Liverpool Film Seminar 2010 -11
Liverpool Film Seminar
Monday, 15 November 2010
Dr Warren Buckland (Oxford Brookes University)
In his presentation, Warren will not try to explain what the film means, for this activity is reductionist and takes something away from the film. Like Raymond Bellour in his later textual analyses (such as his essay called “The Film We Accompany”), he will “accompany the film as it unfolds,” reading “from the film” rather than reading “into it.”
Warren Buckland is Reader in Film Studies at Oxford Brookes University. He has seven books to his name: Film Theory & Contemporary Hollywood Movies (2009); Puzzle Films: Complex Storytelling in Contemporary Cinema (2009); Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster (2006); Studying Contemporary American Film: A Guide to Movie Analysis (2002) (with Thomas Elsaesser); The Cognitive Semiotics of Film (2000); the best-selling Teach Yourself Film Studies (1998; third edition, 2008); and The Film Spectator (1995). He also edits the journal the New Review of Film and Television Studies for Routledge while, currently, he is working on the monograph Film Theory: Rational Reconstructions (Routledge, 2012) and co-authoring (with Edward Branigan) the Encyclopedia of Film Theory (Routledge, forthcoming).
Tuesday, 14 December 2010
Professor Robert C. Allen (University of North Carolina)
Mon 31st January 2011Lecture Theatre 9, Rendall Building, University of Liverpool
Prof Paul McDonald (University of Portsmouth)
‘Hollywood, Post-studio Stardom, and ”The Will Smith Business”'
Monday, 11 April 2011
This seminar looks at the central ways that time enters the moving image: succession, scan, latency and vector prediction. It argues that contemporary chip design has opened up an extraordinary new mode of time inside the individual frame, from capture to release. At the same time however, the compression-decompression algorithms used universally in storage and transmission betraying the most fundamental tool of the potential liberation of time, the vector, by using it as a means to control the effervescence of the new temporality. The paper includes clips from a number of digital videos and feature films which work at the dialectical edge between these struggles over the meaning and nature of system and structure, field and frame.
Sean Cubitt is Professor of Global Media and Communication and director of the Research Centre in Global Art and Culture at Winchester School of Art (University of Southampton). His publications include Timeshift: On Video Culture (Comedia/Routledge, 1991), Videography: Video Media as Art and Culture (Macmillans/St Martins Press, 1993), Digital Aesthetics (Theory, Culture and Society/Sage, 1998), Simulation and Social Theory (Theory, Culture and Society/ Sage, 2001), The Cinema Effect (MIT Press, 2004) and EcoMedia (Rodopi, 2005). He was the coeditor of Aliens R Us: Postcolonial Science Fiction with Ziauddin Sardar (Pluto Press 2002) and The Third Text Reader with Rasheed Araeen and Ziauddin Sardar (Athlone/Continuum 2002) and How to Study the Event Film: The Lord of the Rings (Manchester University Press, 2008). He is an editor of Cultural Politics and serves on the editorial boards of a dozen journals including Screen, Third Text, Visual Communication, Futures and The International Journal of Cultural Studies.
Monday, 9 May 2011
Professor Yvonne Tasker (University of East Anglia)
“A Provocative Presence: Military women in film and visual culture”
This paper explores the military woman as a compelling figure in film and visual culture. Taking examples from the UK and the US it explores some of the ways in which the military woman – a figure who has generated cultural comment and intense political debate at different historical moments – signals wider social preoccupations to do with gender, work and power. By turns celebrated, normalised and demonised, the military woman is a contradictory icon of both modernity and continuity. The paper focuses on examples drawn from WWII while seeking to draw out the contemporary resonance of wartime discourses.
Yvonne Tasker is Professor of Film and Television Studies at the University of East Anglia. She is the author and editor of a number of books exploring aspects of gender and popular culture including Interrogating Postfeminism: gender and the politics of popular culture (with Diane Negra). Her next book Soldiers’ Stories: military women in cinema and television since WWII will be published by Duke University press in July.