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 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 levittd@newschool.edu and adefren@conncoll.edu by  August 10th.

Japanese doujinshika---at least at this sort of amateur level---are often very leery of publicity. This might be a reaction to the arrests of several doujinshika in apparently random, token copyright enforcement cases in recent years (such as the infamous Pokemon doujinshika incident), or it might simply be a sign of how negatively "fringe" behavior is viewed in Japanese society

Snape is gorgeous---or at least that's what the djka at this show seemed to believe.

it's how Snape is depicted emotionally that's most telling on a cross-cultural level.