Past Events - 2012

Fall 2012 Proseminar in Cinema and Culture (048:112):
"The Moving Image Among the Arts"

Instructor: Dimitrios S. Latsis

All screenings are free and open to the public and will be held at 6:30 p.m. in 101 BCSB (Becker Communication Studies Building) unless otherwise noted.

August 23 Intro – Fundamentals
  Pictura: An Adventure in Art  (omnibus film on Carpaccio, Toulouse-Lautrec, Gauguin, Goya, Bosch, Van Gogh) – First US Screening in 60 years!
August 30 Comparative Stylistics (Cubism)
  Le mystère Picasso (Clouzot), Guernica (Resnais & Hessens) - Special Guest: Prof. Jennifer Wild (U Chicago)
September 6     Cine-Plastics (Sculpture)
  Les Statuent Meurent Aussi (Marker & Resnais), Thorvaldsen (Dreyer), Visual  Variations on Noguchi(Menken), Works of Calder (Matter), Vaastu Marabou-extract (Kailasam)
September 13     Cine-Dance
  The flute of Krishna, A Study in Choreography for Camera (Deren), Divine Horsemen: The Living Gods of Haiti-Extract (Deren), Pas de Deux (MacLaren), Deep Hearts-Extract (Gardner)
September 20     Art-History-Politics (in conjunction with UIMA exhibition on Napoleon I) - Special Guest: UIMA Director and Exhibition co-curator De Sean O’Harrow
  Hubert Robert: A Fortunate Life (Sokurov), Napoléon, David Le sacre de l'image (Patrice Jean)
September 27 Stillness/Motion (Photography)
  La jetée (Marker), (nostalgia) (Frampton), Doll Clothes (Sherman), Serene Velocity (Gehr)
October 4 ‘Museum Movies’ Today – Special Guest: Prof Angela Dalle Vacche (Georgia Tech)
(venue TBC)
Summer Hours  (Assayas), Une visite au Louvre – extract (Straub, Huillet)
October 11 Stage + Screen (Theater)
  Film (Becket), Patriotism (Mishima), Krapp's Last Tape (Egoyan)
October 18 Architecture – Special Guest: Prof Chip Lord (UC Santa Barbara)
Film Selection TBC: Manhatta (Sheeler & Strand), Les bâtisseurs (Epstein), House (After Five Years of Living) (Eames), Arabesque for Kenneth Anger (Menken)
October 25 Visual Music
  Allegretto (Fischinger), Synchromy No. 4: Escape (Bute), Rhythm (Lye), Allures (Belson), Batteries Dogon - éléments pour une étude des rythmes (Rouch, Rouget)
November 1 Cine-Poetics (in collaborations with WiP- Work’s in Progress festival 2012) - Special Guest: IWP Fellow & Poet Dimitris Lyacos (Greece)
  Selection of the Artist’s Works TBC
November 8 Video - Gallery
  Tap and touch cinema (Export, Weibel), Tele-actions: TV + VT works (Weibel), Global groove – Medium is the medium– Paik meets Beethoven (Paik), 15 Minutes (Warhol), Correspondences (Erice & Kiarostami)
November 15 Intermedia – Special Guests: Faculty from UI Intermedia Program
  Selection of the Artists’ Works TBC
November 29 Perception / Consumption
  Ways of Seeing (Berger), Still Life (Farocki)
December 6 GodArt
  Passion – extract, Histoire(s) du Cinéma (2 episodes) (Godard)

This series is co-organized by the Department of Cinema and Comparative Literature, the Institute of Cinema and Culture, the College of Liberal Arts and Sciences, and International Programs.


“Visions of the Future: Global SF Cinema"

The University of Iowa, Iowa City, Iowa, April 12-14, 2012

Keynote Speakers:

Professor N. Katherine Hayles (Literature Program, Duke University)
Professor Thomas LaMarre (East Asian Studies, Art History and Communications Studies, McGill University)

Once considered a marginal object of study, science fiction (SF) is undergoing a radical revision in academic circles, increasingly positioned as a privileged site for interpreting contemporary theoretical concerns on a global scale. Filmmakers throughout the world work both within and outside of the mainstream to pose alternative visions of globalization and its discontents, as showcased in films such as District 9 (Neill Blomkamp, South Africa, 2009), Sleep Dealer (Alex Rivera, U.S.-Mexico, 2008), The Host (Bong Joon-ho, South Korea, 2006), and Pumzi (Wanuri Kahiu, Kenya, 2009).

At the same time, shifts in international filmmaking practices call for a reconsideration of SF cinema, not as an abstract category, but in terms of the networks it makes possible. The rise of digital filmmaking, for example, has implications for the production of peripheral SF; cyberculture has altered how SF is produced, distributed, and received.

“Visions of the Future: Global SF Cinema,” made possible by an Arts and Humanities Initiative Grant from the University of Iowa, is designed to define an emerging field, moving away from the paradigm of national cinema to bring together shared theoretical frameworks, identifying new models and methods to help us investigate SF cinema’s relationship to contemporary global problems.

We invite proposals for papers that examine the multiple permutations of SF film around the world, from its origins to the contemporary moment. While we welcome all abstracts, we are especially interested in papers that address one or more of the following:

*immigration, citizenship, and labor
*shifting constructions of identity (including race, gender, ethnicity, nationality, and sexuality)
*theories of technology (such as posthumanism, transhumanism, techno-horror, cyberpunk, and techno-utopias/dystopias)
*bioethics and contagion
*imperialism, neo-imperialism, and the legacy of colonialism
*ecocriticism and environmental catastrophe
*how SF “travels” in and through dubbing, subtitling, and the film festival circuit
*cross-cultural SF film adaptations and remakes
*theories of temporality and history in “multiple” or “alternative” modernities
*SF and new media (including virtual realities, video games and MMORPG, mobile phones, online fandoms, and special effects such as CGI and 3-D)

The organizers will coordinate panels according to shared theoretical concerns, rather than regional or national specialization, to ensure interdisciplinary dialogue. Selected papers will be included in a refereed collection of previously unpublished essays on global SF cinema.

In addition to scholarly panels, the conference will feature screenings of key films in the SF genre from different national cinemas, followed by discussions.


Jennifer Feeley, Assistant Professor, Department of Asian and Slavic Languages and Literatures; Cinema and Comparative Literature
Sarah Ann Wells, Assistant Professor, Department of Spanish and Portuguese
The University of Iowa