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Nele Noppe

Contesting Traumatic War Narratives: Space Battleship Yamato and Mobile Suit Gundam - 1 views

    By William Ashbaugh, in "Imag(in)ing the War in Japan: Representing and Responding to Trauma in Postwar Literature and Film"
Nele Noppe

Call for papers: The Artificial Life of Film: Dolls, Puppets, Automata, and Cyborgs in... - 0 views

  •  Proposed Panel for SCMS Conference, Los Angeles, March 17-21
     The Artificial Life of Film: Dolls, Puppets, Automata, and Cyborgs in Cinema

     Organizer Names:
     Deborah Levitt, Assistant Professor, Culture and Media Studies,
     Eugene Lang College, The New School
     Allison de Fren, Mellon Postdoctoral Fellow,  Ammerman Center for
     Arts & Technology, Connecticut College

     Summary: From the early films of Georges Méliès, Fritz Lang, and the
     Surrealist movement to Blade Runner, Being John Malkovich, Ghost in
     the Shell, and Lars and the Real Girl, the cinema has had an enduring
     fascination with artificial humans due to their unique ability to
     picture the tensions between motion and stasis, animation and
     inanimation, humanity and artificiality, the real and the virtual,
     and the vital and the mechanical. Artificial bodies have also made
     diverse appearances in film theory, from the "spiritual automaton"of
     Gilles Deleuze to Roland Barthes' meditations on a cinematic
     automaton in Camera Lucida to the broad field of reflections on
     cyborgs and/in cinema. This panel seeks to interrogate any or all of
     these conjugations of cinema and artificial lives — material and
     philosophical, live action or animated, in fiction or documentary. We
     are interested in the kinds of performativities engendered by these
     ambivalent bodies: their uncanniness, their ontological
     destabilizations, their epistemological games of masking and
     unmasking. Papers might also consider how artificiality is mobilized
     within particular genres or what kinds of meanings accumulate around
     artificial bodies in relation to gender or race. We are interested in
     how these figures help to construct a new genealogy of audiovisual
     culture, one that could illuminate cinema's digital or animatic
     present and future, as well as connections to various moments in the
     historical long durée of dolls, puppets, and automata.

     Please send an abstract of up to 300 words, five key references, and
     a brief bio to and by
     August 10th.

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