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Please join the Chicago Film Seminar at 6:30 pm on Thursday, February 2 to welcome Noa Steimatsky (UChicago) for her talk, " Death at Work: Barthes and Warhol Look at the Face ." Scott Durham (Northwestern) will provide the response. The CFS will be held, as always, in the Flaxman Theater, Room 1307 of the School of the Art Institute's building at 112 S. Michigan Ave. Thursday, February 2 at 6:30pm Noa Steimatsky , UChicago "Death at Work: Barthes and Warhol Look at the Face" Respondent: Scott Durham , Northwestern Steimatsky describes her talk as follows: Enframed in a consideration of Andy Warhol’s mid-1960s film portraiture, my talk for the Chicago Film Seminar will dwell on Roland Barthes’s “modern anthropology” of the cinematic face. A deep ambivalence, involving de-mythifying and re-mythifying maneuvers, haunts Barthes’s reflection on the facial image, and foreshadows some of the deepest concerns of Pop in the following decade. Especially in the almost f...

Please join the Chicago Film Seminar at 6:30 pm on Thursday, January 19 to welcome Miriam Petty (Northwestern) for her talk, " A Dance with Uncle Billy: Bill 'Bojangles' Robinson and African American Children's Spectatorship. " Karen Bowdre (Indiana) will provide the response. The CFS will be held, as always, in the Flaxman Theater, Room 1307 of the School of the Art Institute's building at 112 S. Michigan Ave. Thursday, January 19 at 6:30pm Miriam Petty , Northwestern "A Dance with Uncle Billy: Bill 'Bojangles' Robinson and African American Children's Spectatorship" Respondent: Karen Bowdre , Indiana Petty describes her talk as follows: My paper uses celebrated tap dancer Bill "Bojangles" Robinson and his cinematic relationship with child star Shirley Temple as the springboard for an examination of African American children’s spectatorship in the 1930s and early 40s. Relying on a variety of autobiography, memoir and personal ...

On Thursday, October 13, the Chicago Film Seminar commenced its 2011-2012 season at Northwestern Law School by welcoming Hamid Naficy of Northwestern to deliver a talk on “Early Iranian Cinema’s Production Mode.” Mehrnaz Saeed-Vafa of Columbia College provided the response. This talk centered on Iranian cinema’s silent and early sound period, which Naficy describes as the pre-industrial “artisanal era.” In examining the historical circumstances that gave rise to early Iranian film, Naficy focuses on the unique production circumstances of this national cinema while also situating it alongside other contemporaneous Iranian arts and social structures. From the artisanal era’s outset in 1897, Iranian cinema was distinct from Western national cinemas in its close association with elites and royals rather than the masses, a connection that would grow via the Shah’s interest in and official sanctioning of the new medium. Beyond just this support of the privileged class, Naficy further provide...