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Film Culture and Critical Discourse in Transnational Context

Conférence
Vendredi, Novembre 29, 2013 - 16:00
Concordia University, EV-5,615
Masha Salazkina and Katarina Mihailovic
Film Cultures and Critical Discourses in Transnational Contexts
Nov 29,16h00
EV 5,615
(1515 Ste.Catherine W.)
 
The two presentations will engage with the historiographical questions in the study of institutional film cultures and critical discourses on cinema in transnational contexts.
 
Masha Salazkina's talk addresses the formation of the Soviet film education in the 1920s, giving an overview of its key sites, dominant critical discourses, institutional developments, and pedagogical practices. Its goal is to place the Soviet film education in a broader comparative international context of the disciplinary history of film studies. 
Katarina Mihailovic's presentation analyzes the Yugoslav film culture of the 1950s as a site for the renegotiation of ideas about art’s function vis-à-vis French discourses about auteurism and personal filmmaking in the context of Yugoslavia’s political break from the Soviet Union. This research into Yugoslav auteurist discourse forms part of a larger project that seeks to establish the significance of 1950s film culture for the emergence of the Yugoslav New Wave of the 1960s.
 
Katarina Mihailovic is a doctoral student in the Mel Hoppenheim School of Cinema at Concordia University, Montreal. Her dissertation focuses on Yugoslav film culture of the 1950s-60s, and in particular on the relationship between film production and theoretical discourses associated with the New Wave Cinemas. She has contributed to the Oxford Bibliographies Online: Film and Media Studies, Kinokultura, and several collected volumes on European cinema. 
Masha Salazkina's work incorporates transnational approaches to film theory and cultural history with a focus on early Soviet Union, Latin America, and Italy. Her recent book In Excess: Sergei Eisenstein's Mexico (University of Chicago Press, 2009) positions Eisenstein's unfinished Mexican project and theoretical writings within the wider context of post-revolutionary Mexico and global cultures of modernity. Her new book project traces a trajectory of materialist film theory through the discourses of early Soviet cinema, institutional film cultures of the 1930s-1950s Italy, and critical debates surrounding the emergence of New Cinemas in Brazil, Argentina and Cuba. Her essay on this topic is forthcoming in the journal October. She has published in Cinema Journal, Screen, KinoKultura, and in several edited collections, and has won fellowships at the American Council of Learned Societies and Stanford University Humanities Center. She is currently co-editing a collection on Sound in Soviet and Russian Cinema and coordinating the web translation project of the Permanent Seminar on the History of Film Theories. Before joining Concordia, Masha taught at Colgate and Yale Universities.

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