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CAPSTRANS Innovations in Cultural Research (ICR) Workshop 

Thursday 1st and Friday 2nd October
Room: 67:101
Time: 10:00 

Obsolescence: Media History, Policy and Aesthetics Workshop »

CAPSTRANS Innovations in Cultural Research (ICR) Workshop 

Friday, 25th September
Room: 30:111
Time: 9:00-5:30

"Expertise, Skill and Pedagogy"

Program details »

CAPSTRANS Innovations in Cultural Research (ICR) Workshop 

Monday, 14th September 
Room: 19:1003
Time: 12.30-1.30pm
Light refreshments provided. RSVP: for catering by Friday 24 October, 4pm: kduff@uow.edu.au

With Janna Jones, Cinema and Visual Culture Studies, Northern Arizona University 

“Mapping the Amateur Film: Tad Nichols' 1939 Navajo Blanket Weaving”

Navajo Blanket Weaving is a dream come true for historical research about amateur films and their distribution. The 11 minute film shot in Kodachrome in 1939 depicts the process of Navajo blanket weaving, from the shearing of the sheep to cutting the blanket off of the loom. The film won one of the Amateur Cinema League's "ten best" in 1945. One of the challenges of studying amateur films is that they don't always have much contextual information. Most of the time, we don't know much more than what we can see on the film.  But before he died, Tad Nichols gave all his films, photographs, correspondence and diaries to Special Collections at Northern Arizona University. He left a rich contextual record, enabling us to map the history of the film's making and its subsequent distribution and exhibition to libraries, schools and museums during the years of World War II. 

Janna Jones is the Director of the Cinema and Visual Culture Studies at Northern Arizona University.  She's the author of The Southern Movie Palace : Rise, Fall, and Resurrection , (University Press of Florida , 2003), and curates the annual Northeast Historic Film Symposium, as well as The Film Archive and Cinematic Heritage section for the South West Texas Popular Culture Association.

Further information: Andrew Whelan – email awhelan@uow.edu.au

CAPSTRANS Innovations in Cultural Research (ICR) Workshop 

Friday 4 September
Room: 1003, Building 19
Time: 2:30 to 4:30
Light food will be served.

Intersecting Culture, Policy and Practice Outside of the Hollywood-European Axis: Internationalisation and East Asian Collaborative Encounters in Film

With special invited guests: Professor Tom O'Regan (Media and Cultural Studies, University of Queensland) and Dr Ben Goldsmith (Australian Film, Television and Radio School, and University of Queensland)

Students and staff are welcome to join this panel discussion on some of the new international collaborations among East Asian film industries and how scholars and practitioners might learn from these fluid cross-cultural experiences.

This workshop explores how creative and cultural industries are utlising dynamic strategies to meet the demands of different governments' policies and to overcome the limitations of producing a film, TV show or digital media program in more than one country, and/or with an international team.

Instruments such as business summits, free trade agreements and co-production treaties as well as more personal industry training and consulting initiatives have opened the door for collaborations through access to financing, incentives and governmental support programs, spawning a new era of interconnectedness. Kim Jee-woon/Peter Ho-Sun Chan/Nonzee Nimbutr’s Korean/HK/Thai co-production horror film Three (2002) and Fruit Chan/Takashi Miike/Park Chan-wook’s HK/Japan/Korea co-produced sequel Three Extremes (2004) come to mind. The list also includes the most successful Korean film of all time, The Host (2006), which used production services facilities in Queensland, and the official Korea-China film Sophie's Revenge (2009) and Adelaide producer/director Mario Andreacchio's official Australian-Chinese film The Last Dragon, and a growing number of Chinese feature films such as Hero (2002) and House of Flying Daggers (2004) that have been edited and post-produced in Sydney.

How do these remarkable collaborations, which are currently less known and understudied in comparison with the volume of scholarship and research on Hollywood and European cinemas, extend our understandings of the production, circulation and resonances of international films and other cultural productions and flows? Given the current state of our field, how can scholars address this layer of complexity while extending the accumulated body of research on the history, process and outcome of Hollywood’s formation, expansion and dominance?

Come join us and contribute to this conversation.

FOR FURTHER INFORMATION CONTACT:

Dr. Brian Yecies
Media and Cultural Studies
Faculty of Arts, University of Wollongong, 
Wollongong, NSW 2522 Australia
Tel: 61-2-4221-4076  Fax: 61-2-4221-5341
Email: brian_yecies@uow.edu.au