- Interval (1) -
Call for papers and film/video submissions:
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
³The cinematographic image must have a shock effect on thought, and force
thought to think itself as much as thinking the whole.²
(Gilles Deleuze, ?Cinema 2: The Time-Image¹, pg 158)
This conference is intended as a confluence, bringing together filmmakers
and theorists for a day of debate and exchange based around Deleuze¹s 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 programme).
>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 Eisenstein¹s
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 ³open Whole² 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
Deadline August 31st 2005
Steven Eastwood (Professor) and Stefani Bardin (Graduate Student)
Department of Media Study
University at Buffalo
213 Center for the Arts
Buffalo, NY 14260-6020
- Interval (1) -
List address: deleuze-guattari@xxxxxxxxxxxxx