CFP – Derrida and film studies, Extended deadline
Co-edited by Kamil Lipiński & Andrzej Marzec
Jacques Derrida’s legacy, based on his in-depth insight into the ambiguity of literary theory with an emphasis on the method of deconstruction, flourished in the 1980s and 1990s in the context of 20th-century visual arts and film studies. The framework of Derrida’s thought is amply reflected in various concepts such as différance, iterability, hospitality, critique of logocentrism, the speech-writing opposition, teletechnology, spectrality, pharmakon, economy of gift, supplementarity, and the postal metaphor. Despite Derrida’s death, his philosophical range of concepts remains quite alive, fostering new methodological approaches that may contribute to the emergence of useful, prolific tools of analysis and interpretation.
The purpose of this volume is to rediscover deconstructive theory via its application to the pluralistic universe of film forms that disseminate in manifold directions and create differences across the film medium. In so doing, they reveal the differential specificity of the medium, which serves as the point of departure of the projected volume.
Contributions may deal with questions concerning all genres and aspects of audiovisual content, ranging from theoretical insights and deconstructive perspectives to film analysis and philosophical studies. The subject matter thereby will develop a wide range of haunting imaginations around the ways how Derrida may be presented postmortem. The volume will present a vast echo chamber and a hall of mirrors, constructing a labyrinth of contributions. As this multiplicity of perspectives is irreducible, the book will conform to the Derridian theoretical framework, namely, the potentiality which concealed in his books.
As mentioned, the principal aim of the project is to rethink the application of difference to moving images.
On the other hand, we assume that “there is nothing outside the text”: a stumbling block and flashpoint for the misunderstanding of Derrida’s work that continues to proliferate today. The project will advance our understanding of the role of deconstructive approaches, as well as the intervention of difference in galvanizing inclusive responses to the contemporary state of philosophy, aesthetics and film theory. This initial recognition signals that the problem has been detected but has not been conceptualized properly. The mirror-like, ”imaginary” deconstruction indicates that many ideas may arise and that the full exhaustion of Jacques Derrida’s theory has not yet been achieved.
Potential themes to be addressed in the special volume:
- Deconstruction of binary oppositions – inside/outside of cinema
- Archive fever and the problem of memory
- Hospitality and the other in visual culture
- Future and l’avenir in sci-fi movies
- Iteration and supplement – the never-ending art of sequels
- The gift of death – horror and thriller movies
- Spectrality – The Return of the Living Dead and cinema as the haunted house
- This Strange Institution Called Cinema – the art of writing and différance?
- Visual culture after the end of metaphysics of presence
- Weak messianism – the promise of cinema
- Of an Apocalyptic Tone Recently Adopted in Cinema – catastrophism and the promise of apocalypse
- Gender difference and the feminism
- Supplement and digital cinema, special effect
- Hieroglyphic writing in the cinema
- Destinerrance and the indeterminate journey, postcard
- Trace in the cinema
- Film and telecommunication
- Politics of friendship in the cinema
Scholars interested in the topic are invited to submit a short proposal of 300 words, 100-word bio to email@example.com or firstname.lastname@example.org by 31.03. 2022. Authors whose proposal has been accepted are kindly requested to submit the final version by September 31, 2022. The volume accepts contributions in English.
Please find below a very basic style guide:
-All text in Times New Roman 12 points.
– Most important: Use intext citations like (Bazin 1961: 41). Nothing else! At the end, put a bibliography in this style:
– Bauman, Zygmunt. 2007. Liquid Times: Living in an Age of Uncertainty. Cambridge: Polity Press.
– Bazin, André. 1961. Qu’est-ce que le cinéma? [4 volumes]. Paris: Cerf. Engl.: What Is Cinema? [2 volumes]. Berkeley:
University of California Press, 2005.
– Benezra, Neal. 2002a. “Raw Materials” in R. Morgan (ed.), Bruce Nauman. Baltimore: The Johns Hopkins University Press, 23–40.
– Bostrom, Nick. 2003. “Are you Living in a Computer Simulation?” in Philosophical Quarterly 53,144–67.
– Use footnotes only when you want to add something to the text. Do not use them for referencing. The intext citation is enough for referencing.
– If you quote text in the footnotes, do also only use intext citations like (Bazin 1961: 41).
– The intext quotation should come like this:
– He is “on the side of death and of all dichotomies because he transcends them” (Le Bot: 6).
– Please pay attention to the place of the final quotation marks and the period.
– Make subtitles every 3 to 5 pages. The subtitles should be numbered and come in bold.
– Longer quotations are indented half an inch.
– Translations of texts must be official translations. Only when the text has not been translated can you provide your own translation.
The target length for an article is 5500-6500 words.
The book is potentially scheduled for the Brill Philosophy of Film Series list: