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- W2024181372 abstract "by Janet Staiger Whenever I recount the history of my choice to study film and television, I always include a passage about film studies being undisciplined when I arrived at it in the early 1970s. Only recently having entered the academy in at least as widespread and visible a position as it was starting to have at that point,1 film stud ies was also benefiting from the concurrent explosion of continental theory: structuralism, semiotics, Marxist cultural studies, French femi nisms. I am thus sure that those theories also attracted me, for the 1960s leftist, working-class progressive that I was (and hope still to be) found those discourses revelatory and compatible with my view of the social formation. Of course, I did find having to be nominated for member ship in the Society of Cinema Studies (SCS) by Douglas Gomery in 1978 so that I could present a paper at that year's conference to be a bit elitist, but at least it was not as selective as had I been considering joining in the 1960s when the original organization planned to restrict its membership to one hundred members. Still, other parts of the his tory of SCS have made me proud to be a member, now for thirty-one years. What I would like to share with my colleagues on the occasion of the Society's fiftieth anniversary is a bit of its history that may be littie known: the liberal-leftist tilt that it evinced from its earliest years. Jack Ellis (Northwestern University), one of the four organizers of the Society of Cinematologists (SOC) in 1959, has provided us with a Personal Recollection of the Early Days.2 Ellis notes that besides himself on the organizing committee were John Driscoll (Pennsylvania State University), Robert Gessner (New York University), and Gerald Noxon (Boston University), with Gessner providing much of the guid ance for the early choices in name and purpose. Ellis also notes the dilemma as to whether SOC should be a learned society or a profes sional academic organization, with it leaning toward the former until Gessner's death in 1968, after which its members changed its name to the Society for Cinema Studies. Ellis mentions neither that membership" @default.
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- W2024181372 date "2009-01-01" @default.
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- W2024181372 title "Some Hopes of SCMS" @default.
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- W2024181372 doi "https://doi.org/10.1353/cj.0.0168" @default.
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