historical mythology? What are the benefits and drawbacks of the “Disneyfication” and co-opting of cultural products and national histories? What periods of history attract the most attention in animation? What historical myths are coming into prominence in the media as we move toward an increasingly globalized media culture? This area, comprising multiple panels, will include presentations on animation produced for film, television, and new media, in both Western and non-Western modes of animation. Possible topics include, but are not limited to, the following: • Telling history – animation as education (Liberty’s Kids; That’s America, Charlie Brown; Time Squad ) • Myths and legends – Co-opting and crafting cultural narratives (Mulan; Hercules; Robin Hood; Ben and Me) • Alternate histories – Animated counternarratives (UPA, Warner Bros., independent animators) • Selling “history” – Collect the complete set! (Disney, Warner Bros., Cartoon Network) • History’s greatest hits – Popular genres in animation • Animation and national identity – Porky as the American everyman • Saturday (morning) school – history lessons from Bugs Bunny, Tintin, Schoolhouse Rock and Johnny Quest Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please e-mail your 200-300 word proposals by June 1 2012 to the area chair: Tiffany L. Knoell Area Chair, 2012 Film and History Conference Animating History: “Disney Americans” and Other Myths Bowling Green State University [email protected] --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: Mythic Characters and Places Made Real (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “Mythic Characters and Places Made Real: TV and Film In Situ” An area of multiple panels for the Film & History Conference on “Film and Myth” September 26-30, 2012 Milwaukee, Wisconsin, USA www.filmandhistory.org Deadline: June 1, 2012 Popular media increasingly are becoming the foundation for “non-mediated” experiences with local, material culture. Now, the representation of certain fictive historical times, people and places on film and TV have led to their commemoration in real places. Fictional settings and characters have become mythic as certain films and TV shows have become depoliticized symbolic inducements with the power to transform the messy complexities of history into desirable but unfulfillable narratives. What does this mean? How are television and film used by the wider public as a resource of collective memory? Why are certain stories selected by civic boosters for the purposes of place promotion, heritage and tourism production? Why do fans visit these sites and what do they get out of them? Fans of TV and movies much less residents of places that commemorate these media must confront questions of authenticity, popular culture as public culture, and the hyperreal. This area, comprising multiple panels, will treat all aspects of the relationships between mythic film and television and the real places that are connected to the narratives and characters associated with them. Possible topics include, but are not limited to, the following: - Vampire Tourism from Transylvania to Forks, WA (Dracula; Twilight) - Having a real pint in a mythic bar (Coronation Street; Cheers; Northern Exposure) - Celebrating the Mythos of the final frontier. (Star Trek enshrined in Riverside, IO and Vulcan, AB) - Mnemonic Myths: The significance of TV land statues. (Happy Days; Bewitched; The Honeymooners; The Bob Newhart Show) - Take the Tour: Fandom in Mythic NYC. (Seinfeld, Sex and the City) - The lasting attraction of Sylvester Stallone statues. (Rocky in Philadelphia and Serbia) - Fandom and Conventions in TV and Films' mythic places of origin. (The Prisoner in Portmeirion, Wales) - Festivals in mythic hometowns: Embracing fictional TV and films as local culture. (The Andy Griffith Show in Mount Airy, NC; Superman in Metropolis, IL; Twin Peaks in North Bend, WA) - Adaptation and Place Promotion: From Literary Tourism to TV and Film based Tourism. (Anne of Green Gables) - Popular History and Popular Memory: Commemorating TV and Film in the settings that inspired them. (Robocop) - Real places become mythic: Fictional Film-based tourism. (National Treasure in Washington, DC; Transformers in Chicago; The Da Vinci Code) - Mythic characters and mythic places as heritage tourism. (Alice in Wonderland; King of Kensington) - Fans and Secular Pilgrimages: Visiting Mythic TV and Film Places. (The Sound of Music) - New Zealand as Middle Earth. (Lord of the Rings, The Hobbit) - The Horror of being associated with Horror Films. (The Amityville Horror, The Blair Witch Project) Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please e-mail your 200-word proposal by June 1, 2012: Derek S. Foster, Area Chair, 2012 Film & History Conference “Mythic Characters and Places Made Real: TV and Film In Situ” Department of Communication, Popular Culture and Film Brock University Email: [email protected] --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: "Bunnies, Bars, and Stews": Myths of 1950s-1970s Cultural History (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “Bunnies, Bars, and Stews”: Myths of 1950s-1970s Cultural History in the Popular Present” An area of multiple panels for the Film & History Conference on “Film and Myth” September 26-30, 2012 Milwaukee, Wisconsin, USA www.filmandhistory.org Deadline: June 1, 2012 Contemporary producers of film and television seem eager to take on the post-World War II period, from the 1950s through the 1970s. Perhaps spurred on by the popularity of Mad Men, now approaching its fifth season, the 2011 television fall lineup featured series such as Pan Am, about international flight attendants (then known as "stewardesses") at the beginning of the commercial jet age, and NBC's short-lived The Playboy Club, which featured a behind-the-scenes look at the original Chicago "gentlemen's" club that brought Hugh Hefner’s magazine to life. The time appears right to capture the era in all its popular culture glory. How are we to understand films and programs such as these? Are they products of cultural history, transmitting perceptions garnered from reputable primary and secondary sources, or are they powerful purveyors of a mythic past, whose narratives reflect and shape the stories we tell about ourselves? In what ways do their iconic representations of “bunnies, bars, and stews” serve to overwrite or subvert other portrayals of the era? This area, comprised of multiple panels, aims to examine how contemporary filmmakers represent the three decades following World War II, politically and culturally. Especially welcome are papers that explore the ways in which films and television programs seek to support or subvert existing myths about the post-war history of the United States, and consider how these films reflect issues of sexism, racism, and homophobia during this period. Questions for consideration may include, but are not limited to: - In what ways does each of these post-war decades come with its own set of myths and sense of nostalgia? Are certain time periods more prone to myth making or myth-busting? - How might these contemporary depictions confirm, distort, highlight, or resist historical narratives of the post-war period? - How might these narratives reinforce or subvert stereotypical representations of gender, class, sexuality, race, etc.? Are the myths dependent upon these stereotypes? - How might we compare television versus film depictions of a given post-war decade or event? - Is it possible for depictions of little known stories from post-war history to avoid the binary of myth creating vs. myth breaking? Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please email your 200-word proposal by June 1, 2012: Carney Maley Area Chair 2012 Film & History Conference “Bunnies, Bars, and Stews”: Myths of 1950s-1970s Cultural History in the Popular Present” UMass Boston [email protected] --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: Mythis of Stardom (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “Myths of Stardom: Cultivating Star Identities” An area of multiple panels for the Film & History Conference on “Film and Myth” September 26-30, 2012 Milwaukee, Wisconsin, USA www.filmandhistory.org Deadline: June 1, 2012 Stars and celebrities have long served as objects of fascination; their fashions and possessions, triumphs and tragedies, idiosyncrasies and lifestyles, all garner attention from fans and detractors, alike. During the Star System, Hollywood sought to control and shape the images of their stars by carefully placing certain stories in fan magazines and other public venues, manipulating information on intimate relationships, sexual orientation, and personal struggles in an effort to garner and maintain fan appeal and increase box office sales. The Studio Era may have passed, but contemporary fan magazines, along with their counterparts on television and in digital media, continue the tradition of shaping the way we view stars. How does the media represent stars, and how do we respond to these representations? What, if any, are the benefits of this kind of shaping, and to whom? In what ways do the crafted images of stars (mis)represent their off-screen identities? How effective are stars at crafting their own images, independent of the media outlets (such as well-known efforts by Mae West, Cary Grant, and others)? How have the roles of star personas shifted from the Studio Era to present day? This area, comprised of multiple panels, seeks papers on the myths and influences of star culture in film, television, and other related forms of media. Possible topics include, but are not limited to: Alternate Identities: dividing the public from the private “Selling” Stars: how stars are promoted, “bought,” and “sold” to the public Identification with Celebrity: our own identities as influenced by the stars Star Powered Advertising: are you buying what product they’re selling? Fan Magazines: implications, history, and impacts From Luella Parsons to Parez Hilton: the gossip columnist Fan Culture: the importance of having “followers” Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please email your 200-word proposal by June 1, 2012: Emily Schwartz Area Chair 2012 Film & History Conference “Myths of Stardom: Cultivating Star Identities” Oakland University Email: [email protected] --------------------- From: Cynthia Miller <[email protected]> Subject: CFP: Marriage and Family Myths (6/1/12; 9/26-30/12) SECOND ROUND CALL FOR PAPERS “Marriage and Family Myths in Film and Television” An area of multiple panels for the Film & History Conference on “Film and Myth” September 26-30, 2012 Milwaukee, Wisconsin, USA www.filmandhistory.org Deadline: June 1, 2012 Representations of marriage and family in film and television are central to our shared cultural conceptions of these institutions. In every era, ideals are formed around marriage and family that are shaped just as much through presence (literal representations) as they are through absence (tales of longing for these ideals). How do representations of marriage and family shift in order to accommodate changing cultural conditions? How are representations of marriage and family understood by critics and audiences as mythology? This area, comprising multiple panels, will address the operations of mythology in moving image representations of marriage and family throughout historical and cultural changes. Papers that explore how such myths are played out in national contexts, outside of US culture, are especially welcome. Possible topics include, but are not limited to, the following: Ethnic Family Sitcoms in Early Television Backlash: Single Parent Families and Postfeminism in Film and Television Classical Hollywood Comedies of Remarriage The “Family Hour”: Broadcast Policies and Family Programming Generation Gap: The Impact of the Counterculture on Representations of Family Family Nostalgia: 1950s Ideals in Contemporary Film and Television (Far From Heaven, Pleasantville, Mad Men) The Family in Wartime Gender Trouble: Myths of Traditional Masculinity and Femininity The “Family” Film: Disney and the General Audience Market Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. Please e-mail your 200-word proposal by June 1, 2012: Caryn Murphy Area Chair, 2012 Film & History Conference “Marriage and Family Myths in Film and Television” University of Wisconsin Oshkosh Email: [email protected]