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Call for Contributions: Directory of World Cinema: Scotland

Call for Contributions

Directory of World Cinema: Scotland

Bob Nowlan, University of Wisconsin-Eau Claire
and Zach Finch, University of Wisconsin-Milwaukee, Editors

Bristol: Intellect, 2014
   
A Contribution to Intellect’s Directory of World Cinema Series


Directory of World Cinema: Scotland
will provide an introduction to and overview of Scottish cinema in historical and cultural context.  Directory of World Cinema: Scotland, as part of the Intellect Directory of World Cinema series, will draw upon as well as update the work of major directions in Scottish cinema and cultural studies scholarship of the past two decades. Our book will engage the institutional history of cinematic production in Scotland, as well as the history of the distribution, exhibition, and reception of cinema in Scotland.  We will emphasize major achievements in Scottish film making as well as other films that reflect the diversity and peculiarity of Scottish cinema.  A particular focus of the book will be the art and politics of cinematic representations of Scotland, of distinct Scottish populations past and present, and of ‘Scottishness’—in films made ‘from Scotland’, as well as in films made ‘from beyond Scotland’.  How film contributes toward discursive constructions of Scotland and Scottishness will be a major focus of our collective critical inquiry—as will be the case with a corollary collective critical inquiry into what kind of influence and impact these constructions exert, in Scotland and for Scots, as well as beyond Scotland and for non-Scots.

We welcome contributions that coincide with these interests and emphases.  In addition, we welcome contributions that examine Scottish film in connection with Scottish literature, Scottish music, Scottish art, and other dimensions of Scottish popular culture, as well as in connection with Scottish geography and topography.  We also welcome contributions that investigate Scottish cinematic interrelations with England and Wales; Great Britain and the United Kingdom; Ireland and Northern Ireland; Europe and North America; pan-Celtic identities and cultures; empire, exile, and internal as well as external emigration; and colonial, neo-colonial, and post-colonial nations, peoples, and cultures of the so-called ‘Third World’.  

    Typically, volumes in Intellect’s Directory of World Cinema series include essays of approximately four to six published pages in length (an approximate average of 2400 to 3600 words in length) on genres, themes, or issues, along with synopses and critiques of individual film titles as well as profiles of major figures, each approximately two to three published pages in length (an approximate average of 1200 to 1800 words).  Typically, as well, each volume includes multiple contributions from many contributors.  We welcome contributions along these lines to Directory of World Cinema: Scotland.

    We invite short essays on the following topics:

1.    Early Scottish Cinema.

2.    Classic Scottish Cinematic and Cultural Myths.

3.    Scottish Cinema and England/Scottish Cinema and Britain.

4.    Cinema and Scottish Religions and Spiritualities.

5.    Scottish Comedy Film and Scottish Horror Film.

6.    Cinema and Scottish History/Cinema and Scottish Historical Myths and Legends.

7.     Cinema and Scottish Nationalisms Past and Present.

8.    Scottish Urban Cinema/Cinema and Scottish Cities and Scottish City Life–Past and Present.

9.    Cinema and Sectarianism in Scotland.

10.    Cinema and Sport in Scotland.

11.    Television and Scottish Cinema.

12.    Scottish Art Cinema/The Legacy of Bill Douglas.

13.    Scottish Documentary Cinema.

14.    Scottish Short Films.

15.    The Cinema of Bill Forsyth.

16.    Cinema and Education in Scotland.

17.    Scottish Cinema and Scottish Music.

18.    The Scottish Cinematic ‘Renaissance’ and the ‘New Scottish Cinema’ of the 1990s.

19.    Trainspotting and ‘The Trainspotting Effect’.

20.    Ken Loach and Scottish Cinema.

21.    Innovative and Iconoclastic Visions and Achievements in Turn-of-the-Century Scottish Cinema.

22.    Scottish Cinema and the Mass Media/Mass Media Culture.

23.    Scottish Cinema and Globalization/Scottish Cinema and Hybrid, Multi-National, Inter-National, and Trans-National Identities.

24.    Scottish Cinema and America.

25.    Hollywood and Scotland, Scottishness, and Scottish Cinema.

26.    Scottish Cinema and Europe.

27.    Scottish Cinema and Race.

28.    Scottish Cinema and Class.

29.    Scottish Cinema and Gender.

30.    Scottish Cinema and Sexuality.

31.    Scottish Cinema of the Early 21st Century.

32.    Scottish Cinema and Postmodernity/Postmodernism and Scottish Cinema.

33.    Scottish Cinema and Regionality.

34.    Scottish Cinema and Scottish Languages.

35.    Scottish Cinema and Scottish Independence.

36.    The Future Prospects for Scottish Cinema.

Proposals of essays on additional possible themes and issues are most welcome as well.

    In addition, we invite short synopses and critiques of the following individual films: Neds, Donkeys, The Illusionist,  Seachd: The Inaccessible Pinnacle, Stone of Destiny, Morvern Callar, Red Road, Nina’s Heavenly Delights, The Governess, Orphans, Wilbur Wants to Kill Himself, My Name is Joe, Small Faces, Trainspotting, Stella Does Tricks, Gregory’s Girl, Comfort and Joy, The Bill Douglas Trilogy, The Waverley Steps, Seaward: the Great Ships, Just Another Saturday, Just a Boy’s Game, Culloden, Whisky Galore!, The Wicker Man, Brigadoon, I Know Where I’m Going!, The Thirty-Nine Steps, Edge of the World, The Flesh and the Fiends, 16 Years of Alcohol, Aberdeen, Rob Roy, Braveheart, Breaking the Waves, Carla’s Song, Ae Fond Kiss, Hallam Foe,  Ratcatcher, A Sense of Freedom, Shallow Grave, Sweet Sixteen, The Winter Guest, Women Talking Dirty, and Young Adam

Again, we also most welcome proposals of synopses and critiques on many additional titles as well. 

To express your interest in contributing to Directory of World Cinema: Scotland, as well as to inquire about questions concerning this book, and your possible contributions to it, please contact the editors as follows:

Bob Nowlan: ranowlan@uwec.edu  and Zach Finch: zfinch@uwm.edu

We will be glad to send a detailed prospectus to possible contributors.  Please contact us, if interested in contributing, by January 15, 2012 at the latest.

 

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