Azimute: Critical Essays on Deleuze and Guattari

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How do filmmakers balance popular viewing desires with their own desire for making art? What makes a Malaysian film uniquely Malaysian? Can these "Third World" narratives be read as national allegories? If not, how should they be read and in what context? This conference seeks to showcase and create academic and social discourse among scholars, film critics, buffs and media activists about the multiple new cinemas from the region. We want to create better awareness of film as both an artistic expression and ideological and educational tool and to provide a forum and international networking for participants.

We hope to publish selected papers in an edited book on Emerging Southeast Asian Cinemas after the conference.

If you are interested in attending which is free , please contact Ben Taylor [log in to unmask]. Significant discounts on registration fees are available for those booking early on or before 23rd January The event will commence with a pre-conference evening event on Sunday 4th April and this will be followed by two full days of conference sessions on 5th and 6th April On the evening of 5th April the Learning on Screen Awards will be presented during the conference dinner. There will be a small-scale exhibition held alongside the conference. This conference will be of direct interest to teachers, producers, researchers, distributors, service providers, librarians and technology vendors working with moving image media.

Access the website at www.

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You can download and print out the conference booking form from www. A PDF of the conference booking form is attached herewith for convenience.

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  • Azimute: Critical Essays on Deleuze and Guattari;

Please circulate this announcement to any of your colleagues locally who study, use or deliver moving images in their work for further or higher education. We look forward to seeing you at the conference in April. Warsaw played a special role in the culture of Jewish people. It was in Warsaw that first films in Yiddish were shot. For centuries the Jewish people lived, worked, cherished their traditions in harmonious coexistence with the Poles and other nationalities of the Republic.

They shared with the Polish people the difficult moments of their country, co-created Polish culture, took part in economic life and in the repeated armed efforts to regain and maintain Poland's independence. In , the Jewish community counted 3 million. It lies with us what and how much will be saved of the Jewish culture and passed on to generations to come.

During the Festival historical movies as well as films about contemporary Jewish communities all over the world are to be presented to the public. The Festival prizes are: statuettes of Phoenix - a symbol of revival - and money prizes. Films will be shown in cinemas in more than 20 Polish towns, among others: Gdansk, Cracow, Lublin, Lodz, Plonsk, Plock, Siedlce, Wroclaw - in cooperation with various institutions and organizations.

Honorary Patron is Israeli Embassy in Poland. We invite you or you with your films: feature, documentary, experimental, animated, produced in or later, in our Festival. The deadline for submitting films is: 20th of February How can we move beyond a simplistic opposition to representative politics?

How can the network form contaminate the institutional spaces in which a vast number of people live and work? How can we relate the analysis of new forms of power with experimentation in political practice? The journal invites work that explores relationships between Culture, Meanings and Practices in a broad range of contexts. We invite contributions from anyone who feels at home in the transdisciplinary conjunction which the journal represents.

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Papers should be words in length and referenced in Chicago style. First drafts to be received by 15 January The Festival will take place between April at Broadway in Nottingham. The title for event is 'Goodbye to All That' British Silent Cinema and World War I and we are currently seeking expressions of interest from people willing to give presentations on a wide range of related aesthetic, historical, social, political and military themes.

We invite presentations from anyone working on any aspect of British silent cinema and World War One as a watershed in British history. The issue itself should be available in a few weeks. MIME-Version: 1. The theme of this issue is 'New Directions? Are we, at the beginning of the twenty-first century, witnessing any sort of transformation in filmmaking, production, distribution, reception?

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  6. Have the parameters changed because of a recent move towards transnationalism or multi-nationalism in film production? Has American cinema 'won'? Is there still the possibility or desirability of a distinctly national cinema?

    Retaking the Universe

    Papers should be submitted in hard copy only, mailed directly to Susan Morrison, the editor of this issue. Once accepted for publication, the paper will then be emailed as a file attachment. The deadline for submission is May 15, It would be appreciated if a brief proposal be submitted by Jan. A style guide will be emailed on request. Greater consideration has been given to thinking about experimental film in relation to the other arts, and to thinking about its own institutional histories.

    He is also the co-editor of the journal Grey Room. However, recent scenes from reality television series The Osbournes, in which Ozzy Osbourne is shown pummelling his universal remote control in frustration, indicate that consumer relationships with these converging media are anything but straightforward. In fact, equal claims can be made for increasing levels of divergence among these media, with numbers of media and products attempting to create and delineate new markets for themselves. This special issue of Scope is intended to investigate the relationships between the media and their producers and consumers in order to better understand the points at which these media are undergoing processes of convergence and divergence.

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    Deleuze Studies, Volume 4 Issue 1

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    Introduction to Deleuze: Difference and Repetition

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