PT/EN

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 V Encontro Anual irá decorrer de 21 a 23 de maio de 2015, no ISCTE-IUL, Instituto Universitário de Lisboa. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
[Saber mais] [Inscrever-se na AIM]


NOTÍCIAS

INSEP2015 – Violence, Representations and Sexuality
Fifth International Conference of the International Network for Sexual Ethics and Politics - INSEP
13th - 15th July, 2015, Ghent University, Belgium
Hosted by CEVI – Centre for Ethics and Value Inquiry
Faculty of Arts and Philosophy
Ghent University, Blandijnberg 2
9000 Ghent – Belgium
http://www.insep.ugent.be/insep2015/


General Conference Theme – Violence, Representations and Sexuality
The relationship between violence and sexuality is one of the most critical areas of engagement for
sex and sexuality research and activism. There continues to be an epidemic of violence against
women and children – rape, sexual assault, sexual harassment and abuse – across the globe,
manifest in different cultural customs and practices, authority structures, hetero-patriarchal and
hetero-normative regimes at both national (and supranational in the case of trafficking) and
everyday micro levels. This epidemic is often met with: limited regulatory responses suffused with
heterosexist assumptions; legal authorities that fail to prioritise or regard it is less important than
other criminal activity; indifference; and/or claims that the prevalent cultural milieu makes it
impossible to act. While some efforts have been made in North America, Europe and Australasia to
effect change, in many parts of the globe sexual subjection and suffering continues to be seen as a
normal state of affairs.
Equally, across the globe sexual difference and departures from heterosexuality are met by varying
degrees of violence, ranging from physical attack and murder, to prejudicial and pathological
assumptions that are present even in the social context of equality and rights discourses. To be
different is still to be ‘othered’ to varying degrees, and that ‘othering’ often takes damaging forms of
practice against those who present themselves as different.
The cultural and representational contexts are of particular importance here. It is in the
representational form that we most saliently see the cultural demarcations of legitimacy and
illegitimacy for sex and sexuality. Through representations, tensions are played out in the public
arena that are sometimes manifest only in inter-subjective or hetero-normative meaning making. In
societies where gay men and lesbians are formally recognised, there remains a dichotomy between
the ‘respectable’ different that operates within homonormative constraints and lives without
troubling heteronormative assumption, and the ‘queer’ whose personal practices challenge or
disrupt cultural and social norms as a feature of being themselves. Likewise, the representation of
sex in mainstream medias often reinforces particular understandings and meanings suffused with
power, presumption and prejudice. Against that, alternate forms of media can play an important
role in promote constructive understandings of the relationship between desire, pleasure and
healthy satisfaction.
Violence and sexuality also creates a nexus of troubling contradictions. Recently, the fetishisation of
‘Fifty Shades of Grey’, e.g., normalises a commodified and limited exploration of sexual imagination, whilst BDSMers and others who wish to move beyond difference as an adjunct to genito-centric and penetrative sex remain culturally prejudiced against and subject to different and sometimes punishing pathologies and legal regulatory regimes. Pornography and prostitution represent other 2 areas of contestation. Is pornography or prostitution inherently violent? Or is there room for sufficient levels of agency and choice?
The juxtaposition of pain, violence and sex, whether in practice or in representation, whether
consenting or not, splits those radical voices who often support sexual freedom. Does violence and
sexuality represent a fault-line for disagreement? Is that disagreement one of language and
representation or of power, degradation and its effects?
We welcome papers that explore any aspect of the relationship between violence, representation,
sexuality and sex. As always, we also welcome other papers that reflect innovative, creative and
thought-provoking work on sexual ethics and politics in general. For this purpose we retain open
streams at the conference. Please feel free to email the conference organisers for further inquiries.
Acceptance Policy
The fifth international conference of INSEP welcomes papers, presentations and panels focusing on
conceptual and theoretical debates, cultural and political analysis and empirical studies from which
conceptual, ethical and political conclusions are drawn.
INSEP seeks to provide a critical and dynamic space for cutting edge thinking, new research and key
discussions and debates about issues of sexual ethics or politics, whether conceptual and theoretical
discourse, analytical studies or aesthetically or empirically constituted insights. INSEP sees the value
in the fullest range of approaches to the study of sexual ethics and politics, including: gendered and
feminist perspectives; distinctive lesbian, gay, bisexual, transgender and transsexual perspectives;
queer perspectives; and approaches from more general positions such as liberalism, Marxism and
democratic theory. The 2015 conference seeks to be an inclusive space for discussion, welcoming
dialogue and vigorous debate, but not sectarianism. We consider paper proposals and panel
proposals from any disciplinary field, and are willing to consider expositions that take less orthodox
forms.
To facilitate funding applications - please note INSEP has no funds of its own - we operate a 'rolling'
process of abstract review and acceptance or rejection, and can provide documentation where it is
required to facilitate funding. Our turnaround time for refereeing is 10 days.
Submission & Timeline: Submissions for papers (250 words), panels or workshops (500 word
stipulating participants) should reach us by Monday 15 June at the latest. Earlier of course, is better.
Normal acceptance/rejection notification - 10 days. All delegates/paper-givers must register by
Monday 23 June, and we encourage earlier registration when acceptances have been
communicated.

Please send abstracts to: insep.network@gmail.com
The conference fee for the full three days is 150 Euros, which includes the conference pack and
refreshments. A concessionary rate of 100 Euros is available to students and postgraduates.
INSEP publishes a journal and a book series with Barbara Budrich Publishers. We would anticipate
commissioning publications from the conference and, dependent on quality and coherence, may
publish a collection based on themes emerging from the conference. INSEP also welcomes
submissions to the journal and proposals to the Book Series.

About INSEP
Sexual ethics and politics lie at the heart of how we understand and practice our sexual lives. They
form the basis from which we understand and engage with diverse and different sexualities. Both,
however, are currently open to question. On the one hand, discussion of sexual ethics has previously
been confined to the auspices of an abstract intellectual discourse, effectively separating it from
practice. Sexual politics, on the other hand, has seen progressive advances through world-wide
activism by grass-roots movements, NGOs and national and international agents, but in the push for
progress, the space for self-critique and reflexivity is often eradicated. INSEP wants to activate a
critical dialogue between sexual ethics and politics by connecting them and exploring the ways they
can contribute to each other. The sexual is political and just as sexual politics could be enriched by
emancipatory ethical thinking, sexual ethics should connect with contemporary sexual activism,
politics and practices aiming for the realisation of sexual equalities and justice.
For more info on INSEP & the 2015 conference please visit:
INSEP2015: http://www.insep.ugent.be/insep2015/
INSEP – http://www.insep.ugent.be/
Journal INSEP – http://budrich-journals.de/index.php/insep

(info atualizada em 28/05/2015)

------------

New Forms for a Philosophy of Film: creative and political methodologies
Manchester School of Art, <http://www.art.mmu.ac.uk/#http://www.art.mmu.ac.uk/

Manchester Metropolitan University, England.
20-21 July 2015

In this interdisciplinary seminar we seek to discuss research practices to ask:
1.What are the forms of philosophy that might be adequate to address the material complexity of a filmic or screen based image?
2.In what ways have filmic or screen based images altered the discipline of philosophy?
3.What are the “new” forms of film philosophy being practiced today?

We seek papers from practitioners interested in the field of philosophy of film, from all mediums and disciplinary areas of research ; writers, filmmakers, artists, philosophers. The programme will include film screenings, discussion panels, traditional paper formats, and lots of proper Manchester hospitality.

Please submit expressions of interest / abstracts of 300-500 words + a short bio note, a list of keywords, and any technical, or physical requirements to f.colman@mmu.ac.uk. By 10 June 2015.

Abstracts will be peer-reviewed by the scientific committee:
Ms Jenny Baines, Dr Felicity Colman, Dr David Deamer, Prof. Joanna Hodge
Proceedings from the conference will be published in a special issue of /AV: Journal of Creative and Practical Philosophy /http://www.actualvirtualjournal.com/

Supported by HOME, Manchester School of Art, and MeCCSA Practice Network
Description: M Sc Art_Reduced_Black

(info atualizada em 28/05/2015)

------------

Northeast Popular/American Culture Association Call for Papers - Television
The Northeast Popular/American Culture Association is seeking papers on the subject of television for its annual fall conference to be held on Friday, October 30 and Saturday, October 31, 2015 on the campus of Colby-Sawyer College in New London, NH. NEPCA prides itself on holding conferences which emphasize sharing ideas in a non-competitive and supportive environment. We welcome proposals from graduate students, junior faculty and senior scholars. NEPCA conferences offer intimate and nurturing sessions in which new ideas and works-in-progress can be aired, as well as completed projects.

NEPCA Fall 2015 Conference information, including proposal form and other instructions, can be found at https://nepca.wordpress.com/fall-conference/2015-2/. The deadline for proposals is Monday, June 15, 2015.

Please note: If you do not receive a confirmation of submission via the email you provided within 12 hours, please email nepca2015@gmail.com with your proposal as a follow up and let us know that you did not receive confirmation of receipt.
(info atualizada em 27/05/2015)

------------

Oficina de História e Imagem | José Manuel Costa
A PARTE IMERSA DO ICEBERGUE.
As condições históricas da criação e evolução das cinematecas como fator decisivo na análise das suas missões contemporâneas.

José Manuel Costa
Diretor da Cinemateca Portuguesa-Museu do Cinema

Organização:
OHI - Oficina de História e Imagem
http://oficinahistoriaima.wix.com/historiaeimagem
IHC, FCSH

FCSH, UNL, Edifício ID, Sala 0.06
29 de Maio, 6.ªf, 15h30
Entrada Livre

A Oficina de História e Imagem (OHI) é um lugar de reflexão e debate entre criadores, investigadores e arquivistas de diferentes áreas do saber que se interessam pelo papel da imagem (fotografia, cinema, artes visuais) na mediação do passado. Através da organização de encontros de diferentes formatos, a OHI pretende estimular uma reflexão transdisciplinar sobre as metodologias analíticas, os desafios teóricos e as responsabilidades políticas inerentes ao uso de imagens para a construção do conhecimento histórico.
(info atualizada em 27/05/2015)

------------

The Fantastic in a Transmedia Era: New Theories, Texts, Contexts
Tuesday 24 November and Wednesday 25 November 2015
International two-day conference at the University of Southern Denmark, SDU

The fantastic is today’s most popular and significant genre in entertainment media. Among its developments are George R.R. Martin’s fantasy book series /A Song of Ice and Fire/ and its HBO adapted series /Game of Thrones/; the /Hunger Games/ film series based on Suzanne Collins' books; /The Walking Dead/ in comics and television; the new Disney princesses in /Brave /and /Frozen/; the rebooted superheroes emerging in games, comics, and film series; religious-themed stories in blockbuster cinema; among games are LOL and WOW. The fantastic has reached new audiences and achieved mainstream status.

Fantastic genres include fantasy, science fiction, horror, and the fairy tale, and today’s transmedia storytelling generates new versions, hybrid forms, and new audience engagements. Multiple media platforms and participatory audiences call for new theorizations of the fantastic as it expands, transforms, and migrates across media, be they grand cinemas or intimate cell phones. This raises questions about medium specificity: what does the fantastic look and feel like in different media and how do stories--affectively and aesthetically--behave when changing form? What significant developments demand our attention, from mash-up narratives to TV genre hybrids? How do audiences engage with the fantastic across media? How does the increase of female authors and female characters influence the fantastic? And, finally, the relation between imagination and the fantastic calls for re-conceptualization: Is the fantastic conservative or subversive, or can its appeal be explained by other factors?

For more about keynotes and speakers, see the conference site here:
http://sdu.dk/en/Om_SDU/Institutter_centre/Ikv/Konferencer/Konferencer+2015/The+Fantastic

For questions contact: thefantastic@sdu.dk
(info atualizada em 27/05/2015)

------------

Lecturer in Games/Digital Design
The School of Arts & Creative Industries at London South Bank University is seeking to appoint a Lecturer in Games/Digital Design.

This is a part-time (0.5), grade 7, permanent post, with a salary of £34,572 to £40,623 (pro rata). The deadline for applications is *Monday 8 June 2015*.

Click here for further details and the application form
<http://www1.lsbu.ac.uk/php5c-cgiwrap/hrweb/index.php/currentvacancies/J00504/703>.
(info atualizada em 26/05/2015)

------------

Lecturer in Television Studies - University of Glasgow
Film and Television Studies at University of Glasgow invites
applications for the post of Lecturer in Television Studies (Grade 7 or 8).

You will undertake high-quality research and research supervision,
specialising in television studies, to make an active and high level
contribution in the School of Culture and Creative Arts. You will
contribute to the planning, organisation and delivery of teaching at
undergraduate and postgraduate level in Film and Television Studies and
across the School, and undertake administration as requested by the Head
of School. Television studies is an integral element of Film and
Television Studies at Glasgow and we welcome applications from
candidates with the knowledge and expertise to enhance existing
provision in this area.

Those interested in applying may make informal enquiries to Dr Ian
Garwood at ian.garwood@glasgow.ac.uk

More information about our subject area can be found on the School's
webpages: http://www.gla.ac.uk/schools/cca/

Apply online at <http://www.glasgow.ac.uk/jobs>

Closing date: 12^th June 2015
(info atualizada em 26/05/2015)

------------

12 fully funded PhD positions in "User-Centred Social Media"
The Graduate School (DFG Research Training Group)
User-Centred Social Media (UCSM)
at the University of Duisburg-Essen invites applications for its new
PhD programme starting in October 2015. We offer twelve PhD Positions
which are paid according to German TV-L E13 (starting from 43,000
Euro/year before taxes), for a duration of three years. The Graduate
School UCSM provides an interdisciplinary research environment with
computer science and psychology as the main contributing disciplines.
From this interdisciplinary perspective, it addresses research
challenges related to Social Media which are understood as complex
socio-technical systems characterized by features such as user-generated
content, social interaction and awareness, and emergent functionality.
Significant research gaps have been identified with respect to analyzing
and understanding the characteristics and determinants of user
behaviour, both at the individual and the collective level, as well as
regarding the user-centred design of social media systems. Our research
will build on theories and methods from the following fields:
- Media psychology and communication science
- Decision making and decision support
- Human-computer interaction
- Information retrieval and mining
- Social network analysis and visualization
- Privacy and security engineering
- Media-supported collaboration and learning.

Applicants should have a background in Computer Science, Information
Systems, Cognitive Science, Psychology or Communication Science and,
ideally, prior knowledge and experience in one or more of the areas
listed above.

The University of Duisburg-Essen aims to promote the diversity of its
members (see http://www.uni-due.de/diversity/international.shtml). It
also aims to increase the share of women in the scientific personnel and
therefore explicitly encourages women to apply. Women will be
preferentially considered when equally qualified according to the state
equality law. Applications from disabled or equivalents are encouraged.

Applications should comprise a curriculum vitae, documentation of
academic degrees and certificates and two academic contacts that can
provide references. In addition, a written statement of the applicant´s
research interests and related experience should be submitted as well as
electronic copies of the applicant´s master thesis and/or relevant
publications.
Applicants are also invited to express their interest in one or more of
the provisional research topics listed on the Website
(http://ucsm.uni-due.de). Applications, together with supporting
documents, are to be submitted in electronic form to our Website
http://ucsm.uni-due.de (Application) until 2015-06-15.

-- ---
Prof. Dr. Nicole Krämer
Universität Duisburg-Essen
Social Psychology - Media and Communication
Forsthausweg 2, 47057 Duisburg Tel: 0203-3792482
email: nicole.kraemer@uni-due.de
(info atualizada em 26/05/2015)

------------

New posts at UEA
We have four new posts at UEA. The first two are permanent and the
second two are fixed term of between 2.5 and 3 years.

Senior Lecturer in Media
http://www.jobs.ac.uk/job/ALB959/senior-lecturer-in-media-studies/

Lecturer in Media
http://www.jobs.ac.uk/job/ALB962/lecturer-in-media-studies/

Lecturer in Film Consumption
http://www.jobs.ac.uk/job/ALB962/lecturer-in-media-studies/

Lecturer in British Cinema
http://www.jobs.ac.uk/job/ALB975/lecturer-in-british-cinema/
(info atualizada em 26/05/2015)

------------

Vacancies at Bristol
Bristol is appointing two temporary appointments in Sociology, for the next academic year. At least one of these posts needs to be a specialist in the sociology of culture, so may be of interest to some on the list.
Details here
http://www.bris.ac.uk/jobs/find/details.html?nPostingID=3219&nPostingTargetID=11602&option=28&sort=DESC&respnr=1&ID=Q50FK026203F3VBQBV7V77V83&JobNum=ACAD101435&Resultsperpage=10&lg=UK&mask=uobext
(info atualizada em 26/05/2015)

------------

"The Real and the Intermedial' International Conference
Cluj-Napoca, October 23-24, 2015. Deadline for proposals: May 25, 2015.
Conference venue:Sapientia University, Cluj-Napoca Calea Turzii nr. 4.
<http://film.sapientia.ro/en/contact>

Conference website:
/http://film.sapientia.ro/en/conferences/the-real-and-the-intermedial///

CALL FOR PAPERS
Following up on the themes introduced in our previous conferences
dedicated to /"film in the post-media age",/ the /"cinema of
sensations", "rethinkingintermediality in the digital age"/, and
/"figurations of intermediality in film"/, we invite you to address one
of the most puzzling phenomena of contemporary media and film: the
intertwining of the illusion of reality with effects of intermediality,
connecting the experience of a palpable, everyday world with
artificiality, abstraction and the awareness of multiple mediations.
While on an ontological level the concept of the "real" has been
radically challenged by the advent of digital technology in photography
and the movies, we find that new, audiovisual media have also
effectively reshaped our sense of reality, and have expanded the areas
of our sensual reach into the world. In our post-postmodern age, the
question of the "real" is back with a vengeance regarding all aspects of
media. The digital image, as a "graphic mode" has not only brought back
painting reinstating "the ‘artist' as the source and origin of the
movie" (T. Elsaesser), but in cinema, television and new media, we also
have diverse and astonishing examples in which hypermediacy fulfils "the
desire for immediacy" (J. D. Bolter), and we see productive
intersections between the emphasis on the senses, on the
physical-biological, socio-political "reality" of existence and
conspicuous, intermedialstylization. The photo-graphic effect of
stillness in the moving image and its fundamental relation to
indexicality is exploited to the full in the so-called "slow cinema"
canon, as we see in the breathtaking films of Pedro Costa, Abbas
Kiarostami, Béla Tarr, Alexander Sokurov, Lav Diaz, for example. Or we
may think of cases in which painterly images of ethereal beauty are
created alongside violent, shockingly naturalistic scenes in the films
of Carlos Reygadas, Kim-Ki Duk, etc. Jean-Luc Godard's new movie,
/Goodbye to Language/, a bold incursion into the use of 3D, renders
scenes of nature and the texture of everyday things in vivid, artificial
imagery. Cultural differences, subjectivity, a sense of history and
place are often articulated through techniques of intermediality in
avant-garde experiments, documentary practices or fiction films alike.
As a rule, the "haptic" image can be seen as the gateway to a myriad of
connections between cinema and the other arts. In certain cases, a
reflexive foregrounding of mediality and constructedness has become not
an instrument of ironic detachment but of a search for authenticity: all
of which may also bring into focus the co-experience of "the real" with
the "intermedial".

*We are especially interested in the following topics (but welcome any
paper that proposes a relevant approach to either keywords of the
conference):*

§"Reality effect", hybridity and media reflexivity in film, television,
and new media.

§Intermediality and inter-sensuality in film: e.g. the represented and
sensed body as a site of intermedial relations, haptic "texturality" and
interartiality.

§Figurations of intermediality as imprints of (and meditations upon)
history and time, cultural and personal identity.

§"Analogue" versus "digital" viewed in terms of the "real" versus the
"intermedial".

§Painterly stylization and "reality effect" in slow cinema.

§Inflections of realism and intermediality within the post-communist
cinema of Central and Eastern Europe.

§Magical realism in world cinema.

§The merging of the "representation" and the "real" within the rhetoric
of intermedial cinema (e.g. the tensions underlying "poetic realism",
techniques of figuration and disfiguration, the various forms of media
collage or/the tableau vivant/ in cinema).

§Intermediality theorized or analysed from the perspective of
phenomenological or postphenomenological points of view.


Confirmed keynote speakers


§*LÚCIA NAGIB* <https://www.reading.ac.uk/ftt/about/staff/l-nagib.aspx>,
Professor of Film, Director of the Centre for Film Aesthetics and
Cultures, University of Reading, Director of International Engagement,
Department of Film, Theatre and Television, editor of /Impure
Cinema: Intermedial and Intercultural Approaches to Film/ (2013),
/Theorizing World Cinema/ (2012), /Realism and the Audiovisual
Media/ (2009), author of /World Cinema and the Ethics of
Realism/ (2011), as well as several seminal articles on Brazilian,
German, French, and Japanese cinema.

*§**LAURA MULVEY*
<http://www.bbk.ac.uk/culture/staff/teaching-staff/laura-mulvey>*,**Professor
at the *Department of Film, Media and Cultural Studies, Birkbeck,
University of London. Author of */Fetishism and Curiosity: /**/Cinema
and the Mind’s Eye/** (2013), /Visual and Other Pleasures/ (2009),
/Death 24x a Second: Stillness and the Moving Image/ (2006), /Citizen
Kane/ (1992), editor of /Experimental British Television/(2007), of a
collection of essays on /Douglas Sirk/ (1972), author of groundbreaking
articles on narrative film, feminist film theory, the aesthetics of
stillness in the moving image, etc. She is also a prominent avant-garde
filmmaker, who co-wrote and co-directed several experimental essay films.***

§*JÜRGEN E. MÜLLER*
<http://medienwissenschaft.uni-bayreuth.de/menschen/prof-dr-juergen-e-mueller/>,
Professor of Media Studies at the University of Bayreuth, author of
/Intermedialität, Fromen moderner kultureller Kommunikation/ (1996),
editor of /Digital Media and the Expansion of the Arts
(//2006),////Intermédialité et socialité. Histoire et géographie d'un
concept///(2007), /Media Encounters and Media Theories///(2008), and
articles on the history and theory of intermediality, and digital media.


Submission of proposals


We invite proposals both for individual papers and pre-constituted
panels. Panels may consist of 3 or 4 speakers.

*Deadline for the submission of proposals: May 25, 2015.*

We will get back to you with our decision by June 1, 2015.

**

*Please fill in one of the****SUBMISSION FORMS below:*

*INDIVIDUAL SUBMISSION*
<https://docs.google.com/forms/d/1jHFeuCeWfbrjR-W_-08cG8GozcHFpXy10LxZZlgZ8MU/viewform>

**

*PANEL SUBMISSION*
<https://docs.google.com/forms/d/1R1kc3N_kRNkR77TOPoieWR2oyQ06xyr5yB73q8ozRws/viewform>
*For additional information you can contact the organizers directly at
this e-mail address:*
*2015.real.intermedial@gmail.com*
202015.real.intermedial@gmail.com>

The official language of the conference is English.
A selection of papers based on the conference presentations will be
published in our department's international, peer reviewed journal
(/Acta Universitatis Sapientiae. Film & Media Studies
<http://www.acta.sapientia.ro/acta-film/film-main.htm>/) indexed in
several international databases.
(info atualizada em 26/05/2015)

------------

António Reis et Margarida Cordeiro, cinéastes excentriques


Fundação Gulbenkian e Centre Georges Pompidou, Paris
3-4 de Junho

Organisé avec le soutien de l’Université Paris 8 (Laboratoire Esthétique, Sciences et Technologies  du Cinéma et de l’Audiovisuel – ESTCA),  avec la collaboration de la Fondation Calouste Gulbenkian (Délégation en France), l’Université Sorbonne Nouvelle-Paris 3 (IRCAV), l’Escola Superior Artística do Porto (CEAA), la Maison du Portugal-André de Gouveia, la Bibliothèque Publique d’Information (Centre Georges Pompidou), l’ambassade du Portugal à Paris

Toda a informação em: http://www.afeccav.org/v3/wp-content/uploads/2015/05/2015-05-14_5554cfdca2da4_ColloqueReisetCordeiroprogramme.pdf



(info atualizada em 25/05/2015)

------------

Ephemeral Television for Critical Studies in Television
CFP Special Issue for Critical Studies: Ephemeral Television
Raymond Williams’s Television as a Cultural Form (1974) continues to be considered a central text in television studies. Despite its role in identifying aspects of medium specificity and its standing in the television studies canon, very little television research has actually looked at aspects of ‘flow’ as Williams described it: namely the intersection of different texts into the main programme text. What such a description highlights (as Jonathan Gray (2010) has explored in his study of media paratexts) is the centrality of smaller, non-programme texts to the experience of television, and the role of intersecting meanings assembled from a variety of sources. At the same time, however, digitalisation is transforming television, challenging the nature, composition and significance of television’s flow. New textual forms, such as interfaces, websites, games and apps, increasingly shape our interactions with programmes, channels and broadcasters. What these new textual forms
have in common with the interstitial texts the constitute Williams’ flow of linear broadcast television is their ephemerality.
In his edited collection, Ephemeral Media, Paul Grainge (2011) demonstrates the value of subjecting ephemeral media texts to academic scrutiny. This special issue of Critical Studies in Television aims to build on this work in order to focus attention on, first, the often overlooked ephemera that circulate in and around television and, second, the intersecting meanings raised by them in relation to programmes, channels, broadcasters and the nature of television itself. The term ephemeral suggests the transient and short-lived, and this special edition is interested in articles on both short-form and (apparently) short-lived media forms that circulate around television programmes, such as trailers, adverts and idents. However, the editors also invite papers that challenge us to consider the nature of television ephemera today and in the past, through explorations of new ephemeral forms such as the electronic programme guide, web interfaces and social media, and their historical
antecedents. The editors welcome papers that could address (but need not be restricted to) the following themes:
• Historical and contemporary examples of flow or ephemeral television such as trailers, adverts, weather reports, channel idents, continuity announcements, websites, interfaces, apps, interstitials etc.
• Changes to the understanding and standing of ephemeral television as a result of digitalisation and a diversity of forms of engagement with television
• Ephemera connected to television that intersect with the programme text or institutional meanings, such as Twitter feeds, additional content, broadcaster/programme websites etc.
• The production cultures of ephemeral television, including issues related to creativity, labour, the organisation and management of work, scheduling and curation, and so on.
• The challenges that analysing television ephemera raise for television studies conceptually and methodologically, and the problems television ephemera raise for archiving.


Proposals for articles of 5,000-6,000 words, in the form of an abstract of 400-500 words should be submitted to the editors of the special edition (Catherine Johnson: Catherine.Johnson@nottingham.ac.uk, and Elke Weissman: Elke.Weissmann@edgehill.ac.uk) by 29 May 2015. Authors will be informed of acceptance in July 2015. Final articles will be due in December 2015. All articles will be subject to peer review.

(info atualizada em 18/05/2015)

------------

Special Issue of Social Media and Society Making Digital Cultures of Gender and Sexuality with Social Media
Jean Burgess, Elija Cassidy, Stefanie Duguay, and Ben Light
Digital Media Research Centre - Queensland University of Technology

Sociocultural Internet research has, for most of its history, engaged with questions of gender and sexuality. Early work exploring the emancipatory potential of the Internet, for example, pointed optimistically towards the possibilities for gender fluidity, but more critically towards the problems of gender tourism and the reinforcement of biologically deterministic conceptions of gender roles. Either way, digital cultures are sites of gender construction. Similarly, sexualities have been digitally mediated and re-mediated as people with diverse sexual identities have found support via networked media, experienced the entanglement of physical and digitally mediated embodiments of sexuality, and digital media have been used for both hallenging and preserving heteronormativity.

This special issue aims to bring together new research and scholarship on onn how digital cultures of gender and sexuality are made, focusing on social media as a particular sociotechnical and cultural site of these processes. Everyday social media activities are comprised not just of exchanges between users but also involve the influence of platform owners, designers, and other stakeholders, such as marketers and data miners. For example, although Facebook’s decision to allow users to display a custom gender identity (outside the male/female binary) appears to be empowering to users, even this additional element of self-presentation is influenced by programmed specifications, datafiable for profit, and dependent on Facebook’s corporate policy-makers.

The importance of considering digital cultures of gender and sexuality further, and a key reason for this issue, is due to a number of developments. First, more people than ever are participating with digital cultures due to social media. However, the nature of this participation is complicated, mutable and in no way uniform. Second, the sophistication of the devices, infrastructures, functions and interfaces presented by social media to users is, without welcoming in technological determinism, arguably becoming greater. Moreover, this sophistication is at the same time both visible and invisible depending upon a range of considerations – such as levels of digital literacy, commercial interests, algorithmic programming, politics and power.

This special issue seeks to further interrogate questions of the contemporary making of digital cultures of gender and sexuality with social media. Whilst difference-based approaches to understanding the gendered make up of social media users and audiences have been addressed, this issue focuses upon the ways in which gender and sexuality are constructed and circulated with and by this media. 

Possible topics might include:
Identity
Harassment, discrimination, and cyberbullying
Activism, resistance, and reappropriation
Cultures and communities
Commodification and political economies
Inscription and regulation of gender and sexuality by software
Circulation of gender and sexuality based controversies
Pornography
Digitally mediated dating and personal relationships
Sexual health and wellbeing
Intersections of gender and sexuality with age, ethnicity, (dis)ability, etc.

Abstracts of 250 words should be submitted to Ben Light ben.light@qut.edu.au by 1 June 2015.
Where appropriate, please nominate an author for correspondence. On the basis of these short abstracts, invitations to submit full papers (of no more than 8000 words) will then be sent out by 14 June 2015. Full papers will be due by 31 August 2015, and will undergo the usual Social Media and Society review procedure. Please note that an invitation to submit a full paper for review does not guarantee paper acceptance.

(info atualizada em 18/05/2015)

------------

10th Annual Conference of the Association of Adaptation Studies
Adaptations and the Metropolis: 10th Annual Conference of the Association of Adaptation Studies, Senate House, London, 24-25 September, 2015

CFP DEADLINE REMINDER: 31st MAY 2015

The Association of Adaptation Studies invite proposals for papers for the 10th Annual Conference in London on 24-25 September, 2015, organised with the Institute of English Studies, University of London. Confirmed speakers are: Andrew Davies, screenwriter and patron of the Association of Adaptation Studies, Jonathan Powell, former Head of BBC Drama and Controllor of BBC1, now Professor of Media Arts, Royal Holloway University, and Professor Graham Holderness, critic, novelist, poet and dramatist.

In the past century the expansion of industrialised cities has seen a significant increase in urbanisation and non-rural lifestyles. Whilst literature quickly sought to document these changes, substantial technological advancements in cinema also enabled the metropolis to be presented through a variety of visual spectacles. Visions of urban sprawl are present in an assortment of media, but it is through their adaptations and remediations that we can trace society’s ongoing relationship with the city, modernisation and globalisation.
Furthermore, the presentation of the metropolis in past, present and speculative adaptations enable us to understand aspects of our changing lifestyles, the effects of urbanisation on literary and visual art, national identity, social inequalities, territorial displacement, environmental destruction, utopias and dystopias, and our social and psychological relationship with architecture and city development.

Papers are welcome on these themes, or any others related to adaptation, in all forms of remediated adaptation, including literature, theatre, film, television, digital media and other visual and literary arts.

200-word abstracts of suggested papers should be submitted by 31st May, 2015 to both Prof Deborah Cartmell (djc@dmu.ac.uk) and Prof Jeremy Strong (jeremy.strong@uwl.ac.uk).

http://www.adaptation.uk.com/cfp-adaptations-metropolis/
(info atualizada em 18/05/2015)

------------

Lectureship in Film & Media, University of Stirling
http://www.stir.ac.uk/about/jobs/details/index.html?id=QUUFK026203F3VBQB7V79V7NE&nPostingID=874&nPostingTargetID=847&mask=extstirling&lg=UK

Post Details
Open ended, Full time
Grade 7 £31,342 - £37,394 p.a.
Grade 8 £38,511 - £45,954 p.a.
Closing date for applications is midnight on Sunday 31st May 2015
Interviews are expected to take place on Tuesday 16th June 2015

The Post
Communications, Media and Culture (CMC) wishes to appoint a suitably qualified and experienced candidate at Lecturer Grade 7/8 to pursue research within the broad fields of film, media and culture; to teach and supervise postgraduate and undergraduate students; and to undertake administrative duties as appropriate. The successful candidate will have the opportunity to participate in both CMC's and the School of Arts and Humanities' expanding portfolio of Masters programmes by developing specialist provision where appropriate and supervising doctoral students. The successful candidate will contribute to the undergraduate Film and Media programme delivered on our Stirling campus. The successful candidate will have the opportunity to help shape the future development and expansion of the programme in line with their own interests and specialisms, in collaboration with other colleagues within the Division and School.

Whilst we do not want to restrict the range of research specialisms of applicants, research or teaching experience in one or more of the following areas would be an advantage: feminist, gender and queer studies; film theory; international television industries and formats; screen acoustics; popular music studies; screen media in the digital age; media audiences and events; practice as research; and cultural archive research.

The University
Founded by Royal Charter in 1967, the University, near the ancient city of Stirling was the first genuinely new university in Scotland for over 400 years.

Located in the geographical heart of Scotland, the stunning campus location provides a unique learning and working environment, combined with excellent UK, European and world-wide transport links, via Edinburgh and Glasgow.

Since its foundation, Stirling’s approach has been one of innovation and excellence. The University has embraced its role as an intellectual and cultural institution, combining science, arts and humanities within its research and education activities.

The University of Stirling has a current enrolment of over 11,000 students, provides over 150 degree and professional programmes delivered through 8 academic schools and offers a research-led curriculum that attracts the highest calibre of students to study in our fields of health and wellbeing, the environment and people, culture and society, enterprise and the economy, and sport.

The University of Stirling also attracts a large number of international students. There are currently 2,800 students from over 100 nationalities across five continents. The University’s global links extend to a wide range of research and education collaborations and partnerships in over 100 countries.

School of Arts and Humanities
Within the School of Arts and Humanities, our students have the desire to explore, to innovate and to create. One of the largest Schools in the University, our subject areas are renowned for international and world leading research. Our work is well represented in national and international journals, at academic conferences around the world and in the media.

We offer students a broad range of subjects to study in an exciting, research led and highly interdisciplinary environment. Our teaching is regarded as innovative and the levels of student satisfaction are consistently high. A vibrant intellectual community is constantly enriched and renewed by the contribution of visiting scholars and practitioners.

The School encompasses four multidisciplinary divisions: Communications, Media and Culture; History and Politics; Literature and Languages; and the Stirling Law School and Philosophy.

Communications, Media and Culture

Our communications, media and culture division is ranked in the top 150 universities worldwide for Communication and Media Studies in the QS World University Rankings for 2013/2014' and top in Scotland for communication and media (Complete University Guide 2015). As one of the first to offer degrees in film and media as well as public relations and media management, the division is recognised for its critical perspectives and strategic approach in both its teaching and research. At the undergraduate level we offer the BA (Hons) Film and Media, the BA (Hons) Journalism Studies and the new BA (Hons) degree in Digital Media, whilst at the postgraduate level we have our internationally recognised programmes in MSc Strategic Public Relations and Communication Management, our MSc Media Management, MSc and MLitt in Gender Studies (Applied), MLitt Film Studies and our MSc in Media and Communications Management course run jointly with USSH in HCMC and Hanoi, Vietnam. CMC at Stirling maintains its commitment to wide-ranging research which crosses boundaries between arts and humanities, social sciences and management. We were first in Scotland for research impact in Communications, Cultural and Media Studies in the recent REF 2014.

Essential and Desirable Criteria
Please see attached further particulars document.

Additional Information
Informal enquires regarding the post can be made to either Professor Matthew Hibberd, Head of Division (m.j.hibberd@stir.ac.uk) or Karen Boyle, Professor of Feminist Media Studies and Director of Research (karen.boyle@stir.ac.uk)

The University offers great benefits such as generous annual leave and membership of the Universities Superannuation Scheme with employer contributions of 16%. Additionally staff can benefit from a reduced membership rate at the University's excellent Sport Centre facilities and the option of childcare vouchers through a salary sacrifice scheme.

An applicant guide can be found at the following address, we recommend you read this before making your applicationhttp://www.stir.ac.uk/media/pdf/applicant-guide_v2.pdf.

Please ensure that you check your email account junk folder as your email provider may flag emails sent to you as suspected spam.

Terms and conditions of this post can be found at http://www.hr-services.stir.ac.uk/terms/index.php
(info atualizada em 18/05/2015)

------------

Fantasy/Animation: A Conference on Media, Medium and Genre
https://fantasyanimation2015.wordpress.com / Follow us on Twitter: @fananim2015
Friday 4^th September 2015, King’s College London, Strand Campus
Deadline for abstracts: Friday 29^th May 2015

Confirmed keynote speakers: Professor Paul Wells (Loughborough University)
Dr James Walters (University of Birmingham)

The American Film Institute defines the Hollywood fantasy film as “a genre where live-action characters inhabit imagined settings and/or experience situations that transcend the rules of the natural world”. Despite this broad definition, it would seem that animation occupies an unavoidable position in the development of fantasy cinema, whether it be through the enduring popularity of Disney’s fairy tale adaptations such as /Snow White and the Seven Dwarfs/ (1937) or/ Cinderella/ (1950), or else in the ubiquitous use of digital animation across contemporary franchises such as /The Chronicles of Narnia/ (2005-10) or /The Hobbit/ (2012-14). Animation has continued to play an important role in defining our collective expectations and experiences of fantasy cinema, just as fantasy has often served as an inspiration throughout the rich legacy of popular animation.
This conference seeks to interrogate the interrelationship and intersection between animation and fantasy. Analysing the fluency and connection between these two terms, this event aims to examine some common debates that underpin the scholarship of these dual fields of research. Are “fantasy” and “animation” genres in their own right, or are they instead impulses found across a variety of cinematic forms and modes? Does animation lend itself to fantasy given its specific properties or vice versa, and what does this then tell us about the fundamental nature of these two mediums or medias? This conference will address such questions in order to illuminate two fields of research which, despite their distinctness, have significant possibilities for overlap.
Potential speakers are free to take either topic of “fantasy” or “animation” as their dominant concern. However, proposals are especially welcome that seek to place the two concepts in dialogue with one
another. Suggested topics may include, but are by no means limited to:
-Animation theory and its potential application to fantasy cinema
-Scholarship on fantasy (cinema, television, literature) and its inclusion/exclusion of animation
-Specific case studies of fantasy and/or animated films and television
-Historical perspectives on individual studios, producers and directors in different national/transnational contexts (Walt Disney, Studio Ghibli, Ray Harryhausen, Ralph Bakshi)
-Proto-animation and cinema’s early pioneers (Eadweard Muybridge, Georges Méliès, Winsor McCay)
-Questions of realism, indexicality and ontology in relation to fantasy and/or animation
-Issues of genre, theory and classification in relation to animation and/or fantasy
-Psychological/psychoanalytic/philosophical perspectives on “fantasy/phantasy” (Freud, Lacan, Deleuze, Merleau-Ponty) 
-Fantasy/animation and their mutual associations with childishness and childhood
-Live-action/animation hybrids and questions of mixed media
-“Un-orthodox” forms of animation (puppetry, stop-motion, experimental, avant-garde)
-Sub-genres of literary fantasy (High Fantasy, Fairy tales, Magical Realism) and ideas of adaptation
Please send an abstract (max. 300 words) detailing your proposal for a 20-minute paper, and a brief biographical note, to the following address: fantasyanimation2015@gmail.com. Pre-constituted panel
submissions will also be considered. 
Conference organisers: Dr Christopher Holliday (King’s College London), Alexander Sergeant (King’s College London) and Edward Lamberti (King’s College London)

(info atualizada em 18/05/2015)

------------

V Encontro Anual da AIM: Inscrição para Ouvintes
A assistência aos trabalhos científicos do V Encontro Anual da AIM é livre e gratuita.

Para formalizar a inscrição, os interessados devem preencher o formulário disponível em http://aim.org.pt/encontro/propostaOuvinte.php e, nos dias do eventos, deslocar-se ao Secretariado (sala C205 do Edifício II do ISCTE) e solicitar a acreditação.

Consulte toda a informação sobre o V Encontro Anual da AIM emhttp://aim.org.pt/encontro/index.php
(info atualizada em 15/05/2015)

------------

International Journal of Film and Media Arts
The International Journal of Film and Media Arts is an online semiannual publication focusing on all areas of film and media arts research and critique, namely animation, television, media arts, videogames, fine arts, sound and their varied social and cultural forms of expression and materialization.

We are happy to announce the IJFMA is accepting submissions of full papers, book reviews and curatorial articles for its first volume, to be published this October, on the general theme of documentary animation.


Call for papers: Vol. 1, No. 1

The first number of the International Journal of Film and Media Arts is dedicated to documentary animation. Its purpose is to commemorate "The Sinking of Lusitania" (1918) by Winsor McCay, which is considered the first animation film with documentary content. It narrates the fall of the Lusitania ship, torpedoed during the 1st World War, in 1915.
Documentary animation is a theme of present-day relevance after gaining visibility with feature films such as "Waltz with Bashir" (2008) by Ari Folman and "Persepolis" (2007) by Marjane Satrapi. Its interest is also evidenced by contemporary literature, with highlights in publications by Judith Kriger (Animated Realism, Focal Press, 2012) and Annabelle Honess Roe (Animated Documentary, Palgrave, 2013).
The IJFMA is accepting papers that reflect on documentary animation as a film genre or language; analyses of particular films; and testimonies or interviews with directors who work in this genre or use this language.

Special section
In addition, this number includes a section about Portuguese animation film. 2015 marks the first time a national fund was established to support the production of animation feature films. The selected project, to be concluded in 2018, is "Nayola" by José Miguel Ribeiro — awarded the Cartoon d'Or in 2000 with "A Suspeita" ("The Suspect").
The IJFMA also invites submissions of papers that analyze Portuguese animation productions, including works by José Miguel Ribeiro, Regina Pessoa, Pedro Serrazina, Abi Feijó, Zepe, or other important directors of international recognition.

Curatorial section
The curatorial section provides researchers and artists with open, experimental and creative presentation tools of media arts' research and provides readers with interactive research experiences. It combines inter-media modes of display using multiple text design mixed with image, motion and sound linking solutions. Contributions regarding documentary animation and Portuguese animation are accepted.



Publication schedule




Call for papers: 15 April to 3 July 2015.
Communication of decision to authors: 10 September
Publication: October 2015

Early submission is encouraged.

Please refer to Author Guidelines and the Call for papers announcement for further information or visit http://ijfma.ulusofona.pt. Other inquiries should be sent to joana.bicacro@ulusofona.pt.
(info atualizada em 15/05/2015)

------------

Queer Film/Television
Film and History Conference, “Journeys, Detours, Breakdowns”
The Madison Concourse Hotel and Governor’s Club, Madison, WI (USA)
November 5-8, 2015

In /Making Things Perfectly Queer/, Alexander Doty argues that queerness is a “reception practice that is shared by all sorts of people in varying degrees of consistency and intensity” including those who do not traditionally identify as queer (1993, 4).Doty’s understanding of queerness seems at odds with other definitions of the term that position it as detour or breakdown: in opposition to normativity (Warner, 1999); without futurity (Edelman, 2003); sideways (Stockton, 2009).In order to study queer film and television, we must begin by acknowledging that the term queer itself has had many journeys, detours, and breakdowns.

This area invites 20-minute papers that investigate queer film and television through the conference theme of “Journeys, Detours, and Breakdowns.”Possible paper topics might include, but are not limited to, the following:
* ·Conflicting representations of LGBT+/queer identities within queer film/TV or mainstream media
* ·Depictions of political struggles for equality and acceptance in film/TV
* ·Coming out journeys
* ·Industrial practices that impede or encourage the development of queer films, film festivals, television series, and television networks
* ·Reception and audience practices that disrupt or alter intended meanings of film/TV

Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. For updates and
registration information about the upcoming meeting, see the Film & History website (www.filmandhistory.org <http://www.filmandhistory.org>).

Please e-mail your 200-word proposal by June 1, 2015, to the area chair: Bridget Kies
University of Wisconsin-Milwaukee
bkies@uwm.edu
(info atualizada em 15/05/2015)

------------

ECREA Digital culture and communication
Call for Papers: Standards, Disruptions and Values in Digital Culture and Communication

Deadline extended until May 25, 2015

Workshop organised by the Digital Culture and Communication Section of ECREA (DCC), and the Department of Communication Studies (ICT&S Center), University of Salzburg, 26-28 November 2015

Keynote speakers:
Prof Charles Ess (University of Oslo)
Prof Helen Kennedy (University of Sheffield)

In digital culture and communication, with the pervasiveness that
characterises online media, standards and values are contested, whereas
well-established paths in the production and circulation of information
have been newly arranged or abandoned altogether. Technical and social
standards are consistent, formal and informal norms, values or
conventions of doing, operating, producing, and/or performing. As the
basis of technical transmission, standards in media allow
transferability and interoperability, reduce complexity, and facilitate
communication across formats, platforms and boundaries. As a consequence
of transformations and re-orientations that continuously happen in
almost all fields of the media, new technological standards, ethical
codes, narrative and visual tropes are being produced.

It is therefore crucial to critically evaluate the relationship between
standards and values in their social, political, technological and
creative dimensions. Who has the power to define, develop and implement
standards? Which values are attached to standardisation processes in
creative industries and how are they related to copyright and patents in
technological development? Are peer-production, open-access publishing
and free-culture movements different kinds of markets or disruptions to
existing models of markets? What is the relationship between
technological standardisation and cultural diversity?

This workshop aims to address such questions. We welcome papers on the
following issues and topics:
Technical and social standards in digital media: How do technical standards evolve in the media industry and how are they implemented? What kind of values shape this process? What modes of interventions exist (e.g. between players like platform operators and users?)
Visual and narrative standards and disruptions in digital culture: How are visual standards and codes built and how do they influence the comprehension of data? How do visual media and narratives introduce new canons in forms such such as remix, memes or selfies?
Professional and ethical standards in digital contexts: Who is responsible of implementing professional ethical standards? Are there emerging frameworks? How do ethical codes inform digital culture research? How do big data contribute or condition these developments?

Please send abstracts (max 400 words) by May 25, 2015 to ecreadigitalculture@gmail.com

Conference website:http://dcc.icts.sbg.ac.at/ See also: http://wp.me/p2XXkX-6v
(info atualizada em 15/05/2015)

------------

Senior Lectureships in Film Practice and Photography
The School of Arts & Creative Industries at London South Bank University
is advertising three Senior Lectureships, in Film Practice
<http://www1.lsbu.ac.uk/php5c-cgiwrap/hrweb/index.php/currentvacancies/J00447-1/697>,
and Photography
<http://www1.lsbu.ac.uk/php5c-cgiwrap/hrweb/index.php/currentvacancies/J00452/696>.

All are full-time permanent grade 8 posts, with a salary of £41,740 to
£49,183 per annum.

Click the links above to download further details. The deadline for
applications is *Thursday 21 May 2015*.
(info atualizada em 15/05/2015)

------------

New posts at Sheffield Hallam
We have the following new 1.0FTE posts at Sheffield Hallam in Media Arts:

Senior Lecturer in Screenwriting and Directing:
http://www.jobs.ac.uk/job/ALA570/senior-lecturer-in-screenwriting-and-directing/

Lecturer/Senior Lecturer in Games Design:
http://www.jobs.ac.uk/job/ALA574/lecturer-senior-lecturer-in-games-design/

Lecturer/Senior Lecturer in Animation:
http://www.jobs.ac.uk/job/ALA577/lecturer-senior-lecturer-in-animation/
(info atualizada em 15/05/2015)

------------

3-year full-time Research Fellow in Women and Contemporary UK Film, University of Southampton
Postgraduate members of MeCCSA may be interested in the Research post below. If others would please forward the ad to any qualified persons you know who may be interested, I would be grateful.

Shelley Cobb - University of Southampton (my email is below if anyone has questions)
*Research Fellow in Women and Contemporary UK Film*
University of Southampton - Film
Location: Southampton
Salary: £28,695 Per annum
Hours: Full Time
Contract Type: Contract / Temporary
Placed on: 6th May 2015
Closes: 31st May 2015
Job Ref: 561715F4
Avenue Campus
Fixed Term for 3 years

Applications are invited for a full-time 3-year Research Fellowship based in Film and English, funded by the AHRC research project Calling the Shots: Women and Contemporary UK Film Culture, 2000-2015. This is a four-year project investigating women working in contemporary UK film. It involves both quantitative and qualitative analysis of women filmmakers, as well as the wider culture of women’s film in the British context. Women have always been a part of the production of cinema in he UK, but statistics on directors and screenwriters from the British Film Institute suggest that in the twenty-first century numbers remain woefully low. This is true despite the fact that, in the contemporary period, British women have produced everything from influential art films to blockbuster hits. This project seeks to understand this disparity between low numbers and exceptional success, and to construct a foundational history of women's filmmaking in the UK since 2000.

You will be responsible for the quantitative data analysis of the numbers of women working on British films from the years 2000-2015. You will collect the data on the numbers of women as producers, executive-producers, editors and cinematographers for the years 2000-2015 and collect the data on all six roles for 2000-2005. The list of films will be provided by the BFI. In addition, you will identify, in as much as the information is available): each woman’s national identity and race; the genre(s) of each film; the numbers of women in key acting roles; award nominations and wins; and box-office takings (UK, US and international, if available). You will also be the project website manager and coordinator for a planned international conference.

You will be a part of a team working for Dr Shelley Cobb (PI) and Prof Linda Ruth Williams (Co-I), and alongside two PhD students funded by the project.

Please note if you are appointed and you have not yet completed a PhD, you will be given the title of Senior Research Assistant.

For an informal discussion about the post, please contact either Dr Shelley Cobb on +44 (0)23 8059 7541| e-mail:s.cobb@soton.ac.uk, or the Head of Academic Unit, Lucy Mazdon
on +44 (0)23 8059 5435 | email: L.E.Mazdon@soton.ac.uk

Application Procedure: You should submit your completed online application form at www.jobs.soton.ac.uk. The vacancy will close at midnight on the closing date as shown above.

References are requested along with your application. This reference system is automated so please ensure you provide the correct email address and allow time for these to be received, prior to the close date, to assist the department with shortlisting.

If you need any assistance, please call Maxine Parker (Recruitment Team) on +44 (0) 23 8059 3784.
(info atualizada em 15/05/2015)

------------

Women, Ageing and Media International Research Summer School (2015)
The 2015 International Women, Ageing and Media (WAM) Research Summer School (at the University of Gloucestershire) will take place in Cheltenham (UK) on 20th and 21st July and will bring together international postgraduate researchers across disciplines whose research engages with women and ageing.

The Summer School has the general theme of ‘space and place’ and welcomes research papers that engage with this theme in relation to older women and:
Screen cultures
Technologies
Popular music
Popular Culture
Cultural activity
Creativity
Lived experience

We are delighted to announce that Professor Barb Marshall (Trent University, Canada) will also be participating and will provide the keynote presentation as part of our programme.

The Summer School will provide excellent opportunities for postgraduate researchers to make important connections with other researchers working in the field of Ageing Studies and, in addition to presenting work, there will be research training workshops exploring methods and conceptual issues relating to women and ageing studies. All participants will be expected to publish their reworked presentations or creative output in the Postgraduate Journal of Women, Ageing and Media as an event outcome.

Call for abstracts:
Proposals for 20 minute presentations are invited from doctoral and early career researchers at any stage of their work and from any discipline whose topics are relevant to the conference theme and approaches as outlined above.
Presentations may take the form of papers, posters, films and multimedia presentations.

Please submit an abstract of 200 words by 31st May 2015 towambookings@glos.ac.uk

Your abstract details should include:
· Your name, email address, institutional affiliation and, if applicable, year of study (please indicate if your research centre is a member of the ACT partnership)
· Title of PhD/Research Project and disciplinary field
· Up to five key words, which will help reviewers classify your panel
· Technical requirements for presentation

We will confirm whether you have a place by 5th June 2015. The deadline for registration and payment is 19th June 2015. There is a fee of £60 (unwaged) and £100 (waged) which covers Summer School participation (including lunch and refreshments each day).
Scholars who are members of the ACT partnership are eligible for funding towards their participation providing their research aligns with ACT research themes and the themes of the Summer School.
A full programme plus details for registration travel and accommodation will appear on the WAM webpage and WAM Facebook by the end of June, once places have been confirmed:
http://insight.glos.ac.uk/researchmainpage/centres/wam/Pages/default.aspx.

If you have any queries please contact Dr Ros Jennings (Director of Women, Ageing and Media, University of Gloucestershire),rjennings@glos.ac.ukrjennings@glos.ac.uk>
(info atualizada em 15/05/2015)

------------