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 IV Encontro Anual decorre de 15 a 17 de maio de 2014, na Universidade da Beira Interior. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
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Congreso Argentino de Antropologia Social
Rosário (Argentina), de 23 a 26 de julho de 2014.
GT33 - ANTROPOLOGIA AUDIOVISUAL & ANTROPOLOGIA DO CINEMA: OLHARES CRUZADOS E CONEXÕES POSSÍVEIS
Considerando las narrativas cinematográficas como una forma expresiva significativa de nuestra época, que revela, en imágenes y sonidos, las utopías y distopías contemporáneas, Este GT tiene como propuesta dar continuidad a los debates emprendidos en el III Congresso Latino-americano de Antropología (Chile/2012) y la X Reunión de Antropología del Mercosur (Argentina/2013). Nuestro objetivo con la re-edición de este GT, ahora en el ámbito del XI Congreso Argentino de Antropología Social, es reunir investigadores latinoamericanos que estudian las múltiples relaciones entre Antropología y Cine – sea desde la perspectiva de la Antropología Audiovisual, sea desde la perspectiva de la Antropología del Cine. A partir de este doble perspectiva, se pretende debatir el cine como objeto antropológico en sentido propio, enfocando especialmente:
1) Las articulaciones entre cine, narrativa, memoria y subjetividad;
2) Las representaciones e interpretaciones que las narrativas cinematográficas nos proponen sobre los más diversos temas, como la relación “naturaleza-cultura”, el estatuto de “humano/no humano”, del “cuerpo”, “género”, “sexualidad”, “identidad”, etc.;
3) Las condiciones sociales de producción, circulación y recepción de esas narrativas en sus más diferentes formatos y géneros, considerando las diversas categorías que estructuran el campo cinematográfico.
En definitiva, en un mundo cada vez más constituido por flujos y contra-flujos de narrativas audiovisuais, se trata no solo apenas de pensar los enunciados antropológicos de un cine etnográfico, sino también de emprender una etnografía del cine, entendida en el ámbito del estudio sobre la contemporaneidad y los nuevos procedimientos de construcción de sentido. Por otro lado, la Antropología Audiovisual se fue constituyendo con la contribución de cineastas durante varias décadas. En América Latina, a pesar de existir una gran producción en este campo, poco se ha analizado los filmes etnográficos en relación a los aportes de un lenguaje cinematográfico desde esas narrativas. Considerando la importancia de discutir esas cuestiones, se pretende analizar producciones audiovisuales que hallan utilizado, desde el punto de vista teórico-metodológico, la Antropología Audiovisual y/o el Cine Documental, enfocando los aportes, cruces y tensiones entre estos lenguajes y la investigación antropológica.
Coordinadores: Debora Breder – Universidade Federal de Minas Gerais (UFMG/Brasil); Luiz Gustavo Pereira Correia – Universidade Federal de Sergipe (UFS/Brasil); Pablo Mardones – Universidade de Buenos Aires (UBA/Argentina); Rafael Contreras – Universidad de Chile (Uch/Chile).
Comentarista: Ana Paula Alves Ribeiro – Universidade Federal Rural do Rio de Janeiro (UFRRJ/Brasil).
Inscripción On Line de Participantes al XI Congreso Argentino de Antropología Social. La fecha límite para la carga de propuestas de Comunicación es el 17 de Marzo de 2014. Se esperan Resúmenes de 250 palabras vinculados al Grupo de Trabajo de su elección.
(info atualizada em 11/03/2014)
Spaces of Memory & Performance: Trauma, Affect, Displacement
University of East London, Centre of Performing Arts Development (CPAD)
Date: 20-21 June 2014
Venue: University of East London, University Square.
- What is a ‘space of memory’?
- How innovative practices of intervention may awake a shared sense of ownership towards disparate traumatic pasts?
- How to investigate the affectivity of space in relation to memory and spectatorship?
- How sites of trauma become marked, unmarked, and displaced?
- Is it possible to encourage ways of ‘performing life’ within landscapes marked by loss?
- How disparate forms of theatre, performance and visual arts may contribute to 'work through' collective processes of suffering?
- Might bodies emerge as sites of public grieving?
- Might different forms of fiction help us to re-inhabit trauma in the present?
- Urban space, memorialisation and landscapes
- The affectivity of the space and unconventional ways of relating to trauma
- Topographies and architectures of affect
- Post-traumatic spaces & performatives
- Sounds of trauma & haunted spaces
- Monuments, living memorials & bones
- Curation, empathy & care
- Ruins, future & potentiality
- Practises of reoccupation and ‘rehabilitation’ of space
- Abject spaces & body as site of trauma
- New museums, dark tourism
- The place of the perpetrators
- Transmission of trauma, vicarious and prosthetic memories
- Politics of reparation & spectatorship
(info atualizada em 11/03/2014)
O Curso de Cinema da UBI em colaboração com a Cinemateca Portuguesa - Museu do Cinema, o Município do Fundão e a Associação Luzlinar convida todos os interessados a estarem presentes na próxima edição dos ENCONTROS CINEMATOGRÁFICOS. As sessões contarão com a presença de:
Luís Miguel Oliveira
Luís Nogueira José Oliveira
Para os Encontros que este ano contarão com duas master classes a realizar na UBI pelos realizadores Pedro Costa e Mercedes Álvarez, reunimos um grupo heterogéneo de cineastas, críticos, programadores, académicos, estudantes e cinéfilos, persistindo em revelar um conjunto de cinematografias singulares. Durante três dias, num ambiente informal, para além das duas master classes propomos seis filmes e quatro conferências, desejando assim estimular a construção de um diálogo entre diferentes cinematografias, não só através da projeção de filmes, mas também dando a palavra aos autores e restantes convidados.
(info atualizada em 11/03/2014)
Re-imaging regional television drama: women as agents of cultural change
Symposium, Edge Hill University with the University of Liverpool
25 June 2014
In recent years, female writers, producers and directors have emerged as central innovators of television fictions. Dramas and dramadocs by Kay Mellor, Sally Wainwright and Heidi Thomas belong to some of the most-watched programmes on British screens, and they also celebrate significant success across the pond and elsewhere. At the same time, new production houses, such as Red Productions, contribute significantly to the vibrancy of British (and international) television. In America, Ann Biderman has taken the realist aesthetics of NYPD Blue to new extremes in Southland and more recently Ray Donovan. And in Germany, Claudia Matschulla has developed scripts focused on spaces that are embodied, lived spaces rather than offering the touristic views of so many other German television dramas. Many of these female writers/producers/directors have ventured into new territories in terms of representation such as the non-ageist depiction of a romance between two widows in Last Tango in Halifax, substance abuse in response to domestic violence in The Syndicate, or the friendship between a widower and a young woman suffering from Downs Syndrome in Moving On. Additionally, they connect these new representations to specific conceptualisations of space and place, invariably making the most of their regional locations. Unlike the first wave of regional drama in the 1960s and 70s, these women do not use regional space as ‘liminal ground on which to criticize its own values, to challenge the “acceptable” way of life with other attitudes’ (Newcombe 1979: 158). Rather, they imagine these spaces as mundane, lived space, and thereby imagine an embodied experience of regional identity that has its own rich patterns of speech and everyday life. This crucially impacts on the conceptualisation of the regions as touristic spaces (Blandford 2005), redefining them not only as places with their own histories, cultures and identities where life is lived in and through local identities but as new centres of creative and cultural production that are situating these identities centre stage in national life.
Vicky Ball, University of Sunderland
Julia Hallam, University of Liverpool
Ruth McElroy, University of South Wales
The symposium seeks to address what makes these creative women and their dramas so popular and successful. Questions that we are interested to address include:
- How do dramas and dramadocs written, produced or directed by women re-imagine regional spaces and identities?
- How do they engage ideas of gender and gendered representations?
- In what ways are these productions developing new ground in terms of gender, genre and regional identities?
- What are the working practices for/of these female creatives?
- Are contemporary industrial conditions facilitating the development of new regional voices?
Please send your abstract of approx. 350 words by the Friday 14th March 2014 to Elke Weissmann (email@example.com)
This symposium will be hosted by Edge Hill University and the University of Liverpool.
Conference organisers: Elke Weissmann and Julia Hallam
Sponsored by: ECREA Television Studies Section
(info atualizada em 10/03/2014)
Musical Materialities in the Digital Age
27-28 June 2014, University of Sussex
Will Straw (Professor, Department of Art History and Communications Studies, McGill University; Director, McGill Institute for the Study of Canada)
Noel Lobley (Ethnomusicologist and Research Associate, Pitt Rivers Museum, University of Oxford)
Music, while summoning notions of intangibility, transience and loss, is also associated with material objects that serve to ground the musical, make the transient permanent and defer loss. Unearthing music’s association with materiality reveals a fascinating array of artefacts, including instruments, scores, transcribing devices, sound recordings and much more. Such artefacts provide vital reference points for historical research as well as inviting new creative uses, rediscoveries and (re)mediations. They also add to the ever-growing archives of past objects, whether stored in ‘physical’ or digital forms. Music’s material traces serve as vital ways of mediating memory, whether in private collections or public exhibitions. Furthermore, the use of musical ‘ephemera’ such as record sleeves, programmes, flyers and posters as a primary means for putting the popular musical past on display in museums and galleries has highlighted the ways in which such objects are not so ephemeral after all.
The persistence of musical artefacts and musical materialities following the period of their initial use value poses interesting questions. What is the fate of musical artefacts once they become obsolescent? What becomes of music and its objects once relegated to archives? What is the role of musical artefacts in helping us to understand the past? What is the relationship between the physical and the digital in terms of music’s objects? To what extent does a focus on music’s objects challenge the idea of music as a social process? Conversely, what role does musical materiality play in the maintenance and development of rituals long associated with music? What rituals reformulate musical materiality? What does the remediation of the musical past via ‘media archaeology’ have to tell us about present desires, anxieties and needs? What is the role of museums, galleries, sound archives and libraries in these processes?
Working from the premise that musical materiality matters, the aim of this two-day interdisciplinary conference (welcoming papers from media studies, music studies, cultural studies, museum studies, memory studies and other cognate disciplines) will be to reflect upon the materialities of music objects/technologies in the digital age, with an emphasis on:
- Processes of remediation
- Residual media of ‘dead media’
- Cultural waste
- Media archaeology (and particular manifestations relating to sound and music, e.g. ‘vinyl archaeology’)
- The recycling of memory and material culture
- The digital archive
- The future of music creation and consumption
- Nostalgia and ‘retromania’
- Music as ‘thing’ and/or ‘process’
The contexts of reception, production and circulation of digital objects as well as existence of residual media and formats (playback devices, vinyl records, etc.) could be examined. We would welcome papers focusing on theoretical approaches (considering for instance the meanings and implications of digitisation), but also papers on particular case-studies (for instance on specific formats and devices i.e. MP3s, iPods, etc. or specific creative and consumptive practices). A broader contextualisation of the historical and technological scapes within which the issues of materiality and remediation emerge would also be very useful.
The conference organisers welcome individual papers, proposals for panels and round table discussions, and proposals for practical demonstrations/performances related to the themes of the conference. For individual papers, demonstrations and performances, abstracts of no more than 300 words should be submitted. Panels and round table proposals should include a session overview, participant biographies and description of individual contributions. Abstracts and proposals (as well as event queries) should be sent to Dr Richard Elliott (R.Elliott@sussex.ac.uk) by 14 March 2014.
Richard Elliott, University of Sussex
Elodie Roy, Newcastle University
(info atualizada em 10/03/2014)
Cosmo-graphies: Textual and Visual Cultures of Outer Space
Call for Papers:Cosmo-graphies: Textual and Visual Cultures of Outer Space
2-day conference, Falmouth University 24-25 July 2014. Supported by the British Interplanetary Society.
Vice-President of the British Interplanetary Society
Prof. Philip Gross Professor of Creative Writing (Glamorgan, UK), T.S.
Eliot prizewinner and author of Deep Field (2011)
Organisers: Dr. Niamh Downing (Senior Lecturer in English and Writing);
Dr. Dario Llinares (Senior Lecturer in Film); Dr. Sarah Arnold (Senior
Lecturer in Film)
In his introduction to Space Travel and Culture (2009), David Bell suggests that the neglect of Œouter space¹ in the humanities and social sciences is in part due to the negative stance towards the technological utopianism of the mid-twentieth-century Œspace race¹, where ŒApollo stands now as a future that never happened, or a history that seems not to connect with our present¹ (4). For James Hay the emergence or invention of Œouter space¹ as a Œhistorical, geographic, and theatrical stage for shaping discourse about rights and responsibilities, war and peace, security and risk¹ is profoundly tied to the cold war era (2012: 29). Yet even while the Œspace race¹ may be understood as historically and culturally last century, Œouter space¹ continues to serve as a sphere of human technological enterprise, a battleground of political discourse and, a rich source of socio-cultural production.
The critical neglect of Œouter space¹ has been remedied in part by Bell, Denis Cosgrove, Fraser MacDonald, whose work collectively offers the beginnings of a Œcritical geography of outer space¹ (MacDonald 593). MacDonald observes that Œthe last fifty years has seen the outer-Earth become an ordinary and accessible sphere of human endeavour, our presence in (and reliance on) space making it one of the enabling conditions for our current mode of everyday life in the west¹ (593). Further interventions, such as Alexander Geppert¹s, Imagining Outer Space: European Astroculture in the Twentieth Century (2012), provide a historiographical perspective, interrogating the Œheterogeneous array of images and artifacts, media and practices that all aim to ascribe meaning
to outer space while stirring both the individual and the collective imagination¹ (8). A cross-disciplinary series of essays published in Down to Earth: Satellite Technologies, Industries, and Cultures (2012), edited by Lisa Parks and James Schwoch, along with Dario Llinares' study, The Astronaut: Cultural Mythology and Idealised Masculinity (2011) attempt to bring together geographical, historical and cultural/ media studies approaches to examine astro-culture.
A common aspect of these approaches is an acknowledgement of the need to encompass cultural, filmic, artistic, and literary engagements with outer space as objects of enquiry. The influence of spatial thinking on film and literary scholarship, demonstrated by an increasing concern with urban
space, mobility and the proliferation of terms such as Œcinematic-¹ or Œliterary geographies¹, has rarely resulted in a turn towards Œouter space¹. Indeed, the arrival of Œcyberspace¹ could arguably be said to have had a profound effect on the cultural understanding and importance of Œouter space¹ in the collective imaginary. Visual and textual scholarship has arguably under-engaged with the fields of cultural geography, cultural history and cultural studies that are re-imagining Œastroculture¹/Œcelestial space¹ as part of what Cosgrove calls a Œcosmography for the twenty-first century¹ (35).
This 2-day conference seeks to explore the significance of Œouter space¹ in textual and visual culture, including literature (fiction/non-fiction/scientific or legal texts), film (cinema/ documentary/youtube/television/NASA or ISS clips or broadcasts),digital media (games/twitter/social media), photography, material culture, ephemera and popular culture. We especially welcome
papers that move beyond the paradigms of science-fiction studies, and engage with geographical or historical approaches to visual or textual cultures of Œouter space¹.
- 20th century and post-millennial representations of outer space
- Poetics/poetries of outer space
- Non-fiction and outer space, from film documentary to the non-fiction novel (for example, Al Reinert¹s For All Mankind, Patricio Guzmán¹s Nostalgia for the Light, Oriana Fallaci¹s If the Sun Dies, Norman Mailer¹s Of A Fire on the Moon)
- Digital games and outer space
- Visual/textual representations of rockets, satellites, telescopes, the International Space Station, and other material technologies of outer space
- Posthumanism: visual/textual representations of sentient/non-sentient life
- Weird fictions and outer space
- Papers that seek to establish frameworks for a cinematic or literary geography of outer space
- Papers that examine terms such as Œcosmography¹, Œcelestial space¹, Œastroculture¹, in relation to literature, film, other visual/textual media
- Visual/textual gendering of Œouter space¹
- Governance, laws, and capital of outer space in visual/textual culture
- Discourse analysis of space law, treaty, governance in technical literature
- Non-western/Non-Soviet space programmes and their representation (for example Cristina De Middel¹s Afronauts (2012) http://www.icp.org/support-icp/infinity-awards/cristina-de-middel)
- Space tourism/personal space flight
- Heritage and outer space (archaeologies of outer space, space debris, heritage sites, museum orbit)
- Ecology and outer space (space as wilderness or environment, terraforming, pollution, waste, life, texts such as Charles Cockell¹s Space on Earth (Palgrave 2006), Guy Laliberté http://www.onedrop.org/en/projects/projects-overview/GAIA.aspx
Abstracts of 250-300 words for final presentations of 15-20 minutes should be sent to firstname.lastname@example.org by Friday 25th April 2014. Please include name, affiliation, title of paper, and brief bio. Participants will be notified by Friday 2nd May.
(info atualizada em 10/03/2014)
Flying: An Interdisciplinary Conference on Kate Millett
30 May 2014
School of Arts, Birkbeck, University of London
Supported by the Feminist Review Trust
Keynote: Victoria Hesford (SUNY Stony Brook University), author of Feeling Women’s Liberation (Duke UP, 2013)
Papers are invited for an interdisciplinary conference
dedicated to the work of Kate Millett. Millett became an iconic figure of second wave feminism after the publication of Sexual Politics in 1970. As one of the first pieces of academic feminism to come out of the American academy, Sexual Politics was a handbook of the Women’s Liberation Movement. Moreover, after appearing on the cover of Time Magazine in the same year as Sexual Politics was published, Millett became one of the Movement’s most recognizable faces. However, arguably, Millett has since largely disappeared from both the public eye and contemporary feminism, despite the fact that she has continued to publish (Flying , The Prostitution Papers , The Loony-Bin Trip , Sita , and Mother Millet), make films (Three Lives , Not a Love Story , The Real Yoko Ono ), and sculpt.
In aiming to reflect on/account for/address/redress some of this silence, this conference is compelled on the one hand, by recent calls in feminism to re-engage with the second wave (see Hemmings’ Why Stories Matter, Duke, 2011) and to re-visit foundational feminist texts (see Merck and Sanford’s Further Adventures of the Dialectic of Sex, Palgrave, 2010). Moreover, it is also influenced by Victoria Hesford’s recent Feeling Women’s Liberation (Duke, 2013), which places Millett as a central figure in the production and remembrance of the Women’s Liberation Movement. Hesford’s publication signals that now is perhaps a timely moment to create a larger dialogue about Millett; to ask questions about Millett’s role in feminist history; and to discuss how her work is situated in and amongst contemporary feminist concerns. The conference thus aims to: consider new frameworks for approaching Millett’s past or ongoing work; interrogate the politics and possibilities of the second wave; explore the politics of memory, forgetting, and citation in feminism; critically reflect on the potential difficulties of some of Millett’s past work travelling into the present; and to consider whether and how (despite her ongoing feminist work) Millett might be produced as 'untimely' in the feminist present. Topics might include, but are not limited to:
Affect and the second wave
Feminism and autobiographical writing
Feminism and forgetting
Generational politics or the politics of mother/daughter relationships
Lesbian politics and the Women’s Liberation Movement
Narrating mental illness
Non-monogamy as feminist politics
Race and feminism
Sexuality and the second wave
Sexual Politics and feminist literary criticism
The media and the second wave
The Women’s Liberation Movement
The conference invites proposals for individual papers, panels, or artistic responses from any discipline and theoretical perspective. Submissions are welcome from students, activists, artists, academics, and unaffiliated researchers. Please send a title and 300 word abstract for a 20 minute paper along with your name, affiliation (if applicable), and 100 word bibliography to email@example.com by 14 March 2014.
The conference is organized by Dr Sam McBean (Birkbeck, University of London) and is being supported by the Feminist Review Trust.
Select papers will be sought for publication as part of an edited collection. For further information please email Sam at firstname.lastname@example.org
Conference website: flyingkatemillettconference.wordpress.com
(info atualizada em 07/03/2014)
The Popular Life of Things. Material Culture(s) and Popular Processes
The Institute of English Cultures and Literatures, University of Silesia (Poland) is happy to announce a CFP for an upcoming international conference:
“The Popular Life of Things. Material Culture(s) and Popular Processes” to be held in Sosnowiec (Poland), 3-4 July 2014
In the preface to Les Mots et les choses (1966), a work on the relationship between discourse and things, Michel Foucault observes that “the fundamental codes of culture – those governing its language, its schemas of perception, its exchanges, its techniques, its values, the hierarchy of practices – establish for every man (…) the empirical orders with which he will be dealing and within which he will be at home.” A predominant cultural code today, popular culture, “offers” processes, mechanisms and representations which mediate the experience and uses of things, changing the ways we understand / approach materiality and engage with objects in our domestic, social and professional lives.
Appropriating and rewriting Arjun Appadurai’s famous phrase: “the social life of things”, with which he inspired scholars to take material culture more seriously and, as a result, treat it as an important and revealing area of cultural studies, the conference wishes to address the relation between the material and the popular shaped by the post/late popular condition. We wish to ask about the impact popular processes, such as popularization, customization, serialization etc., have made on everyday practices, activities, and habits involving objects as well as about if and how this influence contributes to the exchange with(in) other cultural domains.
We cordially invite papers that explore the following areas focused on (pop)cultural biographies of things: new shapes of long-established material traditions as influenced by popular culture, popular reinventions of cultural routines, changes in domestic, pastime and professional practices, as well as meanings that emerge with the modes (accessibility, convenience, user-friendliness) and manners (individual, group, autonomous, social) of the popular.
Suggested topics include but are not limited to:
* representation of objects in popular culture/ popular narratives
* temporal and spatial trajectories (biographies) of objects in popular contexts
* popular culture and processes of objectification, reification/ subjectification of objects
* commodification, circulation and exchange in the context of the popular
* the fetish and the popular
* materializing the immaterial
* objectification of services/ turning objects or material practices into services
* (im)material objects in video games/ virtual environments
* (popular) materiality and cultural routines (e.g. reading, watching TV, etc. )
* “tangibility” and “value” of experiences
* the question of agency and effect
* authenticity and cultural mimicry
* uniqueness, exceptionality, rarity
* the popular, objects and distinction
* romanticizing material practices
* gadgets, accessories, trivia, toys
* creativity (in participation culture) and material culture
* objects and fandom
* “popular” bricolage
* the effort/ labour of collecting and the question of “friction”
* collecting and serialization
* history objects (objects as synecdoches of history in popular contexts; historical authenticity)
Proposals for presentations, papers and full panels (of approx. 500 words) followed by a short bio note should be submitted email@example.com by 30 March 2014.
All proposals will be peer reviewed. The cost of the conference is 250 PLN (£50 / €63) and 150 PLN (£30 / €38) for graduate students. Registration details will be announced soon. For further queries, please contact Dr Karolina Lebek (firstname.lastname@example.org) or Dr Ania Malinowska (email@example.com).
(info atualizada em 07/03/2014)
FACA - Festa de Antropologia, Cinema e Arte
HOJE | 16h30 | FACA - Festa de Antropologia, Cinema e Arte na Cinemateca Portuguesa - Sessão de debate sobre o cinema e a antropologia com a projecção de alguns filmes
Esta sessão de debate será orientada pela realizadora e professora de antropologia Catarina Alves Costa (FCSH-UNL) e irá abordar a relação entre o cinema e a antropologia a partir da exibição e discussão de trabalhos em fase de produção.
Neste encontro de trabalho vão discutir-se dois filmes etnográficos em curso sobre o bairro da Mouraria, em Lisboa, os problemas da montagem e da construção das narrativas. Pretende-se também fazer um balanço sobre as práticas do uso da câmara e microfone no trabalho de campo.
Além de Catarina Alves Costa, a sessão conta com a presença de Ana Rita Matiase Susana Oliveira.
A sessão é aberta ao público e a entrada é livre.
Mais informação sobre a sessão e a FACA em:
(info atualizada em 07/03/2014)
Communication Practices, Creativity and New Challenges
Guest Editors: Claudia Magallanes Blanco y Juan Carlos Valencia
Presentation of the Special Issue January-June 2016 – Number 81
The issue 81 of Universitas Humanisticas seeks to collect critical theoretical reflections and case studies that discuss the role of communication processes in the generation of social change. We understand social change in a broad sense, including a wide range of social movements and social interventions aiming at problematizing and destabilizing the status quo. We also consider initiatives either reactionary or oppressive that transgress the social order.
The special issue seeks to contribute to the discussions about the various ways in which communicative practices (mediated or not) are managed. The platforms that support them and their technological assemblages, as well as the power relations that anchor and foster them.
We are interested in this call to convene two types of contributions. First, proposals that present innovative theoretical approaches stemming from the Social Sciences, Critical Cultural Studies and the Humanities aimed at problematizing dialogue, participation and social transformation, concepts that are at the basis of communication processes set in a variety of scenarios and problems.
Second, contributions that present case studies that document and critically examine specific initiatives in which various stakeholders located in rural or urban areas, using digital or analogous technologies design and creatively weave communication practices. We are interested in initiatives that seek to reconfigure social capital, to generate bonds with other social actors, to reshape or restate corporalities, everyday environments, and /or expressive territories.
Call for Abstracts:
February 8 to May 8, 2014
Those interested in participating in the special issue should initially send an abstract of their contribution not exceeding 500 words. Submissions shall be done electronically using this link: http://goo.gl/pbgQYM
The abstract should include: (1) working title, (2) the ongoing or finished research that frames the paper, (3) the problem(s) to be addressed and how they fit the themes proposed for the special issue, (4) the perspective from which these themes will be addressed, and (5) the major contribution of the paper to this special issue.
The journal editorial team and guest editors will evaluate the proposed abstracts. The editorial team will announce the selected abstracts by
June 24, 2014; upon which the author(s) may begin working on their full paper. Final papers will be blind peer reviewed.
Abstracts can be submitted in
English, Spanish, or Portuguese.
Paper Submission: June 25 to December 7, 2014
Should be sent both, through the online submission system which can be accessed through our website: http://revistas.javeriana.edu.co/index.php/univhumanistica/about/submissions#onlineSubmissions and to the following e-mail addresses: firstname.lastname@example.org and email@example.com.
- Articles must be the original work of the author(s) and can be submitted in English, Spanish, or Portuguese.
- A short résumé of the author(s) must be submitted along with the article (150 words max.).
- The article should contain an abstract of no more than 150 words. The abstract should include: (1) the purpose of the study or research, (2) a short summary of the methodology, and (3) the major findings and main conclusions of the paper.
- The paper must include 3 to 6 key words in the original language of the article.
- The article can include quotations, notes, footnotes, tables, figure legends, and references. It must be typed in Arial, 12 point, double-spaced, on letter-size (21.5 x 28 cm), left and right margins of 2.5 cm, and top and bottom margins of 3 cm.
- The manuscript must follow APA style.
- Research and reflective articles must be a minimum of 15 and a maximum of 20 pages, including references and tables (approximately between 6000 to 7500 words). All pages must be numbered in consecutive order.
- Revision articles should extend until 9000 words.
December 7, 2014 to March 31, 2015
Full papers will go through blind review by two experts on the subject. The editorial board will send comments to the authors. If the reviewers reject a paper, the editorial board of the journal will notify the author(s).
Notification of Approval of Full Papers: April 1, 2015
If a paper is approved pending changes, the author(s) will have a maximum of 30 days to deliver a modified version.
(info atualizada em 06/03/2014)
Bolsa de investigação para Mestre, no âmbito do projecto 'Atrás da câmara: práticas de visualidade e mobilidade no filme turístico português'
O CRIA-IUL anuncia que se encontra aberto concurso para a atribuição de uma Bolsa de Investigação para Mestre no âmbito do projecto “Atrás da câmara: práticas de visualidade e mobilidade no filme turístico português”, com referência EXPL/IVC-ANT/1706/2013, financiado por fundos nacionais através da FCT/MCTE, sob a orientação científica da doutora Sofia Sampaio.
Concurso Aberto de 18 de Fevereiro a 10 de Março de 2014 O CRIA-IUL anuncia que se encontra aberto concurso para a atribuição de uma Bolsa de Investigação para Mestre no âmbito do projecto “Atrás da câmara: práticas de visualidade e mobilidade no filme turístico português”, com referência EXPL/IVC-ANT/1706/2013, financiado por fundos nacionais através da FCT/MCTES.
(info atualizada em 05/03/2014)
ICA Pre-conference, "Making Sense of Memory & History"
Seattle, 22 May 2014
Museum of History & Industry (MOHAI)
The Communication History Division of ICA is delighted to announce its sponsored pre-conference, “Making Sense of Memory & History” this spring on Thursday, May 22, 2014 at Seattle’s Museum of History & industry (MOHAI). We have scheduled an impressive day of panels and roundtables, and invite you to join in this cross-field, cross-disciplinary program featuring scholars within communication studies, rhetoric, public history, and the digital humanities more broadly.
Confirmed featured panelists include:
· Dr. S. Elizabeth Bird
· Dr. Carolyn Kitch
· Dr. Carolyn Marvin
· Dr. Barbie Zelizer
History and memory – two modes of thinking about the past that often appear at odds – have an intimate, albeit at times strained, intellectual relationship. Despite the argued antagonism between history and memory studies, historians Natalie Zemon Davis and Randolph Starn suggested in their introduction to the 1989 special issue of Representations that, “Rather than insisting on the opposition between memory and history, then, we want to emphasize their interdependence…If anything, it is the tension or outright conflict between history and memory that seem necessary and productive. The explosive pertinence of a remembered detail may challenge repressive or merely complacent systems of prescriptive memory or history; memory, like the body, may speak in a language that reasoned inquiry will not hear.” (5) Following Davis & Starn, this pre-conference proposes to grapple with this tension between history and memory, exploring the varied ways in which scholars, from a variety of subfields within communication studies and across the humanities, have engaged with this relationship in recent years. Through its emphasis upon cross-field, cross-disciplinary connections, this pre-conference will highlight new directions within memory studies, build upon existing theoretical and methodological frameworks as well as opening a space for new and reconsidered perspectives that capitalize upon the interdisciplinarity of memory studies and the possibilities of new technologies.
The full program can be found below and on the Communication History Division website at: http://communicationhistory.org/precon/preconference-schedule/
To register for the pre-conference, please visit https://www.icahdq.org/shopping/Default.asp. Pre-conference registration is available under “Thursday Full-Day Pre-Conferences.” The registration fee of $100 includes, in addition to the event itself, travel to/from MOHAI, breakfast, lunch, and admission to the Museum. Registration for the main ICA conference is not required for those registering for this pre-conference.
(info atualizada em 05/03/2014)
The Digital in Depth: An Interdisciplinary Symposium on Depth in Digital Media
FRIDAY 30th MAY 2014
Hosted by the Institute of Advanced Study
and the Department of Film and Television Studies
University of Warwick
Keynote Speaker: Dr. Lisa Purse (University of Reading, Author of Digital Imaging in Popular Cinema and Contemporary Action Cinema)
Deadline for abstracts: FRIDAY 28TH MARCH 2014
This symposium explores the ways in which depth imagery is constructed and consumed in contemporary digital practices, and the ways in which we might interpret it. Most digital platforms’ content is consumed through flat screens and yet many of their aesthetics seem anxious to convey the illusion of depth. This curious and ubiquitous paradox is visible, for example, in digital cinema’s most recent spate of 3-D films and the institutional dimensionality of videogames’ fictional environments through which the player wanders. In computing, also, user interfaces and head-up displays demonstrate a renegotiated relationship to the image that is dependent on deep spaces made immediately accessible for spectators and users.
This symposium will investigate the different media that characterise contemporary culture and the aesthetic, cultural and political implications of their digital depth. How is this illusion of depth constructed, and to what ends? The symposium will investigate avenues through which academia might read and interpret both these images and the changing mediascape of which they are a part. It will also ask what these digital constructions of depth demonstrate about the changing culture that they help to construct.
20 minute papers might address (but are not limited to) the following areas:
• Digital cinema (e.g. 3-D, IMAX, HFR and digital cinematography, editing depth imagery, varying modes of distribution)
• Television (e.g. digital television aesthetics, 3-D and HD television sets, 3-D sports and documentary programming)
• Videogames (e.g. stereoscopic games, virtual reality and illusions of three-dimensional space in non-stereoscopic texts, the Oculus Rift, handheld stereoscopic platforms)
• Computing (e.g. user interfaces, head-up displays [HUD], Google Glass, internet browsers, and stereoscopic internet content)
• Webcomics and e-books (aesthetics, production, exhibition, renegotiating tactility, the question of the ‘page’)
• 3-D printing and holograms (e.g. their industrial, military, medical and entertainment-based uses)
• The expressivity of digital depth and its ways of constructing meaning
• Historical perspectives on depth imagery, both digital and analogue, and the relationship between the two
• The temporality of digital depth and its aesthetics (e.g. the long take in film/television, experiential readings of videogames’ first person aesthetics)
• The psychological and sociological effects of depth media
• Digital depth in relation to genre
Please send abstracts (max 200 words), and a brief biographical note to Dr. Owen Weetcho.firstname.lastname@example.org by FRIDAY 28th MARCH, 2014. Decisions will be announced in early April. For more information, please visit the symposium’s blog, which can be found at thedigitalindepth.wordpress.com, or follow us on twitter @digitalindepth.
(info atualizada em 05/03/2014)
Social inclusion and MILID: Disadvantaged groups, media literacy and intercultural dialogue
Book coordinator: José Manuel Pérez Tornero
Gabinete de Comunicación y Educación Research Group
Universitat Autònoma de Barcelona (UAB)
UNESCO-UNAOC UNITWIN Global Chair on Media and Information Literacy and Intercultural Dialogue (“UNESCO-UNAOC MILID UNITWIN”)
The UNESCO-UNAOC UNITWIN Global Chair on Media and Information Literacy and Intercultural Dialogue (“UNESCO-UNAOC MILID UNITWIN”) cordially invite you to submit a chapter proposal to be included in a forthcoming book, titled (provisionally) ““Social inclusion and MILID”, to be published in 2014/2015.
This book (with ISBN) aims to show outstanding initiatives around the world that target media literacy education for early school leavers (through contacts of youth groups, social workers and local governments), minorities (to be defined by nations) and for adults outside the job market and educational institutions (unemployed, pensioners).
We want to know tools utilising media and education to contribute to achieving social inclusion goals which include the use of media to reach out to disadvantaged groups (e.g. the Roma media network in Southeast Europe); initiatives that focus on developing teaching methodologies to improve the socially disadvantaged groups’ involvement in broadcasting, new technologies and adult education provision.
Disadvantaged groups of social exclusion are those who suffer from infrastructural disparities, physical or mental disability, ethnic minority or immigration, or adults disintegrated from the job market, from lifelong learning and mainstream society. Concerning media literacy, extremely vulnerable groups of people are defined as the early school leavers, the minorities of any kind of a given social structure, and the adult population that falls out of the educational systems and the job markets and completely relies on the media as a source to create and convey “reality”. These disadvantaged citizens of Europe must be provided with the tools, skills and competencies to critically evaluate and understand the society around them and the instruments of media education throughout lifelong learning must be in support of their reintegration.
The book intends to include articles that reveal the state of the art theme in different countries, as well as experience reports, case studies and best practices with special attention to those that deal with intercultural dialogue.
We would like contributions for this book to take into account the diversity of social and cultural contexts of their uses and consider media and information literacy as the main framework of analysis and discussion.
Please, follow the instructions for authors indicated below:
GUIDELINES FOR AUTHORS
1. Abstract Submission:
The authors interested in submitting a chapter proposal (articles and experiences) are requested to send electronically a 800/1000 words abstract in English, as Word document, to: email@example.com
Authors of accepted abstracts will be invited to submit the full manuscript.
The following information should be provided in the abstracts:
- Paper title
- Name of the author/s
- Email address
- In the case of articles: theoretical framework, case in study, purpose of the research, main results and major conclusions. In the case of experiences: brief description with objectives, responsible organization, target and results.
-Texts should be in 11 -point Arial, line space 1,5 justified - alignment.
- Keywords: select 4 to 5 words.
2. Manuscript Preparation and Submission:
2.1. Articles - Content and Structure:
· Language: the paper should be written in English (articles translated by automatic systems are not accepted)
· Paper title: should be concise and informative
· Identification: Name of the author/s, Institution, Country, Email Address
· Abstract: Should not exceed 300 words (final manuscripts) and should state briefly the purpose of the research, the principal results and major conclusions (should be in 11-point Arial, line space 1,5 justified-alignment)
· Keywords: select 4 to 5 words , separated by semi colon;
· Full manuscript submission (3.000 to 5.000 words). All text in manuscripts should be in 11 point Arial, double spaced, justified alignment only.
It is the responsibility of the authors to obtain copyright for the use of images, tables, charts and graphs. Sponsoring information: please indicate if the research is sponsored or supported by an organization.
Citation Style: Please use the APA Style, 6th Edition (http://www.apastyle.org/).
2.2. Good practices or experiences
In this part of the book, authors can write about their experiences of countries related to media education and social inclusion they were involved in a concrete way or as an object of research. They can also do an overview of good practice in the country focused. In this case the author must to include information on the institution that leads and promotes this practice, main target groups of programs dealing with inclusion, the main approaches and impacts of the approaches per target groups and and the reasons for it to be considered a good practice.
· Language: the paper should be written in English (articles translated by automatic systems are not accepted)
· Paper title: should be concise and informative
· Identification: Name of the author/s, Institution, Country, Email Address
· Abstract: Should not exceed 150 words (final manuscripts) and should state briefly the principal points of the practice or experience (should be in 11-point Arial, line space 1,5 justified-alignment)
· Keywords: select 4 to 5 words , separated by semi colon;
· Full manuscript submission (2.000 to 3.000 words). All text in manuscripts should be in 11 point Arial, double spaced, justified alignment only.
IMPORTANT DATES - DEADLINES:
Abstract submission deadline: March 25th 2014
Notification of acceptance/refusal: March 30th 2014
Full manuscript submission deadline: May 30th 2014
Notification of suggestions: June 30th 2014
Final version: July 30th
For any queries about this book, please do not hesitate to contact us:
(info atualizada em 05/03/2014)
The 2014 Annual GSA Conference - ‘Cultural Encounters and Global Connectivity’
York St John University, York, Thursday, 26 June - Saturday, 28 June, 2014
Keynote speakers (confirmed): Robert J. Holton (Trinity College Dublin), Alan Rice (Central Lancashire) and Nina Glick Schiller (TBC)
Cultural encounters – both as cultural phenomena and a concept – gain momentum across the social sciences and humanities within an interdisciplinary dialogue that calls for new analytical tools to explain conditions of global connectivity. While there is already a well-established literature on the ways in which cultural encounters translate experiences of identity and difference in an interconnected and postcolonial world, new approaches to cultural encounters in relation to issues of power, global inequalities, cosmopolitanism, digital communication, and borders (cultural and political) foreground new questions and controversies in play within and across disciplinary divisions. The 2014 GSA Annual Conference is particularly interested in generating lively inter-disciplinary discussions while bringing to the fore new theoretical positions and empirical analyses of cultural encounters as an analytical lens to explain current and past global connections. What kinds of cultural translations between western and non- western modes of thought are made possible by cultural encounters? What is the relation between virtual, imagined and embodied encounters? What new encounters and connections are being made and how? How do ‘new digital technologies facilitate/ hinder this ‘newness’? How adequate and valid are theories which conceptualise cultural encounters as a type of connection? How useful is the notion of cultural encounter to explain new forms of transnational socio-political struggle and political participation?
We welcome contributions from members and interested participants working from within a variety of disciplines across the social sciences and the humanities, such as literary studies, cultural studies, sociology, anthropology, IR, geography, political science, and cultural history.
We welcome proposals for papers in any of the following areas:
Beyond ‘ World Literature’
Migrant identities and mobilities
Encountering ‘the other: Travel writing
Orientalism and Occidentalism
Behind the scenes at the Museum:memorializing encounter, telling of trauma
Digital technologies and new forms of ’encounter’
Tourism and heritage studies
New pedagogies and the global classroom
Language studies and linguistics : World English and beyond
Translation and cultural encounters
Theology and spirituality
From Interdisciplinary to interplanetarity:beyond the global
Encounters and the war on terror
Borders, connectivity and transnational politics
Borders in translation
New protest movements
The global city: urban encounters
Proposals for papers should take the form of a 300 word abstract. The organisers will allocate papers to an appropriate panel. The deadline for submission of abstracts is 4 April 2014. Please send to conference organizer Maria Rovisco firstname.lastname@example.org
For more information visit: http://globalstudiesassoc.wordpress.com/annual-conference-2013/
(info atualizada em 04/03/2014)
The IV Iberian Workshop on Serious Games and Meaningful Play,
SGaMePlay'2014 will be accepting submissions until March 8th.
SGaMePlay will be held on June 18th to 21st in Barcelona, Spain as a CISTI'2014 Workshop.
CISTI : http://www.aisti.eu/cisti2014/
SGaMePlay : http://www.aisti.eu/cisti2014/index.php/en/workshops/sgameplay
Full Papers will be sent to ISI.
All Papers will be sent to EBSCO, EI, IEEE XPlore, INSPEC and SCOPUS.
(info atualizada em 03/03/2014)
"Media: Theory and Practice" - Second Annual International CCCS Conference 2014
Extended Deadline: 15 March 2014
Hotel Continental, Skopje, Macedonia, 4-6 September 2014
European Communication Research and Education Association
International Association for Media and Communication Research
The Centre for Culture and Cultural Studies (CCCS) invites proposals for papers, thematic panels and original media productions for Second Annual International CCCS Conference 2014 ‘Media: Theory and Practice’
The aim of this conference revolves around a foundational impetus to shed greater light on all relevant aspects of media studies, including mass communication, media technology, the visual and the performing arts, TV, radio, WEB and print media, as well as other key components of media studies and mass communication.
We invite proposals based on media theory (particularly critical media studies and cultural studies), and proposals that consider the relationship between media and (popular) culture, politics, arts, new media, as pertinent fields of study.
We welcome submissions that offer original media productions: documentary films, fictionalized or non-narrative creative expressions. The submitted proposal needs to contain a creative or theoretical explanation of the submitted work. We invite projects by PhD students or submissions by teams of students and instructors (lecturers).
Hence, the Second Annual International CCCS Conference 2014 ‘Media: Theory and Practice’ strives to offer a dialogic space for media theorists and practitioners. Along those lines, we invite media studies’ theorists as well as practitioners to offer proposals through engaging and current ideas, paper topics, workshop presentations and round table discussions.
Possible topics include, but are not limited to:
· Media Analyses
o Content analysis
o Media literacy
o Media discourses
· Critical Theory and Media Criticism
o Media and hegemony
o Media and globalization
· Media and Political Communication
o Media activism
o Media and ideology
o Media and democracy
· Media and Law
o (De)Regulation of media
o Media and privacy
o Media and copyright
· Art and Media
o Art-science interface
o Media and aesthetics
o The visual arts
o The performing arts
· Media and Culture
o Media and gender
o Diaspora, migrants and media
o Media and ethnicity
o Media and audience
o Cultural populism
o Cultural capital
o Media and remembrance/forgetting
o Media and heritage
o Media and identity
o Media representation
· New Media
o Media and games
o Social media
o Digital activism
o Media ecosystem
· Journalism studies
o Journalism and social and cultural representations
o The role and status of journalism in the era of digital technology
For individual paper proposals, please fill out the following form
If you have problems filling the form, please download offline form in MS WORD format
Submissions for individual paper proposals should number to 250 words.
Important Dates and Fees
Deadline for abstracts submission: 15 March 2014
Notifications of acceptance: 1 April 2014
Deadline for full paper submission: 1 December 2014
Early registration (till 1 May 2014): €40
Late registration (till 15 August 2014): €60
On-site registration (or after 15 August 2014): €80
The registration fee includes: the welcome party, conference materials, an online publication of the abstracts, refreshment breaks. Full papers that have received a positive review will be published in the journals “???????/Culture” and/or “Investigating Culture”.
Official languages of Conference are English, Russian and Macedonian.
The Conference will be held on 4-6 September, 2014 in Hotel Continental, Skopje, the Republic of Macedonia.
For any further information please contact Dr. Mishel Pavlovski (email@example.com) or Dr. Loreta Georgievska Jakovleva (firstname.lastname@example.org)
(info atualizada em 03/03/2014)
Photogénie Issue 2
We are pleased to announce the second open call for papers for Photogénie (www.photogenie.be) - the deadline for proposals is March 16, 2014. Selected contributions are due April 30, 2014. Submissions (as Microsoft Word e-mail attachments) and questions should be directed to email@example.com.
Given the scope of inquiry opened up by our first call for papers on a ‘New Realist Cinema,’ we’ve decided to focus the second issue of Photogénie on the related issue of ‘everydayness.’ An ever-growing field of study in cultural studies and cultural theory, everydayness is also still a governing aesthetic principle behind much of what is most exciting in contemporary art cinema: be it in political cinemas incorporating the precepts of new historiographies, like the French ‘Annals’ school, tracing collective perception through anecdotal accounts of everyday life; in slow or ‘contemplative’ cinemas enacting temporality and harking back to modernist or avant-gardist experiments with duration; in contemporary instances of surrealist cinema, discovering the marvelous and absurd in the everyday; in mumblecore anti-narratives hinging on aimless conversation; in the recent interest, both artistic and academic, in home movies and amateur filmmaking; or in observational, ethnographic or personal documentaries that start from lived experience. We are less interested in reiterating the cultural and social readings of everydayness inspired by Henri Lefebvre, Michel de Certeau, or, against the setting of modernity, Siegfried Kracauer and Walter Benjamin, than in highlighting the aesthetic choices or particularities, dare we say it, the routines of filmmakers working within the idiom of the everyday, in their ways of staging undramatic or non-events, repeated actions and general absence of classical narrative progression (resulting in delays, retardations and open endings). The cinematic language these filmmakers develop is often based on a self-imposed restriction or restraint: restriction of setting, camera movement, of the available technologies of shooting and processing, restraint in performance, dramaturgy and scoring. What appears instead is a heightening of specific expressive elements, like rhythm and tempo (of speech, movement, cutting), mise en scène (attention to particular objects), narration, framing and composition, or, at a more theoretical level, the exploration of stillness, contemplation and presence as both mediated and unmediated category. We welcome papers on all these topics and specifically encourage contributions on minimalism in new Asian and European cinemas; boredom, slowness and radical running times; ethnographic cinemas; the archeology of social change; filmed conversations; and on filmmakers like Wang Bing, Ben Rivers, Hong Sang-soo, Pedro Costa, Lav Diaz, Lisandro Alonso, Apichatpong Weerasethakul, Albert Serra, Jia Zhang-ke, Corneliu Porumboiu, Richard Linklater and Andrew Bujalski.
(info atualizada em 03/03/2014)
Colloque international. Révolution et cinéma: l’exemple portugais
10 et 11 mars 2014
INHA, 2 rue Vivienne, Paris 2ème
12 mars 2014
Fondation Calouste Gulbenkian, 39
Boulevard de la Tour-Maubourg,
Programa final em
Comité scientifique: Nicole Brenez (Univ. Paris 3); Teresa Castro (Univ. Paris 3); Susana de Sousa Dias (réalisatrice, professeure, Univ. de Lisboa); Raquel Varela (Univ. Nova de Lisboa); José Filipe Costa (réalisateur, chercheur); José Manuel Costa (directeur de la Cinemateca Portuguesa, professeur, Univ. Nova de Lisboa); Philippe Dubois (Univ. Paris 3).
Comité d'organisation: Benjamin Léon (Univ. Paris 3); Mickaël Robert-Gonçalves (Univ. Paris 3); Raquel Schefer (Univ. Paris 3).
AIM (Associação de Investigadores da Imagem em Movimento) www.aim.org.pt
GRHED (Groupe de recherches en histoire et esthétique du cinéma documentaire) http://culturevisuelle.org/kinoks/
CREPAL (Centre de Recherches sur les Pays Lusophones) http://www.univ-paris3.fr/crepal
(info atualizada em 01/03/2014)
World War I Media, Entertainments & Popular Culture
Email: contact - Chris Hart firstname.lastname@example.org
URR: www.ww1.midrash.co.uk (under construction)
The scope : this conference aims to bring together scholars from a wide range of disciplines to examine and discuss both contemporary and subsequent accounts, interpretations and uses of the First World War in terms of mass and popular media and entertainments.
We are inviting proposals for papers on any aspect of the Media, Entertainments and Popular Culture during and after the First World War. Possible themes include,
Photography, films, newsreels
Contemporaneous press reportage?
Music hall performers?
The popular press and WWI?
Wartime and cultural memory?
Pubs and clubs ?
The war in popular fiction?
Post 1918 popular uses of World War I themes.
Please email a 300 word abstract (stating your name, email address and institutional affiliation) to: email@example.com.
A book of selected papers from the conference titled, World War I: Media, Entertainments & Popular Culture. This will be a companion volume to our book World War II and the Media (2014).
A dedicated edition of Media, War & Conflict (Sage Publications).
Exhibition and performances leading up to and during the conference at the People’s History Museum. We hope you can suggest materials (songs, film, photographs) to be included.
Chris Hart firstname.lastname@example.org
Vera Slavtcheva-Petkova email@example.com
Craig Horner C.Horner@mmu.ac.uk
Carole O'Reilly firstname.lastname@example.org
Jim Aulich J.Aulich@mmu.ac.uk
Nick Mansfield NMansfield1@uclan.ac.uk
Gaynor Bagnall email@example.com
Chris Lee firstname.lastname@example.org
(info atualizada em 28/02/2014)
Critical Practices and Experimentation
A workshop hosted by the European collaborative project Culture@Work
Copenhagen, April 24-25, 2014
Deadline for submissions: March 3rd, 2014
Throughout the twentieth century, social critique and critical theory have informed a powerful thrust of thinking and agency not only in the field of political activism proper, but also in a wide array of cultural and artistic projects and undertakings, placing us by now at the cusp of an entire tradition of critical art, critical scholarship, critical pedagogy, critical curating, and so on. Contemporary critical practices have developed new formats and modalities of work, often by propagating cross-disciplinary ventures, by blurring the boundaries between arts and research and by instigating new collective research platforms.
With this workshop, we will put focus on the idea of the experiment and the ways in which experimentation stands out as a distinctive feature in today’s critical art, research and curating. We will depart from the question: What is an experiment? How do experimental protocols and practices translate between sciences, humanities and art practices? How do we set up and articulate composite and transversal objects of concern in creation, scholarship, and exhibition? Which are the institutional and disciplinary affordances for experimentation, and what are the critical histories in which there are inscribed? Which constraints hinder such translation? And, conversely, which venues and platforms might facilitate research and creation of an experimental mold?
A particular emphasis will be put on the spaces of critical experimental practices, that is, the many different locations where critical work unfolds: public spaces, art spaces, schools and universities, cultural institutions and so forth, in their variegated material manifestations, as well as the symbolic, epistemological and imaginary spaces they incarnate. Moreover, in addition to understanding these spaces in their actual forms and in the dense historical heritage they embody, we are interested in the new interfaces opening up between these spaces, ranging from actual exchanges to virtual encounters. We will examine how traditional spaces of critical experimentation are being put to work in new ways, giving momentum to investigative interrelations and couplings in the field.
The workshop is the first of two gatherings organised by the “Culture@Work”-network, a joint European project aimed at gauging how contemporary culture is put to work in new contexts. The network is founded by the School of Human Sciences at the Catholic University of Portugal (The Lisbon Consortium) in collaboration with the Barcelona Museum of Contemporary Art (MACBA), The National Archive of Literature, Luxembourg, and the Department of Arts and Cultural Studies at the University of Copenhagen, Denmark. The second workshop will be held at MacBa in Barcelona in February 2015.
The Copenhagen workshop is co-sponsored by Université de Paris VIII – St. Denis within the framework of the European Network for Cultural Studies.
The workshop will feature public lectures and presentations by Carles Guerra(Barcelona), Irit Rogoff (London), Lars Bang Larsen (Copenhagen), Antony Hudek (Liverpool) and Tania Ruiz Gutierrez (Paris).
On the second day of the conference, a number of parallel working groups will be organised on the backdrop of the input provided by the submitted proposals from the participants. The group sessions will be based on presentations and discussions, but will also involve an aspect of production, as the groups will present their findings in a final plenary discussion, paving way for a concluding debate and the formulation of the intellectual agenda of workshop II, to take place in Barcelona in February 2015.
Participants are invited to submit proposals for 20-minute contributions to the working groups on the second day of the conference. In addition to the traditional academic paper format, we welcome performative work, presentation of relevant material for discussion, screenings, etc. Please include a 300 word abstract of your contribution and a short description of your work when applying.
Submission deadline is March 3, 2014. For submissions and queries, send an email to email@example.com
There will be a limited number of EU sponsored grants for travel and accommodation costs for participants from the partner institutions, please indicate if you will also apply for the grant.
More information at http://lisbonconsortium.wordpress.com/culturework/.
The Culture@Work project is co-funded by the Culture Programme of the European Union.
(info atualizada em 27/02/2014)
Doc Online - Digital Magazine on Documentary Cinema: “Documentary and History”
We are pleased to announce the publication of the 15th edition of the Doc Online - Digital Magazine on Documentary Cinema under the theme: “Documentary and History”.
DOC ON-LINE N. 15 (12/2013)
DOCUMENTÁRIO E HISTÓRIA
Documental y Historia | Documentary and History | Documentaire et Histoire
Editorial | Editor's note | Éditorial
Documentário e História
---> Marcius Freire, Manuela Penafria
Dossier temático | Thematic dossier | Dossier thématique
O documentário e sua “intencionalidade histórica”
---> Cássio dos Santos Tomaim
Representing History and the filmmaker in the frame
---> Trent Griffiths
A História como montagem no documentário moderno
---> Simplício Neto
Subjetividades transbordantes: apontamentos sobre o documentário biográfico, memória e História
---> Denise Tavares
Clio na tela: reflexões sobre documentário e História
---> Maria Leandra Bizello
Amnésia e fantasmas do Japão pós-guerra em Le Mystère Koumiko (1965), de Chris Marker
---> Emi Koide
Herdeiros do exílio: memória e subjetividade em três documentários chilenos Contemporâneos
---> Natalia Christofoletti Barrenha
Memórias Clandestinas: o documentário e a construção de uma História
---> Maria Thereza Azevedo
Documentário, História e pesquisa: construções narrativas em O Velho
---> Vitória Azevedo da Fonseca
Um personagem, três diretores, três filmes: uma análise da trajetória de Carlos Marighella nos documentários de Tendler, Pronzato e Ferraz
---> Sara Alves Feitosa
Artículos | Articles | Articles
Los colectivos cinematográficos en la España tardofranquista: militancias, transgresiones y resistencias.
---> Roberto Arnau Roselló
O som no documentário clássico – as tecnologias da intimidade na escola britânica
---> Fernando Weller
Telas em mutação: da memória da TV às memórias dos sertões
---> Gilberto Alexandre Sobrinho
Reseñas | Readings | Comptes rendues
Leitura de História e documentário
---> Luiz Alexandre Pinheiro Kosteczka
Documentário - Ética, Estética e formas de representação
---> Philippe Lourdou
ANÁLISE E CRÍTICA DE FILMES
Análisis y crítica de películas | Analysis and film review | Analyse et critique de films
A cinematografia utópica, romântica e revolucionária de Jorge Sanjinés
---> Cleonice Elias da Silva
O documentário contemporâneo brasileiro como instrumento de mobilização social na abordagem de Fala tu (2003)
---> Pâmela de Bortoli Machado
Sociedade anonyma fábrica Votorantim, estética moderna no vídeo institucional
---> Paulo Celso da Silva; Míriam Cristina Carlos Silva
Santiago: uma reflexão sobre o cinema-documentário
---> Suéllen Rodrigues Ramos da Silva; Luiz Antonio Mousinho.
Entrevista | Interview | Entretien
Rui Guerra, O cineasta da palavra
---> Rafael Antunes; António Costa
DISSERTAÇÕES E TESES
Disertaciones y tesis | Theses | Thèses
A construção do personagem no documentário brasileiro contemporâneo: autorrepresentação, performance e estratégias narrativas
---> Clara Leonel Ramos
Poéticas do lago e sua superfície: o cinema de Cao Guimarães
---> Rafael de Almeida Tavares Borges
Locating a documentary cinema of accountability: the emergence of activist film practices as a socio-political movement in contemporary pakistan
---> Rahat Imran
A constituição semiótica da imagem-documento
---> Rafael Wagner dos Santos Costa
A teoria dos usos e gratificações no estudo da audiência dos webdocumentários
---> Eliamara Fontoura Brun
Análise dos processos de criação documental com materiais de arquivo nos filmes sobre Welles de Rogério Sganzerla
---> Régis Orlando Rasia
Sons de Salles e Santiago: Análise dos elementos sonoros de Santiago – reflexões sobre o material bruto
---> Daniel Velasco Leão
O cinema ensaio de Chris Marker: narrativas intertextuais
---> José Eduardo Kahale Raimundo
We invite you to navigate through its various sections in the website http://www.doc.ubi.pt
DOC Online is now receiving material for its next issue. The deadline is June 20th 2014 and the theme is: "Contemporary Ibero-American documentary".
Manuela Penafria and Marcius Freire
(info atualizada em 27/02/2014)
La Valle dell’Eden / East of Eden
Film and Media Studies Journal of the University of Turin, Italy
Issue 28, January-June 2014
Special issue: Marilyn – Body and Icon
The issue will address the case of Marilyn Monroe, both as a phenomenon pertaining to cinema – in relation to its relevance within the studies of acting and stardom – and as one of the most persistent and multi-faceted icons of the XX Century. An icon often standing at the crossroad of historical and social dynamics, whose relevance can still be found today in discourses, images, narrations and phenomena of fandom, between high culture and popular imagery.
- Marilyn and cultural studies: gender, stardom, fandom
- Marilyn and American cinema, between genres and auteurs
- Marilyn star/actress: production, style, acting, performance
- The imaginary Marilyn, between art and photography
- Marilyn's tale: biographies, the autobiography, poetry and literature
- Marilyn's history: the historical and political context.
Proposals due: March 15, 2014.
Essays due: June 30, 2014.
Send to: firstname.lastname@example.org; email@example.com
(info atualizada em 27/02/2014)
Spaces of Television
Call for Papers: Special issue of Critical Studies in Television
‘Spaces of Television: Production, Site and Style’
We invite proposals for articles for a special issue of the journal Critical Studies in Television, devoted to the theme of ‘Spaces of Television: Production, Site and Style’ to be published in Autumn 2015. The journal issue emerges from a research project of the same name, investigating television fiction produced in the UK from 1955-94 and analysing how the material spaces of production (in TV studios and on location) conditioned the aesthetic forms of programmes. We are interested in how fictional spaces represented on the screen across a range of drama during this period negotiated the opportunities and constraints of studio and exterior space, film and video technologies, and live-ness and recording.
While we particularly welcome papers that specifically address British drama during this period, we will also consider comparative perspectives concerning dramas from other television industries, import/export, transnational exchange, co-productions and spatially-themed studies of earlier or later dramas.
Possible topics include but are not limited to:
Analysis of the dramatic conventions of television genres as demonstrated through the use of space and mise-en-scene.
Case studies of television dramatists, actors, directors, producers, designers, or other production staff focusing on mise-en-scene and issues of space.
The relationship between television dramatic space and performance, and the social and cultural meanings of performance in different spatial and aesthetic contexts.
The spatial significance of particular production techniques and/or special effects in television drama.
The social and cultural meanings of the spaces depicted in television drama: e.g. heritage spaces, the urban and the rural, regional, national and foreign spaces, fantasy spaces.
The institutional and aesthetic relationships between the spaces of television production (studio, location) and dramas’ social, political and cultural meanings.
Histories and historiographies of television drama, particularly relating to production strategies and institutional contexts.
Proposals for articles of 5,000-6,000 words, in the form of an abstract of approximately 400-500 words should be submitted to Dr Leah Panos (firstname.lastname@example.org) by 31 March 2014.
We welcome proposals from both established scholars and early career researchers including postgraduate students.
‘Spaces of Television’ is an AHRC-funded research project led by the University of Reading in collaboration with the University of Leicester and the University of South Wales.
Further details of the project can be found at:
(info atualizada em 26/02/2014)
Cinema 4 on Philosophy of Religion, edited by Sérgio Dias Branco
CINEMA 4 (2013) PDF
PHILOSOPHY OF RELIGION
edited by Sérgio Dias Branco
Editorial: Cinema, Religion, and Their Philosophical Thinking, 1-3 PDF
Abstracts, 4-12 PDF
A Night at the Opera of Talmudic Reasoning: The “Jewishness” of Jewish Cinema, 14-27 PDF
From Up in the Air to the Roots of Avatar’s Tree of Souls: Hossein Nasr’s Islamic Traditionalism and the Hope for Western Futures Grounded in the Sacredness of the Earth, 28-43 PDF
Revisiting Dhvani in the Context of the Aesthetics of Experience in Film, 44-61 PDF
The Tao of BwO: Deleuzian Becomings in Kung Fu Cinema, 62-80 PDF
Silence as the Space for Love: Bergman’s Trilogy and the Absence of God, 81-96 PDF
Earl Allyson P. Valdez
A Linguagem e os Ritos Sacrificiais no Cinema de João César Monteiro, 97-115 PDF
Approches d’un style spirituel au cinéma : Dans la brume de Sergei Loznitsa, 116-132 PDF
How Film Can Carry Being: Film Melodrama and Terrence Malick’s The Tree of Life, 133-163 PDF
Des films cannibales, ou l’humanisme mis à mal, 164-183 PDF
A Cannibal’s Sermon: Hannibal Lecter, Sympathetic Villainy and Moral Revaluation, 184-208 PDF
Film/Religion: A Conversation with P. Adams Sitney, 210-215 PDF
by Sérgio Dias Branco
2013: A Slow Year, 217-223 PDF
Cinema: Journal of Philosophy and the Moving Image is an international peer-reviewed publication dedicated to the philosophical inquiry, not just into film, but into cinema in the broadest sense, that is, including video, television, and new media. It gathers scholars and contributions from different philosophical traditions, it is published online by the Philosophy of Language Institute (Faculty of Social and Human Sciences, New University of Lisbon) and it has emerged in articulation with the research project “Film and Philosophy: Mapping an Encounter” (PTDC/FIL-FIL/098143/2008). The journal publishes original critical articles, book reviews, conference reports, interviews, and makes available art work within the field of philosophical research on the moving image. It accepts submissions in English, French, Portuguese, and Spanish.
Avaiable in http://cjpmi.ifl.pt/
(info atualizada em 26/02/2014)