NECS conference "Sonic Futures Soundscapes and the Languages of Screen Media", 23rd June to 26th June in London

Dear all,

Please be reminded of the upcoming deadline for this year's NECS conference "Sonic Futures. Soundscapes and the Languages of Screen Media", which will be taking place from 23rd June to 26th June in London.

All proposals - for individual papers as well as pre-constituted panels - have to be submitted by January 31st! Papers sent in at a later date cannot be accepted. For further information about the conference, see our website, www.necs-initiative.org. Notification will follow shortly thereafter (around February 28, 2011). Information on travel and accommodation will be provided in early February.

January 31st is also the deadline for the second NECS Graduate Workshop ("Of Other Languages"), taking place on June 22nd, just before the NECS conference. You can download the CfP from www.necs-initiative.org – below the main call's entry.

And last but not least, please find attached the CfP of the workshop "Thinking Theory: Lacan/Deleuze: Seeing Sound" (deadline February 15), which will also be a part of the NECS conference.

Best wishes,
Sophie Einwächter

ATTACHED :

Thinking Theory: 1st Annual Workshop 2011
Lacan/Deleuze: Seeing Sound
25th June 2011 London (date to be confirmed)
In collaboration with the European Network for Cinema and Media Studies
NECS (www.necs-initiative.org)

What: 1st Annual ‘Thinking Theory’ Workshop 2011 on Lacan/Deleuze
as a part of the: Sonic Futures: Soundscapes and the Languages of Screen Media
23 June 2011 – 26. June 2011 London
When: 25. June 2011, (date to be confirmed)
Where: London, United Kingdom

Objective: This one-day workshop aims to gather two key note speakers and two
panels for a discussion on aspects of the work of Jacques Lacan and Gilles Deleuze
that intersect with concepts of sound in the cinema. Each keynote will give a one
hour lecture followed by a discussion, before the panels present their papers. The
aim of the workshop is to assemble researchers, graduate students, PhD and postdoctorates and engage them in a vivid discussion. If the spatial possibilities permit, the workshop is open to anybody who is interested in Lacanian/Deleuzian thinking.
We want to create a relaxed research environment within which students and
academics alike would feel comfortable asking questions and discussing the work of
these two complex seminal theorists. The purpose of the workshop is to create an
intellectually exciting and enriching interchange on sound and image between all
the participants.

Call for Papers
Lacan: Seeing Sound
Symbolic, Real, Imaginary
As Amanda Loos suggests here:
http://csmt.uchicago.edu/glossary2004/symbolicrealimaginary.htm, the main
Lacanian issues that seem to appear frequently in discussions of media,
representation, ideology and culture involve:
- the presumption/illusion of wholeness vs. fragmentation
- the role of language and symbol
- the kind of mediations performed by the ego through perception
- the function of "the gaze"
- defences against trauma
- changes in internal perception
- the complex relation of representation to "the real" (which for Lacan is what
cannot be represented)
We are interested in papers on Lacan and sound that intersect in any way with the
above topics, but especially with the concept of soundscapes in relation to Lacan’s
notions of the Symbolic, the Real and the Imaginary.
Deleuze: Becoming Sound
The work of Gilles Deleuze encompasses a vast field of critical thought. This field
incessantly evolves and expands with multiple readings of Deleuze. The very
challenge, however, lies in thinking with and through him, and by this, to further
evolve concepts; that is to experiment and not interpret, as Deleuze once put it. Yet
in order to experiment, a close-reading and a close thinking-through of selected
concepts might helpfully serve as a framework. Hence, we are interested in papers
on Deleuze and sound that tackle:
- Conceptualisation of sound and music
- Models of forming sound, deterritorialisation/ reterritorialisation, migration of
sound(s)
- Does something like minor sounds exist? Where could they be found and how do
they function?
- Lines of flight and sound, lines of flight of sound
- Concept of diagram and its possible application to sound and music
- Deleuze introduces the concept of becoming- music. Could one – by analogy or
by any other means - talk about becoming- sound?
- following the conceptualisations of the movement-image, time-image, could there
be something similarly graspable on the level of a sound-image?
- opera as a soundscape (questions of libretto, music score, operatic works of art
and becoming-sound)
Please send 300 word abstracts for 20 minute papers on Lacan to:
larathompson@hotmail.co.uk
Or on Deleuze to: jana.zilova@gmail.com
Closing date: 15th February 2011
Proposal by: Jana Žilová and Lara Thompson, 10th January 2011, Paris and London

International Conference (Italy) - 16/18 september 2010

FROM STAGE TO SCREEN: Musical Films in Europe and United States
(1927-1961)

International Conference
ORGANISED BY: Centro Studi Opera Omnia Luigi Boccherini, Lucca
under the auspices of COMUNE DI MONTE SAN SAVINO

DATES: 16-18 September 2010
LOCATION: Monte San Savino, Arezzo (Italy), Museo del Cassero (Sala
Conferenze)


UNDER THE SCIENTIFIC DIRECTION OF Massimiliano Sala
PROGRAMME COMMITTEE
Francesco Attesti, Lorenzo Frassà, Roberto Illiano,
Alika Mafezzoli, Fulvia Morabito, Luca Sala
KEYNOTE SPEAKERS
Prof. RAYMOND KNAPP (University of California at Los Angeles)
Prof. SERGIO MICELI (University of Florence and University of Roma 'La
Sapienza')
Further information: http://www.luigiboccherini.org/musicals.html

CALL FOR PAPERS (SCREEN SOUND Journal)

CALL FOR PAPERS

SCREEN SOUND
THE AUSTRALASIAN JOURNAL OF SOUNDTRACK STUDIES
ISSN 1838-3351
http://www.screensoundjournal.org/


EDITOR: REBECCA COYLE
ASSISTANT EDITOR: NATALIE LEWANDOWSKI


Screen Sound investigates, analyses and documents sound as it occurs
in relation to screen images, whether on the large or small screen, in
installation or online. Sound forms, functions and production are
included, whether as music, sound design, effects and atmospheres,
dialogue and performance, production processes and roles of personnel.
Articles, reviews and interviews are published in English language
from scholars, researchers and practitioners. The journal is
multidisciplinary in its remit, accommodating music, sound, media,
cultural, marketing and economic analysis. The publication focuses on
sound on screen media and issues relevant to work produced in
Australia, Aotearoa/New Zealand, and Oceania, and provides a forum for
case studies and debates relevant to the region. Editorial and
Industry Advisory Board members include soundtrack academics,
practitioners and experts from Auckland, Dunedin, Sydney, Melbourne,
Canberra, Lismore, Hong Kong, and Tokyo.


The publication is published annually as a refereed online journal at
http://www.screensoundjournal.org/


The second issue of Screen Sound is scheduled for publication in mid
2011. In this issue, we are particularly interested in articles on
improvisation in the composition of music for screen media.
Improvisation can occur as improvised musics and/or improvised
techniques. It can be used in the context of tightly composed scoring
and/or as a compositional device in response to narrative or image
track. There are various terms used to suggest such practices (eg
‘comprovisation’) and articles may offer an appropriate lexicon and/or
ethnographical studies of improvisation.


We are also keen to include articles on sound in television, online,
games, advertising and media performance domains, whether or not they
address the issue theme of improvisation.


The journal comprises three sections:
1: Double blind referee section with articles of 4,000-8,000 words.
Submission deadline: December 20, 2010.
2: Single referee edited section with industry reports, edited
interview transcripts, feature reviews, etc. Word length: 2,000-5,000.
Submission deadline: January 20, 2011.
3: Edited, non-refereed section of reviews, reports, responses and
reprints of seminal reports, etc. Word length: 1,000-4,000. Submission
deadline: February 20, 2011.


All proposals for articles should be sent to
edi...@screensoundjournal.org


EDITORIAL TEAM
Screen Sound Editor Dr Rebecca Coyle teaches in the Media studies
program at Southern Cross University, Lismore. She is currently
coordinating an Australian Research Council Discovery Project on
Australian film music production and innovation. She has published two
anthologies on Australian feature film music, and her most recent book
is Drawn To Sound, an anthology of international essays on animation
film music, published by Equinox (UK). See listings at:
http://works.bepress.com/rebecca_coyle/.


Editorial Assistant Natalie Lewandowski is a B.Commerce (2006) and
B.Arts Hons 1st Class (2007) graduate from Macquarie University, and
is currently a full-Scholarship PhD candidate. Natalie was awarded the
Macquarie University prize for E-commerce in 2005 and Honours – 1st
class for her thesis ‘Sound…Tracks’ in 2007. Natalie has worked as a
research assistant, as well as Marketing Manager, Sponsorship
Coordinator and Public Relations Manager for numerous arts and retail
organisations.

Call for Papers & Presentations : CINESONIKA

Call for Papers & Presentations

Keynote Speaker: Don Ihde


CINESONIKA: The First International Film and Video Festival of
Innovative Sound Design is adding a conference component. We are
seeking interdisciplinary contributions on sound in relation to the
moving image. Media thinkers, film scholars, art historians,
performance theorists, composers, filmmakers, sound practitioners,
multimedia semioticians, philosophers of perception - we invite these
these and others to submit proposals for 20 minute panel
presentations. All accepted submissions will be considered for
inclusion in a special issue of The Soundtrack journal (Intellect
books), 1000-3000 words for short articles, 5000-6000 for long papers.
Papers not selected for the special issue of the journal will be made
available as downloadable PDFs of the proceedings from the conference
website.
Submitting to the Conference


Please write "Cinesonika - Paper Submission" in the subject heading.
Deadline for Abstracts (under 500 words): July 31st, 2010.
Deadline for Papers (20 min panel presentations): September 15th,
2010.


Please submit your abstract and short bio both as an attachment (.doc
or .pdf) and also pasted into the body of your email submission, to
ofnicinesonika.com Important Dates


Festival Dates: Nov. 12th-21st, 2010.
Conference Dates: Nov. 12th-14th, 2010.
Conference Organizers


Michael Filimowicz, ofnicinesonika.com
Dr. Lisa Coulthard, drahtluoc.asilubc.ca Dr. Diane Gromala,
alamorgdsfu.ca

Call for papers : Voice-over and narration in films (France)

CIRCPLES – EA 3159
Centre interdisciplinaire Récits, Cultures, Psychanalyse, Langues et Société

Call for papers

Workshop
« Voice-over and narration in films»


3 one-day seminars
February, April and October 2011


Université Nice-Sophia-Antipolis
Faculté des Lettres, Arts et Sciences Humaines
98 boulevard Edouard Herriot
06240 Nice - France


The way the sound component of an audiovisual message contributes to create meanings, intuitions, sensations or emotions. It has been investigated in a lot of studies, among them, Michel Chion’s work is the cornerstone of the underlying theoretical framework. Among the numerous features of the sound components of a film, the workshop will focus on the specific case of voice-over, which is characterized, as the other off-screen sounds, both by its extra-diegetic and verbal dimensions.

At the time of the silent screen, resorting to street pedlars to comment the action on the screen announced the need to focus the understanding of the action through the use of discourse. When by the end of the twenties, sounds and images became synchronized, this discourse became property of the film director who was able to modulate its shape and its content following his own desires. Newsreel, documentaries, scientific and educational films adopted this technology for their own purposes.

It is mainly through the distorting lens of narration that functions and modalities of voice-over will be questioned during the seminar :
• In which way voice-over contributes to elaborate new narrative forms when fiction, as well as non-fiction, are considered? How the story constrains or, on the contrary, suffers from voice-over ? How to measure the power of voice-over when the story is in progress?
• What signs in the story allow speaker identification and also hearer identification? How to analyze voice-over as focusing? How the concept of storyteller has taken over the film language and hence, how the “narrative voice” as defined by Gérard Genette matches voice-over? How to analyze historical hazards of voice-over when literally adaptation is concerned?
• How voice-over and dialogues do articulate? When does voice-over occur during the story? How does it work with regard to temporality?


Selected bibliography

Bibliographie sélective :

- Michel Chion, La voix au cinéma, Paris, Editions de l’étoile, 1982.
- Michel Chion, La toile trouée, la parole au cinéma, Nathan, 1988.
- Sarah Kozloff, Invisible storytellers - Voice-over narration in American fiction film, Bekerley-Los Angeles, University of California Press, 1988.
- Michel Chion, L’audio-vision, Paris, Nathan, 1990.
- Claude Bailblé, La perception l’attention modifiées par le dispositif et cinéma, thèse de doctorat, Université de Paris VIII, 1999.
- Francis Vanoye (dir), Cinéma et littérature, Paris, Université Paris X, 1999.
- Yannick Lemarié, « La voix-off dans l’œuvre de Scorsese », in Etudes cinématographiques, n°68, 2003.
- Numéro spécial Voix-off, revue Vertigo, n°26, octobre 2004.
- Christian Canonville, « Dimensions sonores au cinéma : variations imaginatives », in Médiamorphoses, n°18, 2006.
- Alain Boillat, Du bonimenteur à la voix-over : voix-attraction et voix-narration au cinéma, Lausanne, Antipodes, 2007.
- Jean-Louis Alibert, Le son de l’image, Grenoble, Presse Universitaire de Grenoble, 2008.



Submitted papers must include :
• The title
• An abstract (~500 words)
• A short bibliography of the author(s)

Important dates:
• Papers due : 1rst October 2010
• Notification to author(s) after review by the scientific committee : end of October 2010

Proposals must be sent by email at Christel Taillibert : taillibe@unice.fr

Appel à communication : Voix-off et narration cinématographique (Nice)

CIRCPLES – EA 3159
Centre interdisciplinaire Récits, Cultures, Psychanalyse, Langues et Société

Appel à communication

Journées d’études
« Voix-off et narration cinématographique »


Trois journées d’études
en février, avril et octobre 2011


Université Nice-Sophia-Antipolis
Faculté des Lettres, Arts et Sciences Humaines
98 boulevard Edouard Herriot
06240 Nice


La façon dont la dimension sonore d’un message audiovisuel contribue à la création de sens, d’intuitions, de sensations ou d’émotions, a été explorée au sein de nombreux travaux, ceux de Michel Chion restant à ce jour la clé de voûte de cet édifice théorique. Parmi les nombreux éléments distinctifs de la bande sonore d’un film, ces journées d’études s’attacheront à explorer le cas particulier de la voix-off, caractérisée comme tous les sons off par sa dimension extra-diégétique, mais aussi par sa dimension verbale.

Déjà, à l’époque muette, le recours à des bonimenteurs pour commenter l’action se déroulant sur l’écran annonçait ce besoin d’orienter la lecture du spectacle cinématographique par le biais du discours. Avec l’apparition, à la fin des années vingt, de techniques de synchronisation de l’image et du son, ce discours afférent devint propriété du metteur en scène, qui put dorénavant moduler à loisir sa forme et son contenu. Les actualités, le documentaire, les films scientifiques et éducatifs, et bien entendu la fiction s’emparèrent de ce procédé afin de le mettre au service de leurs objectifs propres.

C’est avant tout à travers le prisme de la narratologie que seront interrogées la fonction et les modalités de la voix-off cinématographique au sein de ces journées d’études :

- Comment la voix-off participe-t-elle, dans le cadre de la fiction comme de la non-fiction, à l’élaboration de nouvelles formes narratives ? Comment le récit dicte-t-il ou subit-il la présence d’une voix-off ? Comment mesurer le pouvoir de la voix-off sur le déroulement du récit ?

- Quels signes dans le récit permettent d’identifier le locuteur et à qui s’adresse-t-il ? Comment analyser la voix-off en terme de focalisation ? Comment la notion de narrateur a-t-elle investi le langage cinématographique, et donc comment la notion de « voix narrative », telle que la définit Gérard Genette, rencontre-t-elle la question de la voix-off ? Comment analyser les aléas historiques de la voix-off au service de l’adaptation littéraire ?

- Comment s’articulent voix-off et dialogues ? Quand intervient la voix-off dans le récit ? Comment fonctionne-t-elle en termes de temporalité ?



Bibliographie sélective :

- Michel Chion, La voix au cinéma, Paris, Editions de l’étoile, 1982.
- Michel Chion, La toile trouée, la parole au cinéma, Nathan, 1988.
- Sarah Kozloff, Invisible storytellers - Voice-over narration in American fiction film, Bekerley-Los Angeles, University of California Press, 1988.
- Michel Chion, L’audio-vision, Paris, Nathan, 1990.
- Claude Bailblé, La perception l’attention modifiées par le dispositif et cinéma, thèse de doctorat, Université de Paris VIII, 1999.
- Francis Vanoye (dir), Cinéma et littérature, Paris, Université Paris X, 1999.
- Yannick Lemarié, « La voix-off dans l’œuvre de Scorsese », in Etudes cinématographiques, n°68, 2003.
- Numéro spécial Voix-off, revue Vertigo, n°26, octobre 2004.
- Christian Canonville, « Dimensions sonores au cinéma : variations imaginatives », in Médiamorphoses, n°18, 2006.
- Alain Boillat, Du bonimenteur à la voix-over : voix-attraction et voix-narration au cinéma, Lausanne, Antipodes, 2007.
- Jean-Louis Alibert, Le son de l’image, Grenoble, Presse Universitaire de Grenoble, 2008.



Les propositions de communication comporteront :
- Le titre de la communication
- Un résumé (500 mots environ)
- Une mini bio-bibliographie de l’auteur.

Date limite de réception des propositions : 1er octobre 2010
Réponses du comité scientifique : fin octobre 2010
Les propositions sont à adresser à l’adresse suivante : taillibe@unice.fr

Film Music Conference in Spain - April, 28th- 30th, 2010 (in spanish only)

V SIMPOSIO INTERNACIONAL
LA CREACIÓN MUSICAL EN LA BANDA SONORA

UNIVERSIDAD DE SALAMANCA
SERVICIO DE CURSOS EXTRAORDINARIOS Y FORMACIÓN CONTINUA FACULTAD DE GEOGRAFÍA E HISTORIA

SALAMANCA, 28 A 30 DE ABRIL DE 2010

La quinta edición del Simposio Internacional La creación musical en la banda sonora, organizado por la Universidad de Salamanca, consolida y perpetúa el interés que la musicología ha concedido a la música presente en los medios audiovisuales. Al mismo tiempo, estrecha los lazos con los ámbitos de la comunicación audiovisual y los estudios sociales, que empiezan a tomar conciencia de la importancia de la música como constructora de discurso.
Junto a temáticas de obligada recurrencia tales como la relación de géneros musicales concretos con el cine o el análisis historiográfico de diferentes etapas de nuestra música cinematográfica, este simposio abre el espectro a otros campos de estudio. De ahí que el programa aborde la música presente en medios audiovisuales tan cotidianos como el la publicidad televisiva, el videoclip o el videojuego, y no olvide temas cercanos a la práctica compositiva o a la proyección didáctica que presenta la música en el audiovisual.

Dirección
Dra. Matilde Olarte Martínez
Dra. Teresa Fraile Prieto
Dr. Joaquín López González
Dr. Eduardo Viñuela Suárez

Destinatarios: Alumnos universitarios de Historia y Ciencias de la Música, Comunicación Audiovisual, Historia del Arte y Humanidades en general; alumnado de otras especialidades interesados en el tema; alumnado de los Conservatorios de Música; profesores de educación primaria y secundaria; profesores, compositores y profesionales del sector musical.

Lugar de celebración: Salón de Actos “Ángel Rodríguez Sánchez”, Facultad de Geografía e Historia, c/ Cervantes 6. 37007 Salamanca. Tfno: 923-294550.
Las comunicaciones en mesas paralelas tendrán lugar en el Salón de Actos y en el Salón de Grados de la Facultad de Geografía e Historia.

Matrícula: La cuota de inscripción es de 60 euros para estudiantes universitarios y de 90 euros para el resto de participantes.

Información en http://212.128.129.103:666/servlet/Cext.Cext

Para realizar la matrícula, rellenar el formulario de preinscripción, imprimir 3 copias e ingresar el importe en la cuenta del Servicio de Cursos Extraordinarios, Banco de Santander, nº0049-1843-44-2110186234, haciendo constar el Código específico de este curso.

El plazo de inscripción termina el 26 de abril, y no es prorrogable en ningún caso.

Créditos: La Comisión de Docencia, delegada del Consejo de Gobierno, aprueba la
concesión de 3 créditos de libre elección para los alumnos universitarios de primer y
segundo ciclo matriculados en el Curso y que asistan, al menos, a un 85% del total de
horas. Al finalizar el Curso se entregará a los asistentes inscritos un certificado de participación de 30 horas.

PROGRAMA DEL SIMPOSIO
Ponencias a cargo de:

Sesión 1. Música y cine en España. Dr. Antonio Martín Moreno (Universidad de Granada), Dr. Julio Arce (Universidad Complutense de Madrid); Dra. Celsa Alonso
(Universidad de Oviedo); Dr. Joaquín López González (Universidad de Granada); Dr. Josep Lluís i Falcó (Universidad de Barcelona); Dra. Teresa Fraile (Universidad de Extremadura).

Sesión 2. La música en los medios audiovisuales. D. Julio Montero (Conservatorio Profesional de Ourense); Dr. Eduardo Viñuela (Universidad de Alicante); Dr. Antonio Notario (Universidad de Salamanca).

Sesión 3. Aplicaciones didácticas de la música en el audiovisual. Dr. Vicente
Galbis (Universidad de Valencia); D. Juan Carlos Montoya (Universidad de Castilla la
Mancha); Dña. María del Mar Blanco Moreno (Universidad de Salamanca).

Sesión 4. Géneros musicales en el cine. Dr. Jaume Radigales (Universidad Ramon
Llull de Barcelona); Dr. José Mª García Laborda (Universidad de Salamanca); D. Joan
Padrol (Escola Superior de Cinema i Audiovisuals de Catalunya, Universidad de
Barcelona).

Sesión 5. Estudios interdisciplinares en la música para audiovisual. Dra.
Matilde Olarte (Universidad de Salamanca); Dr. Carlos Pontes Leça (Departamento de
Música, Fundación Calouste Gulbenkian, Lisboa); Dr. Joachim Steinheuer (Universidad de Heidelberg).