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!

Cinema, the government and the popular

The latest issue of the Journal of Popular Film and Television features my article Cinema, the Government, and the Popular: Popular and Commercial Aspects of Cultural Film Support in Flanders (Belgium). You can download it here.

cinema-the-government-and-the-popular

The article examines the evolution of both the popular and the commercial aspects within the official film production support in Flanders between 1964 and 2002. The article sheds light on the policy motivations underlying the cultural-commercial tension, which was a permanent issue of conflict for the Flemish film policy actors. As such, it provides a broader historical context to my publication on Flemish popular comedies in the 1980s.

Radio dramas & ‘transmediality’

This morning, I participated in an exciting ‘audio workshop’ organized by the Study Centre for Experimental Literature (Ghent University & Vrije Universiteit Brussel). After some fascinating introductory reflections by the organizers on the historical context of radio dramas in Flanders, the Netherlands and Germany, and their theoretical and analytical possibilities in the light of ‘transmediality’, four speakers approached one or more radio dramas from a different angle. Janine Hauthal (VUB) talked about Samuel Beckett’s Cascando from a drama perspective, thereby including some critical gender-related observations (why are the roles in Cascando always interpreted by men, while Beckett doesn’t prescribe any sex to the characters? Is it really only because of a dominant – and restricting – autobiographical reading?). Luk Vaes (Orpheus Institute) offered a musicology perspective on the ‘radio dramas’ by the fascinating composer Mauricio Kagel.

audioworkshop

Lars Bernaerts (Ghent University) shared his insights on the practice of novel-to-radio drama adaptations, taking Terug tot Ina Damman, based on Simon Vestdijk’s novel, as a starting point to talk about how literary conventions are taken over and slightly adapted, while the multi-modal possibilities of the radio drama medium itself are also at play. In my own talk, I also focused on a literary adaptation: how the theatre play De Vertraagde Film (1922), by the Flemish writer Herman Teirlinck, was made into a radio drama by the same name in 1967. The transmedia-perspective was enriched as there was also made a film based on De Vertraagde Film in 1937, Het Kwade Oog, by Charles Dekeukeleire in co-operation with Teirlinck himself. This transmedia perspective was follow by some institutional considerations, as the radio drama was made by the public service broadcaster BRT to pay tribute to Herman Teirlinck, who had just passed away. As I’m invited to give a talk on Teirlinck’s relation to film during a study day in February, I’m looking forward to work further on this material!