[Discussion] CFP: Interval Conference: Film (8/31/05; 11/5/05)

[Sule Tarakcioglu]

From: Stefani Bardin <Stefani_Bardin@umit.maine.edu>

Call for papers and film/video submissions:

INTERVAL (1)
film can help us think thought

A CONFERENCE AT HALLWALLS CONTEMPORARY ARTS CENTRE BUFFALO AND THE DEPT 
OF MEDIA
STUDY, UNIVERSITY AT BUFFALO.
November 5th 2005

"The cinematographic image must have a shock effect on thought, and force
thought to think itself as much as thinking the whole."
(Gilles Deleuze, "Cinema 2: The Time-Image", pg 158)

This conference is intended as a confluence, bringing together 
filmmakers and
theorists for a day of debate and exchange, based around Deleuze's film
philosophy, and his terms: the time-image and the irrational interval. 
Interval
(1) will take place in Buffalo in November 2005. Interval (2) will take 
place in
London in February 2006.

Interval (1) seeks:
- written papers (15-20 mins in length)
- films/videos, as papers (max. 30 mins in length as presentations. 
Longer form
works will be shown in a related screening.)

Deadline for submissions: 31 August 2005

 From those filmmakers who think by way of their cinema, we are looking 
for films
that show the world upside down, using elements including disrupted 
narrative,
non-linear form, the space between memory and experience. Films that 
feel like
falling over, rendering time both distended and retracted. Films that 
encourage
the thinking of new thoughts. From writers and researchers, we are 
looking for
papers that interrelate theory and practice, that examine sensory-motor
interruption and the non-teleological in film and video. Papers can be
performative in nature, and cross platform.

- What is an irrational interval?
An irrational interval occurs when a cut between two separate moving 
images is
not motivated by movement or action. For Deleuze, this type of interval can
operate as a fissure or tear within the moving image text, through which the
brain might pass into the arena of the not-yet-thought. The time-image, 
and its
chief tool the irrational interval, therefore necessarily cuts an audience
adrift from the rational interval of Hollywood and of Eisenstein&#65533;s
dialectical montage. Not the train careering towards the screen, nor the 
shock
of the edit and of seeing two separate depictions of time spliced 
together, but
rather the "open Whole" of time in non habitual thought.

Since the inception of cinema, filmmakers have sought to make direct 
links with
an individuated audience outside of the dictates of on-screen action, often
thrusting the viewer in a disorienting way into the frame and the 
interval. What
thoughts occur in these gaps and what remains to harness from the 
interval? In
the digital and non-linear age, what can we now say of the interstices 
between
screen and mind, between film and world? What current forms of documentary,
fiction and artists film/video operate as Open Whole and opportunity for new
thought?

Interval will be an appraisal of contemporary and future film/video as a
currency for the development of our real. The Confluence will consist of a
keynote address and keynote feature film, plus a number of film and written
papers and related durational or experimental screenings. All persons 
interested
in crystalline forms of mind and moving image, whether makers, watchers or
theorists, are welcome.

Please email 300 word abstracts for papers.
Please send 50-100 word synopses for film/video, together with a dvd or 
mini dv
tape.

To:
Steven Eastwood (Professor) and Stefani Bardin (Graduate Student)
Department of Media Study
University at Buffalo
213 Center for the Arts
Buffalo, NY 14260-6020
USA

[ mailto:eastwood@buffalo.edu ]eastwood@buffalo.edu
[ mailto:srbardin@buffalo.edu ]srbardin@buffalo.edu


- Interval (1) -



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