Institut de recherche sur le cinéma et l’audiovisuel
HESCALE – Histoire, Économie, Sociologie des Cinémas
d’Afrique et du Levant
d’Afrique et du Levant
Call for Papers
International Conference – Strasbourg (France)
15, 16, 17 March 2017
Producing films in/with Africa and the Middle East
Maghrebi, Arab, Mediterranean and African cinemas have
become favoured areas of research, particularly with respect
to the political, cultural, social and aesthetic issues
communicated by the films in the context of their national
and international reception. By contrast, the production
and circulation of these films have not attracted attention
beyond the work of a few isolated researchers and films critics.
become favoured areas of research, particularly with respect
to the political, cultural, social and aesthetic issues
communicated by the films in the context of their national
and international reception. By contrast, the production
and circulation of these films have not attracted attention
beyond the work of a few isolated researchers and films critics.
While Africa is often wrongly perceived as being a desert
for films, it now boasts several flourishing national cinemas,
even besides Nollywood. Indeed, Africa has never produced
as many films as it does today. These films are very popular
in certain parts of the world while unknown if not rejected
in others. Meanwhile in the Middle East, countries without
any film cultures or film traditions, are attempting to
redefine relationships of power with respect to the production and
circulation of films. Furthermore, the digital revolution, and
its economic and cultural impact have transformed the
processes of film production, distribution and circulation.
While recent interest in Nollywood has led to the renewal
of studies on the production, distribution and consumption
of films in this context, it has been at the cost of the
diversity of the industries in other African countries.
for films, it now boasts several flourishing national cinemas,
even besides Nollywood. Indeed, Africa has never produced
as many films as it does today. These films are very popular
in certain parts of the world while unknown if not rejected
in others. Meanwhile in the Middle East, countries without
any film cultures or film traditions, are attempting to
redefine relationships of power with respect to the production and
circulation of films. Furthermore, the digital revolution, and
its economic and cultural impact have transformed the
processes of film production, distribution and circulation.
While recent interest in Nollywood has led to the renewal
of studies on the production, distribution and consumption
of films in this context, it has been at the cost of the
diversity of the industries in other African countries.
In the last few years, several initiatives and projects have
brought new research perspectives to bear on film
distribution, exhibition and audiences, thereby revealing
the ways in which the recent transformations have affected
Maghrebi, Middle Eastern and sub-Saharan African cinemas.
Two conferences, « Activités, pratiques spectatorielles et
cultures de cinéma en Afrique et au Moyen Orient »
organised in Strasbourg in May 2015 and « Représentations
du cinéma et pratiques spectatorielles en Afrique
francophone » in May 2016 In Marrakech, have led to the
constitution of an international and multidisciplinary
research network HESCALE the purpose of which is to
analyse the film sector in its transnational, national
and local dimensions. Several research orientations
have been identified: audiences, spectatorship,
film cultures and reception, which, like film circulation
have already been the topics of conferences and seminars,
and which we will continue to explore. The focus for the
present call for papers is the political, cultural,
economic and industrial characteristics of production.
brought new research perspectives to bear on film
distribution, exhibition and audiences, thereby revealing
the ways in which the recent transformations have affected
Maghrebi, Middle Eastern and sub-Saharan African cinemas.
Two conferences, « Activités, pratiques spectatorielles et
cultures de cinéma en Afrique et au Moyen Orient »
organised in Strasbourg in May 2015 and « Représentations
du cinéma et pratiques spectatorielles en Afrique
francophone » in May 2016 In Marrakech, have led to the
constitution of an international and multidisciplinary
research network HESCALE the purpose of which is to
analyse the film sector in its transnational, national
and local dimensions. Several research orientations
have been identified: audiences, spectatorship,
film cultures and reception, which, like film circulation
have already been the topics of conferences and seminars,
and which we will continue to explore. The focus for the
present call for papers is the political, cultural,
economic and industrial characteristics of production.
In countries with an enormous film supply coming
essentially from other continents, but with its own (albeit
irregular and sometimes non-existent) film production,
what have been the dominant modes of production? What
has been the impact of the digital revolution on the modes
of production? What are the economic, industrial and
social issues raised by the digital revolution? Who are
the principal actors? Is there state involvement in film
production? What are the financial, political and economic
relationships with former colonial powers, with new actors
in film production? What about equipment and staff
training? What about the circulation of the films produced
in these regions? Are there any specific and coherent
geographical and linguistic areas emerging within
these regions?
essentially from other continents, but with its own (albeit
irregular and sometimes non-existent) film production,
what have been the dominant modes of production? What
has been the impact of the digital revolution on the modes
of production? What are the economic, industrial and
social issues raised by the digital revolution? Who are
the principal actors? Is there state involvement in film
production? What are the financial, political and economic
relationships with former colonial powers, with new actors
in film production? What about equipment and staff
training? What about the circulation of the films produced
in these regions? Are there any specific and coherent
geographical and linguistic areas emerging within
these regions?
Perspectives from different disciplines are welcome:
– History: What quantitative and qualitative developments
in film production can be discerned in specific countries
or regional areas, in particular since independence? What
have been the involvement and strategies of nation states?
What have been those of sub-regional areas (UEMOA,
CEDEAO, etc.)? How have film funding and foreign
investment been reconfigured over time?
in film production can be discerned in specific countries
or regional areas, in particular since independence? What
have been the involvement and strategies of nation states?
What have been those of sub-regional areas (UEMOA,
CEDEAO, etc.)? How have film funding and foreign
investment been reconfigured over time?
– Economics: What financial constraints and regulations
influence producers in different regions? What strategies
have been developed by professionals to adapt to a declining
market? What has been the impact of financial constraints
and reduced markets on production? What are the ways in
which film production has been affected by the video
market, television and the internet?
influence producers in different regions? What strategies
have been developed by professionals to adapt to a declining
market? What has been the impact of financial constraints
and reduced markets on production? What are the ways in
which film production has been affected by the video
market, television and the internet?
– Sociology: What have been the career paths of film
producers (background, training, etc.)? The development
of careers, business practices and discourses? How are
the various tasks related to film production organized, and
the accumulation of different jobs (the filmmaker as
producer and sometimes distributor of his/her own films,
etc.)? What has been the impact of filmmakers’ associations
(FEPACI) on film production? What productions for
which cultures?
producers (background, training, etc.)? The development
of careers, business practices and discourses? How are
the various tasks related to film production organized, and
the accumulation of different jobs (the filmmaker as
producer and sometimes distributor of his/her own films,
etc.)? What has been the impact of filmmakers’ associations
(FEPACI) on film production? What productions for
which cultures?
The papers, which can be presented in French or
in English, are expected to be between twenty
and thirty minutes.
in English, are expected to be between twenty
and thirty minutes.
The conference will alternate academic panels and
round-table discussions with professionals. The
proceedings will be published.
round-table discussions with professionals. The
proceedings will be published.
Send a 300- to 500-word abstract, a short bibliography
and biography to:
and biography to:
patricia.caille@unistra.fr, c.forest@unistra.fr
before 30 October 2016.
before 30 October 2016.
Scientific committee :
Karine Blanchon, Université de Bordeaux Montaigne, France
/ Vincent Bouchard, University of Indiana, Etats-Unis /
Patricia Caillé, Université de Strasbourg / Claude Forest,
Université de Strasbourg / Honoré Fouhba,
Centre National d’Éducation, Cameroun / Odile Goerg,
Université de Paris 7 / Lamia Guiga Belkaied, ESAC,
Tunisie / Nolwenn Mingant, Université Paris 3
Sorbonne nouvelle / Françoise Naudillon, Concordia
University, Québec, Canada / Patrick Ndiltah,
Université de N’djamena, Tchad / Justin Ouoro,
Université de Ouagadougou, Burkina Faso.
/ Vincent Bouchard, University of Indiana, Etats-Unis /
Patricia Caillé, Université de Strasbourg / Claude Forest,
Université de Strasbourg / Honoré Fouhba,
Centre National d’Éducation, Cameroun / Odile Goerg,
Université de Paris 7 / Lamia Guiga Belkaied, ESAC,
Tunisie / Nolwenn Mingant, Université Paris 3
Sorbonne nouvelle / Françoise Naudillon, Concordia
University, Québec, Canada / Patrick Ndiltah,
Université de N’djamena, Tchad / Justin Ouoro,
Université de Ouagadougou, Burkina Faso.
Organizing committee: Patricia Caillé, Claude Forest,
students of the Masters programme in International
Coproduction of cinematic and audiovisual works.
students of the Masters programme in International
Coproduction of cinematic and audiovisual works.
—Beti Ellerson
>via: http://africanwomenincinema.blogspot.com/2016/08/call-for-papers-appel-communication.html