A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O V Encontro Anual irá decorrer de 21 a 23 de maio de 2015, no ISCTE-IUL, Instituto Universitário de Lisboa. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
[Saber mais] [Inscrever-se na AIM]
Doctoral Career Development PhD Studentships at Aberystwyth University
Application Deadline 30th January 2015
The Aberystwyth University doctoral (PhD) scholarship (DCDS) scheme offers a package of research, training and career development for full-time PhD students. These awards are tailored to enable students to develop the necessary skills required to meet their career choices and offer a breadth of development opportunities to enhance their research, teaching and transferable skills.
Competition for University DCDS Scholarships
The competition for these prestigious University DCDS scholarships is now open to students who wish to study for a full-time PhD commencing in September 2015:
To be eligible you must:
1. have or expect to obtain at least upper second class honours in your first degree
2. Have an MA or be currently studying for an MA (or have an equivalent level of professional experience)
3. apply and be offered a place for doctoral study at Aberystwyth
4. if English is not your first language: have achieved at least a 7.0 in your IELTS examination, or equivalent (before the end of March 2015 at the latest)
5. be commencing, or have commenced, your doctoral study in September 2015
Value of DCDS Scholarships
Successful candidates will receive a grant for up to three years which will cover their tuition fees (up to the UK/EU rate of approx. £3996) and also provide them with a maintenance allowance of approximately £13,863 per annum and access to a travel and conference fund (max. £500 per annum). Scholarships commence from the main intake: September 2015. There will be approximately 8 new DCDS awards available for the September 2015 intake.
Non-EU students would have to cover the difference between UK/EU tuition fees and the non-EU tuition fees (approx. £8,350 to £8,600) from their scholarship. However, there will be 3 additional President's Scholarships, which cover this difference in tuition fees. These will be awarded to the three highest ranked non-EU candidates for the DCDS competition.
How to Apply
Deadlines: The application deadline (for the Department of Theatre, Film and Television Studies) is the 30th January 2015.
The application to study for a PhD must be received by the relevant closing date. There are no additional forms for applicants to complete for this competition. Decisions will be based on the standard application to Aberystwyth University to study for a PhD. Applications must include an application form, two academic references, academic transcripts and a research proposal (1000 to 1500 words). We encourage applicants to contact the Theatre, Film and Television Studies departmental postgraduate coordinator, Dr Kate Egan (email@example.com) before constructing their research proposal.
Departments will interview all applicants before a decision is made to offer a place to study for a PhD and to nominate for a University DCDS Scholarship.
For application forms and further details please see http://www.aber.ac.uk/en/postgrad/howtoapply/
or contact the Postgraduate Admissions Office [firstname.lastname@example.org]
N.B. All application materials (e.g. forms, research proposals, references, transcripts,...) must be submitted electronically.
N.B. Academic references must be received by the deadline.
N.B. Applicants who are applying separately for an AHRC award via the SWW DTP site, should use one of our off-line options if also applying for DCDS funding.
Subsequent to the submission of your application: if your application is shortlisted, we will then send you a DCDS form to complete and submit.
Information about the environment for doctoral study in the Department of Theatre, Film and Television Studies (TFTS) at Aberystwyth University:
The Department’s established reputation for conducting leading-edge, international quality research makes TFTS an ideal place to pursue doctoral study. We offer supervision and research training in both English and Welsh, with a focus on topics such as:
Aesthetics, politics and social engagement in theatre; site-specific performance; contemporary British and European drama and theatre; performance and gender; performance philosophy; documentary and verbatim theatre; performance and media historiography and archiving; national and transnational theatre and cinema; Welsh and minority-language theatre, film, television and online media; alternative, avant-garde and experimental theatre and film;
Russian cinema and theatre; landscape in film and performance; practice as research in relation to film, television, media, performance and theatre; film censorship and press and broadcasting regulation; television drama, genres and aesthetics; media fan studies and reception and audience studies; documentary film and television; horror, fantasy and cult film and television; film stardom and performance; British cinema; music and sound in film; children and the media.
Facilities include: Dedicated research student study suite with computers, desks, printer and wireless access; four fully equipped studio theatres; three rehearsal rooms; digital, high-definition television studio; thirty-six digital video-editing, recording and viewing rooms; computerised lighting systems; and digital sound studio with digital effects processing and multi-track recording facilities.
As well as the National Library of Wales, the department also has a strong working relationship with Aberystwyth Arts Centre, which is located on the main University campus.
See our staff pages for further details: http://www.aber.ac.uk/en/tfts/staff/ as well as our current PhD student projects page: http://www.aber.ac.uk/en/tfts/study-with-us/phd/phd-students/
(info atualizada em 22/12/2014)
XIII Gorizia International Film Studies Spring School. Università degli Studi di Udine
Università degli Studi di Udine – Italy
The FILM HERITAGE Workshop - 20/25 March 2015 – Gorizia, Italy
Voice / Speech / Word: Dubbing and Subtitling in Comparative Contexts
In recent years, issues concerning dubbing and subtitling have reached a certain scholarly interest mainly as a consequence for the extraordinary changes that digital practices caused to film experience. While dubbing is sometimes considered a mutilating practice, a sign of the backwardness of media literacy processes in specific contexts, and it is thus highly disregarded by film buffs, archivists, students and scholars, subtitling seems to be, maybe not less naively, the only proper way to deal with cinema: it is evident that a similar rigidity needs to be made productive by integrating historical, social, political and industrial reasons. The interactions between all these factors have been quite overlooked throughout the last years of film studies research: more specifically, from a scholarly perspective, these issues have been seldom questioned by taking into consideration a broader spectrum than the national film histories, especially those of countries such as Germany, Italy and Russia in which the practice of dubbing (or overdubbing) is dominant. Our approach is as wide as possible and it includes not only historical issues concerning censorship, but also new theoretical topics connected to research fields such as translation studies and fandom studies. For this reason, we want to devote the XXI edition of the Film Heritage workshop of the MAGIS – Gorizia International Film Studies Spring School to the issues of dubbing and subtitling from a strongly transnational and comparative perspective. In particular, a specific focus is dedicated to the relationship between dubbing/subtitling practices and market strategies, institutional issues, technology, historiography and the new media landscape.
Starting from the above considerations, we warmly encourage paper proposals that may address, but are not limited to, the following questions:
- Economical reasons and market strategies
- Institutions and infrastructures
- Industrial and Technological assessments
- Dubbing/subtitling and the multicultural semiosphere
- Historiography and cultural perception (especially regarding non-western countries and cultures)
- New practices and the digital landscape
- Censorship and manipulation
- Expertise, technique and professional formation
- Dubbing/subtitling, literacy and media-literacy
- Film/media studies and translation studies
- Perceptual issues in dubbing/subtitling practices
Scholars interested in submitting a paper proposal are asked to provide a 200 word abstract and a 100 word bio at the email address email@example.com before December 31, 2014.
Notification will follow shortly thereafter.
The Film Heritage Workshop Committee
(info atualizada em 22/12/2014)
Slow Media Symposium
Thursday 26th March 2015, Bath Spa University.
Online registration, event information and the call for papers (deadline 16th January 2015) are available here:http://www.bathspa.ac.uk/research/slowmedia
In 2010, the Slow Media Institute circulated a manifesto highlighting how the concept of ‘slow’ could be employed in responding to the pace of technological change in the 21st century. Making the link to other slow movements, the Slow Media manifesto emphasized the ‘choice of ingredients’ and ‘concentration in the preparation’. As Jennifer Rauch (2011) writes, attention to ‘Slow Media’ suggests that ‘we are observing a moment of transformation in the way that many people around the world think about and engage with mediated communication’.
This broad ‘slow media’ approach has been taken up in relation to a range of media sectors. ‘Slow journalism’ seeks to respond to some of the contemporary newsgathering and journalism practices with a concern for investing in journalism, questioning 24/7 news cycles and immediacy as the most important factors, and exploring stories over a longer period. The focus on completeness and full coverage is also a central element of the ‘Slow TV’ approach. The sustained coverage of cruise ships and knitting that the Norwegian Broadcasting Corporation has offered since 2009 indicates the popular appetite for ‘Slow TV’ and in September 2014 The New Yorker declared ‘Slow TV is Here’. Further perspectives come with ‘Slow Film’ and the approach taken by filmmakers such as those at Echo Park Film Center who use analogue technologies, hands-on techniques and collaborative processes as a catalyst for a community-based cinema wherein filmmakers invent, own and control
the means of production, exhibition and distribution.
This one-day symposium hosted at Bath Spa University’s Corsham Court campus invites papers and practice-based submissions on any aspect of slow media. Please send proposals of 250 words to Dr Dan Ashton (firstname.lastname@example.org) by Friday 16th January 2015. Please also include a brief (50 word) bio.
The following speakers will be presenting (abstracts and full programme by the end of January):
Lisa Marr and Paolo Davanzo from Echo Park Film Center (Los Angeles) on Slow Film and the ‘City Symphony’.
Professor Jo Hyde (Bath Spa University) on the ‘Breathing Stone’ project.
Tim Prevett (University of Salford) on “That Damned Cow - Just What is Norwegian Slow TV?” (Documentary)
Professor Kate Pullinger (Bath Spa University) on ‘Inanimate Alice’: a Slow Media Digital Novel for Young People
This event is part of the Media Futures Research Centre ‘Analogue Futures’ programme of activities. Following the Symposium, Echo Park Film Center will be holding an evening screening and Q&A at Pound Arts to which all Symposium delegates are invited.
REGISTRATION AND EVENT INFORMATION
The online registration form and other details on location, etc. can be accessed here:http://www.bathspa.ac.uk/research/slowmedia
(info atualizada em 22/12/2014)
4th International Visual Methods conference
16th – 18th September 2015
Call for Contributions
Fourth International Visual Methods Conference
The University of Brighton is delighted to host the Fourth International Visual Methods Conference. We invite you to help build on the foundations laid down in the Visual Methods series so far. This event will deepen and extend the exchange of ideas and approaches across disciplines and between visual research and visual practices. The conference will include a combination of keynote presentations, panels and papers, alongside workshops, screenings and exhibitions.
We welcome proposals exploring any of these areas:
· Visual Methods and Research Design
· Approaches to analyzing visual data
· Data visualisation
· Researcher created visual data
· Arts based visual research methods
· Visual ethics
· Visual culture and visual methods
· Participatory visual methods
The core of our programme is built on three open strands designed to capture strong proposals:
· Narrative and Visual Methods
· Exploring Digital Visual Methodologies
· Critical Perspectives on Visual Methodologies
We will supplement this with two focused strands engaging directly with local research interests within the University of Brighton. The first is on Digital Storytelling: Form and Practice where the University has a range of research interests and a second exploring the visual navigation and articulation of place.
We therefore invite scholars and other visual practitioners to submit proposals forpanels, papers or other types of contributions in one of the conference themes.
Instructions for Panels
A panel will comprise a chair or commentator and either a call for three or four presentations, or a confirmed set of panellists. Each panel will be provisionally allocated a 90 minutes session in the programme, which will be confirmed when a full panel has been registered.
To submit a panel proposal we invite you to provide a title and abstract addressing one of the conference themes. The panel abstract must not exceed 400 words and, if appropriate. It should include an email address for proposals to be sent to, supported by a short biography of the person(s) submitting and chairing the panel (up to 200 words, including affiliation and recent publications, activities). Panel chairs are responsible for selecting material for their sessions. Alternatively, it is possible to submit complete panel proposals, in this case as well as a title and abstract for the panel, paper titles and abstracts should be presented, along with biographical details of all presenters. Each Panel session will be given final approval by the Programming Committee.
The deadline for panel submissions is 16th January 2015. Late proposals will not be considered. These should be sent by email toVisualMethods@brighton.ac.uk. Submissions should be double-spaced and in Verdana Font no less than size 12.
Panel organizers will be notified of the decision regarding their proposals by 28th February 2015. We expect to commission five Panels under each theme with the balance being kept open for open submissions
Instructions for Papers
Abstracts for proposed papers should address one of the conference themes in 250 words and be submitted as a MS Word file or RTF Format (not in the body of an email). Submissions should be double-spaced and in Verdana Font no less than size 12.
· A title of no more than 15 words which provides useful pointers on the key topics to be discussed
· Five key words
· A short biography of a maximum 35 words
Where a significant portion of the presentation involves images, choose three (3) representative stills or a video section encoded to no more than 4Mb in total and attach this to your email.
All submitted material should list your name, institution and/or organisational affiliation (if any); your paper or session title, and any media support required. In both your file name and email subject line, please include: [IVM4; Paper or Session and Family Name]
Please send to VisualMethods@brighton.ac.uk by 30th January 2015. Late proposals will not be considered. All proposals will be reviewed by the Programming Committee and responded to by 20th February 2015.
Instructions for Other Contributions
We would welcome ideas for other forms or contribution, including but not limited to Panels adopting a different approach, for example as participatory workshops seminars, exhibitions, films, public art or similar. Proposals should address one of the conference themes in 250 words and be submitted as a MS Word file or RTF Format (not in the body of an email) with five supporting images, if appropriate. Proposals in this strand may come from academics, practitioners or policy makers.
Submissions should be double-spaced and in Verdana Font no less than size 12. Please contact email@example.com with questions on this strand and proposals should be submitted by 16th January 2015. Members of the organizing team will work with successful applicants to realize their project.
Late proposals will not be considered.
Panel organizers and presenters of selected papers must register for the conference by 31st May 2015.
If you would like to be kept informed of when registration is open, pleaseemail:VisualMethods@brighton.ac.uk
(info atualizada em 22/12/2014)
9th ANNUAL CONFERENCE OF THE EUROPEAN NETWORK FOR CINEMA AND MEDIA STUDIES (NECS)
LÓDZ 18-20 JUNE 2015
ARCHIVES OF/FOR THE FUTURE
Hosted by the University of Lódz (Poland)
Organized by the University of Lódz and the University of Social Sciences and Humanities SWPS in Warsaw
CALL FOR SUBMISSIONS
Deadline: 31 January 2015
In recent decades the figure of archive has been extensively employed in various fields of academic reflection. Moreover, since the introduction of accelerated digitalisation, the practice of archiving has strongly influenced modes of academic work and cultural activities. In order to reflect on the challenges and possibilities of this multifaceted notion we are interested in proposals which would deliberate on various aesthetic, philosophical, social, technological, methodological and practical aspects of archives in the era of digitalisation.
Scholars from all areas of cinema, media and cultural studies (including radio, television, new media, game studies etc.), whether already members of NECS or new to the network (a valid membership is required, see also: http://necs.org/user/register), are invited to submit proposals for contributions.
Submissions may include but are not limited to the following sub-themes:
Open archives, open research
• the ideology of open access
• the rise of digital archives and overall opening up of institutions from the heritage sector
• digitalisation and restoration
• Big Data-driven historiography and computational turn
• the politics of archiving
• data storage and information management
Art in praxis
• the uses of archives in contemporary art, film and television (found footage, piracy, remixing)
• material and temporal aspects of a work of art
• new media art, its production, reproduction, preservation and destruction
• social histories of recording, collecting and sharing
• the futility and abundance of data in modernity
• everyday (social) media and questions of sustainability
• economics of archives
Archives of popular culture
• new theoretical and methodological approaches to archives of popular culture
• popular culture as an archive
• technologies of inscription and their histories
• media archaeology and the obsolescence of its objects
• technological determinism and media convergence
Philosophical premises and promises
• material and discursive conditions of writing history
• memory of discursive formations
• archiving as working for the future
• nostalgia, melancholia and the modern experience of loss
All speakers are required to provide a title, an abstract of max. 150 words, 3-5 key bibliographical references and keywords, name of the speaker and short bio (max. 100 words).
We support the submission of pre-constituted panel proposals in order to strengthen the thematic coherence of individual panels. We would like to strongly encourage members of the NECS workgroups to put together a pre-constituted panel but we also welcome submissions from academic project teams, museums, galleries and other institutions wishing to share their experience in the area of archives of/for the future. Panels may consist of 3-4 speakers from at least two different academic affiliations and preferably from two or more different countries with a maximum of 20 minutes speaking time each. Panel organisers are asked to submit panel proposals including a panel title, a short description (up to 100 words) of the panel and information on all the papers, as listed above.
Events such as workshops, roundtables or seminars – both pre-conference and conference – concentrating on more practical aspects of our field such as teaching or research methods are also welcome. In order to guarantee the success of this format as a forum for discussion, speaking time will be limited to 10 minutes per participant. Organisers are asked to submit workshop proposals including workshop title and a short description (max. 100 words).
* * *
Please note that individuals may submit only one paper proposal, either to the open call or as part of a pre-constituted panel or workshop.
Please submit all proposals before 31 January 2015 using the submission form available at: http://necs.org/conference/proposal-submission-form/.
Confirmation will follow shortly thereafter (around 28 February 2015).
The conference will be held in English.
Attendance is free of charge, but valid NECS membership and online registration are required in order to participate in the conference. Participants must register with NECS at http://necs.org/user/registerand pay their fee before a proposal is submitted. Proposals from non-members (including all members of pre-constituted panels) will not be taken into consideration. See also: http://necs.org/faq
Participants will have to cover their own travel and accommodation expenses. Travel information, as well as a list of affordable hotels will be posted on the NECS conference website in spring 2015.
Please email all enquiries to: firstname.lastname@example.org
Permanent link: http://necs.org/conference/cfp/
We would like to announce that the Project Forum – an event in a brand new format – will be a part of the 2015 NECS Conference in Lódz. The forum is intended to provide scholars with an opportunity to present their work in progress and their recent publications (monographs, book series, journals, collections), initiatives in digital humanities and on-going research projects. Each speaker will be given a six-minute slot in which he or she will introduce the publication or work in progress. There will also be time set aside towards the end of the event for contributors to have a discussion with other speakers and members of the audience.
Please send proposals, including the title of your publication or project, to Lukasz Biskupski email@example.com by 31 January 2015. Confirmations of acceptance will be issued by 28 February 2015.
THE 13th NECS GRADUATE WORKSHOP
The NECS Graduate Workshop has been designed to give scholars at the beginning of their career a platform for networking with established European film and media scholars. The 13th NECS Graduate Workshop in Lódz is dedicated to the topic of Fictional Technologies & Technologies of Fiction. You will find the CFP online at: http://necs.org/conference/preconference/
Please send your submission with an abstract (max. 200 words) and a short bio (max. 150 words) to Alex Casper Cline and Karol Józwiak: firstname.lastname@example.org
TRANSMEDIALITY IN MODERN POPULAR CULTURE – WORKSHOP
A workshop on the history of transmediality in modern popular culture will be held in reference to the meeting's sub-theme “The archive of popular culture”. It will focus on the exploration of cross-media business synergies in the entertainment industry and the history of media convergence in the popular culture covering the 19th and the first half of the 20th century. You will find the CFP online at:http://necs.org/conference/preconference
NECS Conference Committee
James Harvey-Davitt, Daniel Kulle, Rikke Schubart, Petr Szczepanik, Michal Pabis-Orzeszyna, Ruggero Eugeni
Local Organising Team
Lukasz Biskupski, Ewa Ciszewska, Adam Cybulski, Miroslaw Filiciak, Maria B. Garda, Krzysztof Jajko, Karol Józwiak, Konrad Klejsa, Ryszard W. Kluszczynski, Tomasz Klys, Maciej Ozóg, Michal Pabis-Orzeszyna, Monika Rawska, Dagmara Rode, Magdalena Saryusz-Wolska, Marcin Skladanek, Piotr Sitarski, Pawel Solodki, Natalia Szeligowska, Bartosz Zajac, Tomasz Zaluski, Kamila Zyto
NECS Steering Committee
Sophie Einwächter, Jaap Kooijman, Trond Lundemo, Patricia Pisters, Petr Szczepanik, Alena Strohmaier, Malin Wahlberg
(info atualizada em 21/12/2014)
The Media Intelligence Service (MIS) at the EBU is recruiting a visiting researcher in media
This is a full time position with a limited duration (between 6 to 8 months)
Starting date: As soon as possible in 2015
Please, notice that proficient command of English is mandatory (in the job description it is said that French is required, but that is just a formality. Do not hesitate to apply if you don't speak French!)
WE ENCOURAGE YOUNG RESEARCHERS TO APPLY (Master Level). This could be an excellent step in your research career!
The Visiting Researcher carries out diverse research tasks including: collection and processing of information, support to analysis – including quantitative and qualitative methods –, production of high quality and accurate studies, reports, presentations, etc. S/He will be required to be polyvalent, having to address topics in diverse fields of knowledge related to the media system, including market and industry structures, national media systems, media consumption trends or the activities of international institutions. S/He will contribute to the production of company profiles, including Public Service Media organizations and commercial operators. In addition, s/he will be also involved in the provision of information on request to the EBU Members and Departments. In doing so, s/he crucially contributes to the achievement of MIS’ mission.
SPECIFIC QUALIFICATIONS AND EXPERIENCE
- A good knowledge and understanding of the media market structures and economics (masters’ level or equivalent professional experience).
- A good knowledge of media consumption trends will be valued very positively.
- A good knowledge of information sources related to the media market will be valued very positively.
- Good skills in quantitative and qualitative research methods.
- Quality, efficiency and accuracy orientation is a must.
- Strong writing and presentation skills.
- Self-initiative, versatility and engagement are a must.
- Ability to work under time constraints and pressure, following instructions and providing results on time.
- A service and team orientation attitude is crucial.
- Capacity to work simultaneously in several projects, with a capacity to allocate the right priority to the assigned tasks.
- Capacity to deal patiently and tactfully with staff members.
- A high sense of confidentiality and good judgment.
- Ability to work effectively with people of different national and cultural backgrounds.
The Media Intelligence Service (MIS) is responsible for carrying out primary research and analysis in the field of media with a multidimensional approach (political, economic, socio-cultural and technological) and an international perspective. MIS’ main mission is providing EBU departments and Members with reliable market data, trustworthy analysis and relevant arguments that support their daily operations and their strategic planning. In doing so, the Media Intelligence Service contribute to promote the value of PSM and secure public, societal & political support for PSM.
Detailed information about the position and the application procedure is available at www.ebu.ch and follow the link to Human Resources at the bottom. Then enter in the Recruitment Portal [ http://ig14.i-grasp.com/fe/tpl_ebu01.asp?newms=sr ]
December 24th 2014
(info atualizada em 19/12/2014)
UK–CHINA Media and Cultural Studies Association Conference
Chinese Media and Cultural Studies: Consumption, Content and Crisis.
Date: 6th February 2015
Location: School of Journalism, Media and Cultural Studies, Cardiff University
Cardiff CF10 3NB
This event is held by the UK-China Media and Cultural Studies Association (UCMECSA), which aims to provide a platform for communication between Chinese media and culture researchers in Britain, and to discuss cultural difference, crossover, communication and diversity among Western countries and China.
This conference is intended to facilitate the opportunity for researchers on Chinese media and cultural studies to engage in cross-cultural comparison and dialogue on the core issues of Chinese media and cultural studies, with particular focus on media, culture, communication, arts and politics. We therefore invite papers that address areas such as the following:
· Media and cultural comparison between the West and China
· Chinese media and journalism studies
· Chinese popular cultural studies
· Chinese political studies
· Chinese migration issues
Notifications regarding acceptance will be sent by January 30th 2015.
The conference will be held at the Cardiff University on 6th February 2015. Please contact us for your paper and registration through the email addresses below:
· Shulin Gong: email@example.com
· Lijie Yang: Yangl20@cardiff.ac.uk
(info atualizada em 19/12/2014)
Bridges and Boundaries: Theories, Concepts and Sources in Communication History
An International Conference in Venice, Italy – September 16-18, 2015
Organizer: Communication History Section of the European Communication Research and Education Association (ECREA - History)
Co-Sponsor: Centre for Early Modern Mapping, News and Networks (CEMMN.net) - Queen Mary University of London
Fernand Braudel in his seminal essay History and the Social Sciences: The Longue Durée pointed out that many academic disciplines/fields which study different aspects of social life inevitably encroach upon their neighbors, yet often remain in “blissful ignorance” of each other. Braudel and others have repeatedly called for historians and social scientists to overcome their deep ontological and epistemological differences in order to work together.
Despite much progress in this regard, communication history remains one of the fields where profitable interdisciplinary dialogue can still take place. Being aware of this need, the Communication History Section of ECREA invites researchers who focus on various aspects of the history of communication, media, networks and technologies (broadly defined), to come together with two main aims: 1) to explore the bridges and boundaries between disciplines; 2) to exchange ideas about how communication history is being done and how it might be done, while emphasizing theories, concepts and sources beneficial to their research, as well as emerging trends and themes.
A three-day conference will take place in Venice, one of the great hubs of early modern communication, at Warwick University's seat in Palazzo Pesaro Papafava. The opening keynote address will be delivered by Professor Mario Infelise, a leading scholar of early modern print and journalism and the head of the graduate program in the Humanities at the University of Venice Ca’ Foscari. Instead of traditional panels and papers, the conference aims to foster dialogue among scholars of various disciplines through topically organized round-tables, master classes, and countless opportunities for informal discussions.
The organizing committee invites scholars to submit abstracts (max. 400 words) in which they address one of the main themes listed below and outline a short intervention that they might contribute to a round table on that theme. Such interventions should focus mainly on theoretical or methodological approaches, issues and experiences that the speaker has engaged with in his/her research. Historical case studies can be presented only so far as they contain a high degree of historiographical/theoretical significance. Interdisciplinary roundtable sessions will be organized in which participating scholars will also discuss questions raised by a chair and the audience, based on these proposals.
The deadline for abstract submission is January 10, 2015. The conference registration fee will be 140 euro and participants will be asked to cover their own travel expenses. Abstracts should be submitted through the conference website:http://ecreahistoryvenice2015.wordpress.com.
(1) Theories and Models
Grand theories or meta-narratives often have at their core information networks and communication technologies. To what extent are theoretical premises advocated by scholars such as Braudel, Innis, McLuhan, Habermas, Luhmann, Benedict Anderson, Lefevbre – and more recently by Hallin and Mancini, Castells, Gitelman, Simonson, Mosco, Hendy, Hesmondalgh, F. Kittler, Fickers – applicable in historical inquiry? How has your own research in communication history been inspired by such concepts and theories?
(2) Space and Place
Communication networks and information technologies are always embedded in a material setting that can foster or hinder certain communication practices, call into being new forms of exchange, and drive technological development. What is the place of the geographical imagination in current communication history research? How valuable are the ideas of ‘place’ and ‘space’ in historical research? What are the current trends within the field of historical geography that can advance our understanding of communication history?
(3) News and Networks
How valuable is the idea of ‘the network’? What were the technologies that historically mediated the spread of information through networks? Who participated in networks used in advancing what Bourdieu later called cultural capital? To what extend did such networks contribute to the rise of public opinion and the public sphere? Can we talk about historical continuities between the early modern republic of letters and what Castells later popularized as the network society?
(4) Alternative Media
In order to understand communication history as a long-term, inclusive process, which alternative media or communication technologies (besides the familiar 'mass media' of the 20th century) need to be considered, and how? Possibilities might include migration flows, civic and religious ceremonies, theatre, preaching, fashion, the visual arts or architecture. What kinds of methodological or theoretical implications does their consideration carry?
(5) Sources and Methods
The progressive digitization of archives and libraries is opening access to primary sources for increasingly wider circles of scholars. What are the advantages and challenges raised by this development? To what extent do issues of materiality matter particularly to the realm of media and human communication research? What are the most relevant sources that you use for your own research?
(6) ‘New' Media
At one time, even the oldest communication technologies were looked upon as suspicious novelties. Socrates famously condemned writing; the introduction of print may have been hailed by some as a ‘revolutionary’ enterprise - a term now often applied also to the digital age. What are the lessons that scholars can learn from studying critical periods during which one dominant technology is replaced by a new mode of communication? How do such lessons serve our understanding of the phenomenon called new media?
Dr. Rosa Salzberg, University of Warwick, United Kingdom
Dr. Gabriele Balbi, Università della Svizzera italiana, Switzerland
Dr. Juraj Kittler, St. Lawrence University, USA
(info atualizada em 19/12/2014)
2015-2016 Harry Ransom Center Research Fellowships in the Humanities
The Harry Ransom Center, an internationally renowned humanities research library and museum at The University of Texas at Austin, annually awards more than 50 fellowships to support projects that require substantial on-site use of its collections. The fellowships support research in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history.
The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 to $1,700 travel stipends and dissertation fellowships with a $1,500 stipend.
The Ransom Center invites applications for its 2015-2016 fellowships, which will support research visits that take during the period June 1, 2015-August 31, 2016. Applications must be submitted through the Center’s website by January 15, 2015, 5 p.m. CST.
Fellows will become part of a distinguished group of alumni. In the 25 years since the fellowship program's inauguration, the Center has supported the research of more than 900 scholars from around the world through fellowship awards.
More information about the fellowships and the Ransom Center’s collections is available online at http://budurl.com/fc8m .
Questions about the fellowship program or application instructions should be directed to firstname.lastname@example.org.
(info atualizada em 18/12/2014)
CFP Dossier temático Aniki editado por Vicente Sánchez-Biosca: Os arquivos fílmicos e a memória: documentos e ficções (prazo: 30 de dezembro de 2014)
Nos últimos anos, a problemática dos arquivos fílmicos invadiu a reflexão da História, filosofia e psicologia. Das cinematecas aos discursos sobre o trauma e a memória, o arquivo reivindicou um protagonismo que, há apenas duas décadas atrás, estava nas mãos dos profissionais das cinematecas e de cineastas ou documentaristas especializados.
No entanto, os documentos de arquivo, ainda considerados fetiches, são objeto de intervenção por parte de quem os reutiliza. Nos usos mais convencionais que fazem os canais de História das televisões, são coloridos e adaptados às condições sonoras da atualidade, reduzindo ou anulando, por conseguinte, a sua historicidade. Noutras ocasiões, são explorados por procedimentos digitais, montados, comentados em voz-off, interrompidos. Mas existe algo mais: a necessidade de recorrer ao arquivo gerou uma especial angústia naqueles casos em que um acontecimento não possui um documento que o cristalize ou, quando existe, seja considerado insuficiente ou inadequado. Nestes casos, a ficção constrói um arquivo paradoxal que se projetará para o futuro. Como alguns estudos recentes puseram em destaque, o efeito de arquivo é muitas vezes acompanhado por um afeto de arquivo, uma ambígua coloração emocional (Jaimie Baron).
Nenhum conjunto de imagens demonstra melhor isto do que a representação de acontecimentos extremos em que a imagem e o som são postos à prova, da propaganda totalitária à violência, da apropriação de uma imagem para inverter a sua intenção ou sentido original ao seu entendimento como traço indelével da memória coletiva.
Este dossier tem por objeto a genealogia desses documentos de arquivo, a sua (re)criação, as migrações a que foram submetidos, tanto na dimensão diacrónica (ao longo da história), como sincrónica (entre os diferentes media através dos quais se desliza: fotografia, cinema, televisão, Internet…). Desta forma, procura analisar as consequências que estes deslocamentos e reescritas possuem na esfera pública (a leitura do passado, a memória coletva, a escrita da história).
Os artigos recebidos serão sujeitos a um processo de selecção e de revisão cega por pares. Mais informações sobre o processo de submissão emwww.aim.org.pt/aniki
Vicente Sánchez-Biosca é professor catedrático de Comunicação Audiovisual na Universitat de València e foi professor visitante nas Universidades de Paris III e Paris I, New York University, Universidade de São Paulo, entre outras. Entre os seus últimos livros contam-se NO-DO: el tiempo y la memoria (2000), El pasado es el destino. Propaganda y cine del bando nacional en la guerra civil (2011), ambos em colaboração com Rafael R. Tranche, Cine de historia, cine de memoria. La representación y sus límites (2006), Cine y guerra civil española: del mito a la memoria (2006). Atualmente, dirige um projeto de investigação sobre a função da imagem na construção do carisma dos líderes políticos em Espanha e outro sobre a representação das vítimas de genocídios.
(info atualizada em 18/12/2014)
2nd International Conference & Exhibition on Semiotics and Visual Communication
2-4 October 2015, Cyprus University of Technology, Lemesos / Cyprus
Conference web site: http://icsvc-conference.com/
The event will take place from the 2nd to the 4th of October 2015 at the Cyprus University of Technology, and is being organized by the Cyprus Semiotics Association together with Cyprus University of Technology. The conference will be accompanied by an Art and Design exhibition with the theme ‘Culture of Seduction (the seduction of culture)’. This inclusive conference and exhibition aims to investigate the broad subject field of semiotics in its widest context, celebrating the exploration of connections, tensions, contradictions and complementarity between the diversity of outputs.
The event seeks to bring together researchers, scholars and practitioners who study, evaluate and reflect upon the means by which semiotic theories can be analysed, perceived and articulated within the context of the various forms of theoretical and practice based visual communication. The conference welcomes papers from a broad interdisciplinary and theoretical spectrum, such as different semiotic paradigms, post-structural and postmodern approaches, social semiotics, theories of culture and visual communication.
Papers will be accepted in Greek & English.
Call for Papers
30th of September 2014
Deadline for submission of Abstracts
15th of January 2015 (you will receive an acknowledgment by email)
Notification of Acceptance
Not later than 28th of February 2015.
Deadline for registration-authors
14th of July 2015
Deadline for registration-participants
14th of September 2015
2-4 October 2015
(info atualizada em 18/12/2014)
Framing the Object: Memory, Nation, Narrative
Two-part Workshop for Postgraduate Students
Institute for Modern Language Research (IMLR)
10 January 2015 (9-10.30am) and 3rd February 2015 – 5.30-7.30pm
Organisers: Silke Arnold-de Simine, Rebecca Dolgoy and Godela Weiss-Sussex
‘Monuments in Germany are different from monuments in other countries.’ (Neil MacGregor, Director of the British Museum).
The British Museum’s current exhibition ‘Germany: Memories of a Nation’ (16 October – 25 January 2015), explores 600 years of German history through iconic and less familiar objects. Our two-two part workshop invites participants to engage with the exhibition and use its objects to explore themes relating to memory, nation, and narrative.
In the first session (10 January) we will go on a guided tour of the exhibition. Participants are encouraged to choose an object or series of objects to form the basis of a short and informal presentation. The presentations and discussions will take place during the second part of the workshop which will be held at the IMLR on the 3rd of February. Among the questions we are planning to address are:
* What kind of narratives can objects tell and how is this done in this exhibition?
* Why is the exhibition talking about ‘memories’ rather than ‘narratives’ of a nation?
* Whose memories is the exhibition presenting?
* And why is the nation the defining paradigm through which these memories are told and which in turn legitimise the nation?
* How does the exhibition work in conjunction with the BBC4 radio programme which is also published as a book?
If you are interested in taking part, please write a brief expression of interest (no more than 200 words) in which you include why you would like to take part and how this workshop would benefit your own work.
Please send it to email@example.com, firstname.lastname@example.org and email@example.com Sunday, 4 January 2015 at the latest.
(info atualizada em 18/12/2014)
III International Conference on Media Ethics
We invite you to present your abstract to the III International Conference on Media Ethics, that will take place at the School of Communication of the University of Seville on the 24th, 25th and 26th of March 2015
The abstract should be 500 words máximum and the deadline to submit ends on 15th January 2015. And the deadline to submit the full paper is 28th Februrary 2015.
This international conference is organized by the University of Seville and the Autonoma University of the Mexican State (UAEM). The conference will have parallel session in English and Spanish.
For further information about sub-themes, criteria and process visit www.congreso.us.es/mediaethics
(info atualizada em 17/12/2014)
PhD positions at the CRDM program @ NCSU
North Carolina State University's Ph.D. program in Communication, Rhetoric, and Digital Media (CRDM) welcomes applications for the 2015-16 academic year.
Deadline for applications is JANUARY 15, 2015.
The Ph.D. Program in Communication, Rhetoric, and Digital Media prepares doctoral students to analyze the social, cultural, and political dimensions of information technologies, new communication media, and digital texts and to actively engage with digital media through research, criticism, production, and practice. Students work with program faculty from the departments of Communication and English and with affiliated faculty from departments across the university to study oral, written, visual, computational, and multimodal forms of communication, rhetoric and digital media; to examine the transformation of communication in the context of digital media; and to address the theoretical challenges of innovative, interdisciplinary research.
Following the core seminars of the program, students create their own areas of focus in close consultation with our faculty. Recent choices include:
• Computer-mediated communication
• Digital games and gaming communities
• Visual rhetoric
• Mobile communication
• Digital Humanities
• Writing for new media
• Scientific communication
• Technology and pedagogy
• History and Theory of Digital Media
Our students additionally engage in interdisciplinary opportunities at NC State University, around the neighboring Research Triangle Park, and internationally. The CRDM’s CIRCUIT Studio is among several hands-on facilities for physical computing and digital media work along with the cutting-edge spaces and technology services at the NCSU Libraries. Starting in Fall 2015, CRDM students will also have an opportunity to pursue a graduate certificate in digital humanities in tandem with their own research trajectory. Our students have an excellent academic and professional placement rate, having found tenure-track positions at Michigan State University, Rochester Institute of Technology, University of North Texas, DePaul University, Nanyang Technology University (Singapore), and industry positions as well.
For comprehensive information about the program, faculty, and students, please see the CRDM website: http://crdm.chass.ncsu.edu.
Find us on social media at https://twitter.com/ncsucrdm andhttps://www.facebook.com/NCSUCRDM
If you have any questions, please email CRDM Associate Director, Dr. David Rieder.
(info atualizada em 17/12/2014)
Inscrições para a 9ª edição do PANORAMA – Mostra do Documentário Português
Estão abertas as inscrições para a 9ª edição do PANORAMA – Mostra do Documentário Português.
Os filmes poderão ser submetidos até ao dia 30 de Janeiro de 2015.
O PANORAMA - Mostra do Documentário Português - ao longo da sua história, tem-se afirmado como um momento para pensar, discutir e reflectir o cinema documental que se faz em Portugal. A cada ano, a Mostra ausculta a actualidade desta forma de expressão cinematográfica, e simultaneamente, explora filmografias que desenharam a história do documentário português.
Na sua 9ª edição, o PANORAMA implode com todas as secções e fronteiras, aproximando-o dessa vista larga que o define. Sem distinção marcada entre mostra contemporânea e retrospectiva histórica, os filmes poderão dialogar entre si, pondo o presente a ver e a pensar a partir do passado e vice-versa. Sem lugar fixo ao longo dos dias, a programação percorre a cidade de Lisboa.
Mais informações em panorama.org.pt.
(info atualizada em 16/12/2014)
Reimagining American History in Film and Media
A Two Day International Conference at Tel Aviv University, The English and American Studies Department.
June 14-15, 2015.
Keynote speaker - Professor Elisabeth Bronfen, University of Zurich.
The fascination with American history in popular culture is not a new phenomenon. However, in recent years, we have witnessed an ever growing interest in American nation formation. Thus recent films increasingly focus on the Civil War, for one, and on revisiting slave narratives as significant tales for contemporary viewers. Recent examples include such films as Tarantino’s Django Unchained (2012), Spielberg’s Lincoln (2012), Timur Bekmambetov’s Abraham Lincoln Vampire Hunter (2012), Lee Daniels' The Butler (2013), Gore Verbinski’s The Lone Ranger (2013), Steve McQueen’s 12 Years a Slave (2013), and Shawn McNamara’s Field of Lost Shoes (2014). Television series, like Sleepy Hollow and American Horror Story also point to the increasingly Gothicized return to an (imagined) past, which is also present in more “realistic” shows like the highly successful House of Cards, which returns to the Civil War as a point of significance for the protagonist’s current political aspirations. An episode of Da Ali G Show returns to the South where “Borat” attempts to buy a (white) slave. As these examples suggest, the resurgence of interest in certain historical events is closely related to the present political moment.
This obsession with seminal historical events in the nation’s past is expressed in manifold ways in film and media. In History on Film/Film on History, Robert Rosenstone sees “the history film as part of a separate realm of representation and discourse, one not meant to provide literal truths about our past, but metaphoric truths.” These “metaphoric truths” take many forms, from the romanticized and sentimentalized accounts of a glorified past, to works attempting a greater degree of verisimilitude, to the more overtly gothic and science-fictional portrayals. As Robert Burgoyne notes in Film and Nation, these films explore the “reshaping of our collective imaginary in relation to history and to nation.” Elisabeth Bronfen's reading of Django Unchained as a film where a "new myth" is created, but one that has "history" in it, is relevant to the ways in which other films address the historical as mythical and vice versa. It is this intersection of history and myth which we aim to explore.
We seek papers on these various returns of the historical to the contemporary scene. Possible topics include but are by no means limited to:
"New" Renditions of the past
The present concern with the historical as opposed to past representations
The use and abuse of history
The role of nostalgia and emotion in the retelling of past events in film and media
The current political climate and its role in reshaping the past in film and media
The role of historical trauma in retelling the past in film and media
Changing aesthetic practices and their role in the perception and representation of the past
Historical ghosts and revenant figures
Reimagining American wars
Memory and trauma; images of crisis
The representations of gender and sexuality, race and ethnicity, and class and economics
Theoretical and critical approaches to historical representations
Please send abstracts of 200-300 words to Reimagining.History@gmail.com by 31.12.2014 to the conference organizers, Dr. Yael Maurer and Dr. Sonia Weiner.
(info atualizada em 16/12/2014)
Tenure Track Instructor Position in Digital Media (UBC Okanagan campus)
Faculty of Creative and Critical Studies and Irving K. Barber School of Arts and Sciences
Tenure-Track Instructor I:
Digital Media and Computer Science
The Faculty of Creative and Critical Studies and the Irving K. Barber School of Arts and Sciences at the University of British Columbia’s Okanagan campus invite applications for a tenure-track position jointly appointed to the Visual Arts and Computer Science programs. The appointment will be at the rank of Instructor I and will begin on July 1, 2015 or soon thereafter. The successful candidate will take an active part in the development of a new, interdisciplinary, Digital Media degree program.
Candidates must hold an advanced graduate degree in the Visual Arts, or Computer Science, or a related field (Ph.D. preferred). The preferred candidate will have demonstrated expertise in the development of Digital Media, as well as an established reputation within both the Arts and Technology communities. Candidates for this interdisciplinary position must have relevant teaching experience, evidence of ability and commitment to teaching excellence, and promise of educational leadership. Connections to the arts and technology industries would be an asset.
The successful candidate will contribute to the development of the Digital Media degree program, will teach associated courses in Visual Arts and Computer Science, will be expected to develop and implement curricular innovations, and maintain excellence in teaching and educational leadership. The position also will include service responsibilities.
UBC is one of the world’s leading universities. The university has two distinct campuses, one in Vancouver and one in Kelowna. UBC’s Okanagan campus, located in the city of Kelowna, has over 8,000 students in seven faculties, with strong graduate programs. Situated in the heart of the Okanagan Valley, one of the most scenic regions in Canada, it offers an intimate learning environment, opportunities for region-centred research, international perspectives, and much more. The collegial learning environment of UBC’s Okanagan campus focuses on effective teaching, critical and creative scholarship, and the integration of scholarship and teaching. We are committed to an ethos of local involvement, global engagement, and intercultural awareness and we provide a positive, inclusive, and mutually supportive working and learning environment for all our students, faculty and staff. To learn more about the campus, go to http://web.ubc.ca/okanagan/welcome.html. For more information about UBC resources and opportunities, go to http://www.hr.ubc.ca/faculty-staff-resources/. To learn about the Faculty of Creative and Critical Studies, go tohttp://www.ubc.ca/okanagan/fccs and to learn about the Irving K. Barber School of Arts and Sciences, go to http://www.ubc.ca/okanagan/ikbarberschool/welcome.html
How to apply
To apply for this position please visit the link –
Candidates are asked to submit:
1) a letter of application;
2) curriculum vitae;
3) statement of teaching philosophy;
4) copies of teaching evaluations;
5) sample syllabi of introductory and intermediate courses; and
6) samples of creative work.
Digital images/files (up to a maximum of 20) may be submitted electronically or be made available online. Time-based work should be edited to run no more than 15 minutes in total, with clearly identified titling. Preferred formats are Microsoft Word (.doc or .docx) and Adobe Acrobat (.pdf).
Candidates should also arrange to have three letters of reference addressed to Dr. Ashok Mathur and sent directly to firstname.lastname@example.org
Inquiries may be directed to Dr. Ashok Mathur, Head, Department of Creative Studies, Faculty of Creative and Critical Studies (email@example.com) or Dr. Patricia Lasserre, Associate Dean, Irving K. Barber School of Arts & Sciences (firstname.lastname@example.org).
The reviewing of applications will begin January 15, 2015 and continue until the position is filled.
All appointments are subject to budgetary approval.
UBC hires on the basis of merit and is committed to employment equity. All qualified persons are encouraged to apply. We especially welcome applications from members of visible minority groups, women, Aboriginal persons, persons with disabilities, persons of minority sexual orientations and gender identities, and others with the skills and knowledge to engage productively with diverse communities. Government regulations require that Canadians and permanent residents of Canada will be given priority.
(info atualizada em 16/12/2014)
Archive Based Productions
Journal of European Television History and Culture
Vol. 4, Issue 8, Fall 2015
In 1927, when Esfir Schub released her commissioned film The fall of the Romanov Dynasty to commemorate the 10th anniversary of the October Revolution, she hardly knew that her extensive use of film footage and newsreels of the event would mark the invention of a new ‘genre’: the archive based production or compilation genre. Television has adopted this genre, but audiovisual archives have fuelled a wide array of programmes and genres beyond compilation productions.
Government, business, broadcast and film archives as well as amateur collections and home videos are commonly used to spark memories and re-enact events from the past in various contexts. They are made widely accessible and re-used in traditional broadcast productions or given a second life in digital environments through online circulation.
This issue of VIEW invites scholars, archivists, producers and other practitioners to consider, highlight and elaborate on the use and re-use of moving image archives in media productions (for cinema, television, web, etc.). Contributions are welcome in the form of (short) articles or video essays.
Proposals are invited to explore (but not limited to) the following topics and questions:
- Has the digital environment created a paradigm shift in the use of audiovisual archival materials?
- The authenticity of audiovisual archives in the digital environment;
- In what ways can audiovisual archives transform our relationship to the past? What is the role of archives in helping us reconnect with or understand the past? How do national/organisational archive policies impact or limit the histories that are informed by these archives?
- The audio-visual archive as proof, testimony or document of reality, as shared heritage or collective memory;
- Case studies using moving images as historical sources;
- The use of archives in creative productions;
- Ahistoricism in the use of audiovisual archival materials;
- Found footage in moving image productions;
- Compilation programmes studied through issues of representation, distribution, production, reception, etc;
- Various formats and subgenres of compilation programmes: biographies, historical productions, art forms, etc;
- Comparative studies of the compilation genre;
- The search for identity in audiovisual archive collections;
- The use of national audiovisual collections in a European or international context.
- Contributions are encouraged from authors with different kinds of expertise and interests in television and media history.
- Paper proposals (max. 500 words) are due on January 31st, 2015.
- Submissions should be sent to the managing editor of the journal, Dana Mustata (email@example.com). A notice of acceptance will be sent to authors in the 3rd week of February
- Articles (2 – 4,000 words) will be due on May 15th 2015.
- The VIEW Archive Based Productions Vol. 4, Issue 8, is planned for Fall 2015
- For further information or questions about the issue, please contact the co-editors: Mette Charis Buchman (firstname.lastname@example.org) and Claude Mussou (email@example.com)
Seewww.viewjournal.eu for the current and back issues. VIEW is proud to be an open access journal. All articles are made findable through the DOAJ and EBSCO databases.
(info atualizada em 15/12/2014)
‘Rethinking Early Photography’
16th-17th June 2015, University of Lincoln
Keynotes: Kate Flint, Lindsay Smith, Kelley Wilder
Attitudes to photography have undergone a radical shift in recent times. Partly in response to these contemporary changes, historians, curators and photographic practitioners have begun to re-examine older forms of photography: exploring the wide variety of historical technologies and techniques, finding surprising ways in which images were manipulated and determining how an ideology of photographic realism was maintained. Yet there remains a need for scholars to explore questions of early photographic ‘authorship’, singularity and objectivity in much greater detail.
Scholarly studies of nineteenth-century photography have been heavily influenced by later theoretical constructions. As an alternative, Daniel Novak has posited a ‘Victorian theory of photography’. Yet this theory remains unelaborated. Similarly, Elizabeth Edwards and others have called for a move away from the traditional Art History model of analysing photography. This interdisciplinary conference will explore the question of what such an analysis, and such a theory, might look like.
Possible questions and areas of interest for the conference include:
How do technological narratives influence our understanding of photography?
Photography as a business; photographers as workers.
The hegemony of nineteenth-century photographic realism, and resistances to it.
Can/should we do away with the Art History model of photography?
Alternatives to the photographer-as-author model of photographic exhibition and analysis.
To what extent can we think of photography as being separate to other print and visual media?
The role of photography in the creation of nineteenth-century celebrity.
Early photography as represented in literature, art and film.
Photographs as networks; photographs as objects.
When does ‘early’ photography end?
Does digital photography allow us to ‘read back’ the performativity of images from earlier periods? How might the revival of Victorian photographic techniques by current practitioners influence historians?
Organisers: Owen Clayton, Jim Cheshire, and Hannah Field.
To submit proposals for 20 minute papers, please send an abstract of 200-250 words to firstname.lastname@example.org. The deadline is 12th Jan 2015, 5pm (GMT).
(info atualizada em 15/12/2014)
Kinetophone. Journal of Music, Sound and Moving Image
Kinetophone is an international peer-reviewed journal, devoted to the study of the interaction between music, sound and moving image, including not only film, but also television, video, advertising, computer games, installation, digital art and other new media.
Published twice a year, the journal welcomes contributions from different fields of knowledge and in a diversity of topics, seeking to develop new and critical approaches on film music and film sound. Kinetophone is open to a wide range of disciplinary methodologies, including musicology, ethnomusicology and music analysis, film studies, cultural theory, media studies, popular music studies, aesthetics, semiotics, sociology, etc.
English and Portuguese are the journal’s primary languages, but articles in Spanish, French and Italian will also be welcome. In addition to the peer-reviewed articles, Kinetophone issues will also include book reviews, interviews and reports of other research activities on music, sound and moving image.
Kinetophone will not consider articles that have been published elsewhere or that are currently under consideration by another journal.
Kinetophone is published by the research project “Listening to the moving images: new interdisciplinary methodologies for the study of sound and music on Portuguese cinema and media”, funded by the Fundação para a Ciência e Tecnologia (FCT) and developed at the Instituto de Etnomusicologia – Centro de Estudos em Música e Dança (Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa).
(info atualizada em 13/12/2014)
Discourses of Culture - Cultures of Discourse
DN15. The 15th DiscourseNet Conference:
Discourses of Culture - Cultures of Discourse
March 19-21, 2015
University Library "Svetozar Markovi?" Belgrade
Visit us athttp://dn15.unilib.rs
A topic of controversial debate today, "discourse& culture" points to fundamental questions in contemporary society such as the role of mass media in the construction and transformation of reality, the interrela-tionships between high and mass culture, or the interpellations of sub-jects in their communities. Discourse is seen as a set of enacted process-es that establish, protect, or change conventions and thus reassemble the wide area of both the material and immaterial environment. Therefore, the question of how discourse affects culture through a long chain of mediated actions and reactions stands at the focal point of many dis-course researchers. The main aim of the DN15 conference is to open an interdisciplinary dialogue concerning discourse and culture. Contribu-tors are invited to make (sub-)culture(s) a central concern within dis-course studies or to explore discursive phenomena in terms of culture. DN15 welcomes critical reflection upon the discursive and cult ural as-pects of meaning, identity, and communication.
This conference welcomes new methodological and theoretical ap-proaches dealing with the nexus of discourse and culture. Contributors are invited to focus on inter- and transdisciplinary approaches in media studies and digital humanities, sociology, political studies, linguistics, lit-erary criticism, and cultural studies. The meeting also presents the op-portunity to join the DiscourseNet network and to develop new projects and cooperations. The working language is English, all contributions will be recorded (with the consent of the presenters), and a publication is planned.
Conference participants are also invited to take part in the planning meeting of DiscourseNet which will take place on the Saturday, at the end of the conference. All those who wish to become members, propose new ideas, or talk about collaborative perspectives for the discourse re-search network are most welcome. Please send an email to the organiz-ers if you want to join this meeting.
The event is free, but a small contribution for coffee etc. may be charged. Travel assistance may be available for a limited number of participants who are in need of financial support (please justify). The deadline for conference paper proposals (with name, title, a half-page abstract and a short cv) is 1st January 2015. Please contact the organizers email@example.com firstname.lastname@example.org, and visit the conference webpage at dn15.unilib.rs or dn15.ubsm.rs. DN15 is organized by Jan Krasni (Belgrade) and receives support from the ERC DISCONEX project led by Johannes Angermuller (Warwick).
Institution: University Library "Svetozar Markovic"
Kontaktperson: Jan Krasni
(info atualizada em 12/12/2014)
UCSB Media Fields Conference 2015
April 2-3, 2015
The Media Fields Collective at UC Santa Barbara is excited to announce its fifth biennial conference exploring the intersections of media and space. We propose “encounters” as a framework through which these intricate relationships may be addressed. This term has been strategically deployed to think about exchanges, contact zones, and interactions among agents, institutions, and technologies in various positions of power. Our goal is to re-examine the ways in which the encounter has been deployed and to explore its potential as a critical framework that may be applied to emerging trends across media studies. We invite participants to consider encounter’s potential for creating mutualities among parties and explore the ways particular encounters reflect, overturn, cloud or reverse this potential. How do we grapple with the slippage between the ideal possibilities of an encounter and its uneven actualities? What are theoretical, aesthetic, political and practical fields where we may locate such slippages and what is at stake? How can we think of casual encounters at media interfaces, platforms and screens? How do ways of conceiving proximity, isolation, autonomy, and agency shape notions of an encounter?
We encourage submissions that enable us to think of encounters as layered processes that may imply varying degrees of friction and fluidity, productivity and enclosure. Essays could use the idea of the encounter to trouble borders, physical and non-physical, by identifying seepage, flow, explosion, blockage, creativities across layers in ways that challenge linear understandings of power and agency. Problematizing seemingly stable and self-evident dichotomies like the global/ local, public/private, licit/illicit, and thinking about how they fold into each other may provide an initial framework for envisioning encounters. We are particularly interested in multidimensional viewpoints that bring together the fecund exchanges and pernicious outcomes of these meetings.
The following themes might serve as catalysts for these conversations:
- Interdisciplinary encounters involving film and media.
- How can we understand media texts as encounters.
- Who controls the spaces where these generative encounters may take place.
- Interactions involving governance and global/local media practices.
- How may we conceive of “placeless” encounters and how they allow us to rethink space.
- New types of encounters facilitated by social media and how these encounters shape our identity.
- Interpenetrations between media and socio-cultural discourses of difference.
- What kinds of meetings are produced through media industrial practices.
- The interplay between piracy and intellectual property rights.
- How might hapticity, interface, and software be understood as matters of interactive and technological encounters?.
- What kinds of encounters are produced through surveillance or clandestinely?
Each panelist will have 15-20 minutes to present his/her paper. Please email a 300-350 word proposal and a brief bio of the author (in Word format) to email@example.com by January 9, 2015.
(info atualizada em 12/12/2014)
PhD Studentships in Film and Television Studies at the University of Glasgow, 2015-16
Film and Television Studies at the University of Glasgow is pleased to invite applications for PhD studentships, through its involvement in the AHRC Doctoral Training Partnership Scotland. We welcome particularly research proposals which relate to our research strengths in the following areas:
amateur film; archival research; childhood in film and television; digital media; essay films; film festivals; film and history; film and philosophy (time, ethics); film tourism; materialist media studies; media technology and culture; popular music and film; memory and television; rural cinemas; world cinemas; amongst others.
A full list of our Film and Television scholars, and their interests, can be found here: http://www.gla.ac.uk/schools/cca/research/theatrefilmandtelevision/#tabs=2
Studentships are available to applicants living in the UK and the European Union. Applications for interdisciplinary projects are also very welcome. For full details, please visit www.sgsah.ac.uk
In addition, the College of Arts will offer a number of scholarships for PhD study in 2015.
These scholarships are open to UK/EU and International applicants.
The deadline for all scholarship applications to these schemes is Wednesday, 7 January 2015.
Applying several weeks in advance of this deadline is advisable. To be considered for an award, candidates must have applied to study at the University of Glasgow and have provided two academic references through the university’s application system.
Further details can be found at http://www.gla.ac.uk/colleges/arts/graduateschool/fundingopportunities/
Film and Television Studies at Glasgow is the home of the annual Screen Conference and the regular Screen Seminars. http://www.gla.ac.uk/schools/cca/research/theatrefilmandtelevision/#tabs=4
The Film and Television Studies PhD cohort is large and enjoys interdisciplinary links with such subjects as Cultural Policy Research, Music, Theatre, and History of Art.http://www.gla.ac.uk/schools/cca/postgraduateresearchstudents/
Our former students include: http://www.gla.ac.uk/schools/cca/research/theatrefilmandtelevision/formerphdstudents/
(info atualizada em 11/12/2014)
Senior lecturer in Media Technology, at least one, at Malmö University, Sweden
Malmö University is one of Sweden’s largest universities with about 25,000 students. Our dynamic educational and research culture is multidisciplinary, problem-oriented and socially relevant.
We are looking for people to join an established and successful team at the Department of Media Technology and Product Development (Faculty of Technology and Society, TS). Faculty at the department conduct teaching and research in IT and media technologies, product design and engineering and science. The department is growing, and we are now looking for senior faculty who will contribute to the ongoing development in media technology.
Qualified candidates must have:
A Swedish or international PhD degree
Documented teaching proficiency, including educational development and leadership
Documented ability to interact with the surrounding society and to provide information about activities within the academic field of the departmentFurther, the position requires a background in one of the following areas: media technology, informatics, computer science, interaction design. We are also interested in applicants who have obtained a Swedish or foreign doctoral degree in another subject but with have experience and/or documented interest of cross-media, multi-channel publishing and media technology. The applicant must have solid technical foundation with a focus on web and mobile based solutions and applications. Knowledge of strategic work with communications/publishing in multiple channels is particularly advantageous, as is knowledge of marketing and innovation.
The job would include independent teaching with responsibilites for course or program coordination, examinations at undergraduate and graduate levels, engagement in educational development, appropriate high-level research, and collaborations with businesses and community.
Teaching duties lies primarily within our degree programs: two Bachelor degree programs Media Production and Process Design, and Project Management within Publishing, and one Master's degree program Media Technology: Strategic Media Development, starting in the autumn of 2015. The work involves independent work as well as work in teams and includes participation in the development of the degree programs. An important task is to contribute to the increase of research activities related to media technology.
The position is open now and applications will be reviewed immediately after the deadline of applications. Malmö University determines salary on an individual basis and may require a probationary period. This full-time permanent position is in the Department of Media Technology and Product Development.
For more about the position:
For further questions, please contact:
Mats Persson, Head of the Department of Media Technology and Product Development, tel +46 40 66 57882, firstname.lastname@example.org
Maria Engberg, Director of Studies in Media Technology, and research coordinator tel +46 40 66 57328
(info atualizada em 11/12/2014)
Crossing Borders, Traversing Narratives
A Postgraduate Symposium of Film and Screen Studies
11 February 2015, University of St Andrews, Scotland
The very recent history saw issues related to nation and nationality re-emerge steadily, often aggressively, questioning and reframing notions such as identity, citizenship, or the irreversibility of globalisation as a border-dissolving, unifying process. In this context, investigating narratives of the displaced and of displacement, as well as their production, representation, distribution and reception, appears to be an increasingly complex, varied, and challenging process.
Crossing Borders, Traversing Narratives aims to re-interrogate cinema's relationship with the notion of geographical border, and the subsequent effects of this relationship. This one-day symposium is meant to provide an inclusive exchange platform for postgraduate students in the fields of film and screen studies, whose interests either lie in, or can be applied to, this particular area.
Keynote Speaker: Dr Shohini Chaudhuri (University of Essex)
Topics may include, but are certainly not limited to:
Migrant and diasporic filmmakers
Multicultural communities and cinema
On- and off-screen identities of displacement
Issues of distribution and exhibition. Diasporic film festivals
Translation, adaptation, assimilation (thematic, stylistic)
Cross-border politics, activism, civic engagement
Intersections of nation with race, gender, sexuality, class, religion
Formal and genre variations
Proposals with a brief abstract (250 words) for a 20-minute paper, as well as a short biographical note, should be submitted to Andrei Gadalean (email@example.com). The deadline for all proposal submissions is 21 December 2014.
(info atualizada em 11/12/2014)