PT/EN

A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O IV Encontro Anual decorre de 15 a 17 de maio de 2014, na Universidade da Beira Interior (Programa/Formulário para Ouvinte). Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
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NOTÍCIAS

Film & History Conference: Film Noir
An area of multiple panels for the 2014 Film& History Conference: Golden Ages: Styles and Personalities, Genres and Histories
October 29-November 2, 2014
The Madison Concourse Hotel and Governor’s Club, Madison, WI (USA)

DEADLINE for abstracts: June 1, 2014
AREA: The Golden Age(s) of Film Noir

Motion picture audiences have long grown accustomed to dramatic narratives in which the protagonist struggles to discover some element of truth among a myriad of circumstances and characters. As suggested by Kaplan, Spicer, Harvey, Place, and others, the style of Film Noir represented a different entity within the history of film; one that drew upon social eclecticism, and the seamy underbelly of popular culture. This style, or to some, film genre, forced audiences into re-examining American values, including traditional gender roles, race, and sexuality.

While the war years of 1941-46 featured the private eye or hard-boiled detective’s trip through the social fantastic, the post-war years drew upon the social malaise that was a large part of American culture, and a war ravaged Europe. A later construct was that of psychopathic behavior and criminal intent in which villains and villainesses harbored dark childhoods, and psychological wounds of war.

What can be said about the effects Film Noir, and the novels from which they derive, have had upon traditional Western societies? What cultural or historical factors affected audience perceptions of these stories, and their subsequent pleasures? How did female spectatorship factor prominently in postwar narratives? How has the anti-hero figured prominently in the deconstruction of patriarchy, if at all? This area, comprising multiple panels, explores the concept of “Golden Ages” across the production systems surrounding Film Noir. Topics might include the following:

• Decoding the Production Codes through Film Noir
• Feminism, female sexuality, and fandom
• Gay, Lesbian characters and Queer considerations
• Racial relations, and social disruption
• The existence, or non-existence, of Neo-Noir
• The Family in Film Noir
• The military man or woman in wartime Films Noir
• The recognizable star vs. the unknown actor in Films Noir
• The Tough Guy guise, and the fascination with the Femme Fatale
• Wet, dangerous, and dark: the visual tropes of the Film Noir city

Proposals for individual papers should include a 200-word abstract and the name, affiliation, and contact email of the presenter. Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter.
Deadline for Abstracts: July 1, 2014. For updates and registration information about the upcoming meeting, see:www.filmandhistory.org/The2013FilmHistoryConference.php

Please send submissions or queries to the area chair:
Darrell M, Newton
Salisbury University
dmnewton@salisbury.edu
(info atualizada em 18/04/2014)

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Documentary and the Voice
Call for Papers and Workshop contributions
VOCAL PROJECTIONS: DOCUMENTARY AND THE VOICE
September 19, 2014 – University of Surrey (Guildford, UK)

Keynote speaker: Dr. Patrick Sjöberg (Karlstadt University, Sweden)
Filmmaker: TBC

Despite a renewed scholarly interest in documentary film and television in the last decade, scholars have yet to fully account for the role of sound in documentary and, in particular, the ways in which the human voice figures as a complex and potentially ambiguous element within the audiovisual landscape. Documentary scholarship has tended to focus on the visual, emphasising the importance of the photographic basis of the film image and its indexical relationship with reality. When it is discussed, the human voice has been figured in primarily rhetorical terms as an element that reinforces the visual truth claims of documentary. This symposium seeks to address this gap in documentary scholarship by exploring the connections among the voice, the body, the visual image and issues of rhetoric, affect, politics and performance in documentary.

Proposals are sought for contributions on any aspect related to the human voice in audiovisual documentary, including documentary film, television, video, audio recording, digital media, photography and performance. Topics may include, but are not limited to:
- Voice and performance
- The singing voice in documentary
- The voice actor
- Voiceover narration in documentary
- Documentary and the acousmetre
- Voice as evidence
- Beyond the voice as rhetoric
- Voice as cultural marker (e.g. voice and class, race, gender, sexuality)
- The politics of the voice
- Vocal fidelity and documentary realism
- Vocal distortion and masking
- The voice and the body/ the disembodied voice
- Documentary genres and the voice (e.g. nature documentary, rockumentary, activist films)
- Historical perspectives on the voice in audiovisual documentary
- Impact of technological issues on the documentary voice

Contributions may be in the form of either a panel paper or workshop participation. Panels will consist of 3 speakers, each delivering a 20-minute paper. Workshops will consist of 4-5 speakers who will collectively present for 30 minutes. Workshops emphasise the unstructured exchange of ideas between workshop panellists and audience. Proposals will be accepted for pre-constituted panels and workshops.

Please submit name, affiliation, short bio and 300-word abstracts to vocalprojections@gmail.com
by 1 May 2014. We will inform participants by 1st June.

Conveners:
Dr. Bella Honess Roe (Lecturer in Film Studies, University of Surrey, UK)
Dr. Maria Pramaggiore (Professor and Head of Media Studies, NUI Maynooth, Ireland)
(info atualizada em 18/04/2014)

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G.A.M.E. Issue n. 4
We are pleased to announce that the Call for Papers for the 4th issue of G.A.M.E. - Games as Art, Media, Entertainment is now available (www.gamejournal.it/re-framing-video-games-in-the-light-of-cinema/#.Ux-_4igZFTM). Once again, we would like to thank you for the support of this project
and to invite you to help circulate the CFP.

The 4th issue of G.A.M.E. Journal, titled Re-framing video games in the light of cinema, wants to investigate the complex relations between video games and cinema, revising and reflecting on a topic
controversially debated over the past 10 years. G.A.M.E. asks, once more, what is cinematic in video games and what is ludic at the cinema.

Following, you can find the extended version of the CFP: RE-FRAMING VIDEO GAMES IN THE LIGHT OF CINEMA

As audiovisual entertainment whose content is largely representational, video games have a lot more in common with film and television than merely characters and plotlines.

Mark J. P. Wolf ('Inventing Space: Toward a Taxonomy of On- and Off- Screen Space in Video Games', in Film Quarterly, vol. 51, n. 1, 1997, p. 11)

With its 4th issue G.A.M.E. wants to investigate the complex relations between video games and cinema, revising and reflecting on a topic controversially debated over the past 10 years. The relationship between these two media is layered and they are interconnected in their practices as much as in their theories. Not only are cinema and video games linked by their audiovisual nature, but they are also connected by similar production paradigms. Not only does the cross-circulation of storylines, characters and brands play a primary role in the rise of convergence culture, but also, on a production level, they are grounded in common artistic and technical competences to the point of developing similar industrial systems.

During the past two decades, cinema became the key to access video games as cultural, artistic and social phenomenon. Consequently, scholars and researchers in Games Studies developed a strong awareness of the problems intrinsic to this comparative approach, leading to its problematisation within academic contexts. Torn between the need to develop an independent field of studies and the clear intermedial vocation of the discipline, Game Studies developed a suspicion towards this relationship, often debated at the margins of one or the other field. With its new issue, G.A.M.E. wants to offer a renewed reflection on the "interaction" between video games and films.

Firstly, Game Studies call for an updated reflection on what Wolf and Perron call (referencing Francesco Casetti's work on film theory) the "methodological theory". After half a century, Film Studies developed a constellation of "theories" that cover the ontological and phenomenological nature of the medium, its practices, its representative strategies, its history and historiographical value, and the politics connected to it, finally leading to question its methodological premises. At the same time video game theory lacks a conceptual history of the medium capable of abstracting the
specificity of case studies in order to account for a larger diachronic perspective. Can the cinematic theoretical corpus offer a contribution to the development of Game Studies? If so, what are the possible interceptions between these fields? What more can we learn about video games through the lenses of Film Studies?

On a second level, we want to investigate the characteristics of these two media, their similarities and differences in terms of aesthetics, practices and production. The majority of the studies on this topic assume the narrative quality of the cinematic medium, focusing on the narrative continuity between these media: genres, tropes and iconography. Nevertheless, this assumption is debatable and in need of renegotiation. If, on the one hand, it is true that the cinematic character of video games is mostly codified through its narrative and spectacular acceptations, on the other hand it is possible to rethink
the interplay between these two media in different ways. For example, by positioning video games within the larger history of spectacular media and attractions to which also cinema belongs, it is then
possible to frame this medium within the tradition that connects shadow play theatre to the magic lantern and, subsequently, to early cinema and devices for amplified vision (widescreen, stereoscopy). Moreover, the rise of the indie market, the proliferation of tools and commercialised engines, allowed the emergence of experimental work that challenges the mainstream identification with narrative models, opening new horizons of research. Titles such as Garry's Mod provide points of intersection with avant-gardes, problematizing the acquired definition of the medium, its strategies and internal structure.

Finally, with its 4th issue G.A.M.E. intends to discuss the place of video games in cinema. Video games' cinematic incarnations have often been overlooked, mostly referenced with regards to their aesthetic and iconographic influence. Nevertheless, more than 20 years after the release of Tron (1982), video games still influence cinema on iconographic, thematic and linguistic levels. What role do video games "play" in cinema? Are video games contributing to the development of a new cinematic aesthetics? Is this process connected to the commercialisation of new technologies? What are the reasons behind unsuccessful cinematic adaptations of video games? Video games provide source material for TV shows and web series, becoming protagonists of transmedial serialisation. At the same time, they are made cinematic subject of both nostalgic (Wreck-It Ralph, 2012) and apocalyptic (Gamer, 2009) discourses. For these reasons, G.A.M.E. wants to ask, once more, what is cinematic in video games and what is ludic at the cinema.

Scholars are invited to submit 500 words abstracts by May 3rd, 2014 at the address: gameitalianjournal@gmail.com

Abstract deadline: 3rd May
Notification of acceptance: 12th May
All accepted authors will be expected to submit a full paper by the 3rd of August. We expect to release this special issue in Autumn 2014.
(info atualizada em 18/04/2014)

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Civil society and democracy in the age of social media
Civil society is an essential actor in the democracy process in this 21 century. Arab spring has proven that the civil society activists confirm their capacity to make change. The evolution of the concept and practice of democracy is linked with the strengthening of the role of civil society.

As a context for civic education and the expression of citizens’ voices, civil society is a potential place for critical opinions and dissent opposition to the state and a control resource of the government. In this sense, civil society has made use of technological devices to improve their activities, to enhance participation in the democracy process and to solve social needs that are communities concerns.

Social media now are very important communication resources between people around the world, which in this 21 century have great influence in our everyday lives. Social media are providing open access to information and connections between different actors in any country. Social media present great opportunities to enhance the role of civil society in democracy process.

In some countries the government takes actions against the people cutting the Internet service, and it impacts on other countries, showing the role of social media handled by civil society in their purpose of changing the world.

The social control of governmental actions has improved with the activities of civil society and their forms of communication, interaction and collective action. Individuals and civil society gives legitimacy to the government and armed with their devices like social media, could pressure for reforms which can satisfy the needs of individuals and the country at all.

The spirit of the social media contribution to the civil society is in consonance with the Declaration of Principles of the World Summit on the Information Society, meeting in Geneva ten years ago.

Recommended topics include, but are not limited to, the following:
- The use of social media by civil society for policymaking participation.
- Social media for transparent electoral processes.
- The creation of civic spirit by civil society using social media.
- The role of civil society in democracy process
- Online parties and social movements
- Citizenship education trough social media.
- Social media and women’s civil rights defense.
- Governance participation and social media use.
- Civil society enhancement by social media

Around the world researchers and practitioners are invited to submit on or before April 15, 2014, four paragraph proposal explaining the mission and concerns of the proposed chapter and one short CV. Qualitative or quantitative studies and theoretical essays are welcome. Authors of accepted papers will be notified no more than April 30. The chapters guidelines will be send in that moment. Full chapters must be submitted by July 30, 2014.

Editors: Fatima Roumate PhD Institut International de la Recherche Scientifique, Morocco. E mail: roumatef@gmail.com
Lic. Amaro La Rosa. E mail: amarolarosa@gmail.com

Institut International de la Recherche Scientifique
http://www.institut-irs.com/
(info atualizada em 18/04/2014)

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Central and Eastern European Game Studies Conference
Brno, Czech Republic, October 10-11, 2014

The Central and Eastern European Game Studies Conference aims to be a meeting place for academics, journalists, developers and members of the public to discuss the phenomenon of computer and video games. It builds on the three year long tradition of the national game studies conference hosted by Masaryk University. This year, the conference will take place on October 10-11, 2014, and will be international in scope, bringing together experts from the Central and Eastern European region. Espen Aarseth will be the keynote speaker.

Conference website: http://gamestudies.cz/ceegs/

CALL FOR ABSTRACTS
500 word abstract deadline: May 12, 2014

THEME AND SCOPE
The main theme of the conference is “Digital Games in the Context of Central and Eastern Europe”. (We use the term "digital games" as a broader term which covers computer and video games.)

Due to many historical, social, economic and cultural specifics of the region, digital games have developed differently in Central and Eastern Europe than in the well-documented areas such as the U.S. or Japan. Research into games has also traced a path different from the “mainstream” of game studies represented by the U.S., the U.K. and Scandinavia. This conference will question these specific developments as well as more universal theoretical and empirical questions and design challenges faced by scholars and game creators in the region. We understand the region in a broad sense, including the Visegrad countries (Czech Republic, Slovakia, Poland, Hungary), the Baltic countries, the Balkans, the European successor states to the Soviet Union (Ukraine, Belarus, and Russia), and also Germany and Austria.

Being an interdisciplinary conference, we invite submissions in all fields related to the study of games, including, but not limited to, media studies, cultural studies, sociology, psychology, literature, film studies, history, philosophy, theory of art, computer science, law, and design. Although CEEGS is primarily an academic conference, we will welcome contributions not only by game researchers, but also by designers, artists, writers, critics or journalists, given that their submissions fit the theme and the aim of the conference. Despite the regional focus, we welcome abstracts from anywhere in the world. The conference language is English.

To present at the conference, you must submit a 500 word abstract of your presentation. All submissions will be reviewed by a board of reviewers, comprised of games and media scholars based in Central and Eastern Europe and appointed by the conference’s program committee.

We invite abstracts on any of the following topics:
- digital games and Central and Eastern European societies
- digital games and the national cultures of Central and Eastern Europe
- histories of digital games and homebrew computing in Central and Eastern Europe
- current trends among game players and audiences, especially in the region of Central and Eastern Europe
- current trends in game design and game industry, especially in the region of Central and Eastern Europe
- challenges and opportunities in game scholarship and education
- legal issues and market regulations concerning digital games
- non-digital games in Central and Eastern Europe - LARP, tabletop and card games

Please submit abstracts using Easychair at the following link:
https://www.easychair.org/conferences/?conf=ceegs2014

Following the acceptance, we will provide letters of invitation when requested. For any inquiries, do not hesitate to contact us at ceegs@gamestudies.cz.

IMPORTANT DATES:
Abstract submission: May 12 (length: 500 words)
Notification: June 12
Early bird registration deadline: August 31, 2014
Conference: 10-11 October 2014
Conference fee: 40 euro / Early bird: 30 euro
Conference fee for students: 20 euro / Early bird: 10 euro

Conference Program Committee: Jaroslav Švelch, Charles University in Prague, Czech Republic (program coordinator); Jan Miškov, MU Game Studies, Masaryk University, Brno, Czech Republic; Piotr Sitarski, University of Łódź, Poland; Zsófia Ruttkay, Moholy-Nagy University of Art and Design Budapest; Zdenko Mago, Constantin The Philosopher University, Nitra, Slovakia; Jakub Macek, Masaryk University, Brno, Czech Republic; Sabine Harrer, University of Vienna, Austrian Academy of Sciences.

Keynote speaker: Espen Aarseth is a principal researcher at the Center for Computer Games Research at the IT University of Copenhagen. Previously, he co-founded and was a professor at the Department of Humanistic Informatics at the Universiy of Bergen. Aarseth’s influential work includes his 1997 book Cybertext: Perspectives on Ergodic Literature, which defined many theoretical questions which would later face game studies. After Cybertext, he went to be one of the key figures in the establishment of game studies as a discipline. In 2001, he co-founded the academic journal Game Studies and has since been its editor-in-chief.
(info atualizada em 17/04/2014)

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Marie Slowdowska-Curie Individual Fellowships 2014
Loughborough University, UK has just launched an exciting research challenge in the field of communication, media and cultural studies:
Communication, Culture and Citizenship

Challenge
Communication can bring people together. Alternatively, it can tear communities apart. Culture can divide and it can reconcile. Understanding the processes through which inclusion and exclusion occur can contribute to creating more equal and just societies where individuals can flourish as citizens.

Loughborough’s Contribution
We address the problematics of inclusion (the structures and histories that may obstruct or enable its realization), the performance of inclusion (the complex ways in which communality is performed and articulated through social relations, interactions and cultural activities) and the practices of inclusion (the development of innovative strategies, policies and products that promote greater opportunity, equality and participation).

Further details of the research challenge are available here:
http://www.lboro.ac.uk/research/challenges/communication-culture-citizenship/

We welcome expressions of interest from talented post-docs who are interested in working with us and applying for a Marie Slowdowska-Curie Fellowship which support the mobility of researchers within and beyond Europe - as well as helping to attract the best foreign researchers to work in the EU. The grant usually covers two years' salary, a mobility allowance, research costs and overheads for the host institution. Individual researchers submit proposals for funding in liaison with their planned host organisation. Proposals are judged on their research quality, the researcher's future career prospects and the support offered by the host organisation. Fellows can also spend part of the fellowship elsewhere in Europe if this would boost impact, and those restarting their career in Europe benefit from special eligibility conditions.

In the first instance please contact
Professor John Downey, j.w.downey@lboro.ac.uk
(info atualizada em 16/04/2014)

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Gay Male Porn Now!
Special Edition of Porn Studies
It is now approaching 30 years since Jump Cut published the essay Men’s Pornography Gay vs Straight in which Tom Waugh was to attempt (perhaps for the first time) a systematic analysis and comparison of the representations and conditions of production, exhibition and consumption of straight and gay male pornography. In the wake of (and in the spirit of) Waugh’s intervention, a generation of scholars across Film, Media and Cultural Studies have been inspired to conduct their own studies of gay male pornography, its textual contours and its significances.

In the intervening years a great deal has changed in the media landscape and as a consequence the porn industry, gay and straight has a visibility that was inconceivable when Waugh wrote his essay in the middle of the 1980s. It’s in this radically changed context that this special edition of Porn Studies aims to take stock of the current state of scholarship that takes gay male pornography as its object of study.

From new formats and new modes of access, to new research avenues and new ways to make sense of what gay male porn means for its audience, the special edition will map the current terrain and indicate the direction for future research.

Submissions of particular interest are not limited to but may address:
* New formats/new platforms
* Amateur gay porn/User generated content
* Bareback porn
* Niche and fetish gay porn
* The gay porn industry
* Gay porn stars
* Gay porn audiences and porn fandom
* Discussion forums and gay porn blogs

This special edition of Porn Studies will be edited by Dr John Mercer
Please send abstracts of 300 words and a short biographical note to john.mercer@bcu.ac.uk and specialeditionpstudies@gmail.com
The deadline for proposals is end of April 2014
(info atualizada em 16/04/2014)

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Documenting Performance - TaPRA Working Group
10th Annual TaPRA Conference, hosted by Royal Holloway, University of London, 3-5 September 2013
Deadline: 30 April 2014

This is a call from the Documenting Performance working group for papers, presentations and / or workshops for the annual conference of the Theatre and Performance Research Association (TaPRA). This year’s conference will take place at Royal Holloway, University of London on 3 – 5 September 2014.

This working group’s focus is to provide a platform for researchers to share their works-in-progress or finished projects with others working on similar studies. Papers, presentations and provocations are all welcome. Researchers from any discipline background are welcome to participate if their topic connects with the problems and potentials of documenting the live and performing arts, and particularly in response to the following points:
* Documenting performance in the context of digital curation.
* Documenting performance to generate research material / source material / inspiration for new work.
* Significant properties: determining selection of the key aspects of live performance for documenting.
* The failure/s of documenting performance.
* Making and/or documenting performance: an historically uncomfortable dialectic.

As documenting becomes ubiquitous in the contemporary processes of creating, promoting, experiencing and critiquing performance and live arts, we have seen a shift from debates around its validity as a form of access to live work, to a growing acceptance of documenting processes as useful skills and practices regularly employed in contemporary performance-making and research. But what happens when we fail to document, either deliberately or by accident? What constitutes failure? Which creative strategies can come into play if we fail to document? How do we choose what is significant to document, and what are the creative possibilities for documenting as part of the creative process?

Please send a short description (up to 300 words) for your 15-20 minute presentation / paper or 1-hour workshop along with your technical requirements and a short bio (100 words) by **30 April 2014** to the working group convenors: Toni Santt.sant@hull.ac.uk and Laura Molloy atlaura.molloy@glasgow.ac.uk.

Only one proposal may be submitted for the TaPRA 2014 Conference. It is not permitted to submit multiple proposals or submit the same proposal to several Calls for Papers. All presenters must be TaPRA members, i.e. registered for the conference; this includes presentations given by Skype or other media broadcast even where the presenter may not physically attend the conference venue. If your paper has been accepted, yet you have not registered for the Conference by the final registration deadline in August, we will deem you no longer intend to participate and present at TaPRA 2013.

For more information about TaPRA and how to join, go tohttp://tapra.org
(info atualizada em 16/04/2014)

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Industrial Approaches to Media: Research Methods Symposium
Thursday 5th June 2014 – one-day research methods symposium
Hosted by the Institute of Screen Industries Research, University of Nottingham

Industrial Approaches to Media (IAM) is a research methods training initiative aimed at postgraduate and early career researchers interested in engaging directly with media industry professionals and companies to produce original and collaborative research. The project gathers practical information on the methodological issues and techniques involved in media industry research, as well as acting as a starting point for future collaborations between researchers and industry professionals.

As the project’s inaugural event the Institute of Screen Industries Research at the University of Nottingham will host a free one-day training event to be held on Thursday 5th June 2014. This will bring together junior researchers with media industry professionals and established academics with first-hand experience of industry research. The training event will be comprised of methods workshops, covering practical and theoretical topics such as: Interviewing Media Professionals, Knowledge Exchange between Media and Academia, and The Ethics of Media Industry Research.

Alongside the workshops we also invite proposals from postgraduates and early career researchers for 10-minute case study presentations. Focusing on how your own research practice has or could have been enhanced by collaboration with industry, presentations might explore such questions as:
· How do we do media industry research practically, methodologically, and institutionally?
· In the context of a multi-platform and transmedia landscape, how do we define the object of study in media industry research? What counts as an ‘industrial media text’?
· What are the challenges in writing up media industry research?
· What is the value of media industry research for both academia and industry?
· What can we learn from our experiences of engaging with industry professionals as junior researchers?

Proposals of 150 words (approximately) and any requests for further information should be sent to Matthew Freeman at aaxmaf@nottingham.ac.uk by Friday 2nd May 2014. For those PGs and ECRs interested in attending the event but not in presenting, please also register your attendance with Matthew Freeman at the above email address. Lunch and a wine reception will be provided. The event is free but places are limited.

Workshops and presentations will be published as videos on the IAM website soon after the event. This is therefore an opportunity for junior researchers to publicise their media industry research, network with established academics and media professionals, and access a unique research skills resource.

IAM Project Team: Matthew Freeman, Sam Ward, Leora Hadas, and Ash Harkin

Postscript: The MeCCSA Postgraduate Network is holding another training event, ‘Challenges and Changes in Public Engagement,’ on Friday 6th June 2014, also taking place at the University of Nottingham. A separate detailed announcement will be made shortly. If participants are interested in attending both consecutive events, the IAM Team will be happy to provide recommendations for accommodation.

Matthew Freeman
PhD Candidate, Department of Culture, Film and Media
Articles Editor, Scope: An Online Journal of Film and Television Studies
School of Cultures, Languages and Area Studies
University of Nottingham
University Park
Nottingham
NG7 2RD
www.scope.nottingham.ac.uk
(info atualizada em 16/04/2014)

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Social Media Analysis: Methods and Ethics
University of Glasgow
Friday 25 April 2014

This one-day interdisciplinary conference aims to increase understanding and promote discussion of methods and tools for the analysis of social media as well as the ethical issues involved in such research. It will introduce research that is currently being done both in Glasgow and around the UK, and will allow participants to make connections across disciplinary lines, with the aim of sparking ideas for future research or for different approaches to ongoing work. Registration is open now.

Full programme and more information:
http://www.gla.ac.uk/schools/socialpolitical/research/sociology/socialmediaanalysis/

Register via Eventbrite:
http://www.eventbrite.co.uk/e/social-media-analysis-methods-and-ethics-tickets-11234886849

Dr Giuliana Tiripelli
Stevie Docherty
Cairistiona Russell
College of Social Sciences
University of Glasgow
(info atualizada em 16/04/2014)

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IV Encuentro de Investigadores en Cine: Cine Latinoamericano: entre lo local, lo nacional y lo transnacional
Medellín, 24, 25 y 26 de septiembre, 2014

La Dirección de Cinematografía del Ministerio de Cultura y la Facultad de Comunicaciones de la Universidad de Antioquia, invitan a la cuarta versión del Encuentro de investigadores en Cine 2014 que se llevará a cabo en Medellín, Colombia, los días 24, 25 y 26 de septiembre. Producto de una iniciativa del Observatorio de Cine Latinoamericano de Historia y Teoría del Cine, en los últimos años este encuentro se ha consolidado como un importante espacio académico en Colombia que convoca a investigadores nacionales e internacionales a reflexionar sobre el cine latinoamericano y a crear nuevas redes de investigación. El encuentro se concibe como jornadas de intercambio activo donde los ponentes no sólo presentan sus resultados sino que además contribuyen en forma dinámica al diálogo y al afianzamiento de resultados.

El tema central de esta nueva versión es “Cine latinoamericano: entre lo local, lo nacional y lo transnacional”. Para este encuentro, nos proponemos reflexionar sobre los entramados y cruces estéticos y políticos que inciden y han incidido en las formas de entender y construir las nociones de lo local, lo nacional y lo transnacional en el cine latinoamericano. Nos interesa, en términos de las transformaciones históricas y la situación actual, pensar cómo estas nociones se configuran y reconfiguran en diferentes niveles, desde los elementos estilísticos, de género y narrativos y los múltiples temas y referentes que el cine presenta, hasta sus modos de circulación y recepción en el campo extendido de la producción audiovisual.

Para el desarrollo del tema central proponemos las siguientes líneas de investigación:
Estilos, géneros y narrativas en las encrucijadas de lo local, lo nacional y lo transnacional en el cine latinoamericano.
Los desafíos de las representaciones de raza, etnia, género, sexualidad y clase social frente a lo local, lo nacional y lo transnacional en el cine latinoamericano.
Territorios discursivos y prácticas neocoloniales, poscoloniales y decoloniales en el cine latinoamericano.
Dinámicas locales, nacionales y transnacionales de circulación del cine latinoamericano.
Tendencias y transformaciones de las producciones cinematográficas locales en contextos globales.
Reconfiguraciones de territorios y fronteras en el cine latinoamericano.
Cine expandido, nuevas tecnologías y otros regímenes visuales en el consumo y la producción del cine latinoamericano.
Lugares y desplazamientos de las narrativas y poéticas de la memoria en el cine latinoamericano en contextos locales, nacionales y transnacionales.

Las propuestas de ponencias se recibirán hasta abril 30 de 2014 en el formulario publicado en la dirección https://docs.google.com/forms/d/1mV1fl0ixh_105JBbLZpOwLgd9nlLhol7uGOu9GI1Ozw/viewform.

RESUMEN DEL CRONOGRAMA
Fecha límite de recepción de propuestas de ponencias: Abril 30, 2014
Fecha límite de recepción de propuestas de lanzamientos de libros: Abril 30, 2014
Notificación de aceptación de propuestas de ponencias: Mayo 7, 2014
Notificación de aceptación de propuestas de lanzamiento de libros: Mayo 7, 2014
Fecha límite de entrega de texto completo de ponencias: Agosto 31, 2014
Publicación de programación definitiva: Septiembre 1, 2014
Fecha límite para la inscripción: Septiembre 23, 2014
IV Encuentro de Investigadores en Cine: 24, 25 y 26 de septiembre

Cualquier duda o inquietud, puede escribir al correo electrónico encuentroinvestigadorcine2014@gmail.com
(info atualizada em 15/04/2014)

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Language, Media, and Development in East and South-East Asia conference
6th International Conference on Language and Communication (ICLC 2014)
Language, Media, and Development in East and South-East Asia
National Institute of Development Administration
Bangkok, Thailand, August 20-21, 2014
iclc.nida.ac.th
www.facebook.com/events/365990216874497/

Keynote Speaker:
Prof. Colin Sparks (Chair Professor in Media Studies, Hong Kong Baptist University)
Expert Roundtable: ‘Perspectives on Language, Media, and Development’:
Asst. Prof. Savitri Gadavanij (National Institute of Development Administration)
Prof. Hu Zhengrong (Professor of Communication at the Communication University of China)
Prof. Zhao Yuezhi (Changjiang Chair Professor at the Communication University of China & Canada Research Chair at Simon Fraser University)
plus others to be announced

Hosted by:
Graduate School of Language and Communication, National Institute of Development Administration, Bangkok, Thailand

Introduction:
As the power structures of the world continue to realign in the early twenty-first century, attention is increasingly being drawn to the development of countries in the East and South-East Asian regions. What this development is and will lead to, of course, is a highly contested area, with the previous teleological and unidirectional models largely being rejected in favour of more culturally-relevant explanations. This is due to not only the actual development paths taken by nations such as the People’s Republic of China, but also the diverse international and regional influences that now structure the development of nations such as Myanmar. The legacies of both colonialism and communism also further complicate the picture, as the rhetorical and political-economic strategies that countries can draw on no longer comes from a unipolar core, and more critical views of nations’ history are easily developed.

The place of media, language, and culture in this region is one of the key drivers of innovation and development and thus deserves a closer study. The dominance of a non-indigenous language, English, in regional trade and politics, and increasingly education as well, is also of note. Multilingualism and international professional and educational experience are now almost mandatory for those entering the workplace in sectors as diverse as hospitality and manufacturing.

The Asian media-scape as well is increasingly multi-faceted, with the strengthening of both national media markets and the increase of cross-importation of cultural products. This unique political-economic structure facilitates both the strengthening of the regional media market as well as allowing it to achieve a distinctive relationship to the ‘core’ American media industry for content and media platforms alike.

It is an exciting time to take a step back and view the multitude of changes that have taken place in the language and media sectors over the last several decades. The different paths of development taken by different elements also deserve a critique, and one done from a comparative perspective cannot but enlighten us as to the respective benefits and drawbacks.

Application:
This two-day conference is calling for papers from participants interested in media, language, and/or development, especially from an East or South-East Asian perspective. We accept both paper proposals and panel proposals.

- For paper proposals please send a 250-word abstract of your proposed paper, including your affiliation, contact information, and two keywords.
- For panel proposals, please include a 500-word description of the theme of the panel, two keywords, and at least four potential presenters and their affiliation and contact information.

Please log into the website, iclc.nida.ac.th for the appropriate paperwork. Paper abstracts and panel proposals should be submitted to iclc2014@outlook.com by June 13, 2014, however earlier submission is advised.

Important Dates:
Abstract Submission Deadline: 13 June 2014
Acceptance Notification: 4 July 2014
Early Bird Registration Deadline: 13 June 2014
Regular Registration: 14 June to 25 July 2014
Conference: 21-22 Aug 2014
Summer School: 16-27 Aug 2014

Topics include but are not limited to:
Business & Corporate Communication
Cinema
Cultural Studies
Discourse Analysis
English as a Second/Foreign Language
English for Specific Purposes
Historical Linguistics
Information and Communication Technology
Intercultural and Cross-cultural Communication
Journalism
Language Acquisition
Language Pedagogy
Minority Languages
Multilingualism
New Media and Social Media
Radio
Sociolinguistics
Television
Translation and Interpretation
World Englishes

Summer School:
The conference is also being held in conjunction with the 6th International Joint Summer School (IJSS, 2014), jointly hosted by Graduate School of Language and Communication, National Institute of Development Administration, Thailand, the National Center for Radio and Television Studies, Communication University of China, the School of Journalism and Communication, Chinese University of Hong Kong, and the Communication and Media Research Institute, University of Westminster, UK. Post-graduate and early-career academics are encouraged to also apply for an attend this stimulating two-week course featuring a wide range of experts giving intimate courses on topics related to media, language, and development. For more information please see http://bjss.cuc.edu.cn.
(info atualizada em 15/04/2014)

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School of Film and Television - PhD Funding Opportunities - Falmouth University
Falmouth University is offering a range of full and part-time studentship and bursary offers for PhD projects to commence in October 2014.
Deadline for applications is the 30th of May 2014: http://www.falmouth.ac.uk/postgraduate-funding

The School of Film and Television incorporates undergraduate courses in Film, Television and Animation along with the MA Film and Television. Staff within the school offer PhD supervisory expertise in the following areas:
Film History and Theory
Cultural Studies and Sociology
Film and Philosophy
World and Transnational Cinema
Documentary Film
Cult cinema
Representations of Gender and Sexuality
Film and Freedom of Speech
Media in the Digital Age
New Perspectives in Spectatorship/Audiences/Reception
Relationships between Film Theory and Practice
Cinema and Spatial Practice
Television and Viewing Platforms.
Representations of Urban Cultures and Spaces

We are happy to discuss prospective projects prior to application.
For further information and staff profiles please visit:
http://www.falmouth.ac.uk/content/dr-dario-llinares; http://www.falmouth.ac.uk/content/dr-sarah-arnold; http://www.falmouth.ac.uk/content/dr-anna-misiak;
(info atualizada em 15/04/2014)

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Sound and (moving) images in focus
How to integrate audiovisual material in Digital Humanities research?
Workshop at DH2014, 8 July 2014, Lausanne, Switzerland

Introduction
The issue that will be addressed during this workshop is how to overcome the contrast between audiovisual material being a steadily increasing body of data and the fact that it is relatively poorly represented in the field of the Digital Humanities. When considering the available DH tools, projects and publications it is clear that sources such as television, film, photos and oral history recordings have not yet received the same level of attention from scholars as written sources. This can be considered as problematic in the light of the expected exponential growth in volume of audiovisual sources and of the abundance of information for researches contained in this type of data that is largely overlooked. One can envision how a single document could satisfy the needs of various disciplines if tools would be available to identify, retrieve and analyse the various dimensions of a video-recording such as language, emotions, speech acts, narrative plots and references to people, places and events. This richness not only holds the promise of multidisciplinary collaboration between e.g., computer sciences, social sciences and the humanities, but also makes audiovisual material a potentially valuable playground for the Digital Humanities.
Workshop Programme

The workshop aims to bring scholars and computer scientists together to discuss the following key questions in four subsequent sessions.
1. Why are audiovisual data/archives scarcely used within the (Digital) Humanities?
2. What are possible strategies to stimulate the use of audiovisual data/archives within the Digital Humanities?
3. Which examples of digital tools applied on audiovisual data/archives can serve as best practices?
4. What should be the priorities on the agenda for the future uptake of audiovisual data/archives in the Digital Humanities?

The keynotes within the first two sessions will be delivered by Andreas Fickers, professor of contemporary and digital history at the University of Luxembourg, and Dr. Arjan van Hessen, specialist in speech technology and member of the Executive Board of CLARIN-NL. The first will talk about the use of audiovisual sources within humanities research, and the second will discuss the necessary technical and infrastructural provisions for the analysis of these sources. For the third session scholars are invited to submit papers and demos that illustrate the potential of applying DH approaches to audiovisual data with a focus on lessons learned. The final session is dedicated to the assessment and evaluation of the findings and aims at formulating a research agenda for the future. To disseminate the results of the workshop among a broader audience, the initiators intend to propose a special issue on this topic to a Digital Humanities journal.
Submission of proposals

For the third session on applications of DH on audiovisual data, the workshop organisers invite papers and demos that deal with experienced challenges of integrating AV in DH.

Submissions should include the following:
· General abstract (should not exceed 800 words)
· Contact info and a short description of research interests of the authors.
· The committee aims to select a balanced set of abstracts that cover the various media (film, television, photography, oral history, digital storytelling, recordings of sound and movement) and tools that are needed at the various stages of the research process (exploration, annotation, analysis, presentation, curation and preservation).

To submit a proposal, please send an abstract (docx or pdf) to avindhworkshop@gmail.com
Accepted abstracts will be published on the Erasmus Studio website.

Important dates
· Abstract submissions due: 16 May 2014 23:59 (CET)
· Acceptance notification: 28 May
· Workshop: 8 July 2014

Further information

More information about the workshop can be found on http://avindh2014.wordpress.com
Please note that registration for the workshop requires registration to the full DH2014 conference: full DH Conference.
For further information and questions, contact us via avindhworkshop@gmail.com.
For further dissemination of this call, please use this page or the call for papers PDF
Organisers

This workshop is initiated in the context of the collaboration between the Netherlands Institute for Sound and Vision and the Erasmus Studio, an interfacultary institute at the Erasmus University Rotterdam, that promotes and initiates e-research across disciplinary boundaries, with an emphasis on multimedia archives.

· Dr. Stef Scagliola (Erasmus University Rotterdam, Erasmus Studio)
· Dr. Martijn Kleppe (Erasmus University Rotterdam, Erasmus Studio)
· Max Kemman MSc (Erasmus University Rotterdam, Erasmus Studio)
· Dr. Roeland Ordelman (Netherlands Institute for Sound and Vision, University of Twente)
· Prof. Franciska de Jong (Erasmus University Rotterdam, Erasmus Studio, University of Twente)
(info atualizada em 15/04/2014)

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Final Call for Papers Journal of Screenwriting 6.2 - Television Writing Issue
We invite researchers, educators and practitioners to contribute to Issue 6.2 of the Journal of Screenwriting, a peer-reviewed journal that focuses on this important aspect of moving image pre-production and conceptualization. This special issue is concerned with writing for television. Papers submitted for consideration might include but are by no means limited to the following areas:

• The television writer as auteur
• The writer and his or her relationship with the television industry.
• Television institutional practice and the writer.
• Writing television series and serials.
• Television writing practice in different nations and national contexts.
• Collaborative writing.
• Analysis of television scripts.
• The script development process.
• The history of television writing.
• Genre and television writing.
• The television writer as showrunner or creative producer.
• Television writing in the digital multi-platform age.

The peer reviewed Journal of Screenwriting brings together research and reflection on pedagogy, professionalism and practice in an area which has been somewhat overlooked in academic discourse. New work has conventionally been scattered throughout journals devoted to specific aspects of media theory or practice, and this academic journal aims to bring together serious screenwriting related work under one title. The Journal is international in scope, and seeks wide-ranging work that is critical, rigorous and original in its contribution to this developing area of study. We expect to include work that employs a diverse range of methodological approaches, including textual analysis, production analysis, practice as research and historical investigation. Articles should be between 4000 and 8000 words in length. Articles, to include a 200 word abstract, should be sent by 1st June 2014 to the Principal Editor, Jill Nelmes (j.nelmes@uel.ac.uk), and to the Co-Editors of this issue, John Cook (J.Cook2@gcu.ac.uk) and Eva Redvall eva@hum.ku.dk ). Please contact either Jill , John or Eva regarding any queries about suitability of subject or other requirements.
(info atualizada em 15/04/2014)

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Online Journal of Art and Design
ISSN: 2301-2501
http://ojad.emu.edu.tr

Online journal of Art and Design (OJAD), is aiming at sharing and disseminating art and design related innovations, ideas, research findings and advances throughout the world. It is designating to host assortment of art and design related approaches, critiques and point of views.

Online Journal of Art and Design is an open access quarterly published four times a year in the months of January, April, July and October, accepting articles in three languages; English, Italian and Turkish all of which will undergo a diligent inspection and double blind review by a group of internationally acknowledged reviewers.

Call for Research Articles
The Journal is happy to welcome and introduce diversity of approaches: theoretical or practical. Moreover, scopes regarding the role and purpose of art and design, particularly the ones that question and even controvert values, both socially and culturally, presenting illustrated case studies, analyze and designate the past, present and future of certain art and design practices in all areas of art and design and occasionally thematic topics all comprise what OJAD is targeting at.

Guidelines to authors and other details are available on our website: http://ojad.emu.edu.tr
E-mail: ojad.editor@emu.edu.tr
(info atualizada em 14/04/2014)

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Beyond the text form: digital culture and new epistemologies
International Conference
September 25-26, 2014
Universidad de las Américas Puebla, Puebla, Mexico

(Please reply to: conocimientonotextual@gmail.com)

Beyond the text form: art, digital culture and new epistemologies explores new cultural forms and practices developed in the digital age that challenge or undermine hegemonic modes of knowledge production historically linked to the written text. The conference is especially interested in hosting discussions focusing on the creation and renewal of non-textual strategies that open the possibility of articulating different forms of knowledge production. We consider that art-based research, digital communities and open access, expanded forms of writing, performance and multimedia digital interventions are among the strategies that are challenging the traditional conceptions of knowledge. The conference does not only seek to identify these new forms and to explore how they are strengthened by practices through an expanding textual knowledge, but also it pretends to shed light onto the possibilities they open to renegotiate the unequal geopolitical distribution of knowledge between the production centers and peripheries. A central question is whether non-textual media or new digital forms respond differently to concrete needs through a local epistemological production instead of a modern, textual and universal knowledge?

We invite scholars, artists and students from all disciplines related to the Arts and Humanities as well as the Social Sciences (cultural studies, philosophy, media studies, communications, psychology, history, visual arts, sociology, political science, and related fields) interested in exploring and discussing these issues in a collective, deliberative and dialogical environment to send abstract proposals that address one of the following topics:
a) Epistemology and digitalization. Digitalization and the different practices related to it offer new ways of relating to knowledge production, distribution and access. Avoiding quick optimism, digitalization might be just an extension of the traditional and textual geopolitical order of knowledge. This is why it is fundamental to critically analyze the pragmatic and epistemological features of these new digital forms of knowledge practices.

b) Knowledge and art: theory/practice. As a way of mapping non hegemonic forms of knowledge production, we are interested in discussing artistic strategies and its epistemological implications: from collective social endeavors to multimedia interventions in public spaces and new curatorial proposals. These interventions are increasingly important in the construction and contestation of historical and political imagery through non textual strategies –examples of the current transformation of knowledge generation and the ways to experience it.

c) Expanded forms of writing: new media and social practices. The role of writing as an epistemological paradigm has long started to be rethought through digital tools and/or communities in the periphery in terms of knowledge production. This has important implications that need to be explored as it has become manifest that the text is not the only medium of knowledge construction and that it need not always be used in the same way in different contexts. Today textual production of
knowledge is defied by other practices and codification forms –such as subaltern communities, as in the case of web bases communities of migrants and its critical relation to national borders.

If you are interested in participating in this International Conference submit a 200 word abstract no later than Monday April 14, 2014. Individual and collective abstract submissions will be reviewed by the Conference chairs. The results will be available on May 31, 2014. If your abstract is accepted, you will be required to submit a full paper or presentation by August 15, 2014.

A typical panel will be composed of either professors, researchers, artists or students, and will comprise up to five papers or project presentations and a discussant. Presentations that do not follow the paper format are welcome. Presentations must be delivered in no more than 20 minutes either English or Spanish. There will be a Q&A session right after each panel. All papers and presentations delivered at the Conference will be eligible to be part of a digitalproject and a printed
publication.

Please use the following template for your submission:
Author(s):
Affiliation:
Email Address:
Title of Abstract and Proposal:
200 word abstract:
Type of presentation (paper, video, multimedia, etc.):

To submit your abstract for consideration and for further queries, please contact us at:
conocimientonotextual@gmail.com

The conference will be held at Universidad de las Américas Puebla, organized by the PhD program in Creation and Cultural Theories and the Research Group “Teorías del arte y losmedios contemporáneos.” The conference is sponsored by the Research Project “La epistemología más allá del texto. Prácticas culturales en la era de la información” and the Consejo Nacional de Ciencia y Tecnología (CONACyT)

*For more information visit our Research Group web page (in Spanish): web.udlap.mx/masalladeltexto
(info atualizada em 13/04/2014)

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Gilles Deleuze and the Moving Images
A Cinema: Revista de Filosofia e da Imagem em Movimento (cjpmi.ifl.pt) convida à submissão de ensaios para um número dedicado ao tema: Gilles Deleuze e as Imagens em Movimento.

Trinta anos depois da publicação de Cinema 1: A Imagem-movimento (1983), os livros de Gilles Deleuze sobre cinema e imagens em movimento (juntamente com Cinema 2: A Imagem-Tempo de 1985) permanecem obras seminais da filosofia do cinema. A cinefilia de Deleuze esteve sempre directamente ligada à sua filosofia; os seus projectos filosóficos passavam pela elaboração de uma filosofia-cinema. Hoje, o seu pensamento sobre o cinema continua no centro, não apenas dos actuais debates sobre cinema e imagens em movimento (no sentido mais geral), mas também sobre metafilosofia. Contudo, apesar do destaque dado pelos estudos fílmicos, numa abordagem predominantemente interdisciplinar, tem havido um esquecimento da filosofia em si mesma. Em que sentido é que Cinema (ainda) é relevante para a filosofia? Pretendemos encontrar alternativas para este debate, numa abertura para um campo que seja especificamente filosófico, através de um diálogo com outras obras, por exemplo, Diferença e Repetição (1968), Lógica do Sentido (1969), ou os livros escritos com Félix Guattari, bem como através de um diálogo com outros filósofos, tais como Platão, Hume, Kant, Bergson, Husserl, Heidegger, entre outros.

Para este número, procuramos ensaios originais que analisem filosoficamente as imagens em movimento e a relação entre metacinema e metafilosofia e, em concreto, procuramos análises da ligação entre as imagens em movimento e outros tipos de imagem (da pintura, fotografia, novos média, etc.). O nosso objectivo é encorajar o debate metafilosófico sobre estes temas com incidência nas interferências directas e indirectas entre Filosofia e Cinema e entre Filosofia e Não-filosofia.

Os autores interessados são convidados a submeterem um resumo de aproximadamente 500 palavras e um CV resumido até dia 15 de Maio, 2014. Os autores dos resumos seleccionados serão convidados a submeter o seu artigo completo segundo as Instruções para Autores. A aceitação do resumo não garante a sua publicação pois todos os ensaios serão avaliados anonimamente por dois pares. Aceitamos submissões em português e inglês (assim como em francês e castelhano, mas apenas para autores nativos dessas línguas.)

A Cinema convida ainda submissões para as suas secções de entrevistas, recensões de livros e relatórios de conferências (consulte a página da revista).

Para qualquer questão, é favor contactar a editora do número, Susana Viegas (susanarainhoviegas@gmail.com).
Para outro assunto, contacte os editores Patrícia Castello Branco ou Sérgio Dias Branco (cjpmi@fcsh.unl.pt).
(info atualizada em 13/04/2014)

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Recrutamento de Docentes (Tempo Parcial): Área científica de Cinema
Universidade da Beira Interior
Departamento de Comunicação e Artes

Aceitam-se candidaturas de titulares do grau de Doutor para o exercício de funções no Departamento de Comunicação e Artes (tempo parcial) na área científica de CINEMA, sub-áreas de teoria, história e estética do cinema, no âmbito da docência e investigação a nível de professor auxiliar.

As candidaturas devem ser apresentadas até 17 de abril de 2014, dirigidas ao Reitor da Universidade da Beira Interior, entregues pessoalmente ou remetidas por correio para o Setor de Concursos e Atos Académicos, Convento de Santo António, 6201-001, Covilhã e enviadas em formato digital, para o endereço eletrónico seguinte: dca@ubi.pt

Critérios de seleção e ordenação dos candidatos:
Experiência de investigação, habilitação académica (doutoramento) nos domínios do cinema, ciências da comunicação ou estudos artísticos.
Análise curricular em função das especialidades pretendidas.
Entrevista a ter lugar dia 21 de abril a partir das 14h30.

Dos requerimentos de admissão da candidatura, deverão constar os seguintes elementos:
Nome completo;
Residência e número de telefone;
Curriculum Vitae detalhado e assinado, com áreas de interesse preferenciais, graus académico e outros elementos considerados relevantes; Publicações.

A Universidade da Beira Interior garante nos termos legais a confidencialidade da documentação pessoal recebida, a cuja devolução se obriga se expressamente solicitada no requerimento. A instituição ponderará, caso a caso, o perfil académico-profissional dos interessados face às necessidades do Departamento, mantendo a liberdade de contratação, e a reserva de não o fazer independentemente da ponderação que vier a ser feita, não consubstanciando por isso a presente publicação a abertura de qualquer concurso.
(info atualizada em 13/04/2014)

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International Lisbon Film Philosophy Conference: Thinking Reality and Time through Film
The registration for participants is open until vacancies run out.
Please use the following link to access the registration form:
http://www.philosophyfilmlisbon.net/registration-and-fees.html

Conference Registation Fees:
Students (MA or PhD) - 120 EUR
Regular: 150 EUR
(info atualizada em 13/04/2014)

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Visible Evidence 21--New Delhi
December 11-14, 2014

Visible Evidence, the annual scholarly conference on documentary film, media, culture and politics--interdisciplinary, international and indispensable--is now 21!
Inaugurated at Duke University in 1994, Visible Evidence has met annually ever since--in Canada, the UK, France, Germany, the Netherlands, Brazil, Australia, and most recently in Sweden, as well as in the US (eleven times).
This year the conference will be held in New Delhi, India from December 11 to 14 2014. Co-hosted by Jawaharlal Nehru University and Jamia Millia Islamia, the conference will be held at the India International Centre, Max Mueller Marg, New Delhi. In 2014 we are meeting in Asia for the first time, and for the second time only in the global south!

Visible Evidence 21, as is traditional, will feature a range of panels, workshops, plenary sessions, screenings and special events around documentary, its practices, histories and theories.
Proposals for panels, workshops, presentations, screenings and individual papers are solicited according to the following guidelines and themes.

Themes:
Proposals may address any aspect of documentary screen cultures, histories and practices by engaging with, but are not restricted to, the following themes (we aim for a broad, diverse and inclusive scope for this first Asian VisEv):
Documentary /Art: Exploring new spaces, narratives, relationships and audiences
Documentary/Social Sciences: Engaging with politics, methodologies, ethics and evidence
Documentary/Selves: Addressing autobiographies, memoirs, home-movies, confessions and self-fashioning
Documentary/Cities: Crowds and communities, onscreen and offscreen.
Documentary/ Pedagogies: Making as teaching, producing as mentorship.
Documentary/Affect: Bodies, sensations, feelings and relationships
Documentary/Trash: Shame, gossip, scandal, exploitation and the sensational
Documentary/Sexuality and Gender: Diversity, dissidence and disclosure
Documentary/Production: Practices and authors; screenings, streamings and (emergent) platforms
Documentary/Economies: Techno-materialities, virtualities, festivals and archives
Documentary/Modes: Fiction, animation, performance, voice and hybridity
Documentary/Violence: Trauma, testimony, index, performance and memory
Documentary/Truths: Analog to digital, cinéma-vérité to docu-menteur, phones and phoneys
Documentary/Transnational: Migrations, transgressions, diasporas, scapes and refugees
Documentary/Environment: Interventions, debates, exposures
Documentary/Archives: Memory, preservation, restoration, historiography
Documentary/Activism: Transformation, mimesis, witness.
Documentary/South Asia: Historicising state, independent, experimental and regional interventions… identifying parallels in other postcolonial traditions.
Panel, Workshop and Papers: Guidelines and Deadlines

We invite submissions of pre-constituted panels, pre-constituted workshops and individual paper proposals. Each panel and workshop session is allotted 90 min. Each panel will have three papers of not more than 20 min followed by discussion. Workshops, usually addressing practice-related issues, will feature 4 to 6 opening statements (totalling up to 30 min of prepared material), setting the stage for an exchange of ideas and skills among workshop participants.

Proposed panels and workshops may be pre-constituted either through public calls for submissions, or through individual solicitation by interested convenors.
Panel and workshop calls may be posted publicly by interested convenors on the Conference Website (coming soon) until May 1, 2014. Convenors must notify selected participants by May 15, 2014. Convenors of pre-constituted panels and workshops are expected to submit proposals in standard format (see below) both for the event as a whole and for each individual contributions (for example a submission for a pre-constituted may be up to 8 pages in length, and for a workshop up to 14 pages).

Deadline for all open call individual paper proposals and pre-constituted panels and workshops: June 1, 2014. Participants will be notified of their acceptance or not around June 23.
Submission Format:

Proposals for panel papers and workshop contributions include a descriptive title, an abstract (of 250-300 words), biblio- /filmography (5 or 6 items maximum) and brief bio (150 words maximum). The proposal should not exceed two pages.

In all individual proposals for panel contributions, please indicate whether or not, in the instance that the panel is rejected, you would like your individual proposal to be considered as an open call submission.
Please submit your proposal by the above deadlines as a PDF document to ve21newdelhi@gmail.com.

Deadline Summary:
March 1: Call for papers
April 1: Conference website operative.
May 1: End date for solicitation by interested convenors for participation in pre-constituted panels and workshops.
May 15: Convenors notify participants of pre-constituted panels and workshops.
June 1: Deadline for all submissions of individual paper proposals (open call) and preconstituted panels and workshops.
June 23: Notification of acceptances for Visible Evidence 21.
December 11: Welcome to Delhi! Conference begins.

Organizing committee:
Jawaharlal Nehru University: Ira Bhaskar, Ranjani Mazumdar, Veena Hariharan, Kaushik Bhaumik
Jamia Millia Islamia: Shohini Ghosh, Sabeena Gadihoke
University of Pittsburgh: Neepa Majumdar
Concordia University: Thomas Waugh.
(info atualizada em 11/04/2014)

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Ethics in Screenwriting
A recent discussion of the ethics of screenwriting on the Screenwriting Research Network email list has led to this call for expressions of interest for an edited book collection on 'Ethics in Screenwriting'. The intention is to submit a proposal to Palgrave Macmillan for inclusion in their Palgrave Studies in Screenwriting Series, with a view to obtaining a commission and work towards publication in late 2015. A first call was circulated to the Screenwriting Research Network, and received a strong response. This second call is addressed more broadly to scholars interested in screenwriting ethics.

Submission of abstracts for chapters of between 7,000 and 10,000 words is invited. A project description follows.

Project Description: This collection seeks to open up different approaches and perspectives on the complex relationship between ethics and screenwriting, raising compelling new questions for an under-examined but culturally significant area of media practice. At the same time, it seeks new perspectives on ethics— going beyond moralising, as well as simple demands for censorship and regulation. The collection will seek to explore the myriad judgements and decisions underpinning screenwriting practice in order to examine the place of screenwriting and role of screenwriters in relation to contemporary ethics.

Against the backdrop of decades of thinking about media and journalism ethics, research into the ethics of screenwriting is at a nascent stage. Early work includes the work of Beker, and Chalvon-Demersey, as well as work on negotiating Hollywood codes. This lack of attention is surprising given the central role writers play in the realisation of story material. Screenwriters have a unique zone of responsibility in terms of ethics. They have a close proximity to story material, and as such issues of listening and the right to communicate are important. Like journalists and documentarians, screenwriters can be said to have a strong obligation to the sources of their stories, but unlike news reporters, they also have a license to create compelling drama. At the same time, screenwriters also frequently have little autonomy in the way they they can explore the material they have. This collection seeks to provide new frameworks for understanding the complexity of ethical screenwriting, but also explore new perspectives on the relationship between ethics and screenwriting.

Background:
Since the emergence of the social responsibility theory of the media in 1946, media theorists have developed complex normative theories to account for their professional practice (See Christians et al). Practitioners have since the 1920s sought to codify their ethical norms in codes of practice. Key works have sought to probe what it means to be an ethical journalist (Harcup 2007, also Sanders ), a virtuous journalist (Klaidman and Beuchamp ), what it means to do ethics in media (Black and Roberts), storytelling as seduction and betrayal (Malcolm) and media ethics more generally (Keiran 1998). Documentary practice has made a significant contribution to thinking the representational issues surrounding the telling of stories, especially in light of the excesses of anthropological objectification of indigenous and non-Western groups. Digital storytelling is re-negotiating the links between stories and the communities within which they emerge.

Topics may include but are not limited to:
* Theories of ethics (loyalty, duty, care) and how they might apply to screenwriting practice
* Screenwriting representations and the ethical/unethical treatment of stereotypes and social issues
* Historical analyses of the ethics of writing in particular political or ideological systems
* The responsibilities and /or obligations of the screenwriter
* Ethical modes of production
* The ethics of collaboration
* The ethics of writing across cultures, and in culture, including the ethical treatment of indigenous story lines
* Queer and/or feminist perspectives on screenwriting practice
* The ethics of mediating stories and ethical treatment of narratives
* Writing moral ambiguity, transgression and taboo
* Ethical issues in non-fiction screenwriting
* The relationship between ethics and storytelling, especially depictions of difference and conflict in contemporary societies.
* Screenwriting on topics involving historical or structural injustice
* Bias and screenwriting
* The ethical role of screenwriters
* The relationship between organisational industrial constraints and /or regulation and ethics in screenwriting practice.
* Screenwriting and the ethical imagination

Detailed Abstracts (approx 1000-1200 words, excluding references) elaborating on your argument, approach or structure, and conceptual framework may be submitted until April 30th 2014 to Assoc. Prof. Steven Maras, <steven.maras@sydney.edu.au>. Detailed abstracts will be required for the book proposal process. Please remember to include a title and state your name, affiliation and contact information. Include a brief statement (100 words) detailing your title, affiliations, publications and/or screenwriting practice.
(info atualizada em 10/04/2014)

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Gender, Media and ARTs: Feminist Media Studies Commentary and Criticism
Issue 14.5 Gender, Media and Assisted Reproductive Technologies

Pregnancy and motherhood have become increasingly visible in recent years due in part to the media calling our attention to the new advances, politics, uses and misuses of assisted reproductive technologies (ARTs) in various global locations. This heightened visibility may point to greater reproductive freedom for some and suggest a broader social acceptance of pregnant bodies. However, at the same time, it might also suggest increased control and surveillance of gendered/sexed bodies in the realm of reproduction.

This issue of Commentary and Criticism invites papers that explore the implications of the advancement of ARTs in relation to any aspect of media and gender. Contributions from beyond North America and the UK are especially welcome. Possible topics could include, but are not limited to the following:
* Technology, mediation and reproduction
* New technologies and cultural representations of pregnancy and motherhood
* Celebrity and ARTs
* The transnational politics of ARTs
* Access and privilege in relation to ARTs
* Media or mediation of traditional discourses of gender and sexuality in relation to ARTs
* Intersections of age, gender, race, class, sexuality, ability and/or nationality and ARTs in global locations

The Commentary and Criticism section of Feminist Media Studies aims to publish brief, timely responses to current issues in media culture. Submissions may pose a provocation, outline work in progress, or propose areas for future study. The editors of Commentary and Criticism are interested in work that goes beyond mere description to provide productive critique.

Questions can be directed to either co-editor, Susan Berridge (seberridge@yahoo.co.uk) or Laura Portwood-Stacer (lportwoodstacer@gmail.com). Final essays of between 1500-2000 words including references are due by May 25th, 2014, after which point they will be subject to a process of peer review.

Essays should be emailed directly to both Susan Berridge and Laura Portwood-Stacer
(submissions for Commentary and Criticism will not be correctly processed if submitted through the main Feminist Media Studies site).

Please be sure to follow the Feminist Media Studies style guide, which can be found at the following link:http://www.tandf.co.uk/journals/journal.asp?issn=1468-0777&linktype=44.
(info atualizada em 10/04/2014)

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UoL 110 Anniversary Research Scholarships
As you are aware the closing date for the above PhD scholarships is 30th April, and we need to have completed our School and Faculty selection processes and forwarded nominations to Scholarships Office by no later than 21st May.

Therefore it is essential that any high-quality applications for study are processed promptly and that all supporting documents are obtained and seen by prospective supervisors, namely:
Two academic references
UG transcripts
MA transcripts (marks to date as appropriate)
English language qualification where appropriate

Students must be interviewed (can be by phone/SKYPE, and discretion may be applied in the case of current/past Leeds students known to supervisors).

For information on funding opportunities for students commencing research degree study in the School of Modern Languages and Cultures in 2014/15 please see our funding pages:
http://www.leeds.ac.uk/arts/info/125024/postgraduate/1904/postgraduate_scholarships/3
(info atualizada em 10/04/2014)

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Bis Repetita Placent ? (2): Remake, Gender and Genre in Film and TV Series of the English-speaking World
Conference organized by l’Université du Have (GRIC) and l’Université Stendhal Grenoble 3 (CEMRA)
9 -10 October 2014, Université du Havre, Faculté des Affaires Internationales

As a follow-up to the conference on “Remake and technology” held at the University of Grenoble 3 in October 2013, this second conference will focus on the intersections between film and television genres and the representations of gender in movies and television series. The recent wave of critical writings on film adaptation (Hutcheon 2006; Wells-Lassagne & Hudelet 2013) encourages investigations into how new versions of a movie or series question the interpretation of genre and gender (see Horton & McDougal 1998; Nowlan & Nowlan 2000; Zanger 2006; Carroll 2009; Chauvin 2010; Roche 2014). Indeed, the generic conventions of specific genres (the action movie, the political thriller, the western . . .) are very often gendered. If transcultural adaptations often imply a shift in representations and/or racial and gendered discourses (Hatchuel 2011) which may involve erasure or censoring—for instance, between French cinema and Hollywood (Durham 1998 and Moine 2007)—Linda Hutcheon (2006, 2013) has pointed out that some filmmakers and creators of TV series intentionally remake works in order to introduce subversive subtexts and highlight what was originally repressed, i.e., what Robert Stam (2005) has described as “de-repressing their politics.” This confirms what studying remakes from a transcultural or postcolonial stance has already shown: the crossing of film or serial genres (e.g., colonial narratives of adventure and conquest) and gender (e.g., male-female interaction, sexual identity) creates sites of comparison infused with new political meaning(s). Such creations may take place not only transculturally, but also within the “same” culture: Wild Wild West (Barry Sonnenfeld, 1999), the crossover remake of the 1960s television series The Wild Wild West, encourages “queer” readings of arch-villain Dr. Loveliss (Kenneth Branagh) and of the relationship between hero-partners James West (Will Smith) and Artemis Gordon (Kevin Kline), while deliberately combining western and science fiction in a hybrid space of of gender-bending and genre-bending.

The remake thus simultaneously criticizes, implicitly, explicitly and sometimes even emphatically, the “uncharted territories” of a genre and its gender stereotypes, as David Roche has demonstrated in his study of the horror movie genre (2014, chapter 4). Remakes can be used, for example, to remedy the absence of women in the leading roles by rewriting the original script to include “strong” female characters; the remake of Battlestar Galactica (Sci Fi, 2004-2009) transforms the character of Starbuck by creating a “manly” young woman, both an act of gender-bending and of recontextualizing the series in relation to the social upheavals which occurred in the 25-year gap between the two series, while taking into account the shifts in sci-fi viewership and the expectations of its larger female audience. Similarly, one can wonder whether the multiple remakes of Snow White in the past 20 years are “re-adaptations” (Hudelet & Wells-Lassagne 2011) or “remakes” that “deconstruct” previous adaptations, notably by studying how the overlapping of the fairy-tale genre and other filmic genres redefines gender relationships such as those of Snow White and her wicked stepmother. From a feminist perspective, the remake excels in “revealing” secondary points of view in a radical re-imagining of the original, by either shedding light on the motivations of particular characters, giving voice to those (both male and female characters) previously silenced or marginalized (Sanders 2006), or showing that gender codes in remakes function as both ritual and mask (Zanger 2006). Taking the opposite tack, one may wonder if the “feminized” and sometimes even “post-feminist” dimensions of contemporary remakes (in both movies and TV series) aren’t just a new, conventional form of interpretation or if these remakes embody an actual political project; when the original and the remake are compared, which version’s Zeitgeist is in reality the more progressive or subversive?

These considerations may, in fact, lead us to question the very definition of the term remake. Shouldn’t some remakes be seen as re-adaptations, sequels (Nowlan & Nowlan 2000) or even prequels, rather than “fetishistic” shot-by-shot versions of a previous film? Indeed, “real” remakes are quite rare (Verevis 2006). A critical failure, Gus Van Sant’s 1998 shot-by-shot technicolor remake of Hitchcock’s 1960 black-and-white Psycho was even perceived as an attack on, and a defilement of, Hitchcock’s masterpiece (Boyd and Palmer, 2006). Can one not consider, rather, the TV series Bates Motel (2013- ) to be a remake, presented explicitly as a prequel to Psycho and yet as a variation of the Hitchcock scenario since the events take place, paradoxically, in our present (2013-) when Norman Bates is only seventeen?. Should this series be seen as a remake (albeit as a crossover) because of its visual intertextuality in spite of the manner in which the expected outcomes are thwarted? One possible approach, then, would be to examine whether or not the remake has some sort of obligation to “remold” the original (Leitch 1990; Forrest & Koos 2002; Caroll 2009; Hudelet & Wells-Lassagne 2013). Robert Stam has noted how “gendered” any form of adaptation is in his scrutiny of the terms used to discuss the process: “Infidelity resonates with overtones of Victorian prudishness; betrayal evokes ethical perfidy; deformation implies aesthetic disgust; violation calls to mind sexual violence; vulgarization conjures up class degradation; and desecration intimates a kind of religious sacrilege toward the ‘sacred word’” (Stam, 2000: 54).

Last but not least, expanding on the idea that the remake can and even must be free to reappropriate the codes of a genre so as to (re)play the original “as it pleases,” participants in the conference are invited to explore the aesthetic and narrative freedom to be found in certain particularly audacious— and one might say outrageous —intersections of genre and gender in “edgy” remaking practices like vidding, “sweding” and other forms of fan fictions which transform the original through the use of “scene ripping” and “re-clipping.” The remake can, then, be considered as creator of new spaces for gendered, generational and transnational readings by “remade” audiences, construed by the altered perspectives it carries or the repressed desires it expresses.

Proposals (300 to 400 words) in French or in English, along with a short 5-7-line biblio-biography, are to be sent to Claire Maniez (Claire.Maniez@u-grenoble3.fr) and Donna Andréolle (dandreolle@gmail.com) for June 1st 2014.

Scientific committee
Donna Andréolle and Sarah Hatchuel (GRIC, Université du Havre) ; Claire Maniez (CEMRA, Université Stendhal Grenoble III) ; Anne Crémieux (Université Paris-Ouest Nanterre) ; Georges-Claude Guilbert (Université de Tours) ; Monica Michlin (Université Paris-Sorbonne) ; David Roche (Université Toulouse 2 Le Mirail)
(info atualizada em 09/04/2014)

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