{"id":20574,"date":"2020-04-28T20:58:32","date_gmt":"2020-04-28T20:58:32","guid":{"rendered":"http:\/\/historiografija.hr\/?p=20574"},"modified":"2020-04-28T20:58:32","modified_gmt":"2020-04-28T20:58:32","slug":"cfp-special-issue-of-the-historical-journal-of-film-radio-and-television-dissent-and-dissidents-in-central-and-eastern-european-film","status":"publish","type":"post","link":"https:\/\/historiografija.hr\/?p=20574","title":{"rendered":"CFP: Special Issue of the \u201cHistorical Journal of Film, Radio and Television\u201d &#8211; Dissent and Dissidents in Central and Eastern European Film"},"content":{"rendered":"<p>Following the establishment of the \u00abpeople\u00b4s democracies\u00bb in Central and Eastern Europe after World War II, Lenin\u00b4s dictum about \u00abfilm being the most important art\u00bb brought change in terms of an improved infrastructure for film production. Often, the Soviet film was seen as a role model for the other Socialist states. The establishment of Socialist film schools or academies, for example, in Czechoslovakia (Prague 1947), Poland (\u0141\u00f3dz 1948), Yugoslavia (Belgrade 1948), Romania (Bucuresti 1950), Bulgaria (Sofia 1948), Hungary (Budapest 1948) and the GDR (Potsdam 1954), were all emulated in one way or another after Moscow\u00b4s famous VGIK, the first state film school in the world. The idea was, of course, that film was considered an important medium for propaganda and persuasion and that it was necessary to secure Socialist-minded \u201dcadres\u201d for this cause.<\/p>\n<p>Yet, despite all measures to carefully regulate the film industry, the level of control varied significantly over time and in the different countries \u2013 despite the fact that film, for a number of reasons, lends itself to control. Alternative voices, as a number of examples demonstrate, could be heard in all of the Warsaw Pact states. By looking at filmmaking, exhibition and reception, film education and film criticism, this themed issue of the <em>Historical Journal of Film, Radio and Television <\/em>considers dissent and dissidents in Central and Eastern European film during the Cold War and its aftermath.<\/p>\n<p>The Journal has a particular historical\/archival focus. We especially, but not exclusively, encourage contributions on the following topics and approaches:<\/p>\n<ul>\n<li>Confrontations with the hegemonic ideology<\/li>\n<li>Questions of censorship<\/li>\n<li>Questions concerning relationship with the audience<\/li>\n<li>Trans-national aspects, including the exchange of ideas with other states in the Soviet sphere of interest and the relationship with West European and American film industries,<\/li>\n<li>Different phases of dissent and dissidents, including the post-1968 years and and the New Left<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>Please submit an abstract of 250-300 words and a brief biography before 1 May 2020 to the guest editors, Tobias Hochscherf (tobias.hochscherf@fh-kiel.de), Bj\u00f8rn S\u00f8renssen (bjorn.sorenssen@ntnu.no) and Rolf Werenskjold (rof@hivolda.no). <\/strong><\/p>\n<p><strong>Final submissions (7000-9000 words) are due on 1 November<\/strong> <strong>2020. <\/strong><\/p>\n<p><strong>Only submissions that follow <em>Historical Journal of Film, Radio and Television <\/em>notes for contributors will be considered (<\/strong><a href=\"https:\/\/www.tandfonline.com\/action\/authorSubmission?show=instructions&amp;journalCode=chjf20\">https:\/\/www.tandfonline.com\/action\/authorSubmission?show=instructions&amp;journalCode=chjf20<\/a>)<strong>. All submissions are subject to approval by the blind peer-review process of the journal.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><a href=\"https:\/\/nep4dissent.eu\/calls\/cfp-special-issue-of-the-historical-journal-of-film-radio-and-television\/\">https:\/\/nep4dissent.eu\/calls\/cfp-special-issue-of-the-historical-journal-of-film-radio-and-television\/<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":20575,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3],"tags":[],"class_list":["post-20574","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-novosti"],"acf":{"facebook_opis":""},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/historiografija.hr\/wp-content\/uploads\/2020\/04\/take-a-deep-breath.png?fit=1920%2C1080&ssl=1","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":52516,"url":"https:\/\/historiografija.hr\/?p=52516","url_meta":{"origin":20574,"position":0},"title":"Marko Grde\u0161i\u0107, Mislav \u017ditko, \u201eSocialist Economics in Yugoslavia: A Critical History\u201c","author":"Branimir Jankovi\u0107","date":"17. travnja 2026.","format":false,"excerpt":"This book presents a critical history of Yugoslav socialist economics, from its inception in the late 1940s to its dissolution in the late 1980s. 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