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 VI Encontro Anual irá decorrer de 4 a 7 de maio de 2016, na Católica Porto. 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.
[Saber mais] [Inscrever-se na AIM]


NOTÍCIAS

Lecturer/Senior Lecturer in Film Studies at Edge Hill University
Vacancy at Edge Hill University.

EHT0993-0516 Lecturer or Senior Lecturer in Film Studies has been published with a closing date of 08 Jun 2016.

To view the advert use the link below:
https://jobs.edgehill.ac.uk/vacancy.aspx?ref=EHT0993-0516
(info atualizada em 31/05/2016)

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Two Film and Television lecturer posts - University of Bristol
The Department of Film and Television, School of Arts, University of Bristol, seeks to appoint two permanent Lecturers in Film and Television commencing 1st September 2016. The posts represent an exciting opportunity for outstanding early-career scholars whose research outputs and ambitions include a dimension of film practice. The appointees will teach units in film and television history, theory, criticism and practice across undergraduate and postgraduate programmes, and will help shape and deliver our newly developed MA in Film and Television that builds on and amalgamates our highly successful separate MAs in Film and TV Studies and Film and TV Production. For these roles, knowledge and experience of practical film-making and/or digital editing is essential.

Closing date for applications: 8 June 2016.

For full details and how to apply see the University website <http://www.bristol.ac.uk/jobs/find/details.html?nPostingID=4521&nPostingTargetID=16724&option=28&sort=DESC&respnr=1&ID=Q50FK026203F3VBQBV7V77V83&Resultsperpage=10&lg=UK&mask=uobext>.

For informal enquiries please email Alex Clayton: alex.clayton@bristol.ac.uk
(info atualizada em 30/05/2016)

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2016 Documentary Summer School
Deadline approaching for the 2016 Documentary Summer School - John Caldwell guest lecturer

The Institute of Media and Journalism of the Universita della Svizzera italiana welcomes applications until Friday 10 June to the 17th Documentary Summer School (8-12 August 2016, Locarno, Switzerland). The DSS is a residential educational program, jointly organized with the Locarno International Film Festival. This year’s theme is exploitation in documentary cinema, and it will be addressed in terms of representation, labour and environmental issues. John Caldwell (UCLA) will deliver a guest lecture, during which he will also preview screen parts of his latest documentary Highway 58: Boron to Buttonwillow, a “media archaeology road movie” that compares Hollywood depictions of the region with locally produced media and oral histories.

Participation is open to 25 graduate students in the fields of film, media and communications studies. Early doctoral students and emerging filmmakers are also welcome to apply. The official language of the Documentary Summer School is English.

Full program and conditions of participation can be found here www.imeg.com.usi.ch/en/summer-schoolTubX_LD9SGM6iKsbpLj-qmJjTaJRM9N_OR3uybTgZ4jTCAFodHRwOi8vd3d3LmltZWcuY29tLnVzaS5jaC9lbi9zdW1tZXItc2Nob29s>
and here www.pardolive.ch/satellites/summer-academy/documentary-summer-school.html

Please send information enquiries and applications to:
Gloria Dagnino – gloria.dagnino@usi.ch
PhD candidate and teaching assistant
Universita della Svizzera italiana
via Buffi 13, 6900 Lugano

(info atualizada em 30/05/2016)

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“Off-Cuts: New Queer Horror Aesthetics in Film and Television”
(co-edited by John Edgar Browning and Darren Elliott-Smith)

Academic studies of homosexuality in Horror film and television have
often centered upon its presence as sub-textual and symbolic and have
often discussed the threat that queer, gay and lesbian sexualities pose
to an assumed heterosexual spectator. The seminal works of scholars
including Robin Wood, Carol Clover, Richard Dyer, Ellis Hanson and Harry
M. Benshoff have found that much of its representation has been symbolic
or implicit, whereby homosexuality must be teased out of its place in
the shadows via queer interpretation. In the vast majority of such
‘closeted’ Gothic texts, spectators must first make the leap of reading
the /symbolic /homosexual in the supernatural; few consider the
/explicit/ presentation of queerness on screen. The purpose of this
edited collection is /not /to reiterate the argument that homosexuality
is a key element in the study of the Horror genre; rather, it is to
highlight the /limits/ of a metaphorical understanding of homosexuality
in the horror film in an age where its presence (2000 onwards) has
become more explicit.

Modern queer horror film and television texts (such as /Hellbent/,
/Socket/, /Gay Bed and Breakfast of Terror/, /The Lair/, /American
Horror Story, Scream Queens, A Far Cry From Home/, /Penny Dreadful, LA
Zombie, /representations of sexual difference (whether it be via their
monsters, victims or their victim-hero figures) can be said to reveal
more about queer anxieties in the early twenty-first century than
heterosexual ones. In departing from the analysis of the queer monster
as a symbol of heterosexual anxiety and fear, this collection hopes to
move the discussion forward to focus instead on the anxieties /within
/queer subcultures.

Furthermore, this collection hopes to investigate the developing
aesthetics of contemporary queer Horror film and television’s
foregrounding of sexual difference, violence and eroticism in its ‘out’,
but not necessarily proud, portrayal of queerness. It begs the question,
when monstrousness as a metaphor for the threat homosexuality poses to
heteronormativity ceases to be coded and instead becomes open, then what
does it /mean/?

Abstracts for possible contributions to this collection are being
accepted (but not confined to) the following thematic concerns:
- LGBTQ identities in modern Horror film and television texts
- Modern New Queer Horror auteurs
- Queer representations of Gender - Masculinity/Femininity/Transgender
- Queer appropriations of ‘Classical Horror’ (in television,
theatre or film)
- Homonormativity in New Queer Horror
- Eroticism and Pornography in New Queer Horror
- Genre intersections/fusions of Horror with other forms
- New Queer Horror inter-textuality and self-reflexivity
- Psychoanalytic readings of contemporary Queer Horror Film and
Television
- Adaptation and contemporary Queer Horror

Abstracts should be no more than 300 words, accompanied by a 150 word
bio, and sent to Dr. Darren Elliott-Smith (University of Hertfordshire)

Email: d.elliott-smith@herts.ac.uk.
Deadline: June 20^th 2016
(info atualizada em 30/05/2016)

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John Caldwell (UCLA) guest lecturer at 2016 Documentary Summer School
8-12 August

The Institute of Media and Journalism of the Università della Svizzera
italiana invites applications to the 17th Documentary Summer School
(8-12 August 2016, Locarno, Switzerland), a residential educational
program, jointly organized with the Locarno International Film Festival.
This year’s theme is exploitation in documentary cinema, and it will be
addressed in terms of representation, labour and environmental issues.
John Caldwell (UCLA) will deliver a guest lecture, during which he will
also preview screen parts of his latest documentary /Highway 58: Boron
to Buttonwillow/, a “media archaeology road movie†that compares
Hollywood depictions of the region with locally produced media and oral
histories.

Participation is open to 25graduate students in the fields of film,
media and communications studies. Earlydoctoral students and emerging
filmmakers are also welcome to apply. The official language of the
Documentary Summer School is English.

Full program and conditions of participation can be found here
www.imeg.com.usi.ch/en/summer-school
and here
www.pardolive.ch/satellites/summer-academy/documentary-summer-school.html

Deadline for submission is Friday 10 June 2016.
Please send information enquiries and applications to:
Gloria Dagnino  gloria.dagnino@usi.ch
PhD candidate and teaching assistant
Università della Svizzera italiana
(info atualizada em 24/05/2016)

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The Practices and Politics of Inclusivity in Games
A co-hosted workshop of the MeCCSa Women’s Media Studies Network
<http://www.meccsa.org.uk/networks/womens-media-studies-network/> and
the ReFIG partnership <http://www.refig.ca/>

*Hosted by the Department of Media and Communication, University of
Leicester, as part of its 50th Anniversary celebrations*

*September 15, 2016*

Academic and market research over the last decade has shown that
audiences of women and girls for digital games has increased in tandem
with the expansion of this major global media industry. Despite their
presence and contributions, as not only players but also designers,
writers, community managers, critics, and journalists, women’s
participation in digital games culture has been characterized by often
polemical and sexist discourse and action from those who deem their
practices less legitimate, authentic, and worthy. In response, an array
of inclusivity practices within digital games culture, often spearheaded
by women, trans people, disabled people, and people of colour, have
demonstrated that taking part in digital games is both playful and
political. Through these practices, they have transformed the culture of
this media form.

This workshop aims to highlight these diverse practices and their
politics with a focus on showcasing cutting-edge research innovating on
theory and methods, from a range of perspectives including play,
production, journalism, criticism and beyond. It will feature three
speakers undertaking research and activism in this domain:
Helen Kennedy (University of Brighton)
Phoenix Perry (Goldsmiths, University of London)
Siobhan Thomas (London South Bank University).

The event will also feature selected talks by graduate students in the
area. Please submit an abstract of 250-300 words including your paper
title, a brief summary of its topic and methods, and your affiliation.
Bursaries are available to support the travel costs of students if
accepted. Send all abstracts to Dr Alison Harvey at ah463@le.ac.uk
ah463@le.ac.uk> by June 15, 2016.

This event will be held at the University of Leicester, Bankfield House
Seminar Room, on Thursday, September 15, 2016 from 12pm- 4pm. Lunch and
refreshments will be served, and the event is free though registration
is required as space is limited. Please register by emailing Dr Alison
Harvey at ah463@le.ac.uk ah463@le.ac.uk>.
(info atualizada em 24/05/2016)

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Bolsas de Formação Avançada Concurso para Atribuição de Bolsas de Doutoramento e Pós-Doutoramento - 2016
Documentos do Concurso
Aviso de abertura (a disponibilizar em 15 de junho de 2016)
Guião de Avaliação
Guião de Candidatura (a disponibilizar ate 15 de junho de 2016)
Regulamento
Painéis de Avaliação (a disponibilizar)
O que mudou?
Datas importantes:
Submissão de candidaturas: 15 junho a 15 julho 2016, 17:00H (hora de Lisboa)

Visão Geral e Objetivos
O concurso de bolsas individuais apoia investigadores, em qualquer área do conhecimento, que pretendam desenvolver trabalhos de investigação para a obtenção do grau académico de Doutor, em instituições nacionais ou estrangeiras, ou que pretendam prosseguir investigação pós-doutoral de ponta, em unidades de investigação nacionais.

Bolsas de Pós-Doutoramento (BPD) - Destinam-se a candidatos doutorados, preferencialmente há menos de seis anos, para realizarem trabalhos avançados de investigação em instituições do sistema científico e tecnológico português de reconhecida idoneidade. A duração máxima da bolsa é de seis anos, mediante parecer favorável na avaliação intermédia (realizada no fim do primeiro triénio), não podendo ser concedida por períodos inferiores a três meses consecutivos.

Bolsas de Doutoramento (BD) - Destinam-se a candidatos que satisfaçam as condições necessárias ao ingresso em ciclo de estudos conducente à obtenção do grau académico de doutor e que pretendam desenvolver trabalhos de investigação conducente à obtenção desse grau. A duração máxima da bolsa é de quatro anos, não podendo ser concedida por períodos inferiores a três meses consecutivos. O plano de trabalhos pode decorrer em instituições nacionais ou estrangeiras.

Leia aqui as diferenças com os concursos anteriores.
Destinatários e Elegibilidade

Podem candidatar-se cidadãos nacionais, cidadãos de outros estados membros da União Europeia, cidadãos de estados terceiros detentores de título de residência válido ou beneficiários do estatuto de residente de longa duração, ou cidadãos provenientes de países com os quais Portugal tenha celebrado acordos de reciprocidade.

Às bolsas cujo plano de trabalhos decorra, total ou parcialmente, em instituições estrangeiras, só podem candidatar-se os cidadãos (nacionais ou estrangeiros) que comprovem residir de forma permanente e habitual em Portugal.

No caso das BPD podem ainda candidatar-se cidadãos estrangeiros não residentes em Portugal, desde que a candidatura seja apoiada por uma instituição nacional e o plano de trabalhos decorra integralmente em Portugal.

Para concorrer a Bolsas de Doutoramento é necessário:
Ter concluído, até à data de submissão da candidatura, o grau académico de mestre ou, em alternativa:
ter o grau de licenciatura e ser detentor de um currículo escolar ou científico especialmente relevante que seja reconhecido, pelo órgão científico legal e estatutariamente competente da universidade onde pretendem ser admitidos, como atestando capacidade para a realização de ciclo de estudos conducente ao grau de doutor;
ser detentor de um currículo escolar, científico ou profissional que seja reconhecido como atestando capacidade para a realização de ciclo de estudos conducente ao grau de doutor pelo órgão científico legal e estatutariamente competente da universidade onde pretendem ser admitidos.
Não ter beneficiado de uma Bolsa de Doutoramento ou de Doutoramento em Empresas diretamente financiada pela FCT, independentemente da sua duração.
Não ter sido selecionado para atribuição de qualquer bolsa, independentemente da sua tipologia (bolsa de investigação, doutoramento ou doutoramento em empresas) e duração, em qualquer Programa de Doutoramento FCT.

Para concorrer a uma bolsa de Pós-Doutoramento é necessário também:
Ter concluído, até à data de submissão da candidatura, o grau académico de doutor.
Não ter beneficiado de uma BPD diretamente financiada pela FCT, independentemente da sua duração.
Financiamento

Os candidatos selecionados recebem subsídios de manutenção mensal de acordo com os valores fixados no Regulamento e, quando aplicável, outros complementos de bolsa, tais como propinas, subsídios de instalação, viagem e seguro de saúde.

As bolsas atribuídas neste concurso serão financiadas por verbas do Orçamento de Estado do Ministério da Ciência, Tecnologia e Ensino Superior e quando elegíveis, por verbas do Fundo Social Europeu, ao abrigo do Quadro Estratégico Comum (2014-2020), através, nomeadamente, do Programa Operacional do Capital Humano.
Como concorrer

As candidaturas devem ser submetidas eletronicamente, utilizando o formulário disponível, a partir do dia 15 de junho de 2016, no portal de concursos a bolsas. Cada candidato poderá apresentar apenas uma única candidatura.

Antes da submissão de candidatura recomenda-se a leitura dos seguintes documentos: Aviso de Abertura (a disponibilizar), Guião de Candidatura (a disponibilizar), Guião de Avaliação, Estatuto do Bolseiro de Investigação e Regulamento de Bolsas de Investigação da FCT (obrigatório).
Avaliação

A avaliação das candidaturas é realizada por painéis de avaliação constituídos com base na adaptação da classificação FOS do Manual Frascati. As candidaturas são pontuadas de 1,000 (mínimo) a 5,000 (máximo) em três critérios de avaliação:
i) mérito do candidato;
ii) mérito do plano de trabalhos;
iii) mérito das condições de acolhimento.

Os três critérios de avaliação terão a ponderação, respetivamente, de 40%, 30%, 30% no caso de candidaturas a BD e de 40%, 40%, 20% no caso de candidaturas a BPD.

O mérito dos candidatos a bolsa de doutoramento é avaliado tendo por base dois subcritérios: nota base (que reflete o seu percurso académico) e currículo pessoal.
O mérito dos candidatos a bolsa de pós-doutoramento é avaliado a partir de um único critério: o currículo pessoal (que reflete o seu percurso científico e profissional).

A apreciação currículo pessoal dos candidatos é realizada de forma integrada, partindo de uma visão global do mérito do seu percurso científico e profissional. Nesta apreciação é importante considerar as cartas de motivação e de recomendação (documentos obrigatórios) e as várias dimensões do currículo que possam demonstrar um percurso científico e profissional relevante.

A avaliação do plano de trabalhos e das condições de acolhimento tem por base a avaliação qualitativa do painel, devidamente fundamentada.

Os candidatos serão ordenados de acordo com a média ponderada de classificação nos três critérios. Nenhuma informação contida nesta página substitui ou se sobrepõe ao estipulado no Regulamento e no Aviso de Abertura do Concurso (a disponibilizar).
(info atualizada em 24/05/2016)

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Revista Nova Síntese - Textos e contextos do Neo-Realismo
Nº 12 (2017) - Tema: Neo-realismo no cinema
Director: Vítor Pena Viçoso
Director-adjunto: António Mota Redol
Coordenação do nº 12: Leonor Areal
Propriedade e Administração: Associação Promotora do Museu do Neo-Realismo

Chamada de artigos inéditos
Envio de resumos até 31 de Agosto de 2016
Envio de textos até 31 de Dezembro de 2016
Línguas: português e castelhano
Email: leonor.areal4@gmail.com

Apresentação do tema "Neo-realismo no cinema"

O Neo-realismo no cinema é sobretudo conotado com o cinema italiano do pós-guerra e com diversos autores que, todavia, nos anos 50 começam a divergir das tendências iniciais, definidas essencialmente como um humanismo atento às realidades sociais. As sementes deste movimento, que se tornou de sucesso internacional, medraram noutros países que receberam essa proposta de cinema como modelo, influência e estímulo. Assim nasceram correntes neo-realistas peculiares em países latinos de regime autoritário, como Espanha, Portugal, Brasil e outros hispano-americanos, conjunto que aqui delimita um circuito de intercâmbios linguísticos, culturais e artísticos que será interessante relacionar. A tendência realista dos anos 50 perdura ainda nos cinemas novos dos anos 60, mesmo quando se revela como divergência estética, o que nos abre uma maior latitude nesta abordagem.

Sugestões temáticas para o número 12

Âmbito
Neo-realismo no cinema português, italiano, espanhol, brasileiro e hispano-americano
Neo-realismo e novos-cinemas
Relações entre o cinema, a literatura e outras artes
Contextos geracionais e políticos

Abordagens

estudo de autores e obras cinematográficas
adaptação de obras literárias
influências do neo-realismo literário no Novo Cinema português
correntes no cinema dos anos 50 e 60
representações culturais e sociais
temáticas recorrentes
(pescadores, camponeses, operários, subúrbios, marginalidade, circo, etc.)
outros realismos, influências e heranças
circulação de ideias estéticas
modos de criação e produção
continuidades e rupturas
projectos não-realizados (de escritores e cineastas)
análise comparada
teoria do cinema e releitura de obras
recepção e crítica
revistas cinematográficas e público
melodrama e realismo
ideologia e política
identidade cultural e nacional
realismo e etnografia
movimento cineclubista
festivais de cinema
cinema militante
censura
documentário, fotografia, etc.
Nova Síntese: Textos e contextos do neo-realismo
A actual "Nova Síntese" procura continuar, ao jeito de herança que se honra, o título de uma outra "Síntese" que foi, entre 1939 e 1941, não propriamente uma publicação doutrinária do movimento neo-realista, mas, desde o primeiro número, uma revista de convergência de múltiplas escolhas.
Ao estabelecer a conjugação deste título com o subtítulo "textos e contextos do neo-realismo", consagra-se o neo-realismo como efectivo objecto de conhecimento. Porque, para além de todas as desvalorizações conseguidas pelo traço da caricatura fácil, o neo-realismo constituiu uma movimentação político-cultural de profundas repercussões na cultura portuguesa do século XX, com efeitos que excedem muito as fronteiras do universo estritamente literário.

O projecto editorial da actual "Síntese - Textos e contextos do neo-realismo" tem por objectivos:
1. incentivar a renovação dos estudos sobre o neo-realismo e o seu contexto mais amplo através da publicação de trabalhos de estudiosos portugueses e estrangeiros;
2. divulgar documentação inédita do acervo do Museu do Neo-Realismo;
3. publicar dossiês monográficos, bibliografias e outros materiais que constituam elementos de interesse imediato para o conhecimento das respectivas áreas;
4. consolidar uma rede de estudiosos, publicações, centros de investigação e instituições de vocação museológica capaz de fornecer uma diversificada contextualização para o entendimento do movimento neo-realista, sem a qual o conhecimento resultará parcial.

"Nova Síntese - Textos e contextos do neo-realismo" regula-se por estritos critérios de rigor e defende a total liberdade de pesquisa e expressão, constituintes da credibilidade científica de qualquer revista de estudo e investigação.
(info atualizada em 23/05/2016)

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Encontro Internacional O Cinema e as outras artes
Ao longo da história do cinema temos assistido a um complexo debate sobre a relação recíproca entre o cinema e as outras artes que se caracteriza, sobretudo, por um conjunto de esforços criativos e gestos experimentais de ambos os domínios, permeado por dialogismos que transitam entre a expressão das outras artes no cinema e a transmutação do cinema nas outras artes. Desde a defesa do valor estético da imagem em movimento até às formas mais híbridas construídas sob novos referenciais, o cinema está em constante relação de reciprocidade com as outras artes, quer seja por uma relação de tensão, de presença de uma na outra, ou em última instância, de diluição das fronteiras. Este campo investigativo encontra nas possibilidades operativas da intertextualidade e no regime dialógico da construção artística, processos metodológicos capazes de estruturar o discurso científico.
O encontro internacional O Cinema e as outras Artes terá a sua primeira edição nos dias 29 e 30 de setembro de 2016, na Universidade da Beira Interior. O seu principal objetivo passa por promover a discussão/reflexão sobre problemáticas atuais relativamente ao diálogo entre as diferentes formas de arte, tendo como ponto de contacto o cinema. Procurando reunir esforços para ensaiar hipóteses de leitura interdisciplinares e interculturais, são convidados a participar neste encontro, investigadores das diversas áreas científicas, com especial preponderância para os Estudos Fílmicos, os Estudos Artísticos e os Estudos Culturais, que, em diferentes domínios disciplinares e fases de investigação, se ocupam destas questões.

Chamada de Trabalhos
A organização O Cinema e as Outras Artes convida toda a comunidade científica, a submeter propostas originais que se enquadrem na dinâmica do evento, até ao dia 15 de junho de 2016.
Cada proponente poderá apresentar apenas uma proposta de comunicação.
As comunicações poderão ser apresentadas por coautores, desde que um dos proponentes esteja devidamente inscrito no encontro.
Todas as comunicações terão a duração máxima de 20 minutos, independentemente do número de coautores.

Resumos:
Os resumos devem ser enviados em formato Word document ou PDF para o email c_@labcom.ubi.pt, incluindo a seguinte informação:
Autor(es)
Filiação institucional
Título da proposta
Resumo (máx. 500 palavras) mais cinco palavras-chave
Biografia de cada autor (máx. 150 palavras)

Artigos finais:
Os artigos finais selecionados serão incluídos no e-Book do evento a ser editado por LabCom.IFP

Idiomas de trabalho:
Português, Inglês, Espanhol e Francês

Calendário
15.06.2016 – Data limite para submissão de propostas
10.07.2016 – Data limite para notificação dos autores com propostas aceites
31.07.2016 – Data limite para inscrição dos autores com propostas aceites
05.09.2016 – Divulgação do programa final
29-30.09.2016 – Encontro O Cinema e as outras Artes
31.12.2016 – Data limite para envio dos artigos finais

Inscrição
A inscrição no evento terá uma taxa de inscrição no valor de 40€ para todos os participantes com propostas aceites e que desejem confirmar a sua presença no evento.
A taxa de inscrição inclui: material, coffee breaks, participação e certificado (digital).

Para formalização da inscrição é necessário enviar um e­mail para c_@labcom.ubi.pt com a seguinte informação:
Nome completo
Instituição (se aplicável)
Profissão, Ocupação ou Curso Frequentado
E-mail de contacto
Morada
Comprovativo de transferência bancária
[Para efeitos de recibo solicita-se também a indicação do NIF]

Dados para transferência bancária:
Banco SANTANDER TOTTA
IBAN PT50 0018 0003 23220304020 89
SWIFT code TOTAPTPL
Os residentes no estrangeiro têm a possibilidade de efetuar o pagamento da inscrição no ato do check-in.

Nota: O evento é aberto a toda a comunidade científica interna ou externa à Universidade da Beira Interior. Todos aqueles que pretendam assistir ao mesmo poderão fazê-lo gratuitamente e sem qualquer tipo de inscrição prévia. No caso de desejarem a emissão de um certificado de participação, deverão formalizar a inscrição de acordo com os dados anteriormente fornecidos e proceder ao pagamento da taxa reduzida de 15€.


(info atualizada em 20/05/2016)

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“Children with Learning Disabilities as Digital Audiences”
AHRC funded PhD studentship at the University of Glasgow in collaboration with BBC Scotland

*Applications are invited for a full PhD studentship in Film and Television Studies at the University of Glasgow to work in collaboration with the Children’s Department at BBC Scotland. The aim of the project is **to explore the provision and design of digital media by the BBC for older children with learning disabilities.**This exciting opportunity will require the researcher to divide his or her time between the University of Glasgow and the Children’s Department within BBC Scotland (situated in the Pacific Quay in Glasgow). **The student will have unique access to the Children's Department, working amongst BBC staff to capture a sense of the existing provision of digital content for children with learning disabilities and the ways in which BBC Scotland engage with this audience. The project will then continue through a small scale qualitative study that will capture how, why and when digital media is used, interpreted and enjoyed by members of this specific audience. The student will then return to the BBC with their research findings and work alongside colleagues to develop a 'pitch' for the design or redesign of digital content that will allow the BBC to respond directly to the needs and desires of their targeted audience.*

The specific question this project poses is how we might re-imagine content for differently-abled audiences that is appropriate to both their cognitive abilities and their personal/social needs and desires.

A supervisory team from across both institutions will oversee this work and full research training (including audience research skills if required) will be offered. The team will include Dr. Amy Holdsworth and Professor Karen Lury from the University of Glasgow and Ms. Sara Harkins (Head of Children’s BBC Scotland) with relevant support from professional colleagues within BBC Scotland.

The studentship is funded for three years to commence in October 2016 and covers tuition fees at the Home/EU rate. Home students and EU students who have lived in the UK for 3 years prior to the award will also receive a maintenance bursary (stipend) of approx. £14,296 for 16-17 plus an additional £550 travel allowance. In addition, the student is eligible to receive up to £1,000 a year from the BBC to support travel or other expenses directly related to the doctoral research, and will be given use of a desk and computer at the University of Glasgow and appropriate access and resources at the BBC. All AHRC Collaborative PhD students automatically become part of the UK-wide Collaborative Doctoral Partnership development scheme which will provide training in a range of skills needed for research within museums, archives, galleries and heritage organisations.

*Informal enquiries are welcome*.

Please write to Dr. Amy Holdsworth (Amy.Holdsworth@glasgow.ac.uk Amy.Holdsworth@glasgow.ac.uk
> ) in the first instance.

*Candidates ideally should have:*
• A good 2.1 Honours (or B.A.) degree in a relevant Arts or Social Science discipline.
• A Masters degree in a related discipline *or* appropriate professional experience within children’s media, digital media, audience development, working with children and young people with disabilities.

• A good understanding of contemporary Children’s Television, digital media and issues and debates within disability studies

• An interest in, or first-hand knowledge of, audience research.
• Applicants should be able to demonstrate strong research capabilities and be fluent in spoken and written English.

*Applications should include:*
• A statement of no more than 1,000 words indicating what skills and experience you have that will be relevant for the project.
• A current CV
• Degree transcripts (this may be an interim transcript if you are still studying)
• An example of writing – e.g. academic essay, professional report - up to 3000 words in length
• 2 academic/professional references (these may be sent directly from your referees if they would prefer)

*Applications to be sent to Jeanette.Berrie@glasgow.ac.uk Jeanette.Berrie@glasgow.ac.uk> (Research Administrator, School of Culture and Creative Arts, University of Glasgow) with the subject line BBC CDA.*

*Closing Date: Wednesday 15th June 2016*

***Interviewees will be notified by Thursday 23^rd June and interviews will take place at the University of Glasgow on Friday 1^st July 2016.*

***The Project:*
Through initial audience development work, colleagues at BBC Scotland have already observed the ways in which digital content designed for a young (‘pre-school’) audience is being used by older children with learning disabilities. They have recognized that while these young people may have less sophisticated ‘operational’ abilities their desire and interest in age appropriate content is not necessarily affected. In simple terms, games or interactive challenges aimed at 4-7year olds may represent an appropriate operational challenge (how to work the game, how to move about and between different parts of the page) but are inappropriate in terms of content (older children and young people are more likely to respond positively to content such as /WolfBlood /rather than /In the/ /Night Garden /or ‘Mr. Tumble’). The project will therefore focus on this particular issue and ask how we might re-imagine content for differently-abled audiences that is appropriate to their cognitive abilities and their personal/social needs and desires.

*Aims and objectives.*
The aims and objectives of this collaborative project are designed to both reflect upon /and /develop the BBC’s relationship with its differently abled child audience.//

*/Aims/*
1. To explore the provision of content for children with learning disabilities: Initial stages of the research will explore the existing provision of digital content for children with learning disabilities and the ways in the children’s department at BBC Scotland engage with this audience (through audience development initiatives, for example). This initial ‘snapshot’ accompanied by critical investigation of academic literature on children, disability and media will form a building block for the student to design and implement a qualitative audience study.

2. To conduct a small-scale qualitative audience study of children with learning disabilities as digital audiences/users: Utilizing the appropriate methodologies (see below) the student will capture how, why and when digital media is used, interpreted and enjoyed by children with learning disabilities. This fieldwork will importantly also offer the child the opportunity to reflect upon and discuss their use of digital media (e.g. their preferences, desires, likes and dislikes).

*/Objectives/*
3. The student will disseminate research findings through traditional academic outputs and through partnership with the BBC: One of the principle objectives of the project is for the research to have an avenue of dissemination within the BBC to allow the institution to reflect upon and develop their own practices and forms of audience engagement. The links with BBC Scotland and its contacts present opportunities for the research to be accessed by other stakeholder communities and organisations (such as ‘for Scotland’s Disabled Children’ (fSDC)).

4. To implement research findings through the production of a BBC ‘pitch’: Through the student’s involvement at BBC Scotland he or she will utilise their research on this specific child audience in the development, design or redesign of games, applications or website provision for this audience.
(info atualizada em 19/05/2016)

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

Communication, Religion and Visual Culture
Deadline for extended abstracts: *31 May 2016*
Deadline for full papers: *15 July 2016*

The Brazilian Conference of Religious Communication (Eclesiocom),
organized by the UNESCO Chair on Communication, reaches its 11th edition.

The event will focus this year on "Communication, Religion and Visual
Culture" and seeks to promote a dialogue from the fields of
Communication, Religious and Social Sciences, using methods of a
particular field or transdisciplinary approaches.

The meeting will be held on 18 August 2016 at the Adventist University
of São Paulo, located in the city of Engenheiro Coelho (São Paulo), and
will feature the participation of *Dr. David Morgan*, director and
professor of the Department of Religious Studies at Duke University.
Morgan is one of the most recognized American researchers on the subject
in the world.

Eclesiocom welcomes proposals related to the interface
communication-culture-religion produced by professors, researchers and
students. Additional information: http://unasp-ec.edu.br/eclesiocom. For
contact in English or Spanish, please send an email to
lizbeth.kanyat@unasp.edu.br lizbeth.kanyat@unasp.edu.br> or
tales.tomaz@unasp.edu.br tales.tomaz@unasp.edu.br>.

Profa. Ms. Lizbeth Kanyat
Director of the Department of Social Communication at Adventist
University of São Paulo
www.unasp-ec.edu.br <http://www.unasp-ec.edu.br>
http://lattes.cnpq.br/4498277879097885
(info atualizada em 18/05/2016)

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

A história do spot do VI Encontro Anual da AIM

Este ano o Encontro Anual da AIM foi divulgado através de um spot de vídeo. Esta novidade só foi possível graças à parceria entre a AIM e a Escola das Artes da Universidade Católica Portuguesa, que integrou, numa das cadeiras da licenciatura em Som e Imagem, o desenvolvimento deste trabalho.

Na cadeira de Projeto Interdisciplinar, de 3.º ano, os professores Maria Guilhermina Castro, Luís Teixeira e Vítor Joaquim propuseram aos alunos a criação de um spot de vídeo. Organizados em grupos, os alunos receberam o material gráfico criado para o Encontro e tiveram reuniões com dirigentes da AIM (o que é o Encontro Anual? que informação é importante? que logos são fundamentais aparecer?, foram algumas das questões levantadas).

No final de abril, houve uma sessão geral de exibição dos trabalhos: foram apresentadas 12 versões do spot, de 12 grupos diferentes. Nesse dia foram apontadas algumas necessidades de correção. Depois, a Comissão Organizadora decidiu escolher um spot para a promoção geral do Encontro nas plataformas de comunicação da AIM, e outros três spots para serem exibidos no início de cada conferência plenária.

Este foi um trabalho único e as 12 propostas recebidas demonstram a grande qualidade do técnica e criativa do projeto proposto.  Foi também um trabalho de persistência dos três professores que se dedicaram ao projeto. Aos alunos e a eles, a AIM agradece o empenho e os resultados.

Pode ver todos os spots desenvolvidos nesta playlist:




O spot escolhido para o VI Encontro Anual foi este:


(info atualizada em 18/05/2016)

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

Central and Eastern European Game Studies Conference 2016
CEEGS 2016 aims to integrate the community of Central and Eastern
European game scholars and professionals and serve as a platform for
academic exchange and networking. The conference is a continuation of
the events hosted by the Masaryk University in Brno in 2014 and the
Jagiellonian University in Kraków in 2015, and aims to establish a
platform for games studies scholars from and beyond the region and
facilitate the emergence of a unique perspective into the international
arena of game studies.

Theme and Scope: Ludic Rhizomes
Much of the recent history of game studies, both in Central/Eastern
Europe and elsewhere, has been invested in the construction of the
field’s unique identity that sharply distinguishes it from other
disciplines. Between the narratology/ludology wars of the early 21st
century, the debates of the artistic status of the medium, and the
predictions of cultural dominance in the years to come, game critics
have devoted an extraordinary amount of discursive energy to firmly
establishing the singularity of their medium, often with fervency that
is both understandable given the relative youthfulness of the medium and
autarkic in its overprotectiveness against incursions by scholars from
other fields.

But now, the number of dedicated academic journals can already be
counted in tens; the number of book volumes and conferences in hundreds;
and the number of articles and reviews in thousands. The field has
several vibrant academic associations and communities, boasts numerous
links with the industry whose sales revenues rival Hollywood’s box
office, and has been officially canonized in academia following the
creation of degree and research programs at numerous universities in
Asia, Europe, and North America. In fact, critics have started to
emphasize the influence games have had on other media, such as film and
television, while popularisers like Jane McGonigal have been preaching
the gospel of universal gamification. It is now safe to open the gates
and start trading again – the conference co-hosted by the
auspiciously-named Centre for the Meeting of Cultures is an apt
opportunity for this.

For this year’s conference, we are thus primarily interested in
rediscovering older and forging new links with other disciplines, media,
cultural forms, and practices. We invite participants to address how
approaches, theories, and concepts borrowed from other frameworks and
apparatuses can be applied to and in the study of games; to seek new
bridges between games and other cultural forms and practices; and to
reflect how game theories can reinvigorate discussions of film or
literature. While we do not wish to re-tread the well-blazed paths of
games’ connectivity to other forms and conceptions of play or reiterate
the usefulness of traditional literary theories in interpreting some
game narratives, we also believe that there are numerous intersections
between the gaming medium and other cultural domains that have thus far
received little or no critical attention.

Possible topics and angles include but are not limited to:
-bridges between the study of games and literary studies, visual
studies, and media studies (film studies, television studies, etc.);
-transactions between game studies and art history;
-game archaeology and the medium’s roots in earlier media;
-narrative, philosophical, and aesthetic theories that have not been
applied to games in any systematic manner;
-not-games, game-like constructs, and border texts that defy traditional
game definitions;
-inspirations, influences, and borrowings, both thematic and formal,
from other -cultural forms and practices;
-diversity of gaming communities, cultures, practices, and histories;
-relationships between game genres and traditional genre systems;
-bridges between games and previously unexplored or largely unexplored
media and practices, such as photography, radio, or theater and ballet;
-two-way transactions between games and the world of advertising and
marketing;
transmedia texts in which games constitute integral (not passively
adaptive) elements;
-avant-garde, art, and museum games;
-the ways in which game theories can reinvigorate the experience and
study of other cultural forms and practices;
-game histories and their similarities to and differences from histories
of other media;
-critiquing and teaching strategies borrowed from other fields.

We encourage applicants to fit their own research approaches and
interests into the proposed framework but are also open to all kinds and
shapes of game studies papers. We welcome submissions from game
scholars, educators, students, and creators.

Please note that abstracts and workshops are not limited to the Central
and Eastern European themes and topics.

Submissions
Submissions for CEEGS 2016 should be submitted as abstracts of around
500 words (400 words minimum and 600 words maximum). Each submission
needs to be accompanied by a list of references, which do not count
towards the word limit.

Each paper presentation will be about 20 minutes long, followed by a
discussion. Papers can be co-authored. We only accept individual papers;
no posters or discussion panels are accepted. We do not accept complete
panel proposals, either, but each submission may indicate suggested
grouping with other abstracts in order to form a panel, and we will try
to accommodate them. There are no limitations on the number of abstracts
one can submit, but a maximum of one individually written paper and a
maximum of two total papers per author can be accepted. This means that
the maximum contribution of one participant is either co-authorship on
two papers, or sole authorship of one paper and co-authorship on another
one.

We welcome suggestions for workshops or special events. If you would
like to offer one, please contact us directly by email.

All abstracts will undergo a process of blind peer review. For this
reason, the abstracts cannot contain any information allowing for
identification of the author (for example references to their own
publications or conference papers). Please note that abstracts
containing the name of the author will be automatically rejected, so
make sure sensitive information is removed from the text.

Abstracts should be submitted by May 31 2016 23:59pm GMT via EasyChair
website of the conference -
https://easychair.org/conferences/?conf=ceegs2016.

If you are having troubles submitting your abstract through EasyChair,
or if you have any questions about the submission and review process,
please email the Program Committee at ceegs2016@easychair.org
ceegs2016@easychair.org>.

Important dates
submission deadline: May 31, 2016
notification to authors: August 2, 2016
registration deadline: October 1, 2016
conference: October 20–22, 2016

Program Committee
Jaroslav Švelch, Charles University in Prague (chair);
Hans-Joachim Backe, IT University of Copenhagen;
Radosław Bomba, Maria Curie-Skłodowska University;
Martin Buchtík, Czech Academy of Sciences;
Gordon Calleja, University of Malta;
Paweł Grabarczyk, University of Łódź;
Kristine Jørgensen, University of Bergen;
Bjarke Liboriussen, University of Nottingham Ningbo, China;
Jakub Macek, Masaryk University in Brno;
Jan Miškov, Masaryk University in Brno;
Torill Elvira Mortensen, IT University of Copenhagen;
Bernard Perron, Université de Montréal;
Paweł Schreiber, Kazimierz Wielki University;
Piotr Sitarski, University of Łódź.

Additional reviewers may be appointed by the members of the Program
Committee.

Conference Fee: 25 €
(info atualizada em 17/05/2016)

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

Special Issue in Journal of Fandom Studies: “Queerbaiting”
Edited by Joseph Brennan

Fans use the term ‘queerbaiting’ to account for a television tactic whereby producers deliberately insert homoerotic subtext between characters in order to capture a queer viewership, yet never actualise this subtext on screen. It is near exclusively deemed by fans as an exploitative tactic that is harmful to queer viewers; one that teases queer representations, then shuts down opportunities for validation with ‘no homo’ jokes in text and denial of the existence of any subtext in commentary. It has thus attained decidedly negative connotations in its usage by fans and a degree of cultural currency in the popular sphere, the hashtag #Queerbaiting an increasingly popular device on Twitter for shaming such tactics, for example. Cult series such as Supernatural and Sherlock are among the most frequently named for queerbaiting their audiences, which given the scholarly interest by fan scholars in these texts, raises important questions for our field. Recently, investigation has begun into some of the questions posed by queerbaiting, such as the activist agenda behind the term’s coinage (Nordin, 2015), its statement on fan-producer interactions (Collier, 2015), textual readings of certain texts that queerbait (Fathallah, 2015), and of how this relatively new term bodes for understandings of particular well-canvassed fan practices, such as slash (Brennan, 2016).

The recent interest by scholars in the various issues associated with queerbaiting make a collection of essays that situate the tactic in terms of the fan studies field timely. Further, a survey of such issues is important in light of the impassioned calls from many fans for such tactics to cease, and for producers to take account of the harm caused by queerbaiting. A key argument being that in ‘baiting’ their audiences, then denying actual representations, queer viewers face invalidation of their experiences (Sheehan, 2015). This is not to discount alternate readings on the practice, such as of the potential queer readings that ‘queerbaiting’ in fact make possible, even plausible (Brennan, 2016).

This special edition of Journal of Fandom Studies aims to take account of why queerbaiting as a concept has gained the appeal it has, and why now. Not only what exactly it means to queerbait, but also the relationship between this term and the current media landscape, in which queer representations are supposedly possible in mainstream texts, yet still denied. Therefore, the issue seeks to take stock of the current state of media representations accused of queerbaiting and of the fannish culture that surrounds the development of this term. Importantly, the edition aims to consider what criticism of certain tactics might mean for longstanding debates within the field, among them: media effects, fan/producer power relations, active/passive consumption, fan production (slash, for example), and identity, to name just a few. As such, submissions are encouraged from across disciplines, with the aim to better understand what queerbaiting means to fans; what harm, if any, it causes them; and how we are to proceed with the study of fandoms that, some argue, are harmful.

Submission Details
Submissions of particular interest are not limited to but may address:
• Etymology of the term
• What constitutes queerbaiting?
• Queerbaiting as fan activism
• Good/bad representations of sexuality
• Mainstreaming queer representation
• Queerbaiting vs homoeroticism
• Campaigns to boycott series that queerbait
• Queerbaiting vs queer reading
• Hoyay, fan service, subtext, ‘no homo’ jokes, and other related terms
• Textual readings of particular series that queerbait, such as Supernatural, Sherlock, Merlin, Rizzoli & Isles, Teen Wolf
• #Queerbaiting on Twitter, Tumblr
• Fan-producer dynamics
• Methodologies for studying queerbaiting
• Queerbaiting on film (The Avengers, Victor Frankenstein, for example)
• Queerbaiting in advertising
• Queerbaiting and slash/femslash, ‘correcting’ queerbaiting
• Queerbaiting as invalidation of identity
• Cast and producer responses to accusations of queerbaiting
• Celebrity queerbaiting (James Franco, Nick Jonas, etc.)
• Capitalising on queerbaiting (the ‘pink dollar’)

This special edition of Journal of Fandom Studies will be edited by Dr Joseph Brennan.

Please send abstracts of 300 words and a short biographical note to joseph.brennan@sydney.edu.au by June 1, 2016. Completed articles of 6000–9000 words will be due November 1, 2016.
(info atualizada em 16/05/2016)

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

PhD Scholarships in Film & Visual Culture at University of Aberdeen
The Department of Film and Visual Culture <http://www.abdn.ac.uk/film/> at the University of Aberdeen is delighted to announce an open competition for PhD Funding on topics related to
film, digital and visual culture, and performance art.

A new round of scholarships worth up to £1.5 million has been launched
by the University of Aberdeen. The 2016/17 Elphinstone Scholarships will
meet the tuition costs of the highest achieving PhD applicants drawn
from the UK and around the world. If awarded, the University of Aberdeen
Elphinstone Scholarship will cover the cost of tuition fees, whether
Home, EU or Overseas.

The Department of Film and Visual Culture is part of the School of
Language, Literature, Music and Visual Culture, which has a lively
postgraduate community. Postgraduate students are offered a
comprehensive programme of research skills training.

Interested applicants should contact the lead supervisor for each
project in the first instance, with a project proposal of no more than
1,000 words, detailing the research question, research context, methods,
aims and objectives, and critical approach. Details of each of the
projects eligible for funding can be found below. Funding is available
for PhD studies in Film and Visual Culture for a project on the
following topics:
Artistic Re-enactments of Performance Art as Vehicles of Cultural
Transfer in Eastern Europe since 1960*
Comparative Studies of Performance Art in Central, Eastern and
Southern Europe since 1960*
Voice, Body and Identity in Sound Art*
Feminist Media Archaeology: Gender, Technology and Desire in
Digital Culture*
The Comedy of Post-Fordism: Labor, Leisure and Humor in
Contemporary Visual Culture*
John Grierson and Practice-based Film Propaganda Research*
Electronic Composition, Performance Art and Technology*
Performing the Past: explorations of performativity across the
literary, visual and sonic arts in the modern and contemporary period*

More information on Elphinstone Scholarships can be found by clicking
here
<http://www.abdn.ac.uk/research/postgraduate-study/elphinstone-phd-scholarships-266.php>.

Details on how to apply for PhD studies at the University of Aberdeen
can be found by clicking here
<http://www.abdn.ac.uk/study/postgraduate-research/how-to-apply-1639.php?utm_source=findaphd&utm_medium=website&utm_campaign=Elphinstone2016&utm_content=elphinstone>.

*Deadline for all applications: 30 May 2016*

*Applicants are invited to submit proposals for the following projects:*

1. *Artistic Re-enactments of Performance Art as Vehicles of Cultural
Transfer in Eastern Europe since 1960

<https://www.findaphd.com/search/ProjectDetails.aspx?PJID=73925&LID=3612>*

Supervisor: Dr. Amy Bryzgel
<https://visualcultureaberdeen.wordpress.com/2016/03/29/funding-competition-for-phd-studies-in-film-and-visual-culture/a.bryzgel@abdn.ac.uk>,
Lecturer in Film and Visual Culture
(info atualizada em 12/05/2016)

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

PhD Scholarships for International Students, University of Leicester
Please pass on this opportunity for eight International Postgraduate Research Excellent Scholarship, available starting Sept. 2016 in the College of Social Sciences, Arts and Humanities at the University of Leicester.

The Department of Media and Communication in particular solicits applications which fall into our three main research clusters: Digital Networks and Communication; Media Cultures; and Public Communication (http://www2.le.ac.uk/departments/media/research)

The scholarship covers tuition fees of £15,000 for a three year period and is open to international students who wish to study on-campus at the University.

Applicants must have a Masters degree as well as a 2.1 undergraduate degree (or equivalent).

The deadline for applications is 1 July 2016.

More information can be found at www.le.ac.uk/int-pgr-scholarship
(info atualizada em 12/05/2016)

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

Assistant Professor- Game Design and Development
Posting ID : 6015
Position Title : Assistant Professor- Game Design and Development
Faculty/Academic Area : Faculty of Human and Social Sciences
Department : Game Design and Development
Campus : Brantford
Position Summary :
The Game Design and Development Program at Laurier University in
Brantford, Ontario invites applications for a tenure-track position at
the rank of Assistant Professor to begin July 1, 2016, subject to
budgetary approval. To be considered, an applicant must possess a PhD or
will nearly have completed a PhD in a relevant discipline with practical
experience in digital game design and project management. The academic
home for this position is in the Faculty of Human and Social Sciences.
The ideal candidate is a scholar with demonstrated experience in
designing imaginative and innovative digital games and experience or
knowledge of project management in the games industry. It is preferred
that the candidate has experience in designing and developing mobile
games with real-world impact. This faculty member would be responsible
for leading the digital game design and development streams and would
work with students seeking to create digital games and prototypes. The
candidate will be expected to teach/develop courses in Project
Management, Interface Design, Ethics in Gaming, and the Capstone Project
in Gaming.
The applicant should have an active research program, with evidence of
research excellence, strong potential to attract external funding, and a
commitment to mentorship of students though their research program. The
successful candidate would be involved with the Brantford Games Network
and the BGNlab, which connects Game Design faculty and students to the
community (http://bgnlab.ca). In addition, there will be connections
between the research and design interests of the candidate and other
programs at the WLU Brantford campus. This candidate will exhibit a
passion for the power of games to change the world and help push the
Game Design and Development program and WLU toward being a leader in the
field.
The Game Design and Development Program is a new and rapidly growing
program on the downtown Brantford campus. The program offers a Bachelor
of Fine and Applied Arts and prepares students to work within
educational institutions or with corporations and non-profit
organizations with the goal of initiating positive change; students will
be able to create games and interactive experiences that make a
difference. There is an emphasis on interdisciplinary projects between
members of different programs and faculties on the WLU Brantford campus.
Applicants need to submit a complete application package consisting of:
* a cover letter outlining qualifications for the position and fit
with the Game Design and Development program at Laurier Brantford;
* a curriculum vitae;
* a two-page statement of current and prospective research interests;
* a two-page teaching dossier including teaching philosophy and
teaching interests;
* a portfolio containing up to three pieces of academic research
and/or documentation about games designed by the candidate;
* the names and contact information of three referees willing to
provide a letter of reference

Application packages may be submitted electronically to:
*Dr. Scott Nicholson, Program Coordinator of Game Design and Development*
*LBGDDHires@wlu.ca* LBGDDHires@wlu.ca
>
(info atualizada em 11/05/2016)

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

Transnational screens conference: volatility and compounding transnational traffic
15th and 16th September 2016
Cinema and Television History (CATH) Research Centre, De Montfort University

Keynote Speakers:
*Prof. Dina Iordanova St. Andrews University
Dr. Debora Shaw, University of Portsmouth*

The Cinema and Television History (CATH) Research Centre at De Montfort
University, invites scholars and early career researchers to its conference on
Transnational screens.

Transnational cinema and television productions emerged in response to an increased
preoccupation with the limiting conceptualization of films as products of national
industries in light of the awareness of a more mobile cinematic culture. This 2-day
conference on transnational screens has the objective to study the industrial,
theoretical, creative and aesthetic innovation(s) occurring in film and television
productions worldwide arising from “amphibious creative processes”.
By tapping into social theory, Hamid Dabashi’s term “amphibious condition” from
post-orientalist studies - meaning ‘an entity at home in two or more places […] rooted
in the global reality that includes both here and there’ (Dabashi 2009: 230) – can be
rethought and applied to current discourses on transnational cinematic mobilization
too. Such a notion aptly frames the current panorama of cinema and television, which,
on one hand remains faithful to a series of classical narrative elements, and on the
other, structures novel ecosystems that includes remixes, expansions, adaptations and
multifaceted variants of the narratives. From an industrial perspective, these
amphibious conditions allow the practices and modalities of international productions
and distributions to come under transnational circulations. This conference would
therefore serve as a portal for the collection of novel perspectives in the studies on
transnational screens, and provide a framework for the discussion of innovative
creative practices able to comment on: how do multidimensionality and fluidity, and
conversely frontiers, barriers and walls, defiantly inform transnational mobilization
and on the screens?

Possible topics include (but are not limited to):
- Transnationalism in the era of web series (such as Netflix, Sky etc.)
- Transnationalism and technological innovation
- Transcultural narratives in transnational cinema
- Cultural appropriation(s)
- Transnational adaptations
- Past and new co-production ventures
- Film Festivals: the transnational and the national
- Transnationalism and distribution practices
- Transnationalism and audience studies
- History of Transnational cinema(s)
- Transnationalism and Stars
- Transnational film economies (Crowd-funding ventures, Outsourcing, etc.)
- Diasporic filmmakers/filmmaking
- Video-essays in transnational cinema studies
- Refugee film narratives

Format for presentations:
We invite to submit a proposal for a 20-minute presentation (inclusive of film clips, if
necessary) to deliver at the conference. Abstracts for consideration should be
submitted to Dr Monia Acciari at monia.acciari@dmu.ac.uk monia.acciari@dmu.ac.uk>

The deadline for thesubmission of abstracts is the _20th of May, 2016_.
We welcome presentations both using conventional tools as well as video-essay
commentaries.

Abstract format:
• Abstract should not exceed 250 words (exclusive of references, max 2-3 key
readings), the title of the presentation, and a short bio (max 100 words);
• Abstracts should also list three to five keywords;
• Please indicate, the format of the clips/video essay you will be showing;
• Abstracts can be submitted as a .doc (preferred) or in Pdf formats;
• Notification of acceptance of abstracts will be sent out by the 18th of June

We are interested in using this conference as a starting point for publishing an edited
collection of essays on this subject, so please indicate whether you would be
interested in your paper being considered for publication at a future date.
(info atualizada em 11/05/2016)

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

A decade of change: television and society in Wales in the 1970s
Leverhulme funded PhD Scholarship at Aberystwyth University

The Department of Theatre, Film and Television Studies at Aberystwyth
University is delighted to invite applications for a fully funded *PhD
scholarship worth £53,577 *to begin on *1 October 2016*, as part of a
Leverhulme Trust Research Project titled ‘A decade of change: television
and society in Wales in the 1970s’. This Leverhulme funded project, led
by Dr Jamie Medhurst, will create a unique and original history of
television and society in Wales during the 1970s, paying particular
attention to the ways in which television mediated the changing nature
of society and how television itself, rather than merely reflecting what
was happening, was subject to, and part of, the same changes. The
research, through systematic examination of primary source material,
will explore the complex relationship between politics and policy,
national identity, language, everyday life and television during the
decade and will highlight the ways in which this resonates with, and is
relevant to, the contemporary broadcasting landscape.

The studentship, supervised by Dr Jamie Medhurst, will be based
primarily on material at the ITV Wales Archive held at the National
Library of Wales. Working in collaboration with this unique archive, and
drawing on the National Library's extensive archive of manuscripts,
diaries, personal papers and newspapers, the PhD research and subsequent
thesis will provide a complementary but distinct insight into the ways
in which HTV Wales’ programming reflected and resonated with a changing
Wales in the 1970s.

Appropriate research training will be provided and the student will be a
member of the University's Centre for Media History and based within the
PhD community of the Department of Theatre, Film and Television
Studies.During the course of the PhD, the student will be given
opportunities to contribute to lectures and seminars on relevant
undergraduate modules (mentored by an assigned member of staff), as part
of the Department’s teaching mentorship scheme for doctoral students.

Applicants should have an outstanding undergraduate record (ideally,
though not necessarily, in the field of Television/Media Studies or
History) and experience of research at Masters Level in an area relevant
to the project (or relevant professional experience). Although the
ability to speak Welsh is not a requirement for this scholarship,
applicants should be able to demonstrate an awareness of the particular
cultural, political and linguistic dimensions within broadcasting in
Wales.The scholarships pay the equivalent of UK / EU tuition fees and a
maintenance grant of up to £13,800per annum for up to three years of
full-time doctoral studies (subject to satisfactory progress).You will
also have access to travel funds as part of the Leverhulme project
research as well as up to £300 per annum from the Department of Theatre,
Film and Television Studies towards conference attendance and any other
research training deemed appropriate by your supervisor.

Please apply using the standard PhD application procedures at
https://www.aber.ac.uk/en/postgrad/howtoapply/

In your application, please indicate the name of the scholarship you are
interested in,‘A decade of change: television and society in Wales in
the 1970s’, and give 'Leverhulme Trust' as the funding body. You should
also include, as part of your application, a personal statement of up to
1,000 words detailing your research experience and why you are suitable
for this scholarship.

*The deadline for applications is 13 May 2016.*
*We will conduct interviews during the week beginning 30 May 2016.*

To make an informal inquiry or for further information, please contact
Dr Jamie Medhurst on jsm@aber.ac.uk jsm@aber.ac.uk> or 01970 622152

The Leverhulme Trust was established by the Will of William Hesketh
Lever, the founder of Lever Brothers. Since 1925 the Trust has provided
grants and scholarships for research and education. Today, it is one of
the largest all-subject providers of research funding in the UK,
distributing approximately £80m a year. For more information about the
Trust, please visit www.leverhulme.ac.uk <http://www.leverhulme.ac.uk>'

*Dr Jamie Medhurst BA MLib PhD FRHistS FHEA*
(info atualizada em 10/05/2016)

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From Here to Ubiquity: Critical and International Perspectives on Mobile and Ubiquitous Media
This is an extended call for the submission of chapter proposals for the edited volume From Here to Ubiquity: Critical and International Perspectives on Mobile and Ubiquitous Media. The purpose of this edited collection is to try to develop a clearer definition of, and theoretical grounding for, ubiquitous media by assembling a collection of chapters by established experts and emerging scholars from around the world. Chapters should critically and creatively interrogate “ubiquitous media” in the hopes of developing an overarching understanding of the meaning, processes, and ramifications of the term.

The term "ubiquitous media" has been deployed to characterize platforms such as television, social media, and mobile media; systems such as algorithms, apps, and augmented reality; concepts such as commerce and surveillance, and issues such as privacy, politics, and neocolonialism. Phrases like IoE (the “Internet of Everything”) are increasingly mentioned in academic and the popular press and framed as an inevitability. Universities have laboratories dedicated to the study of ubiquitous media, and marketing companies aggressively tout their ability to target consumers through a ubiquitous media presence (including one company simply called “Ubiquitous Media” which “specializes in targeting consumers throughout their daily routine”).

In short, the phrase “ubiquitous media” is, well, ubiquitous. There is little discussion, however, of what the term “ubiquitous media” actually means. Indeed, individual definitions of “ubiquitous media” are often assumed to be just a ubiquitous as media themselves and, as a result, there is no large-scale theoretical framework through which we can understand the term. With this in mind, we specifically welcome chapters that promise to develop a critical theoretical framework for understanding ubiquitious media.

In addition, a portion of this volume will be dedicated to a specific exploration of mobile technologies as a key precursor – if not central element – of a ubiquitous media environment. This could include past and current mobile technologies, from pagers to PDAs, and cell phones to modern smartphones and wearables, provided they contribute to an understanding of ubiquitous media as both a technical and discursive reality for individuals around the world. Representing global perspectives is also central objective of this volume. An international perspective is important to the development of a comprehensive understanding of what “ubiquitous media” means and the prospectively heterogeneous implications of this development.

Possible approaches/frameworks for these investigations include:
• Theories of ubiquitous media
• Mediatisation
• Political economy
• Space, place and time
• User-experience design
• Business models and start-up culture
• Financial/transactional data and services
• App-centric media
• Digital labour and work-life balance
• Surveillance
• Ubiquitous media and digital literacy
• Ubiquitous media and narratives
• Coding and platforms

Abstracts of 300-350 words (for chapters of approximately 8,000 words) should be emailed to co-editors Dr. Michael S. Daubs at michael.daubs@vuw.ac.nz and Dr. Vince Manzerolle at vmanzero@uwindsor.ca by 15 May 2016. Chapters selected for publication will be notified by 15 June 2016, with full chapter drafts due by 15 September 2016.
(info atualizada em 10/05/2016)

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Radicalisation in culture and media
(MeCCSA - Race, Ethnicity and Postcolonial Network)
Tuesday 28th June 2016 - De Montfort University

To mark the launch of the newly formed Race, Ethnicity and Postcolonial Network, the group invites people to a one day conference to explore the media and cultural responses to the issue of radicalisation.
The concept and representation of radicalisation has been at the heart of various interrelated media discourses on terrorism and radical Islam in recent years, with equations often implied as well as overtly stated. As a result a semantic shift has taken place in the words and concepts of radical/radicalisation with huge political implications for the current political context and civil society.
New legislation places a statutory duty on public bodies, including schools to prevent what is perceived as extremist radicalisation taking place within their walls. The scale of these new duties is vast and potentially very intrusive and has led to some unusual media stories, including claims that a 10 year old Lancashire boy was interviewed by police after misspelling ‘terraced house’ as ‘terrorist house.’
This conference aims to explore what radicalisation and radical means by critically examining the Government's agenda, the media discourses and affected communities' perspectives, especially the much targeted Muslim communities.

Confirmed Keynote speakers
Professor Bob Brecher, Centre for Applied Philosophy, Politics and Ethics (CAPPE), University of Brighton.
Dr Mark Devenney, Centre for Applied Philosophy, Politics and Ethics (CAPPE), University of Brighton.

We welcome contributions on topics such as but not limited to:
What is radicalisation or extremism? How and why has the definition evolved and changed?
How is the media communicating ideas about radicalisation, terrorism and extremism?
Media representations of 'radicalised' young people
The implications and impact of the Counter-Terrorism and Security Act 2015 on public bodies (schools, universities, prisons, etc.) and the public at large
Media representations of government policies on terrorism and radicalisation
The equation of 'radical' with religion, especially Islamic forms

Extended deadline - Please submit your abstract of 200 words by Friday, 13 May to:
Gurvinder Aujla-Sidhu, gaujla-sidhu@dmu.ac.uk
Rinella Cere, r.cere@shu.ac.uk
(info atualizada em 10/05/2016)

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Call for Applications EnsadLab 2016
EnsadLab, the art and design research laboratory of the École nationale supérieure des Arts Décoratifs — Paris, is recruiting 24 student researchers for the next academic year to begin in September 2016.
Please find below the ongoing calls for applications (you can apply to both of them):
– Call for applications to join EnsadLab’s research program until May 17th
http://www.ensadlab.fr/call-for-applications-ensadlab-2016/
– Call for applications to “Sciences Arts Création et Recherche” PhD until April 30th
http://www.ensadlab.fr/appel-a-candidature-sacre-2016/

These two calls for applications are open to candidates with a higher education qualification equivalent to five years of higher education (Master 2 level).
www.ensadlab.fr <http://www.ensadlab.fr>

Pour la rentrée 2016, EnsadLab, le laboratoire de recherche en art et en design de l’École nationale supérieure des Arts Décoratifs — Paris recrute 24 étudiants-chercheurs.
Voici les deux appels à candidatures actuellement en cours :
– L’appel à candidatures aux programmes de Recherche d’EnsadLab jusqu'au 17 mai 2016
http://www.ensadlab.fr/fr/call-for-applications-ensadlab-2016/
– L’appel à candidatures du Doctorat « Sciences Arts Création et Recherche » jusqu'au 30 avril 2016
http://www.ensadlab.fr/fr/appel-a-candidature-sacre-2016/

Ces deux appels à candidatures sont accessibles aux candidats justifiant d’un diplôme d’enseignement supérieur équivalant à cinq années d’études supérieures (niveau Master 2).
Il est possible de répondre aux deux appels.
www.ensadlab.fr <http://www.ensadlab.fr>
(info atualizada em 10/05/2016)

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Vacancy at Karlshochschule - International Media Management
Karlshochschule International University is an innovative, state-accredited, private university funded by a dedicated foundation. According to CHE Ranking for "Business Administration", Karlshochschule is one of Germany's top universities of applied sciences, with outstanding results in all accreditations. Karlshochschule has a FIBAA Premium-seal for all Management Bachelor Programs and a FIBAA System accreditation. Based on its cultural orientation and driven by its ambition of "ReThinking Management & Society", the University aims to make a critical contribution to traditional approaches of the social and management sciences.

Effective September 2016 we are looking for a:
·Professor of International Events Management
·Professor of International Media Management
·Professor of General Management

Karlshochschule places special emphasis on the development of its students. The didactic approach features interactive and constructivist teaching with case studies, role play, simulation and project work. Here, our professors are passionate about individual mentoring of students and team teaching with colleagues.

Our research focuses on Social and Management Science from a critical and multi-disciplinary perspective. You are encouraged to incorporate your own research into your teaching. At Karlshochschule, academics, staff and students come from a variety of cultural and experience backgrounds. The "KARLS" is characterized by room for debate and interdisciplinary exchange, for inspiration and playful exploration, for challenging ideas and for thinking further: those who push their limits will feel right at home here.

Can you see yourself in such a role? Please find out more on:
http://karlshochschule.de/en/university/people/job-offers/

Karlshochschule International University seeks to increase its proportion of female professors. Therefore, qualified women scholars are particularly invited to apply. Severely disabled applicants will be given preferential consideration in accordance with the applicable statutory provisions.

Applications are to be addressed to Margarete Thein by mail to Karlstrasse 36-38, 76133 Karlsruhe, Germany, or by email to academics@karlshochschule.de academics@karlshochschule.de>.
(info atualizada em 10/05/2016)

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Workshop "Representations of Lisbon and Istanbul in Films"
O Grupo de Investigação em Cinema e Filosofia do AELab - Laboratório de Estética e Filosofia das Práticas Artísticas do IFILNOVA - Instituto de Filosofia da Nova convida todos os interessados a assistirem ao workshop sobre cinema a realizar quinta-feira, 12 de Maio de 2016, 14H00-18H00, Sala 1.05, Edificio I&D, / FCSH-UNL.

Neste encontro o Professor e Investigador​ Nejat Ulusay (Ankara University)​
​apresentará os temas "Hollywood Looks at Lisbon and Istanbul in the Late 1950s" e “Stuck in the City: Os Verdes Anos (The Green Years) and Acı Hayat (Bitter Life)”

***
Tema: Representations of Lisbon and Istanbul in Films: "Hollywood Looks at Lisbon and Istanbul in the Late 1950s" and “Stuck in the City: Os Verdes Anos (The Green Years) and Acı Hayat (Bitter Life)”
Orador: Professor Nejat Ulusay, Department of Radio, Television ad Cinema, Faculty of Communication, Ankara University;
Data: Quinta-feira, 12 de Maio de 2016 (14H00-18H00);
Local: Sala 1.05, 1º Piso, Edifício I&D / Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, Av de Berna, 26, Lisboa.

***
Estas informações sobre o evento estão também disponíveis na
página do Aelab / Ifilnova em:
SEMINÁRIO PERMANENTE / GRUPO DE INVESTIGAÇÃO EM CINEMA

O workshop realiza-se no âmbito do plano de actividades do Grupo de Cinema
​ & Filosofia​ do AELab - Laboratório de Estética e Filosofia das Práticas Artísticas, onde se procura dinamizar a reflexão e o debate sobre o cinema e as práticas artísticas no contexto da temática do Projecto global do Ifilnova "Values and the Experience of Rational Decision Making". As sessões são livres e abertas a todos os interessados.

Outras informações podem ser solicitadas através do e-mail: maparicio@fcsh.unl.pt
(info atualizada em 09/05/2016)

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4 PhD Candidates in Media & Culture
Deadline approaching: Job – 4 PhD Candidates in Media & Culture

We are looking for four highly motivated PhD Candidates who wish to conduct their PhD research in the context of a collaborative research project funded by the European Research Council (ERC) on ‘Worlds of Imagination: A Comparative Study of Film Tourism in India, Nigeria, Jamaica, South Korea and the United Kingdom’.

A Master’s degree in the Humanities or Social Sciences is a must, as well as wide-ranging knowledge of and affinity for the sociology of media and culture and qualitative methods of social science research. In addition to an understanding of the latest developments in the field, the candidate must possess didactic skills and an affinity for working with students. Candidates who take a proven interest in the field of film tourism and have profound knowledge of the language and culture of one the respective countries are preferred.

Employment starts September 1, 2016. The initial contract will be running for a term of 1,5 years, which - depending on performance – will be extended with a second term of 3,5 years. The conditions of employment correspond with the “CAO Nederlandse Universiteiten” (CAO NU). For the job of PhD Candidate the salary amounts to a maximum of € 2.779,- (grade P) gross per month on a 38 hour per week contract. The EUR has attractive employment conditions, which include a holiday allowance of 8.0%, an end-of-year bonus of 8.3% and 41 annual vacation days in case of a full workweek.

Application deadline is April 25, 2016. For more information on the project, the requirements and expectations, and how to apply, please visit www.academictransfer.com/32730 (https://www.academictransfer.com/employer/EUR/vacancy/32730/lang/en/)

Project description:
This project focuses on film tourism: the phenomenon of people visiting locations from popular films or TV series. Recent years have seen a dramatic, worldwide increase of this type of tourism, with far-reaching implications for the experience and organization of landscapes. The principal question underlying this project is: why, under what conditions and in which ways do films and TV series give rise to new and diverse tourism flows across the globe?

This question is addressed by analysing and comparing film tourism in five geographically and culturally different contexts: South Korea, Nigeria, Jamaica, India and the UK. These five cases will be subjected to the same lines of inquiry, focusing on 1) the visual traditions in the local media cultures; 2) the drivers and impacts of local policies aimed at developing film tourism; 3) the commonalities and differences in motives and experiences of film tourists with diverse backgrounds. The research is based on a combination of qualitative content analysis and ethnographic fieldwork
(info atualizada em 09/05/2016)

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