Category Archives: Research & publications

Aankondiging boekpublicatie

In October 2017, my book on the history of film policy in Flanders will be published. To be continued …

In de zomercatalogus van uitgeverij Academia Press staat de aankondiging van mijn boek Subsidie, camera, actie!, dat in oktober 2017 zal verschijnen. Het boek is een herwerking van mijn doctoraal proefschrift over de geschiedenis van het filmbeleid in Vlaanderen. Wordt alleszins vervolgd …

 

Academia Press aankondiging Subsidie camera actie

Boekaankondiging in de catalogus

Research stay in Rome

Last Friday, I arrived in Rome, where I’ll enjoy a two-month research stay at, and supported by, the Belgian Historical Institute in Rome. As I have done in Paris in 2015 and in Amsterdam in 2016, I will study the history of film relations between Belgium and the country where I’m staying. For this research on official Belgian-Italian co-operation agreements and concrete coproductions, I will visit the Istituto LUCE-Cinecitta, the Direzione Generale per gli Archivi and the Biblioteca Nazionale Centrale Roma in Rome, and the Cineteca di Bologna in Bologna.

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Academia Belgica

I am grateful to be able to stay at the Academia Belgica, an fantastic institute and residency which has provided accommodation to numerous Belgian scholars and artists since 1939. My research stay started yesterday in a classy and very Roman style, as the director of the Academia Belgica, Wouter Bracke, had organized an impressive archeological tour in the magnificent Domus Aurea, Emperor Nero’s palace.

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Jan Cox’ painting ‘Hugo Claus and I’, which he painted during his residency at the Academia Belgica in 1954-1955. During that time, Cox’ lifelong friend Hugo Claus also stayed in Rome, where he got inspired by the Italian film world to write his 1956 novel ‘De Koele Minnaar’.

SCMS conference Chicago

Last week, I was fortunate to be able to attend the annual conference of the Society for Cinema and Media Studies, the biggest conference in the world focusing mainly on film. The conference took place in Chicago, which is worth a visit for its Arts Institute and Frank Lloyd Wright architecture alone. I attended several great presentations, and it was a stimulating experience to engage with so many North-American scholars and scholarly work for the first time in my life (hitherto I had only attended European conferences).

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Our panel: Petar Mitric, Julia Hammett-Jamart, myself and Marco Cucco

I was part of one of two panels on co-production policies and practices, organized by the International Coproduction Research Network, a consortium of scholars from around the world working on the policies and practices that shape international coproductions. I gave a presentation on Dutch-Belgian coproduction policies from the 1960s until the 1980s, and the role of a Greater-Dutch cultural ideology in this history.

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Hopper’s Nighthawks at the Arts Institute

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Frank Lloyd Wright’s Robie House

New article: Film policy & Flemish identity

The latest issue of Communications: The European Journal of Communication Research features my article The role of film production policy in stimulating a Flemish identity (1964–2002). This article is more or less a 10-page summary of my 430-pages PhD thesis. You can read the full text article here.

The article examines the period that starts in 1964, when a selective and culturally inspired support mechanism for feature films was introduced in Flanders, Subsequently, the support system ran until 2002, when it was structurally renewed. The research shows that throughout the course of the second half of the 20th century, there was an evolution in Flemish film policy towards more pluralistic and less essentialist and explicit national discourses, in which national elements, nevertheless, retained an important place.

Herman Teirlinck & film

Last Friday, I participated in a seminar on Herman Teirlinck, one of the protagonists of Flemish cultural life in the first half of the 20th century. He’s most famous for his literary works, his innovations in theater and, after the Second World War, for establishing ‘De Studio’, a drama workshop that educated various generations of actors. I presented a study on the only film in which Teirlinck was involved, the remarkable The Evil Eye (1937, Het Kwade Oog, dir. Charles Dekeukeleire).

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Niets bestaat vóór het spel, by Toon Brouwers

The seminar was organized by the University of Antwerp (the Research Center for Visual Poetics, my colleagues from last year), the Conservatory and the Royal Academy for Fine Arts Antwerp, to celebrate a new book by Toon Brouwers, on Teirlinck’s ‘De Studio’, its importance for theater education and its evolution until the 1990s.

Conference on Multivoicedness & European cinema

I’m very excited to announce the conference Multivoicedness and European Cinema: Representation, Industry, Politics! I’m organizing this conference as chair of the Film Studies section of ECREA, together with my colleagues Laura Rascaroli (University College Cork), Sergio Villanueva Baselga (Universitat de Barcelona), Helle Kannik Haastrup (University of Copenhagen) and Anders Marklund (University of Lund). The conference will take place in Cork on 10 and 11 November 2017. Here’s a link to the conference website, and I copy the Call for Papers below:

 

CFP Multivoicedness and European Cinema: Representation, Industry, Politics

Conference date: Friday 10th and Saturday 11th November 2017

Venue: University College Cork, Ireland

Organised by: ECREA Film Studies Section

Deadline for abstracts: 2 May 2017

Conference website: https://ecreafilmstudies2017.wordpress.com
European cinema has evolved from a homogenous and selective object of study, mostly shaped by frameworks of national industry, identity and culture, to a much more diversified field, reflecting the shift to a post-colonial, post-communist, post-national, globalised Europe. In the context of an increasingly diverse but also split society, in which social polarisation is on the increase due to the crisis of the Eurozone and the decline of the welfare states, and in which populism and nationalisms are on the rise, resulting in the strengthening of the Fortress Europe project, this conference aims to turn the spotlight on the less-represented and less-audible voices in European cinema in all its forms: fiction, documentary, mainstream, art house, independent, exploitation, art film. With an inclusive focus encompassing issues of production, distribution and reception, of representation and of form, of dissent and of control, the conference invites contributions that engage from a wide range of theoretical perspectives and methodological approaches with the politics of difference and with the representation and/or expression of alternative viewpoints in European films / in films made in Europe.

Keynote Speakers:

Professor Ewa Mazierska (University of Central Lancashire)

Professor Chris Wahl (Film University Babelsberg Konrad Wolf)

 

Abstracts are invited on topics related to Multivoicedness in European Cinema, including but not limited to:

  • Multivoicedness in national and transnational European cinemas
  • Peripheries, borders, and grey areas: falling between the cracks, speaking from the margins
  • Ethics and/or aesthetics of alternative voices
  • Audiodescription, subtitling and dubbing of multivoiced films
  • Cultural and market negotiations: translating cultures, crossing borders
  • Participation, dissent, resistance: audiences, politics, and public discourse
  • Alternative European cinemas and the global market
  • Other voices: niche markets, new forms of consumption
  • Deterritorialising identities, becoming migrant/minoritarian
  • Polyglot cinema: speaking from multiple subject positions
  • Genders and genres: decentering and in-betweenness
  • Alternative film festivals and other cinemas
  • Speaking in tongues: the audiences of multivoiced films
  • Queering European cinema
  • Nonfiction and commitment: documenting the silenced subject
  • Speaking for oneself: multiple forms of first-person filmmaking
  • Transnational, cosmopolitan, global: what European cinema?
  • A continent in motion: multiple commitments, divided belongings
  • The “New Europeans” in films / making films
  • Margins of industrial practices, alternative forms of production, distribution and reception
  • Speaking parts: person, character, actor, star

The conference will also be the host to special panel sections prepared by the HoMER network (History of Moviegoing, Exhibition and Reception) and FFRN (Film Festival Research network). 

Abstract submission: Please submit your abstract (max 300 words) along with key references, institutional affiliation and a short bio (max 150 words) or a panel proposal, including a panel presentation (max 300 words) along with minimum 3, maximum 4 individual abstracts.

Submission deadline: May 2nd 2017.

Proposal acceptance notification: June 23rd 2017.

Please send your abstract/panel proposals to the conference email address: filmstudiesecrea@gmail.com

Submissions for the HoMER section should be sent to Daniela Treveri Gennari: dtreveri-gennari@brookes.ac.uk and submissions for the FFRN section should be sent to Skadi Loist: skadi.loist@uni-rostock.de.

ECREA membership is not required to participate in the conference. Delegates will be required to contribute towards administrative and catering costs.

Conference details: The Conference is hosted and supported by the Department of Film and Screen Media, University College of Cork, Ireland: http://www.ucc.ie/en/filmstudies/

Conference organisers: Laura Rascaroli (University College Cork), Sergio Villanueva Baselga (Universitat de Barcelona), Helle Kannik Haastrup (University of Copenhagen), Anders Marklund (University of Lund), Gertjan Willems (Ghent University).

Conference email address: filmstudiesecrea@gmail.com

Conference website: https://ecreafilmstudies2017.wordpress.com

Etmaal at Tilburg

Yesterday and today, I have been attending the Etmaal van de Communicatiewetenschap, the yearly gathering of communication scholars working in the Netherlands and Flanders. In such a context, it is of course highly relevant to present our work on the Dutch-Flemish remake phenomenon. Eduard Cuelenaere presented the theoretical paper we wrote for Frames (with Stijn Joye and myself as co-authors, see this previous blog post). In line with the conference theme ‘innovative methods’, I gave a presentation on the use of digital qualitative methods in historical media and communication research.

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Hilde Van den Bulck receiving the Senior Career Award

This Etmaal edition was organized by Tilburg University. The evening program took place at Tilburg’s concert hall 013, an appropriate location to give a stage to some great academic work during the award ceremony. I was very happy to see that my Ghent University colleague Sara De Vuyst, who conducted an extremely relevant study on gender issues in a journalism context, received the ‘Flemish Award for Outstanding Doctoral Research in Communication Sciences’. The ‘NeFCA Senior Career Award’, honoring a lifetime of scholarly achievement in communication studies, went to Hilde Van den Bulck, professor at the University of Antwerp. A rightful choice, also from my experience, as she was an excellent professor for the course ‘national and international media policy’ I followed in 2009-2010, and her work on public televion and the ‘modernity project’ in Flanders has inspired me a lot during my PhD research. Looking forward to next year’s Etmaal in… Ghent!