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SUMMARY:Loving Theory: two talks on film and television - Alison Fornell (
 Screen Media and Cultures MPhil student\, University of Cambridge) and Ame
 lie Hastie (Professor of English and Film and Media Studies\, Amherst Coll
 ege)
DTSTART:20130611T160000Z
DTEND:20130611T180000Z
UID:TALK45534@talks.cam.ac.uk
CONTACT:Hannah Mowat
DESCRIPTION:The Screen Media Group proudly announces its last seminar of t
 he year and welcomes not one\, but two guest speakers to CRASSH.\n\n*Aliso
 n Fornell* (University of Cambridge) will be taking a closer look at the S
 candi-crime genre with her paper on 'Loving Television Theory\, Investigat
 ing the Scandinavian Crime Series The Bridge'\, followed by Prof. *Amelie 
 Hastie* (English and Film and Media Studies\, Amherst College) on more rec
 ent French film\, with 'Loving Film Theory\, Experiencing Audiard's Rust a
 nd Bone'.\n\n*Alison Fornell* will be engaging with questions of the body 
 and televisuality through an analysis of the Swedish-Danish co-produced cr
 ime thriller\, The Bridge. What can the body tell us about television? And
  vice versa? Her talk looks not only at how we think about right and wrong
 \, but also how television more broadly works in the world and what impact
  is has on one's very sense of self.\n\n*Amelie Hastie*\, meanwhile\, look
 s at cinephilia - the term we use for an obsessive love of film. But how d
 o we describe a love of film theory itself\, she asks? What is the relevan
 ce of love not just for the object of our study but also for a means of th
 inking about it? And how might this love help to order a structure of know
 ledge? Her talk will consider the cinephilic drive\, in particular theoret
 ical writings as a foundation for imagining both a conceptual and a histor
 iographical ordering of film theory\, drawing on Jacques Audiard's 2012 fi
 lm\, Rust and Bone. Her analysis will be grounded in the provocation that 
 Rust and Bone's insistence on intimate gestures - made via close-ups\, slo
 w motion\, quick flashes of movement - is the visual manifestation of emot
 ional experience. But it demands something of us\, too - to experience mul
 ti-directional movement rather than the linear pull of narrative or seemin
 gly straight-forward emotion. Such "multi-directional movement" might be t
 hat\, too\, of a re-imagining of the history and structure of film theory.
 \n\nThe session starts at 5 for 5.15. *Followed by a Q&A and end-of-year d
 rinks reception.* Open to all\, no registration required!
LOCATION:CRASSH\, Alison Richard Building\, 7 West Road\, Cambridge\, CB3 
 9DP
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