Conference Registration (password: Myth2012)
F i l m a n d M y t h
September 26-30, Hyatt Regency, Milwaukee, USA
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Please note the FOUR critical announcements below
1. To see which day you are scheduled to present, click this link:
[Last updated: 5:15 PM EDT, 29 August]
Panels are scheduled for Thursday (Sept. 27), Friday (Sept. 28), and Saturday (Sept. 29). Clicking the link will take you to a PDF document listing the names of presenters who are scheduled for each day.
The full schedule will be posted to the website, and area chairs notified, as soon as it is available.
2. If you have not yet registered, please do so immediately by clicking this link:
Conference Registration (password: Myth2012)
Note: Late registration rates apply. The online registration system will remain open until September 22, 2012. After this date, registrations must be made in person at the conference and paid in cash only (US $); checks or credit cards cannot be processed at the conference.
Also Note: The final deadline for registration refunds passed on August 15. If you withdraw from the conference at this point, we can no longer refund any portion of your registration fees.
3. If you have not yet booked your room at the Hyatt, please click this link:
or Call 1-888-421-1442 to reserve your room for the "Film & History Conference 2012" at the special group rate of $119/night
4. If you plan to use audio-visual media, please read the following carefully:
Meeting rooms at the Hyatt will include the following equipment:
- Standalone Blu-Ray/DVD player
- Windows 7 PC with Blu-Ray/DVD capability, wireless internet, and Office 2007 software
- 50-inch HD monitor
Presenters are strongly encouraged, wherever possible, to bring their audivisual material on a flash drive or CD/DVD in order to minimize time spent connecting and disconnecting personal laptops, and troubleshooting connections.
Presenters who have a non-“Region 1” DVD or non-“Region A” Blu-ray should make appropriate arrangements in advance:
- Use a Region 1 DVD or Region A Blu-ray instead or
- Burn the necessary video clips to a personal DVD/Blu-ray disc (which is not Region coded) or to a flash drive or
- Present the media using their own laptops.
Presenters who wish to use their own laptops may connect them to the 50" HD monitors using
- the supplied standard HDMI cable attached to the TV or
- the supplied standard HD15/VGA cable and 3.5mm stereo audio/headphone cable.
Technical details for presenters using their own laptops
- Adapters from HDMI to mini-HDMI and from HDMI to mini-DisplayPort/DisplayPort will be available for checkout at the registration desk, but adapter compatibility cannot be guaranteed. Mac users are strongly encouraged to bring their own adapter and to check it for compatibility with their laptop's port.
- A/V presenters using their own laptops should plan for an alternative means of presenting their media if the laptop connection cannot be established
- HDCP-protected DVDs or Blu-rays generally will not play through the analog HD15/VGA port (or DVI-A port) on any computer (or through the HD15/VGA port on the monitor). Microsoft Windows 7 (like Mac OS X v10.5 or later with iTunes 10 or later) supports HDCP-protected content only through digital connections (e.g., HDMI, DisplayPort, DVI-D);
- Presenters wishing to use their own laptops to display HDCP-protected content through a VGA port will require software on their computers that bypasses the security encryption on that disc. (DVDFab.com and SlySoft.com supply downloadable packages, but, although Film & History supports the Fair Use clause for the academic purpose of illustration, the journal assumes no responsibility for any copyright violations that might arise from a presenter’s use of this publicly available software.)
The 2012 Film & History Conference (Sept. 26-30, Hyatt Regency, Milwaukee, USA) will examine the power of myth in film, television, and the other moving-image arts.
As a collective pattern, myth transcends the individual, yet it provides structure to our most personal feelings and assumptions. It can be subtle or obvious, shallow or complex. It can move nations to attack each other—or to reconcile. It can induce affection or ridicule or longing. Myth operates somewhere between the waking consciousness of history and the drowsy consciousness of mystery. Often it is both narrative and meta-narrative, trying to tell us what we know and how we might know it. And film is the most vibrant stage of mythmaking today. How do films exploit or succumb to certain myths? Why do audiences embrace one mythic pattern over another—in romance or tragedy or comedy? Who or what controls mythmaking in film and television? How do certain historical characters or events become legendary? How do they become mythic? What historical mutations have myths undergone in film? What myths are on the horizon?
Film & History: An Interdisciplinary Journal invites proposals to chair an area of multiple panels. Please send a brief description of your area (100-200 words) to email@example.com (or firstname.lastname@example.org). Describe the area/topic, and pose the fundamental questions it will address. The deadline to be listed on your Call for Papers will be June 1, 2012. There will be no rolling deadlines before that date. Here is the template to use for drafting your Call: CFP Template.UPDATED LIST (as of May 8, 2012).
AREA LIST (Panelists: contact the chairperson of your prospective area):
- Adventure! Danger! Romance!: Myths of Exploration
- America's Pantheon: Superheroes and Sports Heroes in Film and Television
- Ancient Egypt in Myth, History, and Religion
- Animating History: "Disney Americans" and Other Myths
- Archetype and Ego Psychology in Film
- Beast or Human: Animal Myths in Film and Television
- "Bunnies, Bars, and Stews" : Myths of 1950s-1970s Cultural History in the Popular Present"
- Chalk It Up to Myth: Education on Film
- Chicks with Brains: Representing Women's Intellect in Film
- The Color of Myth: Aesthetics, Affect, Apprehension
- Crime and Punishment: Mythologizing the Law
- Doctored Reality: The Myths of Medicine in Film
- Dwelling on Myth: The City, The Suburb, and The Farm
- Evil, Sin, Death, Doom: Mythologizing the Underworld in Film
- Facing Race: Film, Television, and Myth
- Food of the Gods: The Mythic Poetics of Food, Drink, and Eating in Film and Television
- Frontier Myth and Iconography in the Old West
- Future Myths, Mythic Futures
- Heroes and Villains: Iconography, Narrative, and Film
- Innocence and Experience: Children, the Elderly, and Myth
- Legend or Myth: Anthropological Entanglements in Film
- Literature, Genre, and Myth: Structures, Texts, Films
- Marriage and Family Myths in Film and Television
- Medieval Magic, Myths, and Legends in Film and Television
- Monster Myths: Terror, Horror, and Film
- Music, Motifs, and Mythmaking
- Myth, Inc.: The Business World in Film and Television
- Myths of Stardom: Cultivating Star Identities
- Myths R Us: Nationality in Film and Television
- Mythic Characters and Places made Real: TV and Film in Situ
- Mythic Mother Nature: Storytelling and Myth-Building Through Moving Images
- Mythic Structures: Sacred Architecture and Ornamentation in Film
- Mythical Movie Jews: Anti- and Philo-Semitic Stereotypes on the Silver Screen
- Mything God: Religious Desire in Film and Television
- Mythmaking and Marketing: The Money Trail On and Off the Screen
- Mythos: Screening Classical Mythology on Film and Television
- Mythologies of Travel in Film and Television
- Natives and Primitives: The Myths of Oral Cultures
- Naught-I Movies
- Queer Mythologies: Untangling Sex and Gender Myths
- Science-Fiction Myths: Travels through Time and Space
- Sir Dude and Madame Chick: Mythologizing Class in Film
- Storytelling101: History as Myth on the Big Screen
- The Myths of Science and Scientists
- War Myths: Heroes and Anti-Heroes in Film and Television
- West/East: Hollywood/Bollywood
Conference Registration Refunds
Because of contractual commitments to our host site, Film & History must absorb any outstanding costs for the conference, including unfilled rooms at the hotel and service charges through Acteva and any credit card used for the transaction. As the event nears, costs become increasingly difficult to redistribute or negotiate. For these reasons, if you must cancel your registration to the conference before July 15, your fee will be returned minus 25% of your total payment. After July 15 but before August 15, refund of registration fees paid for the conference will be reduced by 50% of your total payment. After August 15, we can no longer refund registration fees.
Film & History