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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.
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NOTÍCIAS

Artistic practice as an alternative to news media
Hosted by the Centre for Interdisciplinary Research and Analysis of the Media – CARISM – IFP - University of Panthéon-Assas, Paris II

Frédéric Lambert & Katharina Niemeyer
Paris, 10-11 June 2015

Call for papers
Deadline for the submission of proposals: November 15, 2014

An international conference in collaboration with:
The Birmingham Centre for Media and Cultural Research, Birmingham City University (BCMCR)
Laboratoire de Recherche Lyonnais des Sciences de l’Information et de la communication (ELICO)
Bauhaus-Universität Weimar & Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie (IKKM)

This international conference looks at the emergence of political and artistic alternatives to mainstream information such as sit-ins, graffiti, flash-mobs, occupy movements, paintings, dance, music and photography. It also questions ways that actors and artists seize media contents and environments as a modality of contestation or to give them new echoes and meanings.The analysis of these artistic and political performances entails a critical understanding of the renewed forms that now shape public debates. The recourse to alternative expressions to tell differently the news and “everyday happenings” is therefore seen as an effective way to represent society differently. These performances become one tool to resist mainstream media narratives accused of being “anonymous” and “industrial”. The artistic act thus becomes an act of resistance that can take several shapes and forms. This conference questions the permeable frontiers between art, artistic and political performance
s and cultural industries to better understand how these “worlds” interact with one another.
Michel de Certeau was critical of what he called the ‘recited society’, one that is defined by media stories and their continuous reiterations. ”The citation, he wrote, is the absolute weapon of the make-believe (…). It is therefore the means by which the real is established.” Both journalism and the arts represent the world in which we live. We’re witnessing within contemporary artistic practices a reflexive recycling or re-enactment of news reports, headlines and images as we know them. Media events and happenings thus become a source of critical inspiration for artists and activists who sometimes seize these documents and archives to integrate them into apparatuses of contemporary art exhibitions, contributing to a new form of aesthetic reporting. While the temporality of mainstream media is often times governed by immediacy and a constant sense of urgency, artistic and political performances slow the information down. We will aim to explore how art re-appropriate media m
aterial to freeze it, stretch it and give it a different temporality.
The rise of new information and communication technologies and new digital tools has transformed both media and artistic practices. At a time where technological innovations foster endless possibilities of creation of meaning, and where the public practices are still being configured, it is important to critically question the emerging new territories of arts and news media production.

The conference organisers are particularly interested in proposals that showcase artists’ work (including testimonies and projections).
Possible topics include but are not limited to:
Art, information and public debate
Performances, resistance, arts and politics
Art, militant performances and re-enactment
Relations and ambiguities between art and news media production
The temporalities of art, media and artistic performances
The rise of new information technologies within the context of both artistic and media practices

Proposals for 20-minute presentations should include a title, an abstract (300-500 words), the name and institutional affiliation of the presenter and a concise biography (100 words). All submissions and inquiries should be sent by November 15, 2014 to:
carism@u-paris2.fr, Katharina.Niemeyer@u-paris2.fr and/or Frederic.Lambert@semiotik.fr

http://ifp.u-paris2.fr/18091044/0/fiche___actualite/&RH=IFP_FR

Scientific Committee
Julia BONACCORSI (ELICO, Lyon 2)
Jean-Baptiste COMBY (CARISM, Paris 2)
Valérie DEVILLARD (CARISM, Paris 2)
Lorenz ENGELL (IKKM, Weimar)
Isabelle GARCIN-MARROU (ELICO, Lyon 2)
Frederic LAMBERT (CARISM, Paris 2)
Katharina NIEMEYER (CARISM, Paris 2)
Bibia PAVARD (CARISM, Paris 2)
Dima SABER, (BCMCR)
Tim WALL, (BCMCR)
Daniela WENTZ (IKKM, Weimar)
(info atualizada em 31/10/2014)

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PhD studentships: University of Reading
AHRC South, West& Wales Doctoral Training Partnership Scholarships 2015
& PhD study in the Department of Film, Theatre and Television Studies, University of Reading

Deadline for Expressions of interest: Monday 10th November 2014

University of Reading is a partner in the South, West and Wales Doctoral
Training Partnership (SWW DTP), along with seven other universities ¬ Aberystwyth, Bath, Bath Spa, Bristol, Cardiff, Exeter and Southampton, extended by a network of prestigious international, national and regional organisations representing the arts, heritage, media and government sectors. In 2014, the Partnership was awarded £14.2 million funding from the Arts and Humanities Research Council (AHRC) to deliver postgraduate supervision, training and skills development over a five-year period.

In 2015, the SWW AHRC Doctoral Training Partnership will be awarding 52
doctoral studentships for the best postgraduate research projects across the
full range of Arts& Humanities disciplines in all of the participating institutions. Details of the studentship can be found here:http://www.sww-ahdtp.ac.uk/studentship/

The Department of Film, Theatre& Television welcomes applications in all its disciplines. Information about the research specialisms of staff and the environment for doctoral study can be found here:http://www.reading.ac.uk/ftt/pg-research/ftt-pgrabout.aspx

How to Apply:
Prospective applicants who are interested in applying will need to submit a 300-word Statement of Interest by Monday 10th November 2014. Following that, these applicants will be invited to an Information Day for the DTP in Cardiff at the National Museum of Wales on 24th November 2014. The aim of the Information Day is for you to learn more about the research opportunities and supervisory expertise offered in the Consortium. Details of the Information Day can be found here:http://www.sww-ahdtp.ac.uk/studentship/information-day/

Initial enquiries should be addressed to potential supervisors or to Alison Butler, Film, Theatre and Television, University of Reading:a.j.butler@reading.ac.uk
(info atualizada em 31/10/2014)

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Three Media Research Associate Positions Vacant at the Sarai Centre for the Study of Developing Societies
The Sarai Programme at CSDS invites applications for three positions centered around media research.

The research agenda is historical and contemporary, archive based and ethnographic, and will traverse a variety of media, including radio, gramophone, cassette, photography, film, television, video, and digital forms.

Ongoing projects at Sarai include:
- Media and information infrastructures
- Social media archeologies

Researchers at Sarai have ranged from postdoctoral scholars to students working on their PhDs; M.A. and M.Phil graduates; media and cultural practitioners interested in research; and independent scholars. Researchers will work with ongoing projects at Sarai; we place a premium on collaborative research, including regular reading sessions, workshops and writing.

Possible topics include:
- The histories of the emergence and circulation of media equipment and technology.
- Laws and regulations governing media use, and their contestation.
- State information and media policies, including the development of media and communication infrastructure in radio and television transmission, telegraph and telephone networks, and satellite and cable technology.
- The deployment of media for identification and surveillance, and online vigilante cultures.
- Social Media: legal conflicts, the transformation of politics, sexuality and privacy.
- Media industry practices, including institutional and technological changes.
- Computer culture, from software programming and management to digital compositing.
- Sites of media consumption and circulation including shops for media goods, photographic studios, exhibition spaces ranging from cinema halls and video parlours to electronic bulletin boards and ambient television and video experience and the phenomenon of cellphone image capture and circulation.

Applicants should submit:
- CV listing recent works and projects.
- A writing sample from recent work.
- A three-page research note summarising her/his research interests, and reasons for working at Sarai.
Shortlisted candidates will be interviewed at Sarai-CSDS, Delhi.

Selected candidates will be appointed initially for one year, with the possibility of renewal for a second year.

The last date of submission is 16th November 2014.
Send all applications by email with subject title of ‘research positions’ to dak[at]sarai[dot]net

The Sarai Programme
Centre for the Study of Developing Societies
sarai.net | facebook.com/sarai.net
(info atualizada em 31/10/2014)

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The Aesthetics of Online Videos (Special Issue of Film Criticism)
Scholarship on online videos often focuses on digitalization, user interfaces, and/or the phenomenon of peer-to-peer sharing. While such issues (and related matters of cultural globalization, the amateur/professional divide, and alternative forms of distribution) are certainly relevant to studying online videos, these approaches tend to foreground social impacts over aesthetic analysis. This special issue of Film Criticism seeks essays that turn attention to formal and stylistic aspects that have been downplayed in the analysis of online videos. Examining online videos as cultural artifacts worthy of aesthetic analysis and interpretation, this issue invites contributions from a range of methodological and theoretical approaches. As a whole, the issue seeks work that engages online videos as aesthetic objects, considering visual and sound style, without losing sight of the electronic, digital, and online context of this form.

Potential topics may include (but certainly are not limited to):
* Animal videos (e.g., viral videos, unedited/streaming nature documentaries)
* Ubiquitous “social videos” (e.g., on Vine, Facebook, Buzzfeed, Metacafe, Vimeo)
* Online video poetics (historical development in form, style, production practice)
* Online video genres (documentary, drama, sports, news, music, etc.)
* Web original series, webisodes, online video channels
* Aesthetics of online video conferencing, TED talks, interviews
* Political, advocacy, and other forms of persuasive videos
* Political mash-ups
* Online video activism
* Online promotional culture (e.g., trailers, promos, “bonus” videos, choose your ending ads, branded videos, sponsored videos, product or service demos)
* ‘Haul,’ ‘unboxing’ and other shopping videos
* Web original series, webisodes and online video channels
* Online music videos (as well as parodies, remixes, amateur ‘covers’ etc)
* Amateur and fan videos (mash-ups, spoilers, covers, etc.)
* Recycling (online clips and highlights from film and television)
* Video blogs (vlogs), lifecasting, YouTube celebrity videos/sites
* Shock and/or Stunt videos (parkour, pet tricks, etc.)
* Videos of video gameplay
* How-to videos
* Virtual Tours
* Experimental/avant-garde videos
* Gifs

Send 500 word proposals along with a brief 100 word CV to Stephen Groening at groening@uw.edu by November 15 2014
(info atualizada em 31/10/2014)

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Professorship in Media and Communication Studies in Helsinki University
The Department of Social Research, University of Helsinki, invites applications for the position of PROFESSOR.

The position will be located in the discipline of Media and Communication Studies (http://www.helsinki.fi/communication/). The field of the position is Media and Communication Studies. The discipline covers four special fields grounded in social sciences: public sphere studies and media studies, as well as research both in organizational and in digital communication. In addition to the present vacancy, Media and Communication Studies has two other professorships and five university lectureships, as well as some 20 researchers and doctoral students working under its auspices. Each year, an average of 40 Bachelor’s degrees, 40 Master’s degrees and 2-4 doctorates are completed in Media and Communication Studies.

According to the Regulations of the University of Helsinki, an appointee to a professorship shall hold a doctoral degree and have top-level scholarly qualifications, experience in the supervision of scientific research, the ability to provide top-level teaching based on research and to supervise theses and dissertations as well as the documentation of international cooperation in the appointee’s field of research.

When considering the applicant’s qualifications, attention shall focus on scientific publications and other research results of scientific value, teaching experience and pedagogical training, the ability to produce teaching material, other teaching merits and, if necessary, a demonstration of teaching skills as well as the applicant’s participation in doctoral education. The applicant’s activity in the scientific community, success in obtaining external research funding, international research networks and elected positions as well as leadership and interaction skills shall also be taken into account.

During the selection process, the appointee must have teaching and research experience in two or more of the special fields of media and communication studies mentioned above (public sphere studies and media studies, as well as research in organizational and digital communication). In addition, diverse expertise in the organizational communication studies grounded in social sciences will be beneficial.

According to the Government Decree on Universities, professors are required to be competent in the language of instruction – usually Finnish. They must also have at least satisfactory spoken and written skills in Swedish. Foreign citizens, non-native Finnish citizens or citizens who have not been educated in Finnish or Swedish may be exempted from this requirement without a separate application. To successfully attend to the duties of the position, appointees must also have a strong command of English.

Although understanding Finnish is not a requirement at the time of employment, the appointee who is not native speaker of Finnish or Swedish or has not been educated in Finnish or Swedish is encouraged to acquire sufficient skills in the Finnish language to carry out administrative tasks at the department. The Department will support the successful appointee’s studies in Finnish.

Applicants are requested to enclose with their applications the following English-language documents: curriculum vitae, a numbered list of publications, a one-page informal report of the applicant’s scientific activities, a one-page plan on how the applicant intends to carry out the duties of the position and develop the field, a report on teaching skills (max. 3 pages in the form of, for instance, an academic portfolio) and a report on external funding acquired.

The application must be addressed to the Faculty of Social Sciences. The Faculty requests that the application and its enclosures be emailed as a single pdf file to the Registry of the University of Helsinki at hy-kirjaamo@helsinki.fi. The deadline for applications is 20 November 2014. (The Registry closes at 15.45 local Helsinki time.)

For further information about the position, contact Professor Hannu Nieminen, Hannu.Nieminen at helsinki.fi, or Head of Department of Social Research, Professor Keijo Rahkonen, , keijo.rahkonen at helsinki.fi.
(info atualizada em 30/10/2014)

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Monographic Issue: "Women, Media & Politics"
Communication Papers. Media Literacy & Gender Studies
No 2, December 2014
Submission Deadline: November 15th, 2014

Communication Papers journal invites submissions for its next monographic issue whose current title is "Women, Media & Politics".

How are women politicians represented in the media? A significant amount of research suggests that the press covers men and women politicians differently. There is a host of evidence suggesting that women politicians are framed in certain ways that differ from their male counterparts, and that those frames often put them at disadvantage. Women receive lower, less prominent and less substantive coverage than do men. Women’s viability as election contenders is often framed more negatively than men’s. News reports on women leaders tend to focus on personal appearance rather than on policy issues. Media refer to women more informally than men. Women are more likely to have their titles (such as Senator or Representative) dropped in news stories, and they are more often referred to by their first names or as ‘Ms.’ or ‘Mrs.’ than are men. Women politicians are also more likely to be described in terms of the personal traits associated with traditional ‘female’ stereotypes. The press discusses “female” issues more frequently when covering women politicians and reports “male” issues more extensively with men politicians. Media tend to use more highly charged language to report the speech of female politicians, and women are directly quoted less often than her male opponents.

Because the media have become the public sphere in which the identity of the politician is constructed, those gender biases can have electoral consequences. Gender differences in media coverage may influence women’s participation in public life, voters’ evaluations of male and female candidates, candidates’ choice of campaign strategies, and people’s view regarding women’s role in the political arena.

Some research also suggests that the increase in the access of women to political office should arguably result in a normalization of the representation of women politicians in the media coverage. If women and men have comparable access to positions of power, if women access the highest offices, should not this mean the disappearance of existing stereotyping gender roles?

TOPICS
· gender differences in news coverage of male and female politicians,
· media gender bias in political campaigns,
· comparative studies on gender differences in political campaigns,
· deconstructing gender stereotypes in political advertisements of women candidates,
· conventional frames employed by the media about women candidates for office,
· the portrayal of women in power (eg. Prime Ministers, Presidents, Cabinets Members, Members of the Parliament),
· original research about the representation of women politicians in social networking sites,
· the role of the media in shaping an ideal of women in politics,
· media discourse about power from a gender perspective,
· representation of femininities in media political texts,
· the relationship between gender, sex and heteronormativity in media political texts,
· audience perception of women leadership ability,
· women politicians representation from a post-feminist perspective,
· intersectional approaches to the study of women politicians representation (how it is affected by other structures such as class, race, ethnicity, or sexual orientation).

STANDARS OF SUBMISSION
Only original and unpublished proposals will be considered. Articles must respect the rules of APA style. Each manuscript should be between 7,000 and 8,500 words in main text and 200 words in abstract. All submissions will be blind-refereed. Complete manuscripts should be ready for peer review by November 15th. Publication is due for December 2014. Submission in the web sites the manuscript by the standard template of the journal. Include one separate little page containing title, author/s, affiliation/s and the address, phone, and email of the lead author. Manuscripts can be written in Catalan, Eusquera, Spanish, English, Portuguese, French and Italian.

Please, submit manuscripts to the Communication Papers web site at: http://www.communicationpapers.es/

You can choose the language of the website (English, Spanish or Catalan) on the left vertical menu, in the "idioma" section.

You can download the standard template for articles in:
http://communicationpapers.files.wordpress.com/2013/10/cp_articulos_maq.doc

TIMELINE
· Submission Deadline: November 15th, 2014
· Date of Publication: December 19th, 2014
(info atualizada em 30/10/2014)

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Re-imagining Rural Mythologies
6th Nordic Geographers Meeting, Tallinn & Tartu, Estonia, 15 – 19 June 2015

Even in cities, encounters with the countryside texture our daily routines. Whether we buy an organic chicken sandwich at lunch-time, wash our clothes in ‘Meadow Fresh’ fabric conditioner, or daydream about escaping the pressures of modern living amid the beauty, fresh air and tranquility of the countryside, popular perceptions of the rural permeate our lives. Yet, how do such bucolic notions hold up against reality? How, and through which processes, are rural mythologies perpetuated? How might binary perceptions of ‘rural’ and ‘urban’ serve particular cultural, economic and political agendas, and what role does imagination play within social constructions of the countryside?

We propose to explore these questions by convening an interdisciplinary seminar, which will bring artists and geographers together with other creative practitioners and researchers, from different cultural backgrounds, who share an interest in ‘the rural’. We invite papers, presentations of artworks, short films, performances and readings, which challenge preconceptions about the contemporary countryside by engaging with the complexities and contradictions of specific rural places. In particular, we aim to examine how imagination and creative work, as a means of exploration and documentation, can produce new forms of geographical knowledge, which promote more complex and generative interpretations of rural environments.

Session organisers: Elaine Speight (University of Central Lancashire), Rosemary Shirley (Manchester Metropolitan University), Joanne Lee (Nottingham Trent University), Rebecca Chesney (independent artist).

To submit a proposal for the seminar, please complete the online form: https://www.frens.info/site/tmpl/reg9_abs_1028.php The deadline for proposals is 15th November 2014. For more information, please visit: http://www.tlu.ee/en/NGM2015/Conference-information or e-mail Elaine Speight: espeight@uclan.ac.uk
(info atualizada em 29/10/2014)

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AHRC South, West & Wales Doctoral Training Partnership Scholarships 2015
& PhD study in the Department of Theatre, Film and Television Studies, Aberystwyth University Deadline for Expression of interest: Monday 10th November 2014

Aberystwyth University is a partner in the South, West and Wales Doctoral Training Partnership (SWW DTP), along with seven other universities – Bath, Bath Spa, Bristol, Cardiff, Exeter, Reading and Southampton, extended by a network of prestigious international, national and regional organisations representing the arts, heritage, media and government sectors (including the National Library of Wales in Aberystwyth, which houses the National Screen and Sound Archive of Wales). In 2014, the Partnership was awarded £14.2 million funding from the Arts and Humanities Research Council (AHRC) to deliver postgraduate supervision, training and skills development, with up to 50 doctoral studentships being awarded each year (across Aberystwyth and the other Partnership institutions) over a five-year period.

The SWW AHRC Doctoral Training Partnership will be awarding up to 50 doctoral studentships for the best postgraduate research projects across the full range of Arts & Humanities disciplines.

Prospective applicants to the Consortium will benefit from input from exclusive prominent partners who include the Arnolfini, BBC, Bristol City Council, CyMAL & Cadw, English Heritage, National Library of Wales, National Museum of Wales, National Trust, Royal Commission on the Ancient & Historical Monuments of Wales, Watershed, Welsh National Opera, Butetown History and Arts Centre, Getty Research Institute, Bath Heritage Services, REACT, Twofour and a number of overseas academic partners. These partners bring academic and professional expertise in a range of disciplines.

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, press and broadcasting regulation; television drama, genres and aesthetics; media fan, 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/

How to Apply:
Prospective applicants who are interested in applying – and eligible for funding – will need to submit a 300-word Statement of Interest by Monday 10 November 2014. Following that, these applicants will be invited to an Information Day for the DTP in Cardiff at the National Museum of Wales on 24th November 2014. The aim of the Information Day is for you to learn more about the research opportunities and supervisory expertise offered in the Consortium (including at Aberystwyth University). For further information, please visit the SWW DTP site

Applications for both funding and PhD place may be submitted via the SWW DTP site from 26th November 2014 until the final deadline of 12th January 2015. Applicants will be required to submit an application form with a research proposal and personal statement.

The awards will be made on the basis of academic merit, with no fixed quota assigned to any one institution or subject area within the DTP.

If you have further queries about the research specialisms in the Department of Theatre, Film and Television Studies at Aberystwyth University, please contact Dr Kate Egan, Departmental Postgraduate Research Coordinator, kte@aber.ac.uk
(info atualizada em 29/10/2014)

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International PhD Studentship at Queen’s University, Belfast
The School of English at Queen’s University, Belfast has one PhD studentship for an exceptional international student to begin their studies in September 2015.

Students from outside the UK/EU who wish to undertake doctoral study with the School of English should apply through the university’s Prospective Student Portal by 2 February 2015 in order to be considered for this funding. (https://dap.qub.ac.uk/portal/user/u_login.php)

There is no separate application process for the studentship, but please indicate in the appropriate section of the form that you wish to be considered for funding.

The School of English at Queen’s University, Belfast offers doctoral supervision across a range of topics related to literary studies in English, English speech and language, and creative writing. Information about research, including previous and current doctoral projects, can be found on our website athttp://www.qub.ac.uk/schools/SchoolofEnglish/Research/. A list of current staff can also be found on our website (http://www.qub.ac.uk/schools/SchoolofEnglish/Staff/AcademicStaff/) , and it is recommended that prospective PhD candidates identify potential supervisors and discuss their ideas for the project with them before submitting an application.

In addition to the application form, applicants for the PhD are required to provide the following:

1.) A sample of writing (3,000 – 5,000 words maximum). For applications for a PhD in Creative Writing, this must be a sample of creative writing in the chosen genre. For applications for a PhD in literary or linguistics study, this should be a critical essay in a related field.
2.) A thesis proposal (750 words maximum); an indicative bibliography; a summary of the proposal (250 words maximum).
3.) Details (including email addresses) of two academic referees who would be prepared to respond promptly to calls for references.

Please note: the on-line form requires candidates to upload a transcript of their BA grades and MA grades (where available). The on-line form permits candidates to upload only one piece of supporting documentation (under ‘Proposal / Supplementary Work’), so the submissions referred to as numbers 1 and 2 above should be placed within the one file for uploading.

The studentship offered is a three year studentship for September 2015 entry, worth £24,500 annually, £12,500 in fees and £12,000 in maintenance.

Informal enquiries can be directed to Doctor Eamonn Hughes (e.hughes@qub.ac.uk) or Doctor Daniel Roberts (d.s.roberts@qub.ac.uk).
(info atualizada em 29/10/2014)

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A History of Cinema without Names
University of Udine (Italy)
March 18-20, 2015

The Udine International Film Studies Conference is promoting a research project called “A History of Cinema without Names” which is still opened to proposals coming from scholars who might be interested in contributing.

In several occasions the Udine Conference has focused on the problematisation of the notion of “author” and on a redefinition of the notion of “style” (separating this notion from any property related to individual poetics and from any anthropometrically conceived principle of textual construction). In this perspective, it is indeed possible to articulate modes aimed at understanding authorial poetics as the momentary unification of features that exceed them. On another level, genre as well could be simply seen as spaces in which elements of the same kind aggregate.

One of the purposes of this project is the creation of a new “topography” of the basic stylistic elements that, while common to both authors and genres, can also find indipendent and diverse mode of connection. These levels of aggregation (styles, genres, authors) are not separated; rather, they mutually intersect, integrate each other, and coexist. Outwardly, they might seem grounded on essentialist principles (like the figure of the “creative personality”; or the morphologies of discourse, e.g. comic, crime, melodrama, etc.). Instead, they are “systems” whose physiognomy is shaped by the relationships that occur at a given moment between their constitutive units. Of course, it is possible to continue to employ this customary topography based on “auteur” politics and “genres”; but we shall acknowledge that the figures we shape are ephemeral and ostensible, devoid of reasons or of really decisive connections.

The status of contemporary mediascape, dominated by serialisation and “formats”, should encourage such research trend. Instead, we are witnessing a curious paradox: the more audiovisual narratives exceed traditional notions of style and auteur politics, the more we stick to these categories (for instance, trying to apply them to screenwriters, producers, or even “formats”), as if they were principles guaranteeing to safe us from chaos and the unknown.

On this ground, the Udine Conference launches the project of a history of cinema without names, in the same vein as Wöllflin and Valéry imagined respectively a history of art and of literature without names.

The first step of such research project, which will continue with several events and meetings, will be hosted by the University of Udine on March 18-20, 2015. The event has been thought not as a canonical conference, in which every scholar presents the results of his or her research activity, but as a laboratory where methodological aspects of the project will be discussed in length. For this reason, we warmly encourage proposals aimed at fostering debates and further elaborations by starting from the question of how a history of cinema without names would be (hopefully) possible.

500-word proposals are due by November 25, 2014.
Please submit your proposal to cinemawithoutnames@gmail.com and make sure to attach a short CV.

Leonardo Quaresima
Giuseppe Fidotta, Andrea Mariani (Organisation)
(info atualizada em 28/10/2014)

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Professor and Department Head, Communication and Media
Rensselaer Polytechnic Institute

The Department of Communication and Media at Rensselaer Polytechnic Institute in Troy, NY, invites applications, expressions of interest, and nominations for a tenured position at the rank of Professor and Department Head. Our department pioneered the first Technical Communication degree and first B.S. degree in Electronic Media, Arts, and Communication (EMAC) with the Department of the Arts. Energized by our unique position in a technological institute, we are a leader in collaborative interdisciplinary programs, including a nationally ranked program in Games and Simulations Arts and Sciences (GSAS) with the Department of Cognitive Science and the Department of the Arts. Additionally, the department offers a B.S. in Communication, M.S. degrees in Communication and Rhetoric, Human-Computer Interaction (HCI), and Technical Communication, and a Ph.D. in Communication and Rhetoric. The position may commence as early as August 16, 2015.

The successful candidate will join a diverse faculty engaged in the fields of rhetoric, communication, media studies and design, game studies and design, literature, HCI, and cultural anthropology. The selected candidate will have a strong record, emblematic of tenured senior professorial rank, as well as outstanding leadership, administrative skills and a substantial body of high quality research. A record of securing external funding is desirable. The level of experience required is that which is typically acquired over a 10-year progressively responsible tenure-track academic career. A Ph.D., appropriate terminal degree or foreign degree equivalent in Communication, Media, or a similar field is required.

Founded in 1824, Rensselaer Polytechnic Institute is the nation’s oldest technological university. With approximately 5,000 undergraduate and 2,500 graduate students from across the country and around the world, the university offers more than 145 programs at the bachelor’s, master’s, and doctoral levels. Rensselaer is situated in the heart of the "Tech Valley" region of the Hudson River Valley. Among institute-wide research opportunities are: the Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) for creative interdisciplinary research in the arts, performance technologies, science, and engineering; the Institute for Data Exploration and Applications (IDEA) for interdisciplinary projects in Big Data research; and the Center for Cognition, Communication, and Culture for research in cross-modal and mixed reality communication. The School of Humanities, Arts and Social Sciences also supports an Emergent Reality Lab (ERL), a platform for research in narrative, gameplay, and pedagogy within immersive virtual environments.

The successful candidate will assist the Dean with strategic leadership in developing proactive curricula; recruiting, enrolling, educating, mentoring and retaining undergraduate and graduate students; obtaining research grants and contracts; coaching and mentoring faculty; and developing and implementing strategies to recruit and to retain the productive faculty. The incumbent is expected to lead and to manage an academic department and oversee the academic and administrative functions in accordance with Institute academic and administrative policies, guidelines and practices.

We welcome candidates who will bring diverse intellectual, geographical, gender and ethnic perspectives to Rensselaer’s work and campus communities. Rensselaer Polytechnic Institute is an Affirmative Action/Equal Opportunity Employer.

Screening of applications will begin immediately and will continue until the position is filled. To apply, please submit electronically a letter of interest, a curriculum vitae, evidence of teaching effectiveness, and the names and contact information for five (5) professional references to: apply.interfolio.com/27070
(info atualizada em 27/10/2014)

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Summer School on Digital Cultures
Challenging Methods – 1. Lüneburg Summer School for Digital Cultures
20.-26.9.2015, Leuphana Universität Lüneburg, Germany

Hosted by Digital Cultures Research Lab and the Institute for Advanced Study on Media Cultures of Computer Simulation; organized by Florian Sprenger and Christoph Engemann

The inaugural issue of the Lüneburg Summer School for Digital Cultures explores the question and challenge of methods in media studies and digital cultures. Hosted by the Institute for Advanced Study Media Cultures of Computer Simulation (MECS) and the Digital Cultures Research Lab (DCRL), the Lüneburg Summer School for Digital Cultures provides advanced training in the study of media, their theory, aesthetics and history. Focusing on one special topic annually, it affords a select group of graduate students the opportunity to work with distinguished international scholars from all fields of media studies in an intimate and highly focused context and provides a platform for participants to engage in dialogue with other doctoral students from around the world working in similar or related fields.

This year’s topic, Challenging Methods, reacts to the demands for a discussion of methods that recently have become prevalent in the context of media studies. Historically and institutionally, this field of research originated when scholars from a variety of fields started to confront their disciplines and specifically their methodologies with the questions of media epistemology. From those investigations of the hitherto overlooked media-theoretical presumptions and media practices of their original fields, a discourse emerged that was labeled media studies – “Medienwissenschaften”.

Incorporating heterogeneous approaches ranging from philosophical and aesthetic via ethnographic and sociological to epistemological and performative as well as interventionist practices and net criticism, media studies has not developed an overarching theoretical or methodological frame and instead privileged object specific approaches.

Nonetheless, it is within this exchange among disciplines, and fostered by the tasks brought forward by digitalization, that the question of the relationship between media and methods recently has become a prominent field of inquiry. This includes demands for a specification of methods in media studies. Data-driven analysis of large corpora of texts, visuals or sounds have led to a re-adjustment of the question of empirical, qualitative and historical research, while at the same time raising methodological expectations. The stakes of digitalization, themselves important topics of the field, intervene in the economy of sources, their circulation and availability, hence in the practices of research and increasingly turn out to be a challenge of methods for media studies.

It is this situation between new technical possibilities and an institutional consolidation that frames the Summer School. Despite these developments, it seems futile to simply project the longstanding methodological debates of sociology, history, or ethnography onto the respective fields of media research. In this regard, the stakes of media studies lie in the assumption that methodological questions always question the media of methods: those very technologies and epistemological presumptions that underlie all methods.

This is the point of departure for the Summer School. Instead of taking account of different methods, we intend to create an open and provocative space for the reflection of the technical, epistemological, historical, and perhaps also methodological conditions of methods, either under the reign of digitalization or regarding a re-formulation of specific presuppositions. As a forum, the Summer School "Challenging Methods" will investigate the historical situation of the current demand for methods, the importance of technological developments, and the subsequent transformations of our own research, writing, and thinking.

Considering the experience that methodological questions are most thoroughly addressed in dissertations, the Lüneburg Summer School for Digital Cultures will bring together a group of around 18 young international scholars with renowned faculty to investigate the status and challenge of methods in media studies. Connecting scholars from different fields, it aims to open up discussions in media studies, while at the same time offering the chance to investigate the specific mediality of methods in other fields.

The week long Summer School is structured as a series of shared seminars, keynote lectures and three streams taught in small groups. The first stream will investigate the promise of digital tools; the second stream will tackle the dimensions of a politics of methods; and the third stream will confront methods as cultural techniques:

1. Tools of Methods – Chaired by Till Heilmann (University of Siegen),
Keynote by David Gugerli (ETH Zürich)

This stream asks how the increased use of digital devices in humanities research affects methodology. Starting with an introduction to the different media theoretical conceptions of tools the stream will investigate the specificity of digital tools and ask if the notion of the tool changes under digital conditions. In light of this background the group will investigate the relation between new digital tools like text editors or database systems and the evocation of new methods as promoted by the digital humanities. How can such recursive research into the evolving digital research infrastructures help us to understand our own changing methods and allow us to shape new types of methodologies, without methodology becoming an end in itself?

2. Politics of Methods – Chaired by Hanno Pahl (University of Luzern),
Keynote tba,

Methods play a central role in shaping the knowledge regimes of scientific disciplines. Studying the often contentious history of their
institutionalization within a field allows an investigation of how the
introduction of methods privileges certain epistemological positions. Via
comparing media studies to two established disciplines – economics and
sociology – this stream will explore the history and presence of the
politics of methods in their institutional and epistemological effects. How
can such comparison not only help to profile the specifics of digital media
studies’ methods, but also provide evocative potential for exchanges between
media theory, social theory and theoretical takes on markets and capitalism?


3. Cultural Techniques – Chaired by Christina Vagt (Technical University
Berlin), Keynote tba,

The three primary registers of cultural techniques (image, writing, number)
can help to understand the role of materiality and technology within the
sciences and humanities. In this respect, cultural techniques are modern
auxiliary sciences (an assemblage of methods and objects) that can disrupt
or stabilize specific objects or methods within disciplines. The stream will
ask its participants to practice and reflect on their own field of study and
their methodological framework as cultural technicians. It will also
question, how the cultural techniques approach, which so far has gained
particular traction in historical and epistemological research contexts, can
be made fruitful in contexts of ethnographic or interventionist inquiry.


The Lüneburg Summer School on Digital Cultures invites applications from
outstanding doctoral candidates, but also master students at the end of
their exams, throughout the world in media studies and related fields such
as film studies, literary studies, philosophy, art history, architecture,
sociology, politics, the history of science and visual culture.

All application materials should be sent by email to
florian.sprenger@leuphana.de and must be received by November 10, 2014.
Applicants who have been admitted will be notified by the end of November.

The working language of the Summer School is English. Applications are
accepted in English or German, should be submitted electronically in PDF
format and include the following:

- Letter of Intent indicating academic experience, interest in the Summer
School’s annual topic and the selection of one of the three streams (max.
300 words);

- Curriculum Vitae (max. 2 pages);

- Abstract of a possible presentation at the Lüneburg Summer School for
Digital Cultures of no more than 2000 words, double spaced, with standard
margins;

- Contact information (name, institutional address, email) of two
potential references.

Please use the following naming convention for your application files:
Lastname_Letter_of_Intent.pdf
Lastname_Curriculum_Vitae.pdf
Lastname_Abstract.pdf
Lastname_Contact_Info.pdf

Participants will receive a reader with texts and material for the seminars.
There is no participation fee. Accommodation costs will be covered by the
organizers. We have a limited amount of need-based travel funding available.
Please indicate in your application letter if you wish to apply for travel
funding.


For further information on the DCRL and MECS please visit:
http://cdc.leuphana.com/structure/digital-cultures-research-lab/project/rese
arch/
http://mecs.leuphana.de/
(info atualizada em 27/10/2014)

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Professor and Head of the Department of Media and Communication
Ref: SSC00583

This is an exciting opportunity to lead the next phase of the development of the Department of Media and Communication at the University of Leicester. This is a key role, leading and managing a very successful Department of Media and Communication which has a diverse portfolio of teaching and research. The appointment is open-ended and the successful candidate will hold the role of Head of Department for three years in the first instance.

We have made a number of excellent appointments in recent years, developed our range of research activities and consolidated our teaching programme. You will have the skills and experience to work with a group of young colleagues with great promise to develop and enhance the Department’s reputation, building on existing strengths and raising further levels of research activity, research income, teaching excellence and the overall reputation of the department. We are seeking an outstanding academic, with first class leadership and management skills and an excellent track record in research.

Further details: http://www.le.ac.uk/jobs/external/SSC00583_Job_Summary.pdf

Informal enquiries are welcome and should be made to Professor Peter Lunt on pl108@le.ac.uk / 0116 252 2348.

The closing date for applications will be midnight on 13 November 2014.
(info atualizada em 26/10/2014)

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Call for Papers: Grupo de Trabalho TEORIA DOS CINEASTAS
A informação seguinte é da responsabilidade do Grupo de Trabalho da AIM: TEORIA DOS CINEASTAS
Coordenadores: André Rui Graça
Eduardo Baggio
Manuela Penafria

CALL FOR PAPERS INTERNO com vista ao V Encontro Anual da AIM,  Lisboa, 21 - 23 de maio de 2015.
Sugestão de tópicos:
- metodologia do próprio processo de elaboração da teoria do cineasta
- relação do cineasta com o espectador
- modo como os cineastas se influenciam mutuamente
- conceitos utilizados pelos cineastas que contribuem para discutir problemáticas da teoria do cinema
- processo criativo dos cineastas

As propostas de comunicação devem incluir: nome, afiliação, título, abstract (1500 caracteres) e bibliografia (500 caracteres).
Prazo: 15 de dezembro 2014
baggioeduardo@gmail.com

Como funciona um call for papers interno?
Os responsáveis do GT fazem uma seleção no prazo de uma semana e informam os proponentes.
Até 31 de dezembro, cada proposta aceite pelo GT deverá ser submetida no site da AIM via painéis pré-constituídos. A aceitação pelo GT não implica a aceitação por parte da Comissão Organizadora do V Encontro.

O principal objetivo do GT Teoria dos Cineastas é o de aproximar a teoria do cinema da reflexão dos próprios cineastas no seu contributo para abordarem e compreenderem quer a sua própria obra, quer o cinema.
Pretendemos estimular a reflexão teórica que tenha como referência fundamental e principal, fontes diretas, ou seja, os próprios filmes, as entrevistas, os livros ou textos escritos pelos cineastas.
Entendemos que o conceito de cineasta abrange não apenas o realizador, como todos os que contribuem para a criação cinematográfica: atores, argumentistas, montadores, diretores de fotografia, etc.
O objetivo de estudar o cinema a partir dos cineastas e integrar a teoria do cinema com a teoria que cada cineasta elabora assume-se como uma alternativa ao apoio que a teoria do cinema tem ido buscar a outras disciplinas como a História, a Sociologia, a Psicanálise ou, mais recentemente, a Teoria Cognitiva.
Pretendemos estimular e testar a novidade e originalidade que o estudo teórico sobre o cinema pode receber dos cineastas.
De igual modo, pretendemos dar continuidade aos processos de reflexão já existentes sobre o pensamento dos cineastas.
(info atualizada em 25/10/2014)

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Performing Labor in the Media Industries
Volume and Date of Issue: Volume 35 Number 2 (Fall 2015)
Deadline for Submission: November 23, 2014

This issue of Spectator seeks to explore the relationship between compensated labor and the intangible, creative, and often unremunerated elements of performance that characterize work in the media industries. Great performances and their effects can often be challenging to describe. As audiences we watch actors perform on-screen and are drawn to and captivated by elements of the performances that we cannot necessarily quantify. These same actors (and other media workers) also engage in everyday performances of gender, sexuality, ethnicity, professionalism, or even passion for their careers, performances that are even more challenging to quantify or even to determine the extent to which they are calculated or authentic. While this type of performance labor has always existed in the media industries, as audiences and scholars we now have increased access to these performances. These lines between professional (compensated) actors and social actors become blurred, posing a theoretical challenge for scholars trying to evaluate these performances. From an industrial standpoint it is also difficult to assess the monetary value of these off-screen performances, which might be crucial for the development of an actor’s persona or brand.

This issue invites papers that explore the industrial, creative, and textual dimensions of performance and work in the media industries. However, it welcomes papers that address issues of labor and/or performance through industrial analysis, ethnographic or archival research, textual analysis, and/or theoretical investigations of the on- and off-screen work of people in the media industries.

Papers are encouraged to interrogate the concept of labor, both in relationship to compensation and to guilds and union activity where applicable. What is the relationship between self-presentation on social media and the labor of media workers? How do off-screen workers perform and what kinds of performances do they give? What kind of labor does on-screen talent (reality performers, athletes, stars, actors, etc.) perform? What kind of media labor is privileged in ancillary content? How do workers in the media industries conceive of themselves as “labor”? How can we put a price on performance? What is the relationship between fan labor and traditional or compensated media industry labor? What are the tangible and immaterial forms of compensation (pleasure, creative fulfillment, etc) within the media industries? How has the expectation of immaterial compensation changed over time? How do media texts help us make sense of labor and ascendance within the media industries? This issue of Spectator seeks to understand how labor in the media industries has changed, both in relation to job functions and emotional expectations, as the work has become increasingly casualized.

Potential topics may include, but are not limited to:
· Digital labor and celebrity (fictional characters on social media, celebrity self-promotion and presentation on social media, etc.)
· Marketing, PR, and celebrity branding
· Casualization of labor in the media/creative industries
· Compensated and/versus uncompensated labor in media industries
· Fandom as labor
· The labor of promotion and copyright
· Comic-Con and press-junkets as labor
· The Hollywood guilds (SAG-AFTRA, WGA, DGA, IATSE, etc.)
· Reality TV performers
· Professional Players Associations (NFL Players Association, NBA, MLB, etc.) and the organization and/or regulation of athletes
· Residuals or compensation for re-use of likeness or material
· The dimensions of freelance labor
· The complexities of hyphenate positions (writer-producers, actor-producers, etc) and the challenges these pose to traditional boundaries of labor and unions
· Media labor on screen (making of documentaries, ancillary content, fictional films about Hollywood, etc)

Spectator is a biannual publication, and submissions that address performance, performativity, media industry studies, historical studies of film and television labor, fan labor, digital labor and celebrity, and related topics are now invited for submission.

Submissions should be emailed to fortmuel@usc.edu.

Contributions should not be more than 5,000 words. They should also include a brief abstract for publicity. Authors should also include a brief biographical entry. Articles submitted to Spectator should not be under consideration by any other journal. ?

Forum or Additional Section contributions can include works on new archival or research facilities or methods as well as other relevant works related to the field.

Electronic Submissions and Formatting. Authors should send Microsoft Word attachments of their work via e-mail. Endnotes should conform to the Chicago Manual of Style.

Upon acceptance, a format guideline will be forwarded to all contributors as to image and text requirements.
(info atualizada em 25/10/2014)

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Edited Collection: Social Class and Television Drama in Contemporary Britain
Television drama has a rich tradition of engaging with social class throughout its development in Britain. From 'Coronation Street', to 'Play for Today' to 'Our Friends in the North', class has been a persistent source of inspiration for television writers, producers and directors.

However, in recent years it might be argued that this often radical emphasis on issues of class and social identity has waned, a symptom perhaps of an increasingly complicated and fragmented socio-economic landscape, and a volatile and ruthless broadcasting climate.

The end of Thatcherism and the subsequent triumph of New Labour seemed to point towards an attempt to heal the wounds of divisive class politics through an apparently harmonising third way rhetoric. John Prescott told us in 1997: ‘We’re all middle-class now.’ Yet, the financial crisis, and the subsequent election of the Conservative-led government, has undoubtedly reignited a politics of identity, as narratives of ‘austerity’ and ‘broken Britain’ circulate heavily in the media.

The aim of this edited collection is to explore the ways in which social class has been and continues to be articulated, documented, constructed and interrogated in British television drama between 1990 and the present. We invite 500-word abstracts for essays on any aspect of British television drama and social class in this period, including (but not limited to) the following:
• British soap opera after Thatcher
• The sitcom and social class
• Identity politics in television drama
• Gender politics and social class
• The politics of heritage drama
• The legacy of the single play tradition
• Class and television auterism
• Television realism(s)
• Social class and the interface between television and film in British culture
• Regionalism and class in television drama
• Spatializing social class: visual geographies and television drama
• Historicizing social class in the twentieth and twenty-first centuries
• Broadcasting policy and television drama
• Television aesthetics and social class
• Representing youth in television drama
• Beyond realism: genre and social class
• Social class and audiences of TV drama
• Stardom and social class

Please submit an extended abstract of 500 words tod.forrest@sheffield.ac.uk andb.l.johnson@keele.ac.uk (entitled Class on TV), by 31st October 2014. Please also include a brief biographical note. We plan to complete evaluation of abstracts by the end of November.
(info atualizada em 24/10/2014)

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Marvel Feature Films
Edited by Robert Moses Peaslee, Matt McEniry, and Robert G. Weiner

The recent release of Guardians of the Galaxy marks the penultimate film in the so-called second “phase” of the Marvel Cinematic Universe, a group of big-budget tentpole films that include Marvel’s The Avengers, Captain America: The Winter Solider, Thor: Dark World, Iron Man 1-3, and the Incredible Hulk. Meanwhile, other studios like Sony and Fox have had success with films based on Marvel properties such as the X-Men and Spider-Man.

Feature films and full-length television movies based on Marvel characters go back to the 1970s, however, and very little scholarship has been produced on these films. The editors of this volume seek essays that discuss Marvel feature-length films, and while we will consider essays that deal with the Marvel Cinematic Universe and more recent films, we are particularly interested in those films that have not received a lot of scholarly attention (including television and animated features). We are also interested in work dealing with films produced when certain characters were Marvel properties (like Transformers, G. I. Joe, and Conan). Please note we are not interested in television series, per se, but rather the full-length films produced from them. We are also interested in the business aspect of Marvel Films and Marvel Animation. We will also consider essays on those unauthorized foreign films based on Marvel characters like Turkish Captain America/Spider-Man, etc.

We are particularly interested in considering essays dealing with:
Transfomers (1986), G.I. Joe (1987), Howard the Duck (1986), Captain America (1979, 1990), Inhumanoids: the Movie (1986), Trial of the Incredible Hulk (1989), Man-Thing (2005), Ghost Rider (2007, 2011), Spider-Man: The Dragon’s Challenge (1979), Dr. Strange (1979), Generation X (1996), Power Pack (1991), Punisher (1989), Nick Fury: Agent of Shield (1998), Blade 1-3 (1998, 2002, 2004), Elektra (2005), Thor: Tales of Asgard (2011), Iron Man: Rise of Technovore (2013), Planet Hulk (2010), Fantastic Four (1994) and Next Avengers (2008).

A brief but by no means conclusive list of interesting questions to consider:
* How has Disney’s acquisition of Marvel changed the comic/film landscape?
* Why were certain television or direct to video films like Captain America (1990), Captain America: Death Too Soon or Spider-Man: The Dragon’s Challenge released theatrically overseas?
* Why did Howard the Duck fail to live up to its hype, and what are we to make of his recent reappearance in the CMU?
* How can we think more deeply about the use of legend and myth in these films?
* What was the production history of Transformers (1986) and how did the film eventually factor into the continuity of the Marvel comics series?
* Cyberpunk influences, particularly in films like Iron Man: Rise of Technovore
* Faustian influences in the Ghost Rider films and the use of the original Ghost Rider, Carter Slade, in the first film.
* How Daredevil and Thor were used in the Hulk television films?
* While Blade was moderately successfully in 1998, why did it take the 2000’s X-Men to kick start the current wave of Marvel and superhero films?
* Generation X as an example of X-film?
* Has Marvel Animation been successful compared to DC in producing high quality animated films?
* Planet Hulk as Greek/Roman myth?
* Traditional vampire lore in the Blade series.
* Spider-Man as a villain in the Turkish 3 Dev Adam, also featuring Captain America.
* The Bollywood 'Tu Mera Superman featuring a mash-up of Superman and Spider-Woman?
* Production history of producer Roger Corman’s ill-fated attempt at the $2 million Fantastic Four film.

Please submit a 200-500 word abstract by November 15th rob.weiner@ttu.edu and Matthew.mceniry@ttu.edu

Upon acceptance, final essays will be due on Feb 15th.
(info atualizada em 24/10/2014)

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Popular Culture Association Annual Conference
Papers, panels, and roundtables are now invited for the Australian and New Zealand Popular Culture area for the PCA national conference in New Orleans, April 1-4, 2015.

The Australian and New Zealand area is a forum for scholars of popular culture from Australia and New Zealand. The Australian and New Zealand area offers an opportunity for scholars from Australia and New Zealand to showcase their work in an international forum.

Presentations are welcome from any area of popular culture research. The focus of the presentation need not be exclusively Australian- or New Zealand-based, only that the research is being conducted by scholars from Australia and/or New Zealand.

Abstracts of papers, panel proposals, and questions can be sent to Glen Thomas (gj.thomas@qut.edu.au) before 1 November, 2014.
(info atualizada em 23/10/2014)

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RMIT University is currently inviting applications for PhD scholarships.
http://www.rmit.edu.au/browse;ID=uwpmk8bd4bkbz

I’m encouraging applicants with first class Honours or equivalent qualifications, who are interested in undertaking ethnographic research on issues around media, communication, voice and listening.

Topics I’d particularly welcome include:
* · Digital media and social change
* · Participation, voice and listening in development (especially in India)
* · Domestic and/or sensory ethnographies of media

You would become a member of the Digital Ethnography Research Centre at RMIT University, home to leading media and digital ethnographers (Heather Horst, Sarah Pink, John Postill, Larissa Hjorth, Tania Lewis), and a growing group of postgraduate students and postdoctoral researchers.

http://www.rmit.edu.au/research/derc

Applications close 31 October 2014.
Application details:
http://www.rmit.edu.au/research/applying-for-postgraduate-research
(info atualizada em 22/10/2014)

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Decentring Axis cinema – Filmmaking in states allied to Nazi Germany
A Leverhulme Trust-funded workshop, 2nd-3rd April, 2015. Manchester.

The purpose of this workshop is to consider the particularities of national cinemas within the Axis, while seeking to find unifying patterns across the filmic discourse, filmmaking practices and industry organization of countries that entered the Axis in pursuit of a variety of national goals. A related aim of this workshop is to decentre scholarship on Axis cinema by looking beyond Nazi film. The Axis is understood to mean sovereign states allied to Nazi Germany, including but not limited to Japan, Italy, Hungary, Romania and Bulgaria.

There has been a general lack of critical engagement with the individual cinemas that make up the Axis and there has been no or limited significant academic attempt to consider filmmaking within the Axis as a whole, or to assess the overlaps and connections between individual Axis members. On those occasions when academics did turn their attention to Axis film, Nazi cinema continued to dominate the discussion. This centre-focused approach has prevented considerations of the potential links between Axis member states that bypassed the centre of the alliance. While historians have begun to question the extent to which Nazi Germany was able to assert its will within the Axis and shape the domestic policy of allied states, film historiography has continued to focus on Germany’s relationship with individual allies, and its attempts to shape the European filmmaking map.

This workshop aims to present a more complex picture than the image of German demands and Axis acquiescence that emerges from existing scholarship. The aim of this workshop is to challenge the accepted view of Axis cinema as owing its characteristics solely to the emulation of Nazi trends, and the faithful adoption of industry structures and organizational initiatives. This workshop hopes to offer a decentred approach to Axis cinema and in the process explore the national specificities and unifying characteristics of Axis cinemas. The ‘centre’ of the Axis will be seen as one of the many and varied factors that demanded the attention of Axis film policy decision makers, industry bosses, filmmakers, exhibitors and audiences.

Proposals are invited for papers on the broad topic of Axis cinema. Papers that address international cooperation between the allies of Nazi Germany, and papers that seek to dislocate the analysis of films made by an Axis member from constant references to Nazi Germany are particularly welcome. We welcome all levels of academia to apply.

Papers that address the following (but not exclusively) are encouraged:
• national identity
• anti-Semitism
• industry organization and ideology
• propaganda films
• entertainment films
• race, ethnicity, gender
• absence/presence

Please send abstracts of 300 words and brief biography by 14th November togabor.gergely@manchester.ac.uk and/ork.taylor@bangor.ac.uk. We are pleased to be able to contribute towards the travel and accommodation costs of those selected to present at the workshop.
(info atualizada em 21/10/2014)

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Stardom and Fandom panel
Join us for the 36th Annual Southwest Popular Culture and American Culture Association Conference, February 11 – 14, 2015 at the beautiful Hyatt Regency in Albuquerque, New Mexico. The conference theme this year is “Many Faces, Many Voices: Intersecting Borders in Popular and American Culture.” The Area Chair for Stardom and Fandom invites paper or panel proposals on any aspect of stardom or fandom.

Proposal submission deadline: November 1, 2014. (Please see below)
Any and all topics will be considered, although we especially encourage proposals on:
The reciprocal relationship between stars and fans
Impact of celebrity and fame on identity construction, reconstruction and sense of self
Reality television and the changing definition of ‘stardom’
The impact of social media on celebrity/fan interaction
Children and stardom (Little Rascals to Toddlers and Tiaras)
Celebrity/fame addiction as cultural change
The intersection of stardom and fandom in virtual and physical spaces
Celebrity and the construction of persona
Pedagogical approaches to teaching stardom and fandom
Straddling the stardom/fandom line: big name fans, bloggers and aca-fans
Anti-fans and ‘haters’
Fan shame
Gendered constructions of stars and fans
Studies of individual celebrities and their fans
Studies focused on specific fandoms
Historical studies of fandom and fan/celebrity interaction

Submit 250 word paper or 500 word panel proposals to: http://conference2015.southwestpca.org. Choose the area “Stardom and Fandom” and input your information as directed.

Deadline for proposal submissions: November 1, 2014. Earlier proposals are welcomed and will be responded to with all due haste.

Please remember that there are monetary awards for the best graduate student papers – we encourage you to apply! Papers in the Stardom and Fandom area could qualify for several awards, including the Diana Cox Award for best paper on images of women in popular culture, Euro Pop Award for best presentation on European popular culture, Peter C. Rollins Award for best paper dealing with a popular culture issue, Richard Tuerk Science Fiction and Fantasy Award for outstanding essay related to science fiction and fantasy, and the Post Script Award in film studies. You can see the full list at: http://southwestpca.org/conference/graduate-student-awards/
(info atualizada em 21/10/2014)

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A Companion to the Gangster Film
Edited by George S. Larke-Walsh PhD, (University of North Texas)

This volume will explore the gangster genre as a global phenomenon; what makes it so distinct from other crime films and what makes it so appealing to twentieth and twenty-first century audiences. To that end I am seeking new scholarship on the gangster film not only in America, but also across the globe. I am primarily interested in work on films from the UK, France, Italy, Russia, India, Hong Kong, Japan and South Korea, but I am also open to other suggestions.

The book is already under contract with Wiley-Blackwell and I have divided it into four key areas of study, each consisting of approximately 5-6 essays at 8-10,000 words each. These areas are each designed to encourage contributors to consider their topics from a global perspective. Please consider the sub-headings as opening guidelines to help you position your topic.

Part One: Gangsters in the Industry: Production, Distribution and Reception
Censorship: Hollywood (Effects on Classical or Post-classical films)
Creating the Gangster (cross-cultural influences on the development of Gangster identities, iconography and ideology)
Fandom (can be about distribution of films and popularity)
Beyond the Frame (merchandising, spin-offs – such as The Godfather phenomenon)
Distribution (cross-cultural influences, political or financial influences)

Part Two: Mythologies of the Mafia
New Russian Heroes (films of the 90s and beyond)
Italian-American influences (on American film, or internationally)
Hong Kong Gangster films (cross-cultural influences)
British Gangsters (gangland mythology – any era)
Myths versus realities

Part Three: Politics of Organized Crime
Organized crime as Capitalism: a celebration or critique
Mafia as an organization and its effect on the wider community
Corruption narratives
Class (social order, criminal hierarchies)
Socio-cultural Traditions that influence organized crime (roots, causes of crime)

Part Four: Gangster Identities
Cross-cultural influences
Ethnicity (The ambiguities of ethnic identity within particular cultures)
Exclusive societies and/or the dispossessed
Concepts of Heroism or Villainy as a gangster identity
Gangsters on the edge of organizations (assassins, street guys etc)

Please send an abstract of your topic (approx. 300 words) to larkewalsh@unt.edu by November 14th 2014. If you have any specific questions about the volume or your contribution do not hesitate to contact me before the deadline.​
(info atualizada em 20/10/2014)

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The Materiality of the Immaterial: ICTs and the Digital Commons
http://www.triple-c.at/index.php/tripleC/announcement/view/23

Special issue of tripleC: Communication, Capitalism & Critique (http://www.triple-c.at)
Abstract submission deadline: January 15, 2015

Guest editors: Vasilis Kostakis, Ragnar Nurkse School of Innovation and Governance, Tallinn University of Technology (Estonia), P2P Lab (Greece); Andreas Roos, Human Ecology Division, Lund University (Sweden)

With an escalating environmental crisis and an unprecedented increase of ICT diversity and use, it is more crucial than ever to understand the underlying material aspects of the ICT infrastructure. This special issue therefore asks the question: What are the true material and socio-environmental costs of the global ICT infrastructure?

In a recent paper (Fuchs 2013) as well as in the book Digital Labour and Karl Marx (Fuchs 2014), Christian Fuchs examined the complex web of production relations and the new division of digital labour that makes possible the vast and cheap ICT infrastructure as we know it. The analysis partly revealed that ICT products and infrastructure can be said to embody slave-like and other extremely harsh conditions that perpetually force mine and assembly workers into conditions of dependency. Expanding this argument, the WWF reported (Reed and Miranda 2007) that mining in the Congo basin poses considerable threats to the local environment in the form of pollution, the loss of biodiversity, and an increased presence of business-as-usual made possible by roads and railways. Thus ICTs can be said to be not at all immaterial because the ICT infrastructure under the given economic conditions can be said to embody as its material foundations slave-like working conditions, various class relations and undesirable environmental consequences.

At the same time, the emerging digital commons provide a new and promising platform for social developments, arguably enabled by the progressive dynamics of ICT development. These are predominantly manifested as commons-based peer production, i.e., a new mode of collaborative, social production (Benkler 2006); and grassroots digital fabrication or community-driven makerspaces, i.e., forms of bottom-up, distributed manufacturing. The most well known examples of commons-based peer production are the free/open source software projects and the free encyclopaedia Wikipedia. While these new forms of social organisation are immanent in capitalism, they also have the features to challenge these conditions in a way that might in turn transcend the dominant system (Kostakis and Bauwens 2014).

Following this dialectical framing, we would like to call for papers for a special issue of tripleC that will investigate how we can understand and balance the perils and promises of ICTs in order to make way for a just and sustainable paradigm. We seek scholarly articles and commentaries that address any of the following themes and beyond. We also welcome experimental formats, especially photo essays, which address the special issue's theme.

Suggested themes
Papers that track, measure and/or theorise the scope of the socio-environmental impact of the ICT infrastructure.
Papers that track, measure and/or theorise surplus value as both ecological (land), social (labour) and intellectual (patent) in the context of ICTs.
Understanding the human organisation of nature in commons-based peer production.
Studies of the environmental dimensions of desktop manufacturing technologies (for example, 3D printing or CNC machines) in non-industrial modes of subsistence, e.g. eco-villages or traditional agriculture, as well as in modern towns and mega-cities.
Suggestions for and insights into bridging understandings of the socio-economic organisation of the natural commons with the socio-economic organisation of the digital commons drawing on types of
organisations in the past and the present that are grounded in theories of the commons.
Elaboration of which theoretical approaches can be used for overcoming the conceptual separation of the categories immaterial/material in the digital commons.

References
Benkler, Yochai. 2006. The wealth of networks: How social production transforms markets and freedom. New Haven: Yale University Press.

Fuchs, Christian. 2014. Digital labour and Karl Marx. New York: Routledge.

Fuchs, Christian. 2013. Theorising and analysing digital labour: From global value chains to modes of production. The Political Economy of Communication 1 (2): 3-27.
http://www.polecom.org/index.php/polecom/article/view/19.

Kostakis, Vasilis and Michel Bauwens. 2014. Network society and future scenarios for a collaborative economy. Basingstoke, UK: Palgrave Macmillan.

Reed, Erik and Marta Miranda. 2007. Assessment of the mining sector and infrastructure development in the congo basin region. Washington DC: World Wildlife Fund, Macroeconomics for Sustainable Development Program Office, 27. http://awsassets.panda.org/downloads/congobasinmining.pdf

Schedule
Submission of abstracts (250-300 words) by January 15, 2015 via email to vasileios.kostakis@ttu.ee
Responses about acceptance/rejection to authors: February 15, 2015.
Selected authors will be expected to submit their full documents to tripleC via the online submission system by May 15, 2015: http://triple-c.at/index.php/tripleC/about/submissions#onlineSubmissions
Expected publication date of the special issue: October 1, 2015.

About the journal
tripleC: Communication, Capitalism & Critique is an academic open access online journal using a non-commercial Creative Commons license. It is a journal that focuses on information society studies and studies of media, digital media, information and communication in society with a special interest in critical studies in these thematic areas. The journal has a special interest in disseminating articles that focus on the role of information in contemporary capitalist societies. For this task, articles should employ critical theories and/or empirical research inspired by critical theories and/or philosophy and ethics guided by critical thinking as well as relate the analysis to power structures and inequalities of capitalism, especially forms of stratification such as class, racist and other ideologies and capitalist patriarchy. Papers should reflect on how the presented findings contribute to the illumination of conditions that foster or hinder the advancement of a global sustainable and participatory information society. TripleC was founded in 2003 and is edited by Christian Fuchs and Marisol Sandoval.
(info atualizada em 20/10/2014)

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Art Matters International Conference 2014
The Art Matters International Conference 2014 which will be held on December 11-12, 2014 at the University of Barcelona has opened the Call for Papers.

[Spanish and Catalan versions here: http://artmattersconference.wordpress.com/]

The materials and technologies of the contemporary art invite us to reconsider, not only the role that these play in the articulation of artistic practices, but also the theoretical frameworks that demonstrate the role of the materiality itself inside the Art History. These premises involve new methodological challenges and important epistemological transformations in the examination of art; challenges that must be analysed, discussed and contrasted with the long and fertile tradition of art studies. Fundamental problems such as the distribution of the agencies involved in the investigation and the artistic practice, the lines of temporal causality, the interconnection between materialities and discoursivities, the role of the technology and the society, the spatiality and location of the art, gain relevance from the suggested challenges.

Art Matters congress hopes to give space for those researches that, coming from the academy and the professional practice, rebuild the relation between art and its materiality: contributions focused on theoretical, methodological and epistemological reconsiderations and, specially, empirical studies centered on art routines and infrastructures.

Perspectives such as Media Archaeology, the Actor-Network Theory or the New Materialisms contribute decisively to the possibility of blurring or even erasing preconceived ontological distinctions –inoperative today-, and traditionally supported by the framework of our modernity. We are alluding to established dichotomies such as subject/object, matter/discourse, theory/practice, social/technological, expert/non-expert that lay out important onto-epistemic challenges to overcome. The interest of the congress is precisely to connect these new perspectives with the tradition of history, theory and art practice, starting always from both the reflection and the experience with the routines, the infrastructures and the art fields.

Problems to discuss:
Researches about art infrastructures: museums, art galleries, centres of production and investigation, archives, exhibition and distribution displays, art market dynamics.
Investigations about objects and artistic practices: new materials, technologies inside the art field, production processes, distribution, conservation and preservation of the art and the media, etc.
Other art histories and narratives: “minor” or divergent histories, linear narratives, emergency of novelties, relational temporality and spatiality, forgotten geographical areas, etc.
Onto-epistemic and methodological art frameworks: human and non-human agency, relations between practice and theory, experts and non-experts, trans/inter/meta/non-disciplinarity, etc.

Those people interested in participating are invited to send, before 31st of October, 2014 (included) a communication proposal to this email addressartmattersconference@gmail.com for its following evaluation.

Proposal format (two separated documents):
1. Communication proposal:
Format .doc, .docx, .rtf
Communication title
Communication abstract (300 words maximum)
Between 3 and 5 keywords.

2. Information about/the auhtor/authors:
Format .doc, .docx, .rtf
Name and surname
Institutional affiliation (in case of having it)
Email address
Brief curriculum (100 words maximum)
Information and contact person (only if the communication is presented by more than one author).
Communication title

Notification of the communication acceptance will be published on 10th November, 2014.

Further information (Scientific Committee, Programme, Keynotes, venue, etc.) will be published here: http://artmattersconference.wordpress.com/

You can also send an e-mail to: artmattersconference@gmail.com
(info atualizada em 20/10/2014)

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Assistant Professor position in Media Studies
The American University of Beirut (AUB) has a growing Media Studies program that currently offers an MA in Media Studies, a BA in Media and Communication, and a Diploma in Media and Communication. Both the graduate and undergraduate programs offer a broad-based multidisciplinary liberal arts curriculum grounded in the social sciences that teaches media theory, research and practice, and focuses on critical thinking, media and digital literacy, and the role of media in society. While the graduate program emphasizes theory, research, and critical thinking, the undergraduate program offers a mix of conceptual and professional courses, as well as three cognate areas: digital media and news, political communication and media activism, and strategic and integrated communication. For more information, visitaub.edu.lb/mediastudies

The Media Studies program at AUB seeks a media educator for a full-time faculty position at the rank of assistant or associate professor to teach courses at the undergraduate and graduate levels, engage in research and student advising, and help further expand the media studies program. The position is to begin September 1, 2015. Appointment is for an initial period of four years.

Applicants should hold a PhD in media studies, mass communication, journalism studies, or a related field. They should possess a strong theoretical and practical knowledge of new media technologies, political communication, and media activism. Candidates should be proficient in quantitative research methods, and preferably knowledgeable or interested in big data and social media data analysis. Knowledge of Arabic and of Arab media is highly desirable.

Applicants should also have prior teaching experience and evidence of research productivity. Professional experience working as a media professional, especially in journalism, media management, political communication, or media activism and other media fields are also acceptable. Candidates should be able to contribute to the program’s focus on Arab media research and theory and on the critical approach to the role of media in society.

Interested applicants must submit a letter of interest, CV, and arrange for three letters of reference to be directly sent to: Patrick McGreevy, Dean, Faculty of Arts and Sciences, American University of Beirut, c/o 3 Dag Hammarskjold Plaza, 8th Floor, New York, NY 10017-2303, USA or Patrick McGreevy, Dean, Faculty of Arts and Sciences, American University of Beirut, P.O. Box 11-0236, Riad El-Solh, Beirut 1107 2020 Lebanon.

Electronic submissions are preferred and may be sent to as_dean@aub.edu.lb.

Review of applications will begin mid-September 2014. Applications will be accepted until November 15, 2014.

For more information on this position, please visit http://www.aub.edu.lb/fas

The American University of Beirut is an Equal Opportunity Employer.
(info atualizada em 20/10/2014)

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