Proposals Received
Current as of Tuesday, 14-Dec-2004 12:53:53 MST
If your name does not appear on our list, please send an email to the conference organizer at cfp@cinematologists.com.
| Nicole J. | Baer | Mexican Cinema and NAFTA: The Formation and Representation of National Identity |
| Meredith A. | Bak | A Study of Cinematic Tectonics: The Formation of a National Icelandic |
| Brad | Campbell | Decasia Now: Uses and Abuses oif Historic Footage |
| Zachary | Campbell | Capitalism, Humanity, and Genre at the New Rose Hotel |
| Shi-Yan | Chao | From Queer Moments to Chinese Deviant Subjectivity |
| Cindy | Chen | Cantonese Melodrama and Cultural Identity |
| Sarah | Conrad | Aliens, Witches, and Suicide: Suspension of Disbelief in the Mockumentary Through the Balance the Absurd and Emotive in the Narrative |
| Sarah | Conrad | Forgotten Silver: Convergence of False Historiography and Documentary Cinema |
| James | Crawford | Orson Welles living The Lives of Harry Lime |
| Sarah E. | Deem | Prosthetic Goddesses: Sexualization and Abstraction of Material Reality in the Modern Prosthesis |
| Carrie | Dodson | The Virgin Dies First: Creating Horror in an Audience that Knows the Rules |
| Jose | Freire | Sub-cultural identity formation in mid-70s Britain |
| Peter | Giannascoli | The Coming of Color |
| Matt | Hauske | Staging the Impossible: Orson Welles Moby Dick Rehearsed |
| Matt | Hauske | THX 1138: Laughing After the Apocalypse |
| Jay | Hufford | Auratic Return and Ambivalent Catharsis: A Benjamian Reading of The Ring |
| Derek | Kane-Meddock | Never Touch a Black Man’s Radio: "Rush Hour" and the New Cultural Politics of the Biracial Buddy Film |
| Pamela | Kerpius | |
| Pamela | Kerpius | Zero Percent Chance of Rain: The Watergate History and All The President’s Men |
| Jinying | Li | Melodrama: the Narration of the Chinese Cultural Revolution |
| Karina | Longworth | Those Who Screw and Those Who Don't: The Fake Orgasms of Meg Ryan |
| Jeff | Martin | Live on Tape : The Dawn of Videotape and the Preservation of the Ephemeral |
| Juan | Monroy | Capitalism for the Masses: Father Dan, Peru, and the Alliance for Progress |
| Wyatt | Phillips | Auteur and Suture Theory in the Analyses of Raymond Bellour |
| Wyatt | Phillips | Genre Requirements versus Historical Accuracy in My Darling Clementine |
| Stephen O. | Rak | Shadows of a Hidden Nation |
| Nina | Seja | Living in the Ruins or, How To Find the Way Back Home in Film |
| Matt | Singer | I Married Rambo! Arnold Schwarzenegger, Maria Shriver, and Shifting Star Texts |
| Pamela Jean | Smith | Thesis-In-Progress: Preserving Videofreex |
| Stephen | Snart | Genre Identification: Linda Williams and the Gross-Out Comedy |
| Rob | Sweeney | Authenticity and Disintegration in F for Fake |
| Irene | Taylor | Preserving and Narrating the Dyson-Hudson Collection at AMNH |
| Christopher | Thomas | The historical context of film noir |
| Melanie | Turpin | A History of the Particular: Subjectivity in Carl Theodor Dreyer s 'La Passion de Jeanne d Arc' |
| Graig | Uhilin | 'A Seemingly Endless Supply of Closeted Gay Republicans': Governor James McGreevey, Otto Preminger's Advise and Consent, and the Poltics of Outing |
| Graig | Uhilin | Remembrance of Things Future: Cinema, Memory, Futurity |
| Kara | Van Malssen | Television Pictures |
| Ray | Vichot | We Are Fighting Dreamers!: Anime Fan -Subtitling as an Agent for Fandom Growth |
| Brad | Westcott | The Heist Film: On the Prowl, or Strong |
| David | Wexler | Paradigms, Stereotypes, and History: The acknowledgement and elimination of filmic stereotypes as film-historical paradigm shifts |
| Christopher | Wisniewski | All that History Allows: Far From Heaven and the Queering of Douglas Sirk |
| Ying | Xiao | To Be Different: Exploring the Music, Culture, and Identity of Hip Hop in Contemporary China |
| Melissa J. | Zajk | Wine, Woman and Song – The Case for Nationalism and Signifiers of National Identity in "Casablanca" |
| Alberto | Zambenedetti | Bringing Back the Dead: The Animation of Cultural Systems in Street of Crocodiles and Anamorphosis or De Artificiali Perspectiva |
| Alberto | Zambenedetti | Introducing Shakespeare: The incipit in Orson Welles adaptations |
| Beth | Zdriluk | My Favorite Mask is Myself: Presentation, Illusion and the Performativity of Identity In Wellesian Performance |
| Greg | Zinman | Tying the Knot: Movies Anxious About Marriage, Too |