A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VIII Encontro Anual da AIM irá decorrer de 16 a 19 de maio de 2018, na Universidade de Aveiro. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
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Cine, Bergman, Conference 2018
“Everything represents: nothing is”.
Bergman revisited - a Centennial Conference (1918-2018)

“Tudo representa: nada é”.
Bergman revisitado - uma conferência no seu centenário (1918-2018)

2018 commemorates the centenary of Ingmar Bergman’s birth. To honour and to adress the artistic legacy of this great master, the University of Évora / ‘Cinema-fora- dos Leões’, together with ‘Colecção B’, is organizing next 24 th -27 th October, in partnership with Leopardo Filmes, the Bergman Foundation and the Embassy of Sweden in Portugal, plus the support of the Alentejo Cultural Directory, the Eugénio de Almeida Foundation, and the CHAIA (Universidade de Évora), Práxis (Universidade da Beira Interior/ Universidade de Évora) and CFUL (Faculdade de Letras de Lisboa) research Centers, an International Conference and a select screening of Bergman’s cinematic oeuvre in the world heritage town of Évora, Portugal.
From the heights of his towering presence amidst the landscape of European art film, the core of the perhaps too well-known Bergman’s work remains an enigma to date, and stirs a thought-provoking network of questions: is there an innermost, ultimate meaning inhabiting Ingmar Bergman’s artistic thought and creative output – and, if so, how are we to define it? Or, asking more broadly: what are the formal-stylistic, aesthetic, thematic, philosophical, film-specific, performative features circumscribing this undeniable unity of meaning which, on the other hand, always eludes definition?
In a further line of consideration, beside the filmmaker, there stands also Bergman the writer and screenwriter, the stage director, the producer, the theatre manager, the man of culture impregnated with a wealth of interartistic references, who is able to mobilize ingeneously devised intermedial resources going from literature to music, from architecture to painting, but also keen on bridging the gap between high culture and the popular world of circus and travelling players. The name or brand ‘Bergman’ points, in fact, to a vast realm whose internal complexity begs for further exploration.
The public access to his archives through the edition of parts of his writings, together with the published original scripts, add yet another revealing side to the polyhedron Bergman, a multilayered treasure offered to the study of the scholar and the loving care of the film geek, that invites the launching of a larger meeting that can bring together the community of Bergman enthusiasts in a scientific symposium. Bearing testimony to the same process of a ‘return to Bergman’ (or will it be ‘of Bergman’?), the growing international interest on the multidimensionality of his monumental body of work translates itself into a profusion of new books and essays, conferences and academic dissertations. This voluminous bibliography, embracing both primary and secondary sources, constitutes the current basis for any serious undertaking within the field of Bergman Studies.
In this context, the initial pretext of a commemoration of the anniversary surmounts itself towards the more formal purpose of setting an international conference guided by the epistemological aim of reopening and retargeting the central thematics of the Bergman field.
Furthermore, it is not just the classic Bergman agenda that has recently entered on an era of new extensions, multiplied viewpoints and general updating, so to say by means of an immanent logic: concurring with this movement from the opposite side, we can assist to a massive renewal of the theoretical approaches and frameworks within the several disciplines of ancilar import to the interpretation of a major cinematic oeuvre such as Bergman’s, namely in film studies and film-philosophy.

This critical resettlement of classic theoretical topics (ex. g., gender representation, auteur theory) or the introduction of new avenues (socio-cultural contexts, as complementing the traditional psychological and psychoanalytic pathways; or even a change of accent in the psychoanalytic matrix, from Freud to Lacan, for instance), lend an extra hermeneutical dynamic which combines a double movement: that of the interpreted thing and the one of its interpretation.

We are looking forward to bringing together in the beautiful medieval town of Évora the (already confirmed) following set of keynote speakers:

Guest Keynote Speakers
António Júlio Rebelo (Práxis-UBI/UÉ, Portugal)
Jorge Silva Melo (filmmaker, stage director, writer, Lisbon, Portugal) [to be confirmed]
José Alberto Ferreira (UÉ/FEA/CHAIA, Portugal)
José Manuel Martins (UÉ, Práxis/CFUL/CHAIA, Portugal)
Laura Hubner (University of Winchester, UK)
Luís Ferro (CHAIA, Évora, Portugal)
Maaret Koskinen (Stockholms Universitet, Sweden)
Pedro Mantas (Universidad de Córdoba, Spain)
Susana Viegas (Universidade Nova de Lisboa/Deakin University, Portugal)
Thomas Elsaesser (Universiteit van Amsterdam)

Registration fees:
Early bird: 50€
Late bird (after the 31 st of July): 70€

The list of topics and themes below will hopefully suggest as many other ones of similar importance, and provides the guidelines for a Call for Abstracts welcoming proposals for a 20+10minutes talk, both as individual or co-authored presentations, and in panels of more than one contributor (20+10min. x 2 or x 3).

The deadline for submitting an abstract not exceding 3000 characters (including spaces) in PDF and Word formats is May 30 th 2018. A short bio should be adde too.

The working languages of the Conference are English and Portuguese. The authors will be notified of the acceptance of their proposals by June 30 th 2018.

We have ensured the interest of a UK major publisher on a book of essays summing up the outcome of this meeting.

The filmic constellation
Intermediality and intersensoriality
The ‘philosophy’ of Ingmar Bergman
Methodologies and epistemologies regarding Bergman
The Bergmanian themes and universes
Art and life
The contemporariness of Bergman
The image-maker

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CFP: 5th Internacional Symposium Fusions in Cinema (São João da Madeira)

The 5th Internacional Symposium Fusions in Cinema will take place between 23rd and 24th November 2018, in São João da Madeira, with the support of the Town Council of São João da Madeira.

This 5th edition of the Symposium will be co-organized by the Caminhos Film Festival and the Unity of Development of the Centers of Local Learning of the Universidade Aberta. All the proposals of works will be reviewed by the peers through blind-review, guaranteeing the exemption and impartiality of the evaluation. The works submitted will be published in a book of minutes and the most relevant will be published in a future number of the ICONO14 editorial. The deadline for reception of proposals of communications is until September 15.

Teachers, investigators, invited speakers, specialists and artists of different areas analyze, in this 5th Internacional Symposium, the current artistic and educational practices, the new roles of the different agents involved in the creative and operative dynamics of art, education and culture nowadays.

The Caminhos Film Festival and the Universidade Aberta invite you to submit your proposals of communication, in Portuguese, English or Spanish, that don’t exceed the 1500 characters (including spaces), in the following themes (that could be extended to other) of the Symposium:

The relationship between the different arts and cinema: -Architecture; -Literature/Argument; - Interpretation/-Performance; -Music; -Photography; -Fine Arts

The technological evolution and the way Cinema arrives to the audience: -Subtitling, dubbing and audio-description; -The new technologies, Internet and cinema; -The supports, formats and the new media;

Cinema in different pedagogic environments (online and in person); Cinema and Investigation in the educational context; Practices of Cinema in School; Cinema and the new technologies in education; Cinema and Social Networks in formal and informal contexts of learning; Production of Audiovisual objects of learning with educational purposes using the cinematographic language.

Theoretical approaches, about the audiovisual production in general, including all the genres and platforms of diffusion, framing it in a contemporary context nacional and internationally;
The analysis of the relations between implementation and production of cinematographic and television contents; Cinema and Television parallel ou interconnected worlds.

All the teachers are invited to participate (without communication), with no costs associated, in the Symposium. The registered can have access to a Certificate of Formation, given by the CCPFC with 1 credit for teachers of Basic and Secondary Education with the title “Fusões no Cinema”. The Symposium will have a duration of 25 hours: 10 hours will be presencial, on the 23rd and 24th November, and 15 hours will be online in the following week, with conferences from international specialists in a virtual environment.

Cen­tro de Estu­dos de Comu­ni­ca­ção e Cul­tura da Uni­ver­si­dade Cató­lica Por­tu­guesa;
Asociación Científica de Investigación de las Nuevas Tecnologías de la Comunicación - Icono14;
Uni­dade Móvel de Inves­ti­ga­ção em Estu­dos do Local (ELO) da Uni­ver­si­dade Aberta;
Plano Nacional de Cinema - Direcção Geral da Educação
Instituto de Psicologia Cognitiva, Desenvolvimento Humano e Social da Universidade de Coimbra

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CFP: The development of cinephilia and the promotion of french and local cinemas

International Conference​
​(French and Turkish versions below)​

The development of cinephilia and the promotion of French and local cinemas.
The contribution of the French Institutes and the Alliances Françaises

Institut Français, Istanbul - 29-30 November 2018

The role of movie theatres in the development of cinephilia is a field which has been the subject of a number of researches (A. de Baecque, E. Ethis, C. Gauthier L. Jullier and J.-M. Leveratto, L. Souilles-Debats, C. Tallibert, etc. ). Among these venues, a specific section consisting of those of the network of French cultural institutions abroad, IF and AF (150 venues) has not been analysed. Yet they have encouraged and still make a significant contribution to the dissemination and the promotion of cinema, for example: Cinemas Elvire Popesco (the French Institute of Bucharest in Romania), Jean Renoir (the French Cultural Centre of Seoul) or venues of the Alliances françaises of Buenos Aires and Havana.

The eclectic programming of these venues, initiatives towards the young public (since 1997 the French Institutes award the prizes of young French-speaking movie-goers), the festivals (International Filmmor Women’s Film Festival on Wheels is supported by the French Institute of Istanbul since its first edition in 2002 and IF remains one of the main partners of the festival by providing its venue, inviting French filmmakers, etc.), the meetings and Master Classes, offered often in a challenging environment – traditional values, political control and Americanization of societies (explosion of multiplexes and a mainstream cinema) – have marked generations of women and men, protagonists of the transformation of their countries.

The French cultural action outside France in general has been widely studied, cinema-related action, however, has been neglected. The aim of this colloquium is to remedy this lack and to highlight this contribution to the development of the cinephilia and to the promotion of French and local cinemas, including the encouragement of young creation and the emergence of new talents. Such is the case of the venue of the French Institute of Algiers, first place of diffusion of several young Algerian film-makers’ movies (including /The Blessed/ of Sofia Djama, 2017).

This conference is part of the research program “Exporting and Supporting French Cinema in the context of the French Institutes and the Alliances françaises”. Through the case of cinema, this project questions the methods and forms of French cultural diplomacy action in the field of the promotion, circulation and exportation of French cinema. We analyse the effectiveness of actions (market share of French cinema in global consumption, influence of French cinema on local creation, adaptation of the French model’s organization) while questioning their limits and difficulties. This project, proposed by IRCAV, is supported by the Labex ICCA (structuring program “French Model”). It has for main partners: IF, CNC, MEAE, ERCAE, MEDIAR (Istanbul).

Individual papers or panels can address but are not limited to the following themes:

Axis 1 – the venues: micro-history, evolution of attendance, operators


Axis 2 - programming and promotion of French and local cinemas: strategies, historical evolution, collaborations(schools, universities, training venues, festivals, associative and cultural structures...)

Axis 3 - forms of cinephilia: practices, testimonies, stories of spectators...

Axis 4 - Presence of these venues in the literary(novels, news, poetry...) and media (print, TV, radio, web...)

Please send proposals of up to 300 words, accompanied by a short bibliobiography (maximum 100 words) to Ece Vitrinel ( <>) until 3 June 2018.

Organized by: Kira Kitsopanidou (Professeure, Université Sorbonne Nouvelle Paris 3/IRCAV), Christophe Pecot (attaché audiovisuel régional, Consulat général de France et Institut français à Istanbul), Giusy Pisano (Professeure, ENS-Louis-Lumière/IRCAV), Ayse Toy Par (Maître de conférences, Université Galatasaray/MEDIAR), Azime Hülya Ugur (Professeure, Université Giresun)


Appel à communication

Le développement de la cinéphilie et la promotion des cinémas français et locaux.

La contribution des Instituts français et des Alliances françaises

Institut Français, Istanbul - 29-30 Novembre​ 2018

Le rôle des salles de cinéma dans le développement de la cinéphilie est un domaine qui a fait l’objet d’un certain nombre de recherches (A. de Baecque, E. Ethis, C. Gauthier L. Jullier et J.-M. Leveratto, L. Souilles-Debats, C. Tallibert, etc. ). Parmi ces salles, un pan spécifique constitué par celles du réseau des établissements culturels français à l’étranger, IF et AF (150 salles), n’a pas été analysé. Pourtant, elles ont apporté et apportent toujoursune contribution importante en matière de diffusion et de promotion, pour exemple : les salles Elvire Popesco (Institut français de Bucarest en Roumanie) ou Jean Renoir (Institut français de Séoul), ou encore les salles des Alliances françaises de Buenos Aires et de La Havane.

Organisés dans un contexte souvent contraignant - d’enracinement des valeurs traditionnelles, de contrôle politique et d’américanisation des sociétés (explosion des multiplexes et d’un cinéma mainstream) - les programmations éclectiques de ces salles, les initiatives envers le jeune public (depuis 1997 les Instituts français décernent les prix des jeunes cinéphiles francophones), les festivals (« Le Festival International Itinérant de Films de femmes FİLMMOR» (soutenu par l’Institut Français d’Istanbul dès sa première édition en 2002 et reste l’un des partenaires principaux en mettant à disposition sa salle, invitant des réalisatrices françaises, etc.), ainsi que les rencontres et Master Class, ont marqué des générations de femmes et d’hommes, acteurs des mutations de leurs pays.

Si l’action culturelle extérieure française en général a été largement étudiée, l’action en matière de cinéma, quant à elle, a été négligée. L’ambition de ce colloque est de remédier à ce manque et de mettre en lumière cette contribution, dans le développement de la cinéphilie et dans la promotion des cinémas français et local, notamment dans l’encouragement de la jeune création et l’émergence de nouveaux talents. Tel est le cas de la salle de l’Institut français d’Alger, premier lieu de diffusion de plusieurs films de jeunes cinéastes algériens (dont /Les Bienheureux/ de Sofia Djama, 2017).

Cette manifestation s’inscrit dans le cadre du programme de recherche « Exporter et soutenir le cinéma français dans le contexte des Instituts français et des Alliances françaises ». À travers le cas du cinéma, ce projet questionne les modalités et formes d’action de la diplomatie culturelle française dans le domaine de la promotion, la circulation et l’exportation du cinéma français. Nous analysons l’efficacité des actions (part de marché du cinéma français dans la consommation globale, influence du cinéma français sur la création locale, adaptation de l’organisation du modèle français) tout en questionnant leurs limites et difficultés.Ce projet, proposé par l'IRCAV, est soutenu par le Labex ICCA (programme structurant « Modèle français »). Il compte pour principaux partenaires : IF, CNC, MEAE, ERCAE, MEDIAR (Istanbul).

Les propositions de communication individuelle ou de panels vont privilégier, sans pour autant s’y réduire, les axes suivants :

Axe 1 - formes de la cinéphilie : pratiques, témoignages, récits des spectateurs…

Axe 2 - la programmation et la promotion des cinémas français et local : stratégies, évolution historique, collaborations(écoles, universités, lieux de formation, festivals, structures associatives et culturelles…)

Axe 3 - les salles : micro-histoire, évolution de la fréquentation, exploitants…

Axe 4 - présences de ces salles dans les champs littéraire(romans, nouvelles, poésie…) et médiatique (presse écrite, TV, radio, web…)

Les propositions de maximum 300 mots, et accompagnées d’une courte bibliobiographie (de maximum 100 mots) sont à envoyer jusqu’au 3 juin 2018 à Ece Vitrinel (<>).


Konferans çağrısı

*/Sinefilinin geli/ş/imi, Fransız sineması ve yerli sinemaların tanıtımında Fransız Kültür Merkezleri ve Alliance Française’lerin yeri/*

Fransız Kültür Merkezi, İstanbul - 29-30 Kasım 2018

Sinema salonlarının sinefilinin gelişimine katkısı bir dizi araştırmaya konu olmuştur (A. de Baecque, E. Ethis, C. Gauthier L. Jullier ve J.-M. Leveratto, L. Souilles-Debats, C. Tallibert, vd.). Bu araştırmalarda, yurtdışındaki Fransız kültür kurumları ağının bir bölümü olan ve toplamda 150 salonu bulunan FKM (Fransız Kültür Merkezleri ve AF (Alliances françaises)yer almamıştır. Bununla birlikte, bu salonlar filmlerin dağıtımı ve tanıtımına destek olup her zaman önemli bir katkıda bulunmuşlardır, örneğin: Elvire Popesco (Romanya’daki Bükreş Fransız Kültür Merkezi) veya Jean Renoir salonları (Güney Kore’deki Seul Fransız Kültür Merkezi ) ve Buenos Aires ve Havana Alliances françaises salonları.

Bu salonlar; genellikle köklü geleneksel değerlerin hüküm sürdüğü, siyasi denetim ve Amerikanlaşmanın (mültiplekslerde ve anaakım sinemada patlama) yaşandığı bir ortamda, seçkin programları, genç seyirciye yönelik girişimleri (1997’den itibaren Fransız Kültür merkezleri Fransızca konuşan genç sinefiller ödüllerini dağıtmaktadır), katkıda bulundukları festivaller (örneğin: Uluslararası Kadın Filmleri Festivali FİLMMOR, 2002 yılındaki ilk senesinden bu yana Fransız Kültür Merkezi tarafından desteklenmekte ve gerek Fransız sinemacıları davet ederek gerekse salon vererek FKM festivalin ana ortaklardan biri olmaya devam etmektedir), düzenledikleri toplantılar ve ustalık sınıfları ülkelerindeki dönüşümlerin aktörleri olan nesilleri etkilemişlerdir.

Genel olarak Fransız kültürünün Fransa dışındaki etkisi fazlaca incelenmiş olmakla birlikte sinema alanındaki etkinliği ihmal edilmiştir. Bu kolokyumun amacı söz konusu eksikliği gidermek ve bu katkıyı sinefilinin gelişiminde ve Fransız sineması ve yerli sinemaların tanıtımında, bilhassa genç yaratıcıların ve yeni yeteneklerin ortaya çıkmasının desteklenmesinde öne çıkarmaktır. Pek çok Cezayirli genç sinemacının filmlerinin (Sofia Djama/, Les Bienheureux/, 2017 gibi) ilk gösterildiği yer olan Cezayir Fransız Kültür Merkezi salonu bu duruma örnektir.

Bu konferans, “Fransız sinemasını Fransız Kültür Merkezleri ve Alliances Françaises’ler bağlamında ihraç etmek ve desteklemek” başlıklı araştırma programı kapsamında yer almaktadır. Bu proje, sinema örneğinden yola çıkarak, Fransız kültürel diplomasisinin Fransız sinemasının tanıtımı, dolaşımı ve ihracı alanındaki eylem yöntemlerini ve şekillerini sorgulamaktadır. Bu eylemlerin etkinliğini (küresel ölçekte Fransız sinemasının pazar payı, Fransız sinemasının yerli sinemalar üzerindeki etkisi, Fransız modelinin uyarlanması) incelerken bir yandan da bunların sınırlarını ve güçlüklerini tartışmak da amaçlanmaktadır.

​ ​
IRCAV’ın bu projesi Labex ICCA (“Fransız Modeli” temel programı) tarafından desteklenmekte ve IF, CNC, MEAE, ERCAE, MEDIAR (İstanbul) işbirliğiyle gerçekleştirilmektedir.

Bireysel sunumlar veya panel önerilerinin kabul edileceği konferansta, bunlarla kısıtlı olmamakla birlikte aşağıdaki eksenlere öncelik verilecektir:

1. Eksen: mikro-hikâyeler, sinemaya gitme pratiklerinin gelişimi, işletmeciler…

​ ​
2. Eksen: Fransız sinemasının ve yerli sinemaların programlanması ve tanıtımı: stratejiler, festivaller, tarihsel gelişim, ortak çalışmalar (okullar, üniversiteler, eğitim kurumları, festivaller, kültürel ve derneksel yapılar…)

3. Eksen: Sinefili biçimleri: alışkanlıklar, tanıklıklar, izleyici anlatıları…

4. Eksen: bu salonların edebiyat (roman, öykü, şiir…) ve medya (yazılı basın, TV, radyo, web…) alanlarındaki varlığı

300 kelimeyi aşmayan öneriler, öneriyi verenlerin kısa özgeçmişleri (en fazla 100 kelime) ile birlikte 3 Haziran 2018 tarihine kadar Ece Vitrinel’e (<>) adresine gönderilmelidir.

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Senior Lecturer post in Filmmaking at The University of Sussex

School/department: School of Media, Film and Music
Hours: full time
Contract: permanent
Reference: 2844
Salary: starting at £49,149 and rising to £56,950 per annum
Placed on: 20 April 2018
Closing date: 23 May 2018. Applications must be received by midnight of the closing date.
Expected interview date: 14 June 2018
Expected start date: September 2018
Job description

The School of Media Film and Music at the University of Sussex wishes to appoint a Senior Lecturer with expertise in the field of Filmmaking to a full-time post.

You will possess a higher degree in a relevant area or will have equivalent scholarly or relevant professional activity. You will have teaching experience to undergraduate level and postgraduate level, together with evidence of an international research profile.

You will be interested in contributing to leadership in both the Department of Media and Film and the School of Media, Film and Music. All areas of filmmaking are of interest and it is desirable, although not essential, to have scholarly and/or practice research expertise in at least one of the following areas: Narrative or Documentary Filmmaking.

The University of Sussex is committed to equality of opportunity

Download the full job description and person specification (reference number 2844):

How to apply

Download our academic post application form [DOC 301.50KB] and personal details and equal opportunities form [DOC 162.50KB] and fill in all sections.

Email your completed application, and personal details and equal opportunities form, to

You should attach your application form and all documents to the email (don't use a web-based upload/weblink service) and use the format job reference number / job title / your name in the subject line.

You can also send your application by post to Human Resources Division, Sussex House, University of Sussex, Falmer, Brighton, BN1 9RH.
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CFP publications - Interiors: Film and Television / Screen and Stage

Following successful symposia on Interiors and Film in New York and Kingston, UK, Professor Pat Kirkham and Kingston University’s Modern Interiors Research Centre (MIRC: Director Professor Penny Sparke) call for proposals for articles and chapters for two publications.

The first is a book that Bloomsbury will publish (Rebecca Barden and her team will be guiding the process at the publishing end). The other is a special issue of a peer review academic journal (not yet finalized).

The working titles around which the book and the special issue will be organized are:


This can be either screen or stage or both, including screen adaptations of stage pieces.

At MIRC we interpret ‘Interiors’ in the broadest manner possible, including interiority, and encourage contributions that reflect this as well as those with a focus on set design, art direction, props, genres, individual works, and the inter-relationship of production design and costume design. We also welcome contributions that relate to stage and screen across the globe.

The editors are Pat Kirkham and Penny Sparke from MIRC, Kingston University, UK, and Sarah Lichtman, Director of the MA in Design History and Curatorial Studies, at Parsons/The New School, New York City.

Proposals should be at least three paragraphs long but we welcome longer ones too, as well as more finished pieces.

Important dates:

May 31 2018: deadline for proposals
June 15 2018: selections made, and people notified if their proposal has been accepted. Depending on the submissions accepted, decisions now made about which proposals best fit which publication.

Sept 30 2018: articles/chapters due

Dec 1 2018: comments and suggested revisions due back to authors

March 1 2019: completed/revised work due. NB: articles will be formally accepted or rejected at this point

Aug 1 2019: editors send copy for publication

Please send proposals to Pat Kirkham at<> by May 31 2018
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CFP: Film Criticism Special Issue on Film & Merchandise

Film Criticism/ Special Issue on Film & Merchandise Call For Papers (November 2018)
Guest editors: Dr. Elizabeth Affuso (Pitzer College) and Dr. Avi Santo (Old Dominion University)

Despite Jane Gaines’ (1989) recognition that the cinema screen and the department store display window have long participated in providing audiences with spectacles of consumption that steered shoppers toward one another’s venues, there is surprisingly little work that critically interrogates film-related merchandise.Only recently have scholars started to take this area of study seriously. For example, media industry scholars have begun to pay attention to the creative, legal, and managerial contestations among licensors, manufacturers, and retailers, contending that merchandise is not simply an afterthought of media production, distribution, acquisition, and circulation, but also an area where industry lore about differentiated franchises and consumers are affirmed and challenged.Others contend that the meanings merchandise accrue are constituted through their use as much as by how they are positioned for consumers. On the fan studies front, scholars have become interested in object-oriented fandom as well as ‘fan-trepreneurs’ who sell ‘fan-made merchandise’ through crafting and customization sites like Etsy. These works have explored the commoditization of fandom, but they have also sought to understand what fan communities ‘do’ with merchandise and how fan-based economies operate. There has also been a tendency to explore how merchandise interpellates particular gendered and age-based identities, with fashion and toy-based merchandise receiving the bulk of attention, but scholarship on the intersections of merchandise with race, sexuality, and religion remains scarce as does work investigating the ways film-inspired products have entered into daily routines as household items and other lifestyle categories.

For this special issue of/Film Criticism,/ we are seeking essays that take a variety of approaches to the intersections of film, television, and merchandise that open up new avenues of inquiry to studying the topic.

Possible topics include (but are not limited to):

-Industrial, consumer and fan sense-making practices when it comes to merchandise (i.e., their imagined appeal to various constituencies, their “authenticity”)
-Films about merchandise and/or product integration within films (/The LEGO Movie/, /Toy Story/, /The Devil Wears Prada/)
-When manufacturers become entertainment companies (Hasbro, Mattel, Sketchers)
-Industry lore, trade rituals, and their impact on merchandising
-Film merchandise beyond toys and fashion (including everyday household and luxury items)
-Merchandising beyond the franchise/tentpole/blockbusters
-Branded educational, nutrition, health and hygiene merchandise (or the use of branded merchandise within schools, healthcare, and other service industries)
-Merchandise and transmedia storytelling
-Packaging and product design
-Race and merchandise (merchandise featuring diverse racial groups or failing to do so; merchandise marketed to diverse racial groups; merchandise used by diverse consumer and fan groups)
-Merchandise beyond child markets (including adult merchandise)
-Merchandise and the troubling of gender binaries
-Celebrity and merchandise (or celebrity and lifestyle)
-DIY merchandise and the logics of customization/maker cultures (as well as anxieties over 3D printers and other DIY technologies)
-Merchandise and performative consumption (or interactive consumption)
-Merchandise and (commoditized) self-expression/group affiliation
-Fan-made merchandise
-Ethnographies of merchandise usage among fans or different consumer groups
-Fan consumer-activism
-Promotional giveaways and premiums

Essays should be a maximum of 7000 words including notes and references and use Chicago Manual of Style, 16th edition (<>). Please submit essays electronically as a Word document file to <>. 

Submissions should also include a cover page with: (a) all authors’ names, academic affiliations, and e-mail addresses; (b) author biography, no more than 70 words in length; and (c) an abstract of 150 words or fewer. Drafts should be submitted for review by June 1, 2018. You will receive acknowledgment of your submission within ten days. Works accepted for this special issue will be returned to contributors with reviewer feedback by July 15 and revised drafts will be due on September 15 for a November 2018 publication date.

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Vacancy: Senior Lecturer in Filmmaking

Senior Lecturer in Filmmaking
School of Media, Film and Music

The School of Media Film and Music at the University of Sussex wishes to appoint a Senior Lecturer with expertise in the field of Filmmaking to a full-time post.

You will possess a higher degree in a relevant area or will have equivalent scholarly or relevant professional activity. You will have teaching experience to undergraduate level and postgraduate level, together with evidence of an international research profile.

You will be interested in contributing to leadership in both the Department of Media and Film and the School of Media, Film and Music. All areas of filmmaking are of interest and it is desirable, although not essential, to have scholarly and/or practice research expertise in at least one of the following areas: Narrative or Documentary Filmmaking.

The University of Sussex is committed to equality of opportunity.
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CfP: Binge Watching Workshop 13-14th of September, Anglia Ruskin University

Binge-Watching and the Future of Television Research: A Workshop


Dr Lisa Glebatis Perks, Merrimack College

Dr Tanya Horeck, Anglia Ruskin University

Binge-watching is a term that, by now, encompasses a number of shifts in contemporary television culture, from changing modes of viewing, to variations in the way television on streaming platforms organises itself, to developments of narrative structures in ‘bingeable’ series. This workshop aims to explore the ongoing significance of binge-watching to contemporary television studies, with a view to expanding current research on viewing behaviour, textual structures, and transnational and national broadcasting. As a field, television studies is exploring these shifts from different angles, but inevitably has to realign itself to conceptualise these new understandings. This workshop aims to develop broader frameworks to deal with some of these issues for contemporary television studies.

This workshop will bring together different research questions linked to binge-watching and contemporary television. _As a workshop, it is deliberately designed as an event to develop ideas in collaboration rather than the traditional conference format_. Because of this, *only 20 spaces* are available to participate in this workshop. All academics are welcome, but preferential treatment in the selection process will be given to Early Career Researchers (defined as within the first three years of the first substantial appointment) and late stage PhD students. Ideally, the ratio between ECRs and more senior academics will be 2/3 to 1/3.

The initial workshop will take place on *13-14^th of September 2018* for two days to share poster presentations on existing research and develop plans for collaborative research in various research strands, to be written up within the next year. The second part of the workshop will be a one-day symposium in September 2019 (date to be announced), at which different research strands share their work. Results will be published in the format of an edited collection.

Themes of the workshop can be, but are not limited to:

-Binge-watching and narrative structures

-Binge-watching and algorithmic culture

-Binge-watching and issues of representation

-Binge-watching and platforms

-Binge-watching audiences

-Binge-watching and Public Service Broadcasting

-Binge-watching and genre

-Binge-watching historical television

-Binge-watching and transnational television

-Binge-watching and ephemeral television

Please send proposals for position papers on research you are conducting on a specific area of binge-watching to <>. Proposals should be *300 words* in length and include biographical information (particularly highlighting ECR status). Proposals will be used as a basis to organise participants in groups of specific research strands in which collaborative research will be conducted. The deadline for proposals is: 31st May 2018.

This workshop is organised by Dr Mareike Jenner and will be held at Anglia Ruskin University in Cambridge. The workshop is funded by the British Academy and attendance is free of charge.
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XI Jornadas Cinema em Português, UBI
8, 9 a 10 de maio de 2018, na Covilhã.

Auditório da Biblioteca Central da UBI

Organização do Departamento de Comunicação e Artes, com o apoio do LabCom.IFP e da FCT.

Ao longo da última década, o cinema português - a sua história e estética - tem sido uma preocupação central dos cursos de licenciatura e mestrado em Cinema da UBI, contribuindo para uma reflexão sobre o passado, o presente e o futuro da prática cinematográfica entre nós.
As Jornadas de Cinema em Português, cuja primeira edição data de 2008, têm como enfoque a discussão de cinematografias de territórios onde o português é língua oficial ou dominante, procurando integrar estas obras como um exemplo das novas dinâmicas artísticas, culturais e sócio-económicas que têm marcado os anos mais recentes.
Para além da natural importância para os alunos e investigadores de Cinema da UBI, as Jornadas de Cinema em Português têm-se consolidado, nacional e internacionalmente, como um fórum privilegiado e reconhecido de debate sobre problemáticas actuais que reúnem investigadores de diversas áreas científicas.
Reafirmando o seu próprio histórico, a décima primeira edição das Jornadas de Cinema em Português pretende trazer a debate problemáticas actuais e pertinentes para a reflexão sobre os cinemas dos diversos países que falam em português, procurando reunir esforços para ensaiar hipóteses de leitura conjunta e complementar.

Programa final disponível em

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De 15 a 17 de Maio, a investigadora Maria do Carmo Piçarra lecciona, no Hangar - Centro de Investigação Artística, o curso livre RE-IMAGINAR O IMPÉRIO. PROJEÇÕES (ANTI-) COLONIAIS NO CINEMA. A frequência do mesmo é gratuita e as vagas existentes serão preenchidas considerando as cartas de motivação (sobretudo) e CV's (menos).

As aulas acontecem:
15 de Maio (Terça): das 18h às 21h
17 de Maio (Quinta): das 18h às 21h
19 de Maio (Sábado) das 15 às 18h
22 de Maio (Terça) das 18h às 21h

Inscrições gratuitas até 8 de Maio pelo email:
Enviar CV e carta de motivação.
Colocar no assunto: Curso livre com Maria do Carmo Piçarra
Serão selecionadas no máximo 20 pessoas.
As pessoas selecionadas devem-se comprometer a participar nas quatro sessões.

Mais info aqui:
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Call for Contributions: The Routledge Encyclopedia of Citizen Media

The /Routledge Encyclopedia of Citizen Media/ (to be published in late 2019) will be a major reference work charting the territory of this new, fast evolving disciplinary terrain. Envisaged as the flagship of Routledge’s /Critical Perspectives on Citizen Media/ series (, the encyclopedia will include a wide range of state-of-the-art entries written by international scholars on various aspects of citizen media, understood as forms of embodied action, digital content production and distribution, performative interventions, and practices and discursive formations of affective sociality that ordinary citizens produce as they participate in public life to effect aesthetic or socio-political change. The full list of entries and abstracts to appear in the encyclopedia can be accessed here:
A limited number of opportunities for participation in this reference work have become available following the withdrawal of some contributors due to illness and/or other personal circumstances. We are currently looking for authors for the following 3000-word entries:

* Blogging
* Co-creation
* Immaterial Labour
* Mobile Technology
* YouTube

If you are interested in authoring any of the entries above, or suggesting an additional entry that is not currently included in the list available online, please contact me as soon as possible.
Luis Pérez-González (on behalf of the editors)
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Times and movements of the image - International Conference (Caldas da Rainha)

Caldas da Rainha and Lisbon, 15 and 16 November 2018

Among several artistic projects and critical debates developed in recent years in the fields of art history, art criticism, film and new media studies, many bring to the fore issues of hybridity, medium specificity and image materiality. Emphasis is placed on questions concerning the ways of experiencing "subliminal images" (R. Durand, 1995) in contemporary visual practices. For example, in photography the focus shifted from the isolated moment to the productive relationship between stasis and motion (D. Sutton, 2009), including visual arrangements that transform notions of "photographic narrativity" (P.Wollen, 1984; G.Baker, 2008). In cinema, chrononormativity and linear montage give place to the interruption of movement, addressed by Bellour as a new category of time that extends Gilles Deleuze's dynamic taxonomy of images (R.Bellour, 1987; 2002). New media technologies, such as video and audio-visual installation, considered by some authors as "transformation imagery" (Y.Spielmann, 2008), focus on the transitions between images and the experience of time, encompassing "unintended pleasures" (L.Mulvey, 2006) and new forms of creative thinking and spectatorship. Finally, performance is increasingly integrated in cinema, photography and video, leading to the investigation of the practices of the body in relation to anti-diegetic structures and processes of repetition and duration. Finally, even the so-called traditional artistic disciplines increasingly incorporate issues of time and movement that question the conventional principles of representation.

We invite scholars, artists and independent researchers interested in the study of the multiple times and movements of the images, probed in their limits and potentialities across different media and disciplines. We are interested in presentations and artistic projects that consider the tensions between the still image and the moving image, and/or that seek to examine the problems of durability posed by the new technologies of the image and by performance art, while keeping focus on the many issues this subject raises when confronted with the so-called traditional disciplines of painting, sculpture and drawing.

*Conference Venue & Dates

The conference will take place at the Caldas da Rainha School of Arts and Design, Polytechnic Institute of Leiria (IPLeiria-ESAD.CR), and at the Faculty of Social Sciences and Humanities, Universidade NOVA de Lisboa, on 15 and 16 November 2018, respectively.

*Submit Abstracts

Proposals for individual papers of 20 minutes should be sent in MS Word (max. 500 words, including the title and the theme it most adheres to), followed by a short bio (250 words: full name and status). We encourage academic investigations that aim at re-examining the new possibilities of intermediality, contributing to the theoretical reflection and artistic redefinition of what an image is today.

*Submit Artistic Projects

Artistic projects may be presented in any medium or explore the crossing of different artistic disciplines, and shall allow interpretations on the conference themes or experiment on subjects relevant to the main topics. Artists should submit a description and draft that will be assessed by a specific scientific committee.We encourage applications by artists holding an advanced academic degree, or in the course of obtaining an advanced academic degree in their field of expertise.**


All proposals must be submitted by email to: * <mailto:timesandmovementsoftheimage@gmail.comby 15 June 2018.
Participants will be notified by the end of June, and the conference program will be published in July. The working languages of the conference are English and Portuguese. After the conference, a second call on this theme will be opened to select articles to be published in *Revista de História da Arte - Série W* <>, a peer-reviewed online journal. The selected artistic projects will be exhibited in a show to be held from 15 November to 15 December 2018 (place to be defined).

More information on the conference:**
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CFP: V Simpósio Fusões no Cinema

Está aberto até 15 de Setem­bro o Prazo para a Recep­ção de Pro­pos­tas de Comu­ni­ca­ção no 5.º Sim­pó­sio Inter­na­ci­o­nal Fusões no Cinema que irá decor­rer de 23 a 24 de Novem­bro de 2018 em São João da Madeira.

Reno­vando a par­ce­ria dos Cami­nhos do Cinema Por­tu­guês com a Uni­dade de Desen­vol­vi­mento dos Cen­tros Locais de Apren­di­za­gem (UMCLA) da Uni­ver­si­dade Aberta, con­­vi­­dam-se os docen­tes, inves­ti­ga­do­res e alu­nos do Ensino Supe­rior a sub­me­ter pro­pos­tas de comu­ni­ca­ção, em por­tu­guês, inglês ou cas­te­lhano, que não exce­dam os 1500 carac­te­res (incluindo espa­ços), nas seguin­tes linhas temá­ti­cas (que pode­rão ser alar­ga­das a outras) do Sim­pó­sio:


As rela­ções entre as dife­ren­tes artes e o cinema: -Arqui­te­tura; – Lite­ra­tura /​Argu­men­tismo; – Inter­pre­ta­ção /​Repre­sen­ta­ção; – Música; – Foto­gra­fia; – Artes Plás­ti­cas.


A evo­lu­ção tec­no­ló­gica e a forma como o Cinema chega ao Espec­ta­dor: -A legen­da­gem, dobra­gem e audi­o­des­cri­ção; -As Novas tec­no­lo­gias, Inter­net e cinema; -Os supor­tes, for­ma­tos e os novos media;


Cinema em dife­ren­tes ambi­en­tes peda­gó­gi­cos (online e pre­sen­ci­ais); Cinema e Inves­ti­ga­ção em Con­texto Edu­ca­tivo; Prá­ti­cas de Cinema na Escola; Cinema e Novas Tec­no­lo­gias em Edu­ca­ção; Cinema e Redes Soci­ais em Con­tex­tos For­mais e Infor­mais de Apren­di­za­gem; Pro­du­ção de Obje­tos de Apren­di­za­gem (OA) Audi­o­vi­su­ais com Fins Edu­ca­ti­vos e recor­rendo à Lin­gua­gem Cine­ma­to­grá­fica.


Abor­da­gens teó­ri­cas, sobre a pro­du­ção audi­o­vi­sual em geral, incluindo todos os géne­ros e pla­ta­for­mas de difu­são, enqua­­drando-a num con­texto con­tem­po­râ­neo naci­o­nal e inter­na­ci­o­nal; A aná­lise das rela­ções entre rea­li­za­ção e pro­du­ção de con­teú­dos cine­ma­to­grá­fi­cos e tele­vi­si­vos; Cinema e Tele­vi­são mun­dos para­le­los ou inter­li­ga­dos.

Todas as pro­pos­tas de tra­ba­lhos apre­sen­ta­dos pas­sa­rão por um pro­cesso de revi­são por pares, rea­lizado sob a forma de aná­lise cega (blind-review), de modo a garan­tir a isen­ção e impar­ci­a­li­dade da ava­li­a­ção. O Comité Cien­tí­fico do Sim­pó­sio conta a par­ti­ci­pa­ção de inves­ti­ga­do­res e docen­tes de várias Uni­ver­si­da­des Por­tu­gue­sas de onde se des­ta­cam Antó­nio Costa Valente, Fátima Chi­nita, Filipe Luz ou Maria do Céu Mar­ques.

As pro­pos­tas de comu­ni­ca­ção a apre­sen­tar devem incluir a defi­ni­ção e deli­mi­ta­ção do objeto de estudo da inves­ti­ga­ção; a rele­vân­cia e per­ti­nên­cia cien­tí­fica da pro­posta; os obje­ti­vos e a meto­do­lo­gia da investigação/​aná­lise uti­li­zada; prin­ci­pais refe­rên­cias bibli­o­grá­fi­cas, e três a cinco pala­vras chave. Cada pro­posta de comu­ni­ca­ção deve igual­mente ser sub­me­tida com uma bio­gra­fia do(s) autor(es) com até 750 cara­te­res (incluindo espa­ços). Os tra­ba­lhos sub­me­ti­dos serão publi­ca­dos em livro de actas sendo que os tra­ba­lhos mais rele­van­tes serão publi­ca­dos num número futuro da ICONO14 edi­to­rial. O prazo para a recep­ção de pro­pos­tas de comu­ni­ca­ções decorre até 15 de setem­bro.

A par­ti­ci­pa­ção é aberta ao público que queira assis­tir, sendo que par­ti­ci­pa­ção de docen­tes terá acesso a um Cer­ti­fi­cado de For­ma­ção acre­di­tado pelo CCPFC com 1 cré­dito para pro­fes­so­res dos Ensi­nos Básico e Secun­dá­rio com o título ​“Fusões no Cinema”. O Sim­pó­sio terá uma dura­ção de 25 horas, sendo que 10 horas serão pre­sen­ci­ais, nos dias 23 e 24 de novem­bro e 15 horas serão em ambi­ente online na semana seguinte, com con­fe­rên­cias em ambi­ente vir­tual de espe­ci­a­lis­tas inter­na­ci­o­nais.

Mais infor­ma­ções em www​.cami​nhos​.info/​s​i​m​posio
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CfP: Race and (de)coloniality in culture, the media and the arts

Nós Journal

(Spanish and Portuguese bellow)

Guest Editors:

Ana Lúcia Nunes de Sousa. Universidade Estadual de Goiás, Brasil. ( <>)

Karo Moret Miranda. Universitat Pompeu Fabra, España. ( <>)

*/A dossier on “Race and (de)coloniality in culture, the media and the arts” /*

The consequences of the colonial legacy in the territories of AbyaAyla and the African Diaspora continue to shape and influence contemporary culture. We want to invite you to send texts as pedagogies that exert a decolonizing dynamic in which the Race category interpellate transversally to the academy, its members andsociety in terms of ideologies, critical theory, aesthetics and its cultural and global manifestations.

We invite interdisciplinary projects in areas of cultural studies such as dance, painting, literature, performance, mass communication, cinema, visual arts, music, curating, publication, art management andhistory.

The dossier proposes to evaluate the field of studies of race, diaspora and gender/racialized feminist thought within the culture, its production andcultural studies. Artists and academics who want to theorize on racial issues, diaspora, decolonization of curricula and study content, representation and authorship are invited to send proposals to this CFP.

Authors from Abya-Ayla and/or Afro diasporic are highly welcome and specially invited to submit their proposals.

Submission Guidelines:

Bio: 50 words

Abstract: 300 words

Abstracts due: 1 July 2018
Notification of acceptance: 30 July 2018

Full paper: 30 October 2018

Publication: April 2019

Submission guidelines:

Please send an electronic copy of your 300-word abstract via email text to both Guest Editors, Ana Lúcia Nunes de Sousa ( <>) and Karo Moret Miranda ( <>), by Sunday, 1 July 2018.

Revista Nós

Chamada de trabalhos


Ana Lúcia Nunes de Sousa. Universidade Estadual de Goiás, Brasil.

Karo Moret. Universitat Pompeu Fabra, España.

Dossiê Raça e (de) colonialidad na cultura, na comunicação e nas artes


As consequências do legado colonial no território de Abya-Ayla e/ou nos territórios da diáspora africana continuam moldando e influenciando a cultura contemporânea. Convidamos a enviar textos como pedagogias que exerçam uma dinâmica descolonizadora, nos quais a categoria “raça” interpele transversalmente a academia, seus membros e a sociedade em relação a ideologias, estética e suas manifestações culturais e globais.

Convidados textos que abordem projetos interdisciplinares da área de estudos culturais, como dança, pintura, literatura, performance, comunicação e jornalismo, cinema, artes visuais, música, comissariado, publicação, gestão da arte e história.

O dossiê se propõe a avaliar o campo dos estudos da raça, diáspora e género/pensamento feminista racializado dentro da cultura, sua produção e os estudos culturais. Artistas e acadêmicos cujo trabalho incida sobre questões raciais, diaspóricas, de descolonização do currículo e dos conteúdos de estudo, representação, autoria estão convidados a enviar suas contribuições.

Autores vinculados a Abya-Ayla e/ou à diáspora africana são bem-vindos e especialmente convidados a enviar seus resumos.

Normas de envio:

Bio: 50 palavras

Resumo: 300 palavras

Resumos: até 1 de julho de 2018
Notificação de aceitação: até 30 de julho de 2018

Envio do artigo completo: até 30 de outubro de 2018

Publicação em abril de 2019

Normas de publicação:

Por favor, envie seu resumo de 300 palavras por email para as editoras convidadas

Ana Lúcia Nunes de Sousa ( e Karo Moret Miranda (, até domingo, 1 de julho de 2018.


Revista Nós

Llamado para colaboraciones


PhD Ana Lúcia Nunes de Sousa. Universidade Estadual de Goiás, Brasil.

Msc. Karo Moret. Universitat Pompeu Fabra, España.

Dossier Raza y (de) colonialidad en la cultura, la comunicación y las artes


Las consecuencias del legado colonial en Abya-Ayla y/o los territorios de la diáspora africana continúan moldeando e influenciando la cultura contemporánea. Invitamos a enviar textos como pedagogías que ejercen una dinámica descolonizadora en los que la categoría Raza interpele transversalmente a la academia, sus miembros y a la sociedad en cuanto a ideologías, teoría crítica, la estética y sus manifestaciones culturales y globales.

Invitamos proyectos interdisciplinares en áreas de estudios culturales como danza, pintura, literatura, performance, comunicación y periodismo, cine, artes visuales, música, comisariado, publicación, gestión de arte e historia.

El dossier propone evaluar el campo de los estudios de raza, diáspora y género/pensamiento feminista racializado dentro de la cultura, su producción y los estudios culturales. Quedan invitados a enviar propuestas artistas y académicos que quieren teorizar sobre las cuestiones raciales, diáspora, descolonización del curricula y de los contenidos de estudio, representación y autoría.

Autores de Abya-Ayla e/ou de la diáspora africana son muy bienvenidos y especialmente invitados a enviar sus abstracts.

Directrices de envío:

Bio: 50 palabras

Resumen : 300 palabras

Resúmenes hasta el 1 de julio del 2018
Notificación de aceptación o rechazo hasta el 30 de julio del 2018

Envío del artículo completo hasta el 30 de octubre del 2018

Publicación en abril del 2019

Reglas de sumisión de Nós:

Por favor, envíe su resumen de 300 palabras por email para las dos editoras invitadas

Ana Lúcia Nunes de Sousa ( <>) and Karo Moret Miranda ( <>), hasta el domingo, 1 de julio del 2018.
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CfP: new approaches to silent film historiography: technology, spectatorship and the archive

The event is a collaboration between the University of Leeds’ School of Languages, Cultures, and Societies, the Universities of York and Sheffield, and the Audiovisual Heritage Meeting. The conference is generously funded by the Arts & Humanities Research Council and White Rose College of the Arts & Humanities_



*Location: University of Leeds

*Dates: 18^th -19^th September 2018

*Keynote Speakers: Dr Lawrence Napper (King’s College London) and Kieron Webb (British Film Institute)

*Submission Requirements: 200-300 word abstracts and three key words on topics related to the conference’s focus

*Contact Person/Email: Laurence Carr/

Deadline for Submission: 10^th August 2018


In the years following the death of silent cinema and the rise of the talkies in the early 1930s, there was a supreme lack of interest in silent film preservation and restoration. Due largely to this lack of care and, in many cases, deliberate destruction of silent films, the Library of Congress estimates that about 75% of all silent films are now lost forever. Many of the silent films that managed to survive in archives and private collections are incomplete or suffered significant damage and decay. During the 1980s, owing largely to the launch and success of home cinema and the establishment of silent film forums and events (e.g. Pordenone Silent Film Festival), a renewed interest in silent film developed. More recently, high quality digital restoration technology has given archives and independent silent film restorers new opportunities to compensate for substantial filmic losses. In addition to this, HD home media silent film releases, and internet platforms such as YouTube, have made numerous silent films readily available to the public. Although these current developments have arguably improved the aesthetic qualities of many silent films and made them far more accessible to the public, they have also raised controversial questions surrounding the safeguarding of the filmmakers’ artistic intent, the contextualisation and historical reliability of film experiences, and the sustainability of digital preservation, amongst other issues. This conference will analyse the impact of recent technological and institutional developments on the study, experience, and restoration of silent films and discuss sustainable ways forward.

Potential topics could include, but are not limited to:

  * New narrative or technical analyses of specific silent film
    restorations (case studies)
  * Silent film restoration ethics (e.g. preserving silent filmmakers’
    artistic intent)
  * Digitisation, curatorship and reliability of historical evidence
  * Silent film experiences, digital archive accessibility and film
  * Silent cinema journalistic writing (past and/or present)
  * Theatrical presentation and distribution of silent cinema (past
    and/or present)
  * Home cinema, the internet and silent cinema audiences
  * Silent film and sustainable analogue and digital preservation
  * Silent film copyright

*We welcome abstract submissions from postgraduate researchers, film scholars, film preservationists, and curators.*

*_Please send 200 to 300-word abstracts and three key words to _* <>*_by 10^th of August 2018._*

*_Useful Links:

Our 2018 silent film conference website: < The 2017 Audiovisual Heritage Meeting website, containing the names and project titles of all speakers:***
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Fully-funded PhD scholarship at The Centre for Research in Digital Storymaking

*The Project*
We invite applications for one full-time, funded PhD in the School of Arts and Creative Industries at London South Bank University. The scholarships cover fees and offer a stipend of £15,000 p.a. for three years. We welcome proposals in all areas of research relevant to The Centre for Research in Digital Storymaking, but are particularly interested in applications which relate to one or more of the following:
• care and digital technologies
• digital storytelling and art (including digital journalism)
• performance and new technologies

We are happy to support a practice-based research proposal.

Further information about The Centre’s projects and staff research interests can be found at:

*The Candidate*
You should have a first or upper second class honours degree in an appropriate area such as theatre, digital media, journalism or related fields.

Key skills and selection criteria:

• Good relevant first or upper second class honours degree
• Evidence of interest and experience in the highlighted areas
• Experience of software packages e.g. Microsoft Office.
• Ability to research subjects using libraries, the internet and other information resources.
• Ability to communicate in writing and verbally, the outcomes of the work to commercial industrial and scientific audiences.
• Able to demonstrate an understanding of equality and diversity and their practical applications.

*Award Details*
The 3 year studentship is funded by The Centre for Research in Digital Storymaking and leads to the degree of PhD in Arts. The Studentship provides a tax-free maintenance allowance of up to £15,000.00 pa and includes tuition fees payable to the University. The studentship will also come with the opportunity of disseminating research outcomes on National and International conferences. The successful candidate will join an active research team. The chance to teach LSBU students will also be given to the successful candidate.

*Application Procedure*
Informal enquiries can be made to Dr Elena Marchevska <>
Interested applicants should apply via UKPASS <> by 5 p.m. on 27th April 2018, quoting reference DST001

A shortlist of candidates will be invited for an interview and the successful candidate will be selected for an award in accordance with the University’s postgraduate admission requirements and meet the eligibility of Education (Fees and Awards) Regulations 1997.

*London South Bank University (LSBU)*
London South Bank University is a dynamic, inner-city university with a diverse multi-cultural population of some 17,000 students and around 1700 staff. For over 100 years the university has provided top quality teaching and learning, underpinned by relevant research and delivered in an environment that is focussed on the needs of its students and the great capital city of London. Our students and staff come from every part of the community and from all over the world, making our campus truly multicultural. The courses offered here are flexible and closely linked to the needs of industry and the professions, with particular specialities in health (nursing and allied health professions); computing, internet and multimedia, engineering, applied science and sports science; architecture, construction and estate management; business studies, management, tourism, hospitality and law; social sciences, arts, media studies, digital media and video production; English and a new exciting programme of Combined Honours degrees.

*The School of Art and Creative Industries *
The School has an established track-record of delivering courses that offer core academic knowledge alongside applied professional knowledge. This approach ensures our graduates have the right skills and competencies to compete successfully for jobs, and have the potential to lead innovation within their sectors. We understand the importance of the digital age, and within LSBU we have internationally recognised research excellence in science and technology. This, combined with our strong and deep heritage in design, performance, media and the visual arts, positions us at the important strategic intersection between technology and the liberal arts. Additionally, our central SE1 location ensures we have a wide range of internationally renowned creative industry partners at our doorstep. We work with some of the capital’s major art, media and performance institutions through collaborative grants and research funding.

*The Centre for Research in Digital Storymaking *
The Centre for Research in Digital Storymaking focuses on storymaking across different digital media. Our focus on digital storymaking is intended to ensure an interdisciplinary set of engagements. The Centre’s aims are to analyse how stories are constructed, remediated, and hybridized in contemporary digital culture and to promote innovative and collaborative methodologies and develop analysis that is grounded in relevant industry contexts. The Centre’s core enquires are:
• the impact of digital storymaking in real world contexts (in journalism, documentary, curation, public policy communications such as health);
• contextual distribution of story events (transmedia, social media);
• new forms in imaginative narrative media (games, interactive fiction, immersive theatre).
The Centre pursues this mission by organising public events, academic symposia and workshops, and facilitating and coordinating research projects.
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Call for Essays for Edited Collection on the Films of Tim Burton

Gothic, Ghastly, Corporeal and Creaturely: Tim Burton's Curious Bodies

Film director Tim Burton has acquired an international reputation and critical acclaim for fantasy horror films that variously encompass alternative worlds inhabited by ghosts, animated corpses, grotesque and horrible bodies, or otherwise, ‘different’ beings. So too do creaturely apparitions feature regularly in his productions. While his work often centres on animated characters, he collaborates with a number of specific star personae such as Johnny Depp, Helena Bonham-Carter, Christopher Lee, Winona Ryder, Vincent Price, Christopher Walken, Danny de Vito, Michael Keaton, and Jack Nicholson. Burton also frequently uses composer, Danny Elfman, as well as certain crew members and technical staff to work on his films. Following on from a recent successful conference, the organisers now seek to draw together scholarship on the theme of ‘bodies’ in Burton’s films and invite proposals accordingly. As we already have a number of excellent proposals/essays in place, we are currently looking for contributions that focus on:

 Collaborative bodies – stars, actors, composers, and we particularly welcome proposals from crew members and technical staff involved in Burton’s films to complement those already received  Gothic bodies
 Creaturely bodies

Please send proposals of up to 500 words along with a 100 word bio by April 30th 2018 to the editors: Fran Pheasant-Kelly at and Stella Hockenhull at

We have a major British publisher interested in this collection, which we are aiming to publish in good time for REF2021
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23 A 26 DE OUTUBRO DE 2018
UFG - Goiânia, GO

Estão abertas as inscrições para o XXII Encontro da SOCINE, que será realizado na Universidade Federal de Goiás (UFG), em Goiânia. O tema do Encontro será 50 anos do Maio de 68. Tomando como ponto de partida o 50º aniversário dos acontecimentos políticos, sociais, culturais e artísticos de 1968, a SOCINE propõe repensar o legado cinematográfico e audiovisual de 1968 a partir do presente.

Esclarecemos que o tema é indicativo mas não exclusivo para proposição de trabalhos e/ou mesas temáticas.

As inscrições deverão ser escolhidas entre as QUATRO CATEGORIAS, cada qual com as seguintes exigências:

1. Comunicações Individuais: Propostas de mestres, doutorandos e/ou doutores contendo título (até 70 caracteres), resumo expandido (de até 4000 caracteres com espaço), resumo (500 caracteres), bibliografia (1000 caracteres) e mini-currículo (500 caracteres). As apresentações orais podem ter até 20 minutos cada.

2. Seminários Temáticos: As propostas de mestrandos, mestres, doutorandos e/ou doutores para apresentações individuais em Seminários Temáticos devem ser feitas indicando diretamente o seminário escolhido e conter: título (até 70 caracteres), resumo expandido (de até 4000 caracteres com espaço), resumo (500 caracteres), bibliografia (1000 caracteres) e mini-currículo (500 caracteres). Os resumos dos Seminários Temáticos em vigor encontram-se disponíveis no site da Socine. As apresentações orais podem ter até 20 minutos cada.
Importante: trabalhos não arrolados nas sessões dos Seminários Temáticos (que estão limitados a 18 trabalhos no total) serão redistribuídos para avaliação por dois pareceristas, de acordo com a titulação do proponente, para as outras modalidades do encontro: mestrandos serão avaliados para Painéis e mestres, doutorandos e doutores serão avaliados para sessões de Comunicações Individuais.

3. Mesas Temáticas pré-constituídas: As mesas devem conter 3 participantes, sendo pelo menos dois doutores de duas instituições de ensino superior diferentes e o terceiro membro pode ser mestre, doutorando e/ou doutor, sem que nenhum dos membros tenham relação de orientação em andamento. As propostas de Mesas Temáticas devem conter: título (até 70 caracteres), resumo da proposta da mesa, a cargo do coordenador da mesa (até 1000 caracteres); resumo expandido (até 4000 caracteres com espaço) e resumo (500 caracteres) de cada proposta individual de comunicação integrante da mesa, bibliografia (1000 caracteres) e mini-currículo (500 caracteres) para cada um dos participantes da mesa. As apresentações orais podem ter até 20 minutos cada.
A inscrição das apresentações de trabalhos integrantes da mesa deverá ser realizada individualmente (seguindo o modelo estabelecido para comunicações individuais) por cada um dos três componentes da mesa, inclusive pelo coordenador, em momento posterior à inscrição da mesa.

4. Painéis: espaço para mestrandos com apresentações orais de 15 minutos cada. As propostas devem conter: título (até 70 caracteres), resumo expandido (de até 4000 caracteres com espaço), resumo (500 caracteres), bibliografia (1000 caracteres) e mini-currículo (500 caracteres).

O cadastramento e a inscrição para o XXII Encontro da SOCINE estão sendo efetuados em três etapas, descritas a seguir:

ETAPA 1 – Recadastramento eletrônico de sócias/sócios e pagamento da anuidade. O boleto será gerado na área do associado do website. O pagamento é obrigatório para a segunda etapa (inscrições). Estrangeiros devem contatar a secretaria por e-mail para informações sobre pagamento da anuidade.

* Período de pagamento da anuidade: de 26 de janeiro a 6 de maio (com vencimento neste dia)

* Valor da anuidade: R$185,00 (R$92,50 para estudantes)

O pagamento da anuidade é imprescindível para a realização da inscrição e submissão de propostas para o próximo encontro, por isso as duas etapas não poderão ser feitas no mesmo dia (é preciso esperar pelo menos três dias úteis para a compensação do banco e liberação do site).

ETAPA 2 – Inscrição eletrônica das propostas, apenas pelo site ( e apenas uma inscrição por autor, inclusive no caso de co-autoria.

* Período de inscrições: de 2 de abril a 6 de maio.

Lembramos que NÃO SERÃO ACEITAS inscrições enviadas por email, apenas aquelas submetidas através do site.

ETAPA 3 – Pagamento da taxa de inscrição no encontro. O boleto será gerado na área do associado do website. Estrangeiros devem contatar a secretaria por e-mail para informações sobre pagamento da inscrição.

* Período de pagamento das inscrições:

+ Primeiro prazo (R$185,00 profissionais/R$92,50 estudantes): de 10 de julho a 10 de agosto;

+ Segundo prazo (R$220,00 profissionais/R$110,00 estudantes): de 13 a 24 de agosto;

+ Prazo final (R$260,00 profissionais/R$130,00 estudantes): de 27 a 31 de agosto.

Quaisquer dúvidas ou dificuldades devem ser encaminhadas diretamente ao e-mail da secretaria:
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Call for Papers: SSAAANZ2018 uses of cinema

Extended Call for Papers: Second Screen Studies Association of Australia and Aotearoa New Zealand (SSAAANZ) conference,‘The Uses of Cinema: Film, Television, Screen’, 2018 <>*

*Closing date for submissions: 30 April 2018*
Location: School of Media, Film and Journalism, Monash University, Melbourne
November 21–23, 2018

In recent years film and television scholarship has seen a renewed focus on /the uses of cinema/ – that is, on educational, instructional, non-theatrical, client-sponsored and government-sponsored filmmaking – in collections such as /Films That Work /(Hediger and Vonderau, 2009), /Useful Cinema /(Acland and Wasson, 2011), /Films of Fact: A History of Science in Documentary Films and Television/
 (Boon 2008) and/ Learning with the Lights Off: Educational Film/(Orgeron, Orgeron and Streible 2012).
This work – along with 2018’s fiftieth anniversary of the events of May 1968 – provides an occasion for reflection upon /the usefulness of film/ and television practice and scholarship, and offers twin points of reference for the Second Biennial Conference of the Screen Studies Association of Australia and Aotearoa New Zealand (SSAAANZ).

SSAAANZ invites papers and panel suggestions from researchers, archivists, educators, policymakers, and practitioners on any aspects of /the //critical, social and political uses of cinema/ including, /but not limited/ to the following themes:

* Activist film and television
* 1968 and global film culture
* Film and television practice and praxis
* Film and ethnography
* Utilitarian filmmaking
* Women and cinema
* Seriality and cinema
* Cinema and the environment
* Cinema and the brain
* Film and pedagogy
* Film and tourism
* Language use on screen
* Misuses of cinema

Expected plenary speakers (TBC) include:

* Stella Bruzzi (Warwick University)
* Allison De Fren (Occidental College, LA)
* Jason Mittell (Middlebury College, VT)
* Claire Perkins (Monash University, Melbourne)
* Haidee Wasson (Concordia University, Montréal)

Abstracts for individual papers and for pre-constituted panels (of up to three speakers) are welcomed on any of the conference themes.**For papers, please submit an abstract of 150-200 words and a bio of 50 words for each presenter. For panel proposals please submit a proposal for a panel comprising 3 speakers (3 x 20 min papers). Please provide a descriptive title for the panel, abstracts of 150-200 words each and a bio of 50 words for each presenter.

*Please submit your proposals to: <>. The conference convenors are: Constantine Verevis and Deane Williams (Monash University). *

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CFP for Philosophy of Photography

The editors of “Philosophy of Photography” invite contributions to a landmark issue anticipating ten years of the journal’s publication. 

In the autumn of 2018 we will publish POP9.2, marking the last volume of the journal to be numbered in single figures. Philosophy of Photography was launched in 2010 in answer to the need for a rigorous forum for the examination of intellectual, political and cultural issues arising from photography. Through the work of our many contributors, the support of our subscribers and the efforts of an expanding editorial team we believe we have achieved this. But as we approach a second decade, the future of Philosophy of Photography must be to make use of this platform to imagine and to interrogate the urgent questions that face anyone attempting to understand the visual forms of the contemporary world. So, to celebrate the end of our first decade and to anticipate our second we invite the following:

** Articles (between 6-8000 words) on any aspect of image culture, but especially the intersection between images and contemporary questions of politics and science.

** Shorter, discursive essays or commentaries (2000-4000) focusing either on themes of contemporary importance or on topics neglected by mainstream photography scholarship.

** We are also interested in receiving contributions (between 2-3000 words) to our Encyclopaedia section, which offers a space to unpack and to interrogate a specific idea, term, technology or process across the production and reception of historical, contemporary and emerging photographic operations.

*For inclusion in the autumn issue (POP9.2) the full text of submissions should reach us by no later than August 10th, 2018*

*Philosophy of Photography has sought to expand understanding of the ways images work and has done so in contexts ranging from biology to nuclear physics and from surveillance to conceptual art. In the process we have published many things that would not normally feature in the pages of an academic journal nor in the mainstream photography press. We welcome inquiries from researchers and practitioners who seek to explore any aspect of photography from a theoretical standpoint. We invite submissions that attempt to re-think the character and place of visuality in all of its mechanical, existential and biological dimensions.*

*Much has changed in the last decade. New questions have emerged and existing challenges have mutated. How, for instance, are we to understand, analyse and resist cynical modes of populism and the threat of alt-right politics on visualizations of the present? What are the contemporary roles of imaging in a climate of persistent military conflict and the massive population displacements this produces? What is to be made of the increasing penetration of social media into everyday life and the intensification of efforts to capitalize on this phenomenon? How to respond to demands for the renewal of critically oriented philosophical analyses of such issues and to counter-currents such as the emergence of ‘new materialisms’? What forms of imagination are needed in order to understand the compounded relationships that pertain between these and further questions of technology and culture, political and theoretical possibility? This call for papers asks for contributions to Philosophy of Photography that set out to explore the significance and respond to the urgency of such markers of the volatile present.*

*Philosophy of Photography is an international peer-reviewed journal published six monthly in the spring and autumn. It is a forum of theoretical and critical debate arising from the historical, political, cultural, scientific and critical matrix of ideas, practices and techniques that constitute photography as a multifaceted and changing form. Since its inception, the conjunction of ‘philosophy’ and ‘photography’ in the journal’s title has sought to provoke serious reflection on existing and emergent discourses and the ways these might engage with each other.*

*The journal publishes articles, reviews, conference reports, occasional symposia on key topics and critical analyses of technical developments.*

*We consider proposals for contributions in the form of photographic works (contact Pat Naldi in the first instance).*

*Prospective guest editors with ideas for special sections or themed issues are invited to approach the editorial group with their proposal.*

*Prospective book, exhibition and conference reviewers should contact Josefine Wikstrom, the reviews editor.*

*Submissions can be made through the journal’s webpage or by emailing the editors:,id=186/*

*Details of the journal’s house style and other submission requirements can be downloaded here:,id=186/view,page=2/*


*Andrew FisherDaniel Rubinstein*

*Goldsmiths, University of London, UKCentral Saint Martins, UK*

*E-mail: <>E-mail: <>*

*Associate Editors*

*Bernd BehrPat Naldi*

*Camberwell College of Arts, UKCentral Saint Martins, UK*

*E-mail: <> E-mail: <>*

*Reviews Editor*

*Josefine Wikström, DOCH, Sweden*

*E-mail: <>*

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Summer School "Multidisciplinary Game Research - Between Theory and Practice"

Where: Utrecht University (Drift 25, 3512 BR Utrecht, The Netherlands),

When: 20-24th August, 2018 (Start: Monday 20th August, 9am | End: Friday 24th August, 5pm).

This summer course provides a multidisciplinary perspective on games and play in contemporary culture, combining current research trajectories in game analysis and design with insights into the socially transformative potential of applied games in particular.
The program comprises workshops by senior researchers from the Center for the Study of Digital Games and Play (Utrecht University/UU), the departments for “Media and Culture Studies” and “Information and Computing Sciences” (UU), the Copernicus Institute of Sustainable Development (UU), and the Professorship for Interactive Digital Narrative (University of Arts Utrecht/HKU). All workshops will combine lecture segments and critical discussions with hands-on experimental applications and group exercises.

Games play an increasingly important role in areas like education, healthcare, safety, urban planning, sustainability, the creative industries, entertainment and other cultural, technological as well as socio-economic sectors. To address this complexity, the summer school is divided into two interrelated tracks, which combine perspectives on games from the humanities, the computer sciences and the social sciences.

The first track covers state-of-the art approaches in Game Analysis and Design. Apart from formally investigating the design and rhetoric of individual games, this track also includes practice-based approaches such as experimental game-making and Let’s Play videos to capture the impact that games have on the players. Participants will create and modify their own design experiments, combining audio-visual design, writing and gameplay to explore how games can craft stories and convey persuasive messages.

The second track focuses on Applied Games, specifically with regard to education, health and social change. These workshops will discuss and illustrate using case studies how games are used in formal learning and professional training contexts, how they can raise awareness of important social issues such as climate change and political radicalization, as well as how they can stimulate physical and mental health, especially if played with the body rather than a controller. Participants will learn to use and evaluate applied games, using sample applications developed at Utrecht University as case studies.

Target Audience
The summer school is aimed at students (from ambitious BA and MA/MSc students to PhD candidates) and industry professionals, who are interested in the analysis, design and social benefits of (computer) games and play in contemporary society. It offers students an innovative platform, combining theoretical and practical approaches to develop a multidisciplinary understanding of games as a software technology, a form of cultural expression, and a social phenomenon.

COURSE LEADER: Assoc Prof. Dr. Stefan Werning ( PERIOD: 20-08-2018 to 24-08-2018
CREDITS: 1,5 ECTS credits + certificate of attendance
COURSE FEE: € 300 (Course fee + course materials), Housing: € 200 (through Utrecht Summer School)

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LJMU seeks - Lecturer or Senior Lecturer in Film and Media: Production Craft Skills

The Liverpool Screen School, at Liverpool John Moores University, seeks a highly motivated individual to work across the Media Production and Film Studies departments, with expertise and experience in Film / Media production.

You will be an experienced filmmaker / media producer with the skills to lead and deliver film/media practice and production-based modules. You will teach; cinematography, lighting, sound and post production. Experience of film/media making is essential with an emphasis on storytelling.

The Liverpool Screen School, part of LJMU's Faculty of Arts, Professional and Social Studies, offers undergraduate programmes in Creative Writing, Drama, Film Studies, Journalism and Media Production, together with postgraduate courses in Documentary, International Journalism, Writing and Screenwriting. The Film Studies and Media Production departments are expanding and this post holder will work across both teams to deliver on undergraduate (BA (Hons) Film Studies and BA (Hons) Media Production) and postgraduate (MA Documentary) courses.

The Screen school is developing its strategic priorities in research, postgraduate provision internationalisation, public engagement and enterprise activity. Reporting to the Programme Leader, you will contribute to these developments, whilst also undertaking teaching and administrative duties across the Media Production and Film Studies portfolio. Current areas of industry practice / research interests in the department include: Television Drama, Factual Entertainment, Documentary, Interactive media, new approaches to narrative, 360 filming, participatory culture and multiplatform.

Liverpool, the most filmed in city in the UK outside of London, is an excellent base to make and teach media, with media city in Salford nearby. The city boasts a vibrant culture and LJMU is proud of its many connections with local media and arts organisations, including The Everyman and Playhouse, The Unity Theatre, The Royal Court Theatre, The Liverpool Philharmonic, The Liverpool Tate, Lime Pictures, Liverpool Film Office, ITV and the BBC.

Informal enquiries may be made to Sarah Haynes, Head of Media Production at the Liverpool Screen School 0151 231 4770 (<>)

Closing date: 26th April 2018

More informtaion and a link to the application process can be found at:
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CFP: SACOMM 2018, University of Johannesburg, 12-14 September

Theme: “Communication at a Crossroads”

Deadline for abstract submissions: 30 April 2018

A crossroads is a site where roads intersect. It is a point of crisis, a turning point, and a point of alternative configurations, convergence plus divergence, meeting and departure, unity and disunity. Metaphorically, it is a point of flux and change, a critical juncture at which a life-changing decision must be made. The crossroads is a superposition of varied, multiple, different – sometimes conflicting – tendencies, impulses and trajectories, and there is little certainty about the future. At a crossroads movement is channelled, controlled, regulated, or freed: we can stand still or go forward, get lost or find endless possibilities, be trapped by inaction, insincerity and passivity or find freedom. At a crossroads we can be transfixed to the past and its aftermaths, or we sincerely take the future on. We may be misled, be manipulated into going in particular directions, or we may use the crossroads to affirm our independence and agency, forge alliances, and build new, transformative, ethical, just futures.

The student movement for free, quality decolonised education that started in 2015, followed by persistent calls for decolonisation of the university and transformation of research and teaching, has heightened the crises and tensions within traditional disciplines. Centres cannot hold, and typical business-as-usual attitudes to epistemic injustice are no longer tenable. The discipline of communication, like many others that have been caught up in these crises and tensions, is at an epistemic and disciplinary crossroads of its own, one that calls for a “communication turn” and for bold, new, difficult, innovative, boundary-crossing, boundary-smashing, critical, frank and courageous conversations in communication.

This conference calls for presentations, papers, posters and panels in communication, media, journalism, film, television, and cultural studies that interrogate the notion of “communication at a crossroads” and the “communication turn” in a variety of ways. The intention is to take stock of the current flux within these fields, as well as map possible futures. Our context is Southern Africa, Africa, and the global south. Suggested topics include, but are not limited to, the following:

* Communication at a crossroads
* Decolonisation and epistemic struggles
* Dare we decolonise communication?
* The “communication turn”
* Film/Television at a crossroads
* Journalism at a crossroads
* Public relations at a crossroads
* Corporate communication at a crossroads
* Development communication at a crossroads
* Communication, advocacy and activism at a crossroads
* Visual culture, media and communication
* New media, new mediatisations, and their practices
* Whither social media?
* Communication, social media and social movements in Africa
* Whither cultural studies?
* Communication industries at a crossroads


The confirmed Keynote Speaker for SACOMM 2018, Johannesburg, is Prof. Francis Nyamnjoh, University of Cape Town.

Category 1: Full 20 minute conference paper presentations.
Category 2: Panel discussion sessions and/or roundtable/workshop proposals


All abstracts must be submitted on the correct abstract submission form. Submissions which are not submitted on the correct form will not be accepted. Incomplete submissions will not be accepted.

The Abstract Submission form can be downloaded in MSWord format at

All abstract submissions should be addressed to the SACOMM Conference Organiser, Collen Chambwera, at <>. Please note that you may submit more than one abstract, but no more than two. In case you submit two abstracts, please make sure that they belong in different streams.

Submission deadline: 30 April 2018.

*Deadline for electronic submission of all abstracts for peer review and other proposals: Monday 30 April 2018. The conference organisers will notify authors about the status of their contributions via e-mail by end of May 2018.

*A call for registration with further details about the conference will be released in June.

Conference theme: The conference theme gives an indication of the topic of discussions during plenary sessions at the SACOMM annual conference. Individual abstract submissions are not strictly required to adhere to the conference theme.


Academics: R 3400

Students/emerging scholars/independent scholars: R 1000*

Included in conference fees:

* Full access to all conference sessions and activities;
* Gala dinner on Thursday 13 September;
* Lunch and coffee breaks from Wednesday 12 September to Friday 14
* Conference programme.


SACOMM has six different streams. Please indicate which stream your abstract submission should be allocated to on your abstract submission form.

The SACOMM streams are:

* Media Studies and Journalism
* Corporate Communication
* Screen Studies
* Communication Studies
* Communication education and curriculum development (CECD)
* Communications advocacy and activism (CAA)
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CFP: Cinema Comparat/ive Cinema 13 - The Corpse as a Figure


French film theorist Jean-Baptiste Thoret has argued that the most obvious precedent of gore in cinema is the assassination of JFK. The president’s lifeless body, moving forward inside his convertible, would become a foundational image of the new American cinema. This issue of 'Cinema Comparat/ive Cinema' will address the representation of corpses in the history of cinema. We take the hypothesis that no piece regarding death is arbitrary, since the ultimate fears surrounding death are based in the era in which it is created — for instance, Frankenstein in the era of scientific progress, or zombies in the era of AIDS, are the expression of different fears accompanying different kinds of corpses. In this way, we will consider the historical construction of a society’s collective feeling about dead bodies, represented in its popular works. The intention of this proposal is to contribute to an anthropological approach of both national cinemas and their genres, based on the cinematographic representation with which each era, and each mode of filmmaking, has worked with the figure of the corpse.

The motif of the corpse and its representation in cinema is perhaps most crucial in those productions from countries in the throes of wars or dictatorships, or in transitional phases — while those fiction corpses evoke the real ones, questions of representation in relation to the corpse may also help to revise inherited ways of narrating historical crises.

From these hypotheses we wish to ask ourselves such questions as: Are there any common patterns in the different filmic expressions of corpses? Is the representation of the central corpse in 'Rope' or 'The Trouble with Harry' by Hitchcock qualitatively distinct from the one in 'Three Songs of Lenin' by Dziga Vertov, for instance? How has every canon or cinematographic movement interpreted this motif? Is there any kind of classical/modern divide in cinema regarding the representation of corpses? Is there any specific poetics in cinema for the casualties of wars or dictatorships? Is there any direct relationship between the most popular corpses in history and the imaginary in cinema that follows them? Are the corpses of Kennedy, Lenin, Evita Perón, Aldo Moro, Franco, Che Guevara or Laura Palmer the promoters of significant and unique treatments in cinema?

Those interested can send their proposals to an extent of 500 words to along with 2 central images for the research, a list of five bibliographical sources and a short biography of 100 words. Deadline: April 10th, 2018.



El teórico de cine francés Jean-Baptiste Thoret considera que el antecedente más claro del “gore” cinematográfico americano es el asesinato del presidente Kennedy. Ese cuerpo sin vida, avanzando en el coche descapotable, se convertiría, según Thoret, en una imagen pregnante del nuevo cine americano. El presente número de 'Cinema Comparat/ive Cinema' se propone abordar la figuración de los cadáveres en la historia del cine. Tomando como hipótesis de base que ninguna obra que trata la muerte es arbitraria, ya que establece las causas últimas de su miedo en la época que vive (el Frankestein de la era de los avances científicos, o las epidemias zombies de la era del sida, por ejemplo, tematizan temores diferentes sobre cadáveres muy particulares y complejos). En este sentido, nos proponemos reflexionar sobre la construcción histórica del sentimiento de una sociedad ante los cuerpos muertos, expresada desde sus obras populares: la intención de esta propuesta es contribuir a una antropología de los diversos cines nacionales y sus géneros, a partir de la representación cinematográfica con la que cada época, canon y autores, se han hecho cargo de sus cadáveres.

El motivo del cadáver y su tratamiento cinematográfico merece, además, una atención especial en las cinematografías de países en épocas de guerra o dictadura (o en la transición de las mismas), ya que a través de esta representación tan sensible se puede revisar el tratamiento concreto de los cadáveres reales de la Historia, a la vez que el imaginario folklórico heredado y su particular reconfiguración social.

A partir de estos postulados deseamos plantearnos interrogantes como los siguientes: ¿existen patrones comunes de expresión fílmica del cadáver? ¿La figuración de los cadáveres en 'La soga' o 'Pero...¿quién mató a Harry?' de Hitchcock es paradigmáticamente opuesta a la de 'Tres cantos para Lenin' de Dziga Vertov, por ejemplo? ¿Cómo cada canon o movimiento cinematográfico ha asumido este motivo? ¿Hay un clasicismo y una modernidad en el tratamiento cinematográfico de los cadáveres? ¿Hay una poética fílmica específica para los cuerpos caídos en las guerras y las dictaduras? ¿Hay una relación directa entre los cadáveres más populares de la historia y el imaginario cinematográfico que les sucede? ¿Los cadáveres de Kennedy, Lenin, Evita Perón, Aldo Moro, Franco, el Che Guevara o Laura Palmer son propulsores de tratamientos cinematográficos significativos y particulares?

Aquellos interesados pueden enviar propuestas de 500 palabras a junto con dos imágenes de partida, una lista de cinco fuentes bibliográficas y una breve biografía de 100 palabras. Fecha límite: 10 de abril de 2018.



El teòric de cinema francès Jean-Baptiste Thoret considera que l'antecedent més clar del "gore" cinematogràfic americà és l'assassinat del president Kennedy. Aquest cos sense vida, avançant en el cotxe descapotable, es convertiria, segons Thoret, en una imatge pregnant del nou cinema americà. El present número de 'Cinema Comparat/ive Cinema' es proposa abordar la figuració dels cadàvers en la història del cinema. Prenent com a hipòtesi de base que cap obra que tracta la mort és arbitrària, ja que estableix les causes últimes de la seva por en l'època que viu (el Frankestein de l'era dels avanços científics, o les epidèmies zombies de l'era de la sida, per exemple, tematitzen temors diferents sobre cadàvers molt particulars i complexos). En aquest sentit, ens proposem reflexionar sobre la construcció històrica del sentiment d'una societat davant els cossos morts, expressada des de les seves obres populars: la intenció d'aquesta proposta és contribuir a una antropologia dels diversos cinemes nacionals i els seus gèneres, a partir de la representació cinematogràfica amb la qual cada època, cànon i autors, s'han fet càrrec dels seus cadàvers.

El motiu del cadàver i el seu tractament cinematogràfic mereix, a més, una atenció especial en les cinematografies de països en èpoques de guerra o dictadura (o en la transició de les mateixes), ja que a través d'aquesta representació tan sensible es pot revisar el tractament concret dels cadàvers reals de la Història, alhora que l'imaginari folklòric heretat i la seva particular reconfiguració social.

A partir d'aquests postulats desitgem plantejar-nos interrogants com els següents: existeixen patrons comuns d'expressió fílmica del cadàver? La figuració dels cadàvers a 'La Soga' o 'Pero...¿Quién mató a Harry?' de Hitchcock és paradigmàticament oposada a la de 'Tres cantos para Lenin' de Dziga Vertov, per exemple? Com cada cànon o moviment cinematogràfic ha assumit aquest motiu? Hi ha un classicisme i una modernitat en el tractament cinematogràfic dels cadàvers? Hi ha una poètica fílmica específica per als cossos caiguts en les guerres i les dictadures? Hi ha una relació directa entre els cadàvers més populars de la història i l'imaginari cinematogràfic que els succeeix? Els cadàvers de Kennedy, Lenin, Evita Perón, Aldo Moro, Franco, el Che Guevara o Laura Palmer són propulsors de tractaments cinematogràfics significatius i particulars?

Aquells interessats poden enviar propostes de 500 paraules a juntament amb dues imatges de partida, una llista de cinc fonts bibliogràfiques i una breu biografia de 100 paraules. Data límit: 10 d'abril de 2018.
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CFP: Cinema and populism (Cinema e Storia journal)

«Cinema e Storia. Rivista di studi interdisciplinari» — n. 1/2019

Cinema and populism. Shared forms, images, and genealogies

edited by Valerio Coladonato & Andrea Sangiovanni

Is it possible to investigate “populism” through cinema? What relationships can be established between cinema — as an apparatus that produces widespread images and narratives — and those political phenomena that can be described through the concept of populism? The issue 1/2019 of the journal «Cinema e Storia» will be dedicated to the analysis of these exchanges from an international perspective. The category of populism is slippery and contradictory, both in common parlance and in its historiographic application: here we will adopt an extensive definition, partly borrowed from political sciences. We will understand as “populist” those political phenomena characterized by at least three elements: the imagination of a uniform “people” which acts as the moral custodian of sovereignty; the construction of a charismatic leader; and contempt towards politics and/or a presumed corrupt elite. Given its paramount role in the representation of the masses and the orchestration of affect around “extraordinary” individuals in the XXth century (e.g. through the creation of the star system), cinema can provide tools for the analysis of populisms. This is also demonstrated by some recent works that have applied categories derived from film studies to the analysis of the communication and performance style of a political leader, or to highlight the overlaps between the notions of “people” and “audience” in media populisms.

It is therefore possible to investigate the multiple ways in which cinema has contributed to the changing relationship (and disintermediation) between people and leader — either by reducing distances or by prefiguring ruptures between the two. Another possibility lies in analyzing how political passions and conflicts are represented in populist contexts through cinematic influences. Given that the consensus of populist movements depends on a binary split of the social field, opposing the people and a corrupt elite and obscuring all intermediary positions, what narrative formulas and symbolic elements facilitate the construction of such imagery?

Taking into account the already mentioned ambiguity and indeterminateness of the concept of populism, contributors will be invited to refer to how this notion has been theorized in political sciences, highlighting both its efficacy and its limits in relation to their case studies. It will be necessary to distinguish populism from other categories and historical forms of political action (such as fascism). The evolution of discourses on populism — both as an analytical category and in its polemic use in political debates and film criticism — will also be taken into account. Moreover, aspects intersecting with similar debates can be discussed: for instance, the relationship between political cinema and the category of “popular,” as well as discourses on the “popular” vocation of cinema (also in contrast to the language and cultural legitimacy of other communication forms).

The articles can either focus on single films and directors, or they can broaden their perspective to the processes of construction and circulation of the filmic imagery in a specific context.

Proposals can address one or more of the following topics (this list is not exclusive):

- representational strategies of power in a given historical conjuncture which presents the traits of populism;

- the relationship between charismatic forms of government and the populist imaginary (e.g. the permeability between the star system and political communication);

- exchanges between populist movements and the fields of film production and distribution;

- the representation of relevant historical figures in populist contexts;

- conceptual oppositions in critical discourses (e.g. the definition of some directors or cinematographic movements as populist or neopopulist);

- discourses on film audiences in relation to the idea of the “people”, and their political implications;

- the hegemonic gender models in populist communication and their relationship to the star system.

Deadlines & Guidelines

To propose an article please send an abstract and short biographical note to the address <> by April 10, 2018.

Abstracts must be between 200 and 250 words, and may be presented in English or Italian, although completed articles must be in Italian - proofreading will be guaranteed by “Cinema e Storia” editorial board.

The proposal should include: five key-words, names of author(s), institution(s) and contact details (email, telephone), together with a short bio for each author.

If the proposal is accepted, the author/s will be asked to send the complete article to the same e-mail address by July 31, 2018. Contributions will be sent to two independent reviewers in a double-blind peer review process prior to the final publication decision. Authors may be requested to change or improve their articles if suggested by reviewers.

Articles should be between 4,000-5,000 words in length (no more than 35,000 characters, spaces and notes included), but shorter articles will be also considered.

For info, please send an email to: <> and/or <>
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