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seminars</title></head><body>
<div align="center">UNSW Media, Film & Theatre Seminars</div>
<div align="center">5 p.m. Wednesday 9 August</div>
<div align="center">Webster Building Room 327</div>
<div align="center"><font size="+2"><br></font></div>
<div align="center"><font size="+3" color="#007700"><b>JAZZING MOVIE
ART</b></font></div>
<div align="center"><font face="Arial" size="+2"
color="#007700"><i><b>Ballet</b> mécanique</i>
revisited</font></div>
<div align="center"><font size="+3">James Donald</font></div>
<div><tt><font size="+2"><br></font></tt></div>
<div><tt><font size="+1">Over eighty years after it was made, Fernand
L<i>é</i>ger and Dudley Murphy's<font color="#000000"> Ballet
mécanique</font> (1924) continues to perplex and provoke critics.
Is it a Cubist film, a Dada film, an Abstract film or a Purist film?
in this talk, I take a different tack. Setting it in the context
of contemporary debates about<i> jazz</i> as a cultural phenomenon
(for example in Clive Bell's 1921 'Plus de jazz' and in the reception
of Eliot's<i> Wasteland</i> as a jazz poem) and examining what the
various participants in the project - Man ray, Ezra und and george
Antheil as well as L<i>é</i>ger and Murphy - makes it possible to
see in the film a jazz ethos and perhaps even an aesthetic of jazz
modernism.</font></tt></div>
<div><br></div>
<div><i>James Donald is Professor of Film Studies at the University of
New South Wales. He holds an ARC Discovry Grant for reserch into
the impact of Josephine Baker and Paul Robeson on European
modernism.</i></div>
<div><i><br></i></div>
<div align="center"><br></div>
<div align="center"><br></div>
<div align="center">5 p.m. Tuesday 15 August</div>
<div align="center">Webster Building Room 331</div>
<div align="center">(Please note change of day and venue)</div>
<div align="center"><font size="+2"><br></font></div>
<div align="center"><font size="+3" color="#0000FF"><b>THE MOMENT OF
INTERDISCIPLINARITY</b></font></div>
<div align="center"><font size="+3">Andrew Barry</font></div>
<div><tt><font size="+2"><br></font></tt></div>
<div><tt><font size="+1" color="#000000">Interdisciplinarity is a not
a new phenomenon, but the current level of interest in
interdisciplinarity may well be. But although interdisciplinarity is
widely spoken about today, is it a unified phenomenon? Is there a
general movement from disciplinary forms of research practice to
interdisciplinary forms and, if so, why? In this paper I examine the
diversity and fragility of contemporary interdisciplinary forms and
institutions, and their specific historical origins. The paper
focuses, in particular, on the history of interdisciplinary research
which cuts across the boundaries between the natural sciences, on the
one hand, and the arts and social sciences, on the
other.</font></tt><br>
<tt><font size="+1" color="#000000"></font></tt></div>
<div><tt><font size="+1" color="#000000"><i>Andrew Barry is Reader in
Geography at Oxford University and the author of</i> Political
Machines: Governing a Technological Society<i> and co-editor of</i>
The Technological Economy<i> and</i> Foucault and Political Reason:
Liberalism, Neo-Liberalism and Rationalities of
Government<i>.</i></font></tt></div>
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<div><tt><font size="-1" color="#000000">Dr James Donald<br>
Associate Dean (Education), Faculty of Arts and Social Sciences<br>
Professor of Film Studies, School of Media, Film and Theatre<br>
University of New South Wales<br>
Sydney<br>
NSW 2052<br>
Australia<br>
<br>
Telephone<x-tab> </x-tab>(02)9385 4858<br>
Mobile<x-tab>
</x-tab><x-tab> </x-tab>0433
126445</font></tt></div>
<div><tt><font size="-1"
color="#000000">Facsimile<x-tab>
</x-tab><x-tab> </x-tab>(02)
9385 6812<br>
<br>
International<br>
Telephone<x-tab> </x-tab>+612 9385 4858<br>
Mobile<x-tab>
</x-tab><x-tab>
</x-tab>+61433 126445</font></tt></div>
<div><tt><font size="-1"
color="#000000">Facsimile<x-tab>
</x-tab><x-tab> </x-tab>+612
9385 6812</font></tt></div>
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