CFA/CFP: Critical Anthology of Period Drama since the 1970s
CFA/CFP: Critical Anthology of Period Drama since the 1970s
The recent popular success of “Downton Abbey” calls for a renewed examination of such earlier BBC/ITV/Masterpiece Theatre serialized period dramas as “Upstairs Downstairs,” “The Pallisers,”and “The Forsyte Saga,” among others that have aired (and have been repeated) since the 1970s. We also want to examine how more recent dramas like “Downton Abbey” engage with these earlier productions in terms of style, thematic content, and programming.
We are seeking essays for a critical anthology that addresses such topics (but are not limited to) as the following:
*How the small screen period drama interrogates past and present gender/ class/race relations and notions of historical “authenticity”
*Transatlantic reception /interpretations
*How these TV serials fulfill and/or disrupt notions of “quality television”
*The afterlife of the serialized period drama on video/DVD
*The role of fans in shaping the content/reception of these dramas (message boards, role playing, Facebook and other social media sites that connect fans, etc)
*The relationship between history, heritage, and the costume drama
*Adaptation and the translation from historical novel to the TV miniseries
*How history and culture are commodified for popular audiences
*The feminization of history via the costume drama
*The relationship between these series and wider developments in TV or popular culture more generally
*How these programs have engaged with, or been received in relation to, ideas of region and regional difference
*How the development of the genre been bound up with technological changes, such as the use of video, widescreen and (more recently) HD
Please submit a 500 word abstract and brief CV by April 15 to the editors,
Julie Anne Taddeo, University of Maryland, USA
taddeo@umd.edu <mailto:taddeo@umd.edu> And
James Leggott, Northumbria University, UK
james.leggott@northumbria.ac.uk <mailto:james.leggott@northumbria.ac.uk>
If accepted, the first draft of essays (approx. 7000 words) will be due Sept. 15, 2013 (guidelines from press will follow).
*Please note: Individual authors are responsible for permissions for any images reproduced in their essays*.
Registration Open: ‘Viewer I married him’: Reading (Re)Productions of the Long Nineteenth Century in Period Drama
Registration Open: ‘Viewer I married him’: Reading (Re)Productions of the Long Nineteenth Century in Period Drama
Registration is now open for the Reading Reproductions Conference on Friday 29th June 2012 at the University of Hull. Delegates from all fields are welcome to the event, which aims to acknowledge and assess the continuing importance of period drama in contemporary culture across the world.
Dr. Sarah Cardwell from the University of Kent will give the keynote address, ‘From adaptations to period dramas: genre, style and critical evaluation’, and Professor Mark Llewellyn, Director of Research for the AHRC, will lead a postgraduate training session focussed on career development and adapting to an academic career. A range of post-graduate and academic speakers will be presenting at the event, which is supported by BAVS.
An early bird registration fee of £25 for students, £35 for academics is available until Monday 30th April. Late registration priced at £35 for students, £45 for academics closes Friday 15th June. The registration form is downloadable from our website:
The following is a draft programme and is subject to change. Please note, rooms and Chairs are yet to be allocated. If you are interested in chairing a panel at the event, please send your request by email to readingreproductions@gmail.com
8.30 – 9.15 Registration
9.15 – 9.30 Opening Address
9.30 – 10.45 Keynote Lecture by Dr. Sarah Cardwell, University of Kent
‘From adaptations to period dramas: genre, style and critical evaluation’
10.45 – 11.15 Refreshment Break
11.15 – 12.45 Panel 1A: Adapting Classics
Verena von Eicken, University of York
‘“You are the last men in the world I could ever be prevailed upon to marry!” – Postfeminism and Gender Images in Pride and Prejudice (2005)’
Liz Mills, Independent Scholar
‘When an Adaptation Appears More Like an Adaptation: Viewing North and South as a Victorian Pride and Prejudice’
Florence Bigo-Renault, Université Paris Diderot
‘Apocryphal Dickens’
11.15 – 12.45 Panel 1B: Contemporary Re-imaginings
Catherine Han, University of Hull
‘Adapting Interdisciplinary Analogies: Rethinking Bortolotti and Hutcheon’s “Rethinking” (2007) and Angels & Insects (dir. Philip Hass, 1996)’
Dr Sarah Edwards, University of Strathclyde
‘Downtown Abbey 1912: Heritage Television, Official History and Marriage’
Nicola Beech, University of Hull
Downtown Abbeyoncé: Period Dramas made Meme-ingful’
12.45 – 1.45 Lunch
1.45 – 3.15 Panel 2A: Cultural Hybridities
Rita Singer, Universität Leipzig
‘Visualizing Hiraeth: Desire in Anthony Hokpins’s August (1996)’
Fern Pullan, Leeds Metropolitan University
‘Books to Bollywood: Dissolving Myths and Power Structures in Jane Austen’s Pride and Prejudice and Gurinder Chadha’s Bride and Prejudice’
Marianna D’Ezio, University of Rome
‘Italian TV Adaptations of Jane Eyre and Wuthering Heights’
1.45 – 3.15 Panel 2B: Lady Parts: Women’s Roles in Victorian Adaptations
Jo Taylor, Keele University
‘Stitching and Scribbling: Fanny Burney as Poetess in Jane Campion’s Bright Star’
Carmen Perez Riu, Universidad de Oviedo
‘Visual Narration and the Victorian Woman Artist as Focalizer’
Rose McCormack, Aberystwyth University
‘Making Sense and Creating Sensibility: Exploring the Bedroom Sequence in Film and Television Adaptations of Jane Austen’s Novels’
Mary Hong, Independent Scholar
‘Movement, Interiority and the Everyday in the 2005 Pride and Prejudice’
3.15 – 4.45 Panel 3A: Sherlock on Screen: Detecting Drama
Daný van Dam, Leiden University
‘Sherlock’s London: Taking the Victorian into the Twenty-First Century City’
Ellie Cope, University of Hull
‘(Re)Imagining Deduction: Visualising the Detective Mind in BBC’s Sherlock’
Tom Ue, University College London
‘Narrative Technique in Sherlock’
3.15 – 4.45 Panel 3B: Disturbing Drama, Fearful Frames
Graeme Pedlingham, University of Sussex
‘“May I Give You This? I Think It Should Be Yours”: Adaptation, Reception and the Threat of the Object in “Casting the Runes” (1911) and Night of the Demon (1957)’
Matthew Crofts, University of Hull
‘Drac’s Back. Again. And Again. And Then Three More Times: Hammer Horror’s Dracula Series and Keeping the “Gothic” in Gothic Returns’
Derek Johnston, University of Portsmouth
‘A Haunted Season: Seasonality and the Television Gothic’
4.45 – 5.15 Refreshment Break
5.15 – 6.30 Post-Graduate Training Session by Professor Mark Llewellyn, Director of Research for the AHRC
6.30 – 6.45 Closing Remarks
Extended Abstract Deadline: ‘Viewer I married him’: Reading (Re)productions
‘Viewer I married him’: Reading (Re)productions Extended Abstract Deadline
Due to an excellent first response and many high quality proposals, the abstract deadline for ‘Viewer I married him’: Reading (Re)productions of the Long Nineteenth Century in Period Drama, has now been extended until Friday 16th March 2012. By extending the deadline we hope to accommodate an even more diverse selection of papers and present of a range of consecutive panels at the event on 29th June 2012.
Post-graduate applicants are encouraged to apply for one of ten student bursaries funded by the British Association of Victorian Studies.
‘Viewer, I married him’: Reading (Re)Productions of the Long Nineteenth Century in Period Drama
Conference CFP
29 June, 2012
Derwent Building, University of Hull
EXTENDED ABSTRACT DEADLINE: MARCH 16, 2012
EXTENDED POSTGRADUATE BURSARY DEADLINE: MARCH 16, 2012
Keynote Speakers: Dr. Sarah Cardwell, University of Kent: ‘Adaptations and Period Dramas: Questions of Genre and Style’
Professor Mark Llewellyn, Director of Research for the AHRC, will lead a postgraduate training session focussed on career development and adapting to an academic career .
‘Period drama’, or remediated historical adaptations for television and film have long been established genres which are traditionally associated with fancy costumes, pseudo-Victorian settings, and romance. This conference invites scholars working in the fields of literature, film, history, music, and cultural and media studies to consider the wider historical and cultural impact of the ‘period drama’, ‘costume drama’, or filmic adaptation. Our objective is to promote interaction between nineteenth-century and contemporary scholars in order to examine how and why the literature, history, and culture of Britain from 1800-1914 is (re)produced in a modern international context. By analysing the processes through which these literatures and histories are translated into film, we hope to acknowledge and assess the continuing importance of period drama in contemporary culture across the world. Potential papers might include:
- TV series, programmes or films
- Direct adaptations of literature (e.g. BBC’s, ITV’s or Roman Polanski’s Tess of the D’Urbervilles)
- Modern retellings of nineteenth-century literature (e.g. Clueless)
- Adaptations derived from Neo-Victorian texts (e.g. Fingersmith)
- Original screen-plays (e.g. Downton Abbey)
- Cross-over period dramas (e.g. Lost in Austen)
- Biopics (e.g. Becoming Jane)
- International adaptations (e.g. Bride and Prejudice)
As this conference is interdisciplinary in its approach, we are also looking for papers which consider themes associated with literary and cultural studies (class, gender, sexuality, religion, race) and/or the contemporary production/adaptation process, the modern audience and critical responses, and how period drama and contemporary culture impact on one another. The following topics are suggested, but are by no means limited to:
- Company of production (e.g. BBC, ITV)
- Costumes, settings, props
- Technology, Musical scores
- Cinematography
- Casting
- Screenplays, Performances
- Intended audience(s), Critical reviews, audience response, media coverage
Since period drama and adaptations serve as popular entertainment, valuable educational resources and are art forms in their own right, we look forward to expanding study on this rich topic by welcoming 300-word abstracts, for 20 minute papers, from postgraduate students, as well as early-career researchers and established academics. To submit abstracts, or for any other queries, please email: readingreproductions@gmail.com
Registration Fee
£25 postgraduate early bird registration fee (deadline 30 April)
£35 academic early bird registration fee (deadline 30 April)
£35 postgraduate late registration fee (after 1 May)
£45 academic late registration fee (after 1 May)
Postgraduate Bursary Information
We are pleased to offer ten full registration fee (£25) bursaries for postgraduate students, thanks to the generous sponsorship of BAVS. If you are interested in being considered for a bursary, please send with your abstract a CV and a statement (300 word maximum) explaining why you would benefit from attending this conference.
Allison Neal, Jenny Pearce, Janine Hatter, and Maura Dunst
The Postgraduate Period Drama Conference Team
Email: readingreproductions@gmail.com
Website:http://www2.hull.ac.uk/student/graduateschool/reading_reproductions_conferen.aspx
Supported by:
The British Association for Victorian Studies (BAVS): www.bavsuk.org
The University of Hull: www.hull.ac.uk
CFP: ‘Viewer, I married him’: Reading (Re)Productions of the Long Nineteenth Century in Period Drama
Call for Papers
‘Viewer, I married him’: Reading (Re)Productions of the Long Nineteenth Century in Period Drama
29 June 2012. Derwent Building, University of Hull
ABSTRACT DEADLINE: FEBRUARY 28, 2012
POSTGRADUATE BURSARY DEADLINE: FEBRUARY 28, 2012
Keynote Speakers:
Dr. Sarah Cardwell, University of Kent: ‘Adaptations and Period Dramas: Questions of Genre and Style’
Professor Mark Llewellyn, Director of Research for the AHRC, invited to lead a postgraduate training session focussed on career development and adapting to an academic career.
‘Period drama’, or remediated historical adaptations for television and film have long been established genres which are traditionally associated with fancy costumes, pseudo-Victorian settings, and romance. This conference invites scholars working in the fields of literature, film, history, music, and cultural and media studies to consider the wider historical and cultural impact of the ‘period drama’, ‘costume drama’, or filmic adaptation. Our objective is to promote interaction between nineteenth-century and contemporary scholars in order to examine how and why the literature, history, and culture of Britain from 1800-1914 is (re)produced in a modern international context. By analysing the processes through which these literatures and histories are translated into film, we hope to acknowledge and assess the continuing importance of period drama in contemporary culture across the world. Potential papers might include:
- TV series, programmes or films
- Direct adaptations of literature (e.g. BBC’s, ITV’s or Roman Polanski’s Tess of the D’Urbervilles)
- Modern retellings of nineteenth-century literature (e.g. Clueless)
- Adaptations derived from Neo-Victorian texts (e.g. Fingersmith)
- Original screen-plays (e.g. Downton Abbey)
- Cross-over period dramas (e.g. Lost in Austen)
- Biopics (e.g. Becoming Jane)
- International adaptations (e.g. Bride and Prejudice)
As this conference is interdisciplinary in its approach, we are also looking for papers which consider themes associated with literary and cultural studies (class, gender, sexuality, religion, race) and/or the contemporary production/adaptation process, the modern audience and critical responses, and how period drama and contemporary culture impact on one another. The following topics are suggested, but are by no means limited to:
- Company of production (e.g. BBC, ITV)
- Costumes, settings, props
- Technology, Musical scores
- Cinematography
- Casting
- Screenplays, Performances
- Intended audience(s), Critical reviews, audience response, media coverage.
Since period drama and adaptations serve as popular entertainment, valuable educational resources and are art forms in their own right, we look forward to expanding study on this rich topic by welcoming abstracts from postgraduate students, as well as early-career researchers and established academics. To submit abstracts, or for any other queries, please email: readingreproductions@gmail.com
Registration Fee
£25 postgraduate early bird registration fee (deadline 30 April)
£35 academic early bird registration fee (deadline 30 April)
£35 postgraduate late registration fee (after 1 May)
£45 academic late registration fee (after 1 May)
Postgraduate Bursary Information
We are pleased to offer ten full registration fee (£25) bursaries for postgraduate students, thanks to the generous sponsorship of BAVS. If you are interested in being considered for a bursary, please send with your abstract a CV and a statement (300 word maximum) explaining why you would benefit from attending this conference.
Allison Neal, Jenny Pearce, Janine Hatter, and Maura Dunst
The Postgraduate Period Drama Conference Team
readingreproductions@gmail.com
Supported by:
The British Association for Victorian Studies (BAVS): www.bavs.org
The University of Hull: www.hull.ac.uk
