Après la seconde guerre mondiale les coproductions cinématographiques ont représenté un moyen de rétablir des liens diplomatiques, politiques, économiques et artistiques entre les pays d’Europe. Influences réciproques, hybridations, formes de globalisation, etc. ont accompagné ce processus. L’objectif est d’explorer dans le champ spécifique du cinéma les notions de transfert culturel et de transculturalité dans une démarche résolument interdisciplinaire. Il s’agit donc de proposer une réflexion d’ensemble sur la validité et les significations de ces notions dans le champ des coproductions cinénematographiques depuis 1945.

Argument

Since the end of World War II film coproductions have provided a way to restore diplomatic, political, economic and artistic relations between European countries. On one hand, such films were conceived in opposition to the Hollywood productions sweeping the continent; on the other, they fostered cultural transfers within Western Europe as well as across the iron curtain with Eastern Europe. The structures of coproduction sped up European filmmakers' access to innovative technologies such as color, widescreen formats, modern special effects. People as well as equipment moved across the continent and these exchanges grew year after year. Technicians, screenwriters, directors, actors got acquainted with different working techniques and paces as well as other conceptions and visions of what cinema is. Mutual influences, hybridizations and forms of globalization have come along with this process.

The objective is to explore notions of cultural transfer and transculturality in the specific field of cinema through a resolutely interdisciplinary approach. The aim is to think together about the validity and meanings of these notions within European cinema since 1945.

In order to do so, we invite applicants to submit abstracts focusing on unreleased works or unresearched archival material of distribution companies, embassies or foreign offices' cultural departments, or the personal archives of producers, actors, film critics or technicians who worked between two or more countries. The papers can approach the subject of study from a historic or cultural perspective and look at intersections with other media and aesthetic issues, as well as interrogate the institutional, legal, economic, social, cultural or formal nature of the corpus under discussion. They may focus on co-production networks or a number of films co-produced between two or more European countries; however, proposals centering on a single film will not be taken into consideration.

Submission guidelines

The paper should not be longer than 30 minutes and can be in French or English.

Please submit an abstract of maximum 400 words in either French or English along with some information on the applicant and the sources and material under analysis to palma.paola@gmail.com and vpozner@free.fr

before 8 December 2015.

Board of reviewers

• Laurent Creton (Université Paris 3),
• Laurent Guido (Université Lille 3),
• Laurent Le Forestier (Université Rennes 2),
• Paola Palma (UMR Thalim / LabEx TransferS),
• Katalin Por (Université de Lorraine),
• Valérie Pozner (CNRS, UMR Thalim / LabEx Transfers).

Conference organizers

• Valérie Pozner
• Paola Palma (UMR Thalim / LabEx TransferS).

Date and place

INHA (Institut national d’histoire de l’art), Paris, 7-8 April 2016