Conference

Literature/Film Association Annual Conference

SPACE, PLACE & ADAPTATION
November 29-December 1, 2018
New Orleans, Louisiana, USA

Keynote: Christopher Schaberg, Dorothy Harrell Brown Distinguished Professor of English, Loyola University New Orleans

Holding our annual conference in New Orleans raises questions of space, place, and adaptation in the study of literature, film, and media. The city has long served as a point of contact and conflict between various cultures and their traditions, and its unique identity demonstrates the enduring influence of those populations today. While we welcome papers on any aspect of film and media studies, we are especially interested in presentations that address one or more of the following concerns (or similar topics):

•the poetics of space and place
• the politics of space and place
• adapting literary spaces and places in media
• teaching space, place, and media
• exhibition spaces
• the rural, regional, national, or transnational in media
• cosmopolitanism
• space, place, and identity
• media institutions, such as archives, film libraries, and film festivals
• location shooting and recreating place in media
• mobility, migration, and exile
• space, place, and genre
• sets as sites of inquiry
• production design
• media infrastructures
• architecture and media
• geographical approaches to media
• space, place, and performance
• Louisiana as a media capital

We also have significant interest in general studies of American and international cinema, film and technology, television, and new media, and other cultural or political issues connected to the moving image. In addition to academic papers, presentation proposals about pedagogy or from creative writers, artists, and filmmakers are also welcome.

Christopher Schaberg, our keynote speaker this year, is Dorothy Harrell Brown Distinguished Professor of English at Loyola University New Orleans, where he teaches courses in contemporary literature, cultural studies, and environmental theory. He has written four monographs: The Textual Life of Airports: Reading the Culture of Flight (2012), The End of Airports (2015), Airportness: The Nature of Flight (2017), and The Work of Literature in an Age of Post-Truth. He has also co-edited two collections: Deconstructing Brad Pitt (2014, with Robert Bennett) and Airplane Reading (2016, with Mark Yakich). With Ian Bogost, he co-edits the Object Lessons series, exploring the hidden lives of ordinary things.

Please submit your proposal via this Google Doc by July 15, 2018. If you have any questions or concerns, contact Pete Kunze at litfilm2018@gmail.com. Accepted presenters will be notified by August 15.

The conference hotel rate of $179/night is available at the Four Points Sheraton French Quarter until November 1, 2018. Limited travel grant support is planned to be available for select graduate students, non-tenure-track faculty, and/or independent scholars and artists. Details for an added application process for such support will be shared following proposal acceptances in August.

The conference registration fee is $200 ($150 for students and retirees) before October 1, 2018 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, visit the Literature/Film Association website at http://litfilm.org/conference and use our PayPal feature.

Presenters will be invited to submit their work to the Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit www.salisbury.edu/lfq.

Conference registration + membership dues are payable via PayPal, by clicking the button below.
• Dues ($20) + Regular Conference Registration ($200) = $220
• Dues ($20) + Student/Retiree Conference Registration ($150) = $170

Conference Registration




Past Conferences

Literature/Film Association Annual Conference 2017

POLITICS, ETHICS, AND ADAPTATION
October 26 – 29, 2017
University of Montana
Missoula, Montana USA
 

Download LFA 2017 Conference Program (PDF): LFA Conference 2017 Program Politics Ethics Adaptation

What are the political and ethical dimensions involved in adaptation – between media, genres, societies, communication systems, and other narrative and cultural phenomena? How are topics of politics and ethics treated in different textual and mediated spaces? These are questions the LFA seeks to address and discuss at this year’s conference as we face a time of acute political division nationally in the US and internationally across the globe. Connected to these queries are considerations of responsibility and freedom involved in acts of expression and communication in literature, film, mass media, the press, government, and everyday life. How can boundaries found between and amid such spaces be challenged and re-approached via the lens of politics and ethics? While such a view involves definitions and rules of power, privilege, and principle, this critical scope can also invite us to imagine new paradigms of possibility.

Our conference keynote speaker is Theodore Van Alst, Associate Professor and Chair of the Department of Native American Studies at the University of Montana, where he is also a member of the Film Studies program. A writer, critic, and educator, Van Alst has published book chapters in Seeing Red: Hollywood’s Pixeled Skins and in the series Visualities: Perspectives on Contemporary American Indian Film and Art. His articles have appeared in the Journal of Indigenous ResearchGreat Plains Quarterly, as well as in the Cuban cinema and television journal Mirados, and his fiction and photography have been featured in The Rumpus, The Raven ChroniclesHigh Desert Journal, Yellow Medicine ReviewEntropy, and Indian Country Today. Professor Van Alst has additionally worked as a project consultant for the Disney Channel and NPR’s All Things Considered, appeared in the History Channel series Mankind: The Story of All of Us, and has been interviewed by numerous media outlets on subjects ranging from Native representation and Tonto to Spaghetti Westerns, headdresses, and Twilight. He is also co-editor and creative editor of Transmotion: A Journal of Postmodern Indigenous Studies, and editor of the volume The Faster Redder Road: The Best UnAmerican Stories of Stephen Graham Jones.  A collection of Van Alst’s own short stories, Sacred Smokes, will be published by the University of New Mexico Press in the fall of 2018. Van Alst is currently working on a book project on European cinematic treatments of American Indians in the 1960’s and 70’s to be titled either Code(d) Red: Revolution and American Indians in European Film or Spaghetti and Sauerkraut with a Side of Frybread.


 

Literature/Film Association Annual Conference
October 13-16, 2016
Rowan University
Glassboro, NJ

“Alternate Worlds”

Download LFA 2016 Conference Program –  LFA 2016 Schedule (PDF)

Every work of fiction in every medium presents a world distinct from our own. Adaptations in particular can be defined in terms of their worlds, which provide alternatives to both the world of their audience and the world of their source texts. And some works of fiction invite us to think more speculatively and precisely about what it means to present or encounter an alternate world. Film and media adaptations have frequently projected an alternate cinematic world on screen that re-imagines the past and future. Movies (Blade Runner, The Quiet American), TV shows (Sherlock, Agent Carter), and digital ‘new media’ series—increasingly streamed and ‘binge watched’ on Netflix (House of Cards) and Amazon (The Man in the High Castle)—have been inspired by a variety of fiction novels, short stories, plays, comics, graphic novels, and historical works of nonfiction, memoirs (Bridge of Spies) or documentary (Jazz on a Summer’s Day) cine-essays that mediate and reframe history to portray an alternate worldview which re-imagines the past and anticipates a vision of future events. Digital video streaming and binge watching of films and media also creates an alternate world transforming the cinematic or televisual viewing reception experience. What does this cinematic adapting, re-imagining of the past (or future), and projection of an alternate world on screen tell us about the cultural moment we find ourselves in? The 2016 Literature/Film Association conference explores the theme of “Alternate Worlds.”

The conference’s keynote speakers will be Frank Spotnitz, Chief Executive of Big Light Productions and writer-producer of the Amazon television series The Man in the High Castle (and The X-Files) who will discuss adapting Philip K. Dick; award-winning New York Times and JazzTimes critic Nate Chinen (co-author of Myself Among Others: A Life in Music with George Wein) will discuss adapting jazz to film in the Newport documentary Jazz on a Summer’s Day; and Thomas Doherty, Professor and Chair of American Studies at Brandeis University, an Academy Film Scholar, Fulbright Scholar, associate editor for Cineaste, film review editor for the Journal of American History, and cultural historian with a special interest in Hollywood cinema. Doherty’s books include Hollywood and Hitler, 1933-1939 (Columbia UP); Hollywood’s Censor: Joseph I. Breen and the Production Code Administration (Columbia UP); Cold War, Cool Medium: Television, McCarthyism, and American Culture (Columbia UP); Pre-Code Hollywood: Sex, Immorality and Insurrection in American Cinema, 1930-1934 (Columbia UP); Projections of War: Hollywood, American Culture, and World War II (Columbia UP); and Teenagers & Teenpics: The Juvenilization of American Movies in the 1950’s (Unwin Hyman).


Literature/Film Association Annual Conference
October 15-18, 2015
York College of Pennsylvania
York, PA

Download 2015 Conference Program (PDF): 2015 Film and Literature Association Program (Final)

“Adapting the Real”

Film adaptation has largely been inspired by fiction. Historically, the movies have taken their cue from novels, short stories, and plays. In recent years, however, a growing number of films have been based on works of nonfiction, including memoirs (American Sniper, Wild, Captain Phillips, Twelve Years a Slave), biographies (The Imitation Game, Unbroken, The Theory of Everything, Lincoln), histories (Argo, The Monuments Men, Public Enemies, Seabiscuit), reportage (The Bling Ring, Fast Food Nation, Moneyball, Green Zone)—even self-help and inspirational books (Heaven is for Real, What to Expect When You’re Expecting, Julie & Julia, Think Like a Man). Still other movies have sought to directly engage with or shape—in short, “adapt”—reality itself, from docudramas (Selma, Margin Call, Compliance, Foxcatcher) to essay films (Cave of Forgotten Dreams, Los Angeles Plays Itself, My Winnipeg, Waltz with Bashir), to say nothing of the history of documentary itself. What does this new appetite for the real—especially where adaptation is concerned—tell us about the cultural moment we find ourselves in? The 2015 Literature/Film Association conference takes up the exploration of this question as its theme.

The conference’s keynote speaker will be Timothy Corrigan, Professor of English and Cinema Studies at the University of Pennsylvania. Corrigan’s work in Cinema Studies has focused on modern American and contemporary international cinema, with a special interest in adaptation and nonfiction film. His books include New German Film: The Displaced Image (Indiana UP), The Films of Werner Herzog: Between Mirage and History (Routledge), A Cinema without Walls: Movies and Culture after Vietnam (Routledge/Rutgers UP), Film and Literature: An Introduction and Reader (2nd ed., Routledge), and The Essay Film: From Montaigne, After Marker (Oxford UP), winner of the 2012 Katherine Singer Kovács Award for the outstanding book in film and media studies. He has also published essays in Film Quarterly, Discourse, and Cinema Journal, among other collections, and is an editor of the journal Adaptation.


Literature/Film Association Annual Conference 2014
FLUID FRONTIERS: MARGINS AND CONFLUENCES IN LITERATURE, FILM, MEDIA, AND CULTURE

October 2 – 4, 2014
University of Montana: Missoula, Montana USA

Download 2014 Conference Program (PDF): LFA 2014 Program

Come join us at the 2014 LFA Annual Conference on the beautiful campus of the University of Montana in the dynamic frontier river city of Missoula. This year’s conference focuses on dimensions of fluidity found at margins and meeting points of literature, film, media, genre, and culture. While proposals addressing these topics in the context of the American West are especially encouraged, presentations touching on any aspect of fluidity, frontier, and/or other physical and conceptual spaces that represent intersections of literature, film, media, genre and/or culture are welcome. Our conference keynote speakers are Montana film-maker Andrew Smith (Winter in the Blood, 2013; The Slaughter Rule, 2002) and Montana film scholar and film-maker Dr. Paul Monaco (John Dahl and Neo-Noir: Examining Auteurism and Genre, 2010; A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema, 2010; The Sixties: 1960 – 1969 from The History of American Cinema Series, 2000).

 


LFA 2013 CONFERENCE

OCTOBER 10-12

UNIVERSITY OF KANSAS

“BIG SCREENS, SMALL SCREENS: SIZE MATTERS (IN ADAPTATION)”

“I like to watch. . .” writes David Thomson in his new book, The Big Screen (2012). “We citizens are living with screens, even if nowadays we don’t go to ‘the movies’. . . .” Thomson, noted critic and historian, is the Keynote Speaker at the 2013 LFA Conference. His book provides the theme of this year’s Conference—“Big Screens, Small Screens: Size Matters (in Adaptation).”  This year we explore the changing aspects and consequences of the many “screens”—big, small, stationary, and mobile— that dominate our visual culture. These range from the big theater screens of classical Hollywood to today’s television and computer screens, mobile, hand-held screens of iPhones and iPads, interactive video games, and the still frames of comic books and graphic novels. Moreover, we are no longer stationary viewers and readers positioned in public theaters and domestic armchairs; we consume our cinematic and literary texts on the move, in cars, office spaces, shopping malls, and airplanes. Consumption, perception, and comprehension of these texts are affected. As a result, the whole nature and practice of “adaptation” is changing.