A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VI Encontro Anual irá decorrer de 4 a 7 de maio de 2016, na Católica Porto. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
[Saber mais] [Inscrever-se na AIM]


European Screens: An international conference on film, TV drama and the audiovisual industries in Europe
September 5-7, 2016
University of York, UK

From films like Ida, The Kings Speech and Intouchables to television dramas like The Bridge, Deutschland ’83 and Downton Abbey, there seems to be a new vitality to the European audiovisual industries. Organised by the HERA-funded project ‘Mediating Cultural Encounters through European Screens’ (MeCETES), this three-day event brings together academics, policymakers and industry professionals to discuss some of the latest trends in European film, TV drama and audiovisual policy. The MeCETES team will also be sharing the findings of their landmark pan-European research project. Registration open to all (£100 standard / £50 student).

Discussion panels:
Are the UK film and TV industries part of Europe?
Amanda Nevill (BFI), Tim Bevan (Working Title), Mike Downey (European Film Academy), Duncan Petrie (University of York)

The Future of the Public Service Broadcasting
Cassian Harrison (BBC Four), Katherine Sarikakis (University of Vienna), Ed Braman (University of York)
Transnational adventures: European Screens, European Identity
Daniela Berghan (Royal Holloway), Laura Rascaroli (University College Cork), Tim Bergfelder (University of Southampton)

Well-travelled European drama
Lucy Mazdon (University of Southampton), Paul Cooke (University of Leeds), Eva Novrup Redvall (University of Copenhagen)

The state of European cinema
Will Higbee (University of Exeter), Angus Finney (London Film School), Michael Franklin (Goldsmiths University of London)

Key trends in European film and TV drama – findings from the MeCETES project
University of York: Andrew Higson, Huw Jones, Roderik Smits, Martina Lovascio
University of Copenhagen: Ib Bondebjerg, Eva Novrup Redvall, Rasmus Helles, Henrik Søndergaard, Signe Sophus Lai

Vrije Universiteit Brussel: Caroline Pauwels, Tim Raats, Ilse Schooneknaep

Plus 40 research papers covering the latest work on cultural diversity, transnational audiences, co-productions, historical drama, national representation, small national cinemas, production, distribution and exhibition.

- £100 (standard)
- £50 (student/unwaged)

Lunch/refreshments included. Visit out online store to register:

Department of Theatre, Film and Television | University of York | Heslington East | York | YO10 5GB | UK

More information:
(info atualizada em 29/06/2016)


The Comunicação Midiática journal calls for papers
The brazilian Programa de Pós Graduação em Comunicação of Universidade Estadual Paulista (UNESP) announces the call for papers for the September-December 2016 edition of Revista Comunicação Midiática – (v.11, n.3).

Submission of articles on Media and Cultura, Languages of Media and Communication Policies and book reviews is open until June 30th. Guidelines for authors can be accessed here –
(info atualizada em 28/06/2016)


European Co-Production Symposium
A multi-disciplinary conference of scholars, practitioners and policy professionals

23-24 November 2016
University of Copenhagen,

Keynote Speaker
Roberto Olla, Executive Director, Eurimages

The European Co-production Symposium will explore co-production as the expression of a complex political and economic apparatus, and aims to bring to light the intricacies of producing a film across national borders with different production cultures and policy environments. The major objective is to identify and discuss issues confronting the European co-production system following a decade marked by three major challenges: 1) the global financial crisis; 2) the emergence of the Digital Single Market and new digital release windows; and 3) the trend towards the globalization of co-productions.

An associated aim of the Symposium is to establish a broader network of researchers working in the area of European co-production, with a view to pursuing future collaborative projects and publications. Scholars from the world of film studies, but also film history and economics, political science, as well as cultural studies and sociology are invited to participate. Scholarly papers will be complemented by industry roundtables, case studies and screenings, thus facilitating a dialogue between the academic and film industry spheres and creating a space in which the various facets of European coproduction are considered and debated.

Topics may include, but are not restricted to:
• Historical and contemporary perspectives on European identity and transnational production practices
• Co-productions in light of the financial crisis of 2007/2008
• Co-productions in the context of the Digital Single Market
• Financial joint ventures versus official co-production
• Public support mechanisms and how these enable and/or inhibit co-production
• The interface between financing and filmmaking
• Education and training in the practice of international co-production
• Case-studies on regional cinematic collaboration, as well as co-production from the perspective of individual European countries
• Challenges specific to European co-production
• Collaboration with non-European countries

Please send your proposals in English to the organising committee by Friday 1 July 2016 (midnight CET). Proposals should include the title of your proposed paper, a 400-word abstract, 4 bibliographical references, and a brief biography. There is no registration fee for the Symposium. For more information, see

Organising Committee
Petar Mitric (University of Copenhagen):
Julia Hammett-Jamart (CinEcoSA):
Ben Harris (University of California Los Angeles):
(info atualizada em 28/06/2016)


Media Practice and Media & Communication Studies lecturing vacancies at Xian Jiaotong Liverpool University
Two new positions are currently being advertised at Xian-Jiaotong Liverpool University, Suzhou, near Shanghai.
Both positions will join the new School of Film and Television Arts being established, and building on previous developments in UG and PG Media and Communication Studies programmes.

1 x Lecturer/Associate Professor Position in Digital Media Production

1 x Lecturer/Associate Professor Position in Media and Communication Studies

The closing date is July 3rd, with a view to appointments being in place for Autumn 2016.
Further information please contact Dr. Nick Cope -
(info atualizada em 27/06/2016)


Research Fellow for 'The Aesthetics of Protest' Project

School of Applied Social Science

Location: Brighton - Falmer
Salary: £33,574 to £40,082 per annum
Closing Date: Sunday 03 July 2016
Reference: HA4102-16-149
The School of Applied Social Science is seeking to recruit a full time
Research Fellow for a period of 14 months. We have recently been awarded
funding from the Arts & Humanities Research Council and this post will
work alongside Dr Aidan McGarry, Principal Investigator, on the project:
Aesthetics of Protest: Visual Communication and Culture in Turkey.

The work will focus on the 2013 protests in Turkey, particularly in Gezi
Park in Istanbul. It is an investigation into the aesthetics of protest,
in particular, how protestors use social media to communicate with the
public and each other. Protestors have a range of options open to them
in order to have their voice heard and increasingly use a variety of
strategies in order to communicate their ideas. In this context, protest
atheistics are considered to be the visual, material, textual and
performative elements of protest, such as images, symbols, graffiti,
clothes, and art, and how aesthetics help to constitute new democratic

The post holder will be responsible for conducting research on social
media platforms, in Turkish, as well as interviews with activists in
Turkey, it is therefore essential that applicants are fluent in both
Turkish and English. The post is based in Falmer, Brighton, England but
there is expected to be a three month block of time when the post holder
will be working at Bilgi University, Istanbul.

In order to be successful you will have a PhD (or close to completion)
in humanities, communication/media or social science. Sufficient, up to
date breadth or depth of specialist knowledge in the discipline and of
research methods and techniques to work within established research
programmes is also required. Excellent communication and strong
networking skills, experience of using social media to gather research
data along with experience of researching social movements or protest
are essential.

The University of Brighton has a Social Movement Research Network which
will help to support the Research Fellow.

Interviews are expected to be held at the end of July and the post will
start on 1st November.

If you have any preliminary enquiries then please contact Dr Aidan
McGarry (>)
(info atualizada em 27/06/2016)


Associate Lecturer in Digital Culture
University of York
Department of Theatre, Film and Television

Location: York Salary: £30,738 to £31,656 per annum Hours: Full Time Contract Type: Contract / Temporary

We invite applications for the position of Associate Lecturer in Digital Culture and Society to contribute to our BSc in Interactive Media. This position will commence on 1 September 2016 and will be available for a period of 9 months.

We seek applicants with a postgraduate degree, ideally a PhD, in a relevant subject and with experience of teaching at HE level. The preferred candidate will be a humanities scholar able to lead courses and offer teaching on a range of issues in media studies and digital culture and in particular deliver theoretically engaged work on the relationships between interactive media and ongoing cultural and socio-political transformations. You will complement the dynamic inter-disciplinary teaching team of the BSc Interactive Media programme which spans programming, design, media production and humanities thinking.

For further information, see
* Closing date: 3 July 2016 *

Job Ref: 5031
(info atualizada em 27/06/2016)


Call for Papers - Aniki 4.1 - Dossier Temático: 'Paisagem e Cinema'
Chamada para Trabalhos para o dossiê temático do número 4.1 da Aniki: Revista Portuguesa da Imagem em Movimento, intitulado 'Paisagem e Cinema', coordenado por Filipa Rosário, Iván Villarmea e Francesco Giarrusso.

O prazo de envio dos artigos completos para este dossiê é 30 de junho de 2016.

Relembramos que a chamada de artigos para as diversas secções da Aniki está aberta em permanência, incluindo ensaios fora deste dossiê temático.

Para submeter um ensaio ou esclarecer dúvidas, consulte:

Cartografar a Paisagem através da Imagem em Movimento: Da Imagem do Mundo ao Mundo das Imagens

O cinema surgiu como prolongamento da lógica planimétrica, não apenas pelas afinidades que apresentava com o atlas, mas sobretudo pela capacidade de mostrar, no menor tempo possível, os lugares do mundo, fazendo da sala de cinema o teatro das viagens da modernidade do novo voyeur-voyageur, como explica Giuliana Bruno. O cinema é, portanto, uma tecnologia de lugar, pois corresponde a uma prática estética e social capaz de produzir espacialidades através de imagens em movimento: por um lado, representa mais ou menos fielmente paisagens e lugares; por outro, constrói espaços complementares ou alternativos aos seus referentes reais.

Esta capacidade é partilhada por outros média audiovisuais, como a televisão, os videojogos ou muitas aplicações digitais para tablets e telemóveis aparecidas nos últimos anos. As suas imagens já não reproduzem o mundo sensível, mas o inteligível, desestabilizando a experiência comum do espaço e do tempo: atualmente, os lugares e os tempos misturam-se de acordo com a lógica da ubiquidade e instantaneidade; e graças à sua virtualidade, multiplicam-se num processo de desterritorialização e dessincronização, através do qual o ser humano se coloca aquém e além do espaço-tempo da realidade fenoménica.

O cinema contribui desta forma à aceleração do processo de globalização e à modificação da conceção do espaço-tempo. As ferramentas digitais desenvolvidas nas últimas décadas ampliaram as possibilidades formais, estéticas e conceptuais de reprodução e representação do mundo para além do pensamento cartográfico de matriz euclidiano-newtoniana. Nestas circunstâncias, as paisagens e geografias audiovisuais configuram hoje a nossa visão do mundo, pelo que é preciso refletir sobre o seu processo de criação para compreender as lógicas que determinam a geopolítica mediática do presente e do passado.

Este novo dossiê temático da Aniki: Revista Portuguesa da Imagem em Movimento, dedicado às relações entre a cartografia, a paisagem e a imagem em movimento, será editado pelos três coordenadores do Grupo de Trabalho 'Paisagem e Cinema' da AIM: Filipa Rosário, Iván Villarmea e Francesco Giarrusso. A abordagem será multidisciplinar, pelo que aceitamos contributos vindos de áreas como os Estudos de Cinema, os Estudos Culturais, a Estética, a História, a Geografia, a Sociologia, a Antropologia e a Arquitetura. Alguns possíveis temas para os artigos deste dossiê podem ser, por exemplo, os seguintes:

· A imagem em movimento como ferramenta para a cartografia: os mapas audiovisuais.
· Estratégias formais e dispositivos de encenação utilizados na criação de paisagens mediáticas.
· Relação entre paisagens reais (objetivas) e paisagens mediáticas (subjetivas).
· Funções e significados da paisagem em diferentes géneros audiovisuais e / ou cinematográficos.
· Funções e significados da paisagem em diferentes cinemas nacionais.
· A paisagem através do tempo: paisagem e história nas imagens em movimento.
· Paisagens mediáticas e imaginários sociais.
· Imagens em movimento de paisagens urbanas e paisagens rurais.
· Imagens em movimento de paisagens e arquitetura.
· Paisagens analógicas / digitais.
· Paisagens mentais: imagens em movimento de sonhos, imaginações e recordações.
· O corpo (masculino / feminino) na paisagem: relações formais, narrativas e conceptuais entre figuras e fundos nas imagens em movimento.
· Paisagens mediáticas da crise económica atual.
· Paisagens coloniais e pós-coloniais: a paisagem da fronteira / a representação do outro cultural na paisagem.
· Paisagens em movimento: relatos e registos de viagens.
· Geografias do futuro: paisagens utópicas e distópicas.

O prazo para submeter os artigos termina a 30 de junho de 2016. Os artigos recebidos serão sujeitos a um processo de seleção e revisão cega por pares. Antes de submeter o seu artigo completo, consulte as Políticas de Secção e as Instruções para Autores.

Filipa Rosário é investigadora de pós-doutoramento e trabalha sobre ‘Paisagens do Cinema Português dos últimos 50 anos’ no Centro de Estudos Comparatistas da Faculdade de Letras da Universidade de Lisboa. É professora adjunta convidada na Escola Superior Técnica de Abrantes - Instituto Politécnico de Tomar. Coordena o projeto ‘O cinema e o mundo - estudos sobre espaço e cinema’ (CEC-FLUL). É doutorada em Estudos Artísticos - Estudos do Cinema e do Audiovisual na FLUL, a tese defendida intitula-se In a Lonely Place - Para uma Leitura do Espaço do Road Movie a partir da Representação da Cidade Norte-Americana.

Iván Villarmea Álvarez é doutor em História da Arte pela Universidad de Zaragoza (Espanha), e licenciado em Jornalismo e em História Contemporânea pela Universidade de Santiago de Compostela (Galiza). Trabalha como professor de mestrado na Universidad Estatal de Milagro (Equador). É autor do livro Documenting Cityscapes. Urban Change in Contemporary Non-Fiction Film (Wallflower Press, 2015). Para além disso, co-dirige, desde 2013, a revista digital A Cuarta Parede (, para a qual co-editou o volume Jugar con la Memoria. El Cine Portugués en el Siglo XXI (Shangrila, 2014).

Francesco Giarrusso é membro integrado do Centro de Filosofia das Ciências desde 2013, nomeadamente do grupo de investigação ‘Ciência e Arte’ e do ‘Science Art Philosophy Lab’ da Universidade de Lisboa. Concluiu em 2013 o doutoramento em Ciências da Comunicação pela Universidade Nova de Lisboa com o título O Regime Dialógico na Obra de João César Monteiro: Matérias e Conteúdos de uma Prática Subversiva. Atualmente é docente de Laboratórios Técnicos no Instituto de Instrução Superior Caterina Caniana de Bérgamo (Itália) e colabora com o site de crítica cinematográfica À Pala de Walsh (


(info atualizada em 24/06/2016)


Congresso Internacional “A Europa e os Impérios Coloniais dos séculos XVI, XVII e XVIII na Literatura e no Cinema”
Faculdade de Ciências Humanas e Sociais – Universidade do Algarve
Campus de Gambelas – 20 e 21 de outubro de 2016
Prazo para submissão de propostas: 15 de Julho de 2016

A Literatura e o Cinema têm funcionado como verdadeiras máquinas do tempo. O ressurgimento do romance histórico ou de temática histórica e a continuada popularidade do filme histórico constituem um testemunho não só do interesse dos leitores e do público cinéfilo por estes géneros, como também da enorme inspiração que autores e cineastas encontram no passado histórico.
O diálogo entre a Literatura e o Cinema tem sido frutífero nos últimos anos na área dos Estudos Inter-Artes. A mútua influência em relação a temáticas e estratégias narrativas tem levado a um crescente interesse da Academia pelos estudos de Literatura e Cinema.
Deste modo, a Comissão Organizadora deste Congresso, composta por membros da FCHS–UAlg, CLEPUL–FLUL e CIAC–UAlg, propõe aos especialistas e interessados um debate de natureza científica, a realizar-se na Faculdade de Ciências Humanas e Sociais da Universidade do Algarve, Campus de Gambelas, nos dias 20 e 21 de outubro de 2016.

Serão considerados trabalhos que tratem as seguintes linhas temáticas:
1. Literatura e Cinema
1.1. Teoria e diálogo interdisciplinar.
2. Romance Histórico
2.1. O “Novo Romance Histórico” do século XX: problemáticas, temáticas e estratégias narrativas;
2.2. A representação da personagem histórica e do facto histórico no “Novo Romance Histórico”;
2.3. Os séculos XVI, XVII e XVIII no “Novo Romance Histórico”.
3. O Filme Histórico
3.1. O filme histórico e biográfico: a representação de períodos, episódios ou personagens históricas no cinema;
3.2. Autores e Cineastas: adaptações do romance histórico ao cinema;
3.3. O cinema como discurso sobre o passado e o cineasta como historiador;
3.4. Representações dos impérios coloniais no cinema;
3.5. O Cinema como instrumento pedagógico no ensino da História.

Línguas de trabalho: Português, Inglês, Espanhol e Francês.

Os interessados em participar neste Colóquio deverão enviar as suas propostas de comunicação (Título + Resumo + CV) até à data limite de 30 de junho de 2016 e de acordo com as instruções da Organização. As propostas serão anonimamente objeto de escrutínio pela Comissão Científica do Colóquio, sendo posteriormente comunicada a decisão final de aceitação ou de não aceitação aos respetivos proponentes.

Enviar propostas de comunicação para com o seguinte:
1) Título + Nome do proponente + Instituição a que pertence;
2) Resumo entre 300 e 350 palavras;
3) Curriculum Vitae abreviado (até 15 linhas).

Duração prevista para a apresentação das comunicações: 15 minutos

A Organização prevê a publicação das respetivas Atas do Colóquio com as comunicações que vierem a ser aprovadas pela Comissão Científica.

Comissão Coordenadora
Jorge Carrega
Sara Vitorino Fernandez

Comissão Organizadora
Ana Alexandra Seabra de Carvalho
João Carlos Carvalho
Mirian Estela Nogueira Tavares
Maria Botana Vilar
Sandra de Jesus Boto
Filipa Cerol
Isa Mestre
Liliana Dias
Luís Pinheiro
Susana Costa
Isabel Afonso

Para mais informações ou dúvidas:
1) Blog oficial do Congresso:
2) Página do Facebook:
3) E-mail:

(info atualizada em 24/06/2016)


Lecturer in Portuguese Cultural Studies
The University of Manchester - School of Arts, Languages and Cultures / Spanish, Portuguese & Latin American Studies

Closing date : 18/07/2016
Reference : HUM-08371
Faculty / Organisational unit : Humanities
School / Directorate : School of Arts, Languages and Cultures
Division : Language Based Area Studies
Employment type : Permanent
Location : Oxford Road, Manchester
Salary : £34,576 to £47,801 per annum
Hours per week : Full-time

You will contribute to the teaching and research activities of Spanish, Portuguese and Latin American Studies, in particular, to Portuguese Studies at undergraduate level. You will also assist with the delivery of some language courses (including translation) and introductory courses on Lusophone cultures.

You must have a PhD in a relevant field, submitted or very near completion, and demonstrable teaching experience in contemporary Portuguese cultural studies at university level. Your research may focus on any aspect of contemporary Portuguese and/or Lusophone African culture. You must be fluent in English and Portuguese. Involvement in the language teaching activities of the department will be non-negotiable. The following would be highly desirable: experience of assessing translation at undergraduate level, and experience developing online teaching materials. Preference may be given to candidates who are also proficient in Spanish or whose research also covers aspects of Brazilian culture. You must have excellent interpersonal skills and be able to empathize with students.

This post is available from 1 September 2016.

As an equal opportunities employer, we welcome applications from all suitably qualified persons. However, as black and minority ethnic (BME) candidates are currently under-represented at this level in this area, we would particularly welcome applications from BME applicants. All appointments will be made on merit.

Enquiries about the vacancy, shortlisting and interviews:
Professor Karl Posso

General enquiries:
Telephone: 0161 275 4499

Technical support:

This vacancy will close for applications at midnight on the closing date.
(info atualizada em 23/06/2016)


Job posting: Deputy Head of Department
We are advertising the following position at the University of Roehampton in the Department of Media, Culture and Language:
Job title: Deputy Head of Department (Media Practice), Full Time
Salary: From £60,939 pa

Media, Culture and Language at Roehampton is committed to teaching excellence across
the areas of media, cultural studies, mass communications, photography, journalism, film,
languages, English language and linguistics, and translation. The department also has a
vibrant and growing research culture. In REF 2014, 80% of our publications were rated of
national or international standing, and our profile continues to develop.

The purpose of this exciting new post is to support the Head of Department in leading and
managing the work of the Department, with a particular focus on consolidating our existing
provision in the areas of film, journalism and photography and expanding our provision
across areas of media practice, possible areas being moving image, interactive media,
creative advertising, creative computing, and visual effects. The Department’s current
media portfolio incorporates a mixture of theory, practice-oriented and production-focused
courses at undergraduate and postgraduate levels, including research degrees. We aim to
promote critical, creative, professional and technical skills, offering an excellent education
for students that will equip them with the attributes needed to launch themselves on a
successful graduate career path. Our curriculum is enhanced by our world-class research

To find out more information about the role and what we’re looking for, visit the Working at
Roehampton section of our website where you will find full details, how to apply, as well as
further information about the benefits of working for us.

For an informal discussion about the post, please contact the Head of Department: Prof
Anna Gough-Yates (0)20 8392 3420 or

The closing date for completed applications is: Tuesday 12 July 2016. We hope to hold
interviews on 1 August 2016
The University is an equal opportunities employer.
(info atualizada em 23/06/2016)


Job advert: Teaching Fellow in Film and Television Studies, University of Warwick
Film and Television Studies
Teaching Fellow in Film and Television Studies
£28,982 - £37,768 pro rata per annum

50% FTE
Fixed Term Contract until August 2019

University of Warwick, Coventry

You will undertake teaching in order to support the work of the department with a view to enhancing its outstanding reputation for teaching excellence, both internally and externally. You will be responsible for delivering teaching across a range of undergraduate modules. You will monitor the progress of the students taught and provide timely and effective feedback on assessed work in accordance with the University’s requirements. You will undertake administration in order to support the department, including the supervision of personal tutees and taking part in departmental Visitor Days.

You will have a PhD in Film Studies/Film and Television Studies or related subject area. You will have previous substantial experience of teaching at higher education level including, preferably, a strong track record in module design. You will be familiar with a variety of strategies to promote and assess learning and be able to demonstrate a high-level understanding of the student experience in today’s HE environment.

Closing date: Tuesday 28th June 2016
Interview date: Friday 15th July 2016

For further information please go to:
and search under ‘Teaching Only’ vacancies.
(info atualizada em 22/06/2016)


Lecturer in Media and Communication DMU
We currently have a vacancy in Media and Communication within the Leicester Media School at De Montfort University Please see this link which also gives the contact for queries
(info atualizada em 22/06/2016)


Fully funded AHRC Collaborative PhD: Rhizome & London South Bank University

We would like to announce a f*ully funded AHRC Collaborative PhD studentship at London South Bank University in partnership with Rhizome.*

/Performativity and Preservation in the Archive of Online Born-Digital Art/

*The Centre for the Study of the Networked Image*, London South Bank University invites applications for an AHRC-funded Collaborative Doctoral Partnership with *Rhizome*, commencing in October 2016 for a period of up to three years (Full Time).

*The Project*

The research seeks to understand and potentially resolve problems closely associated with curating and archiving born-digital artworks, which are not single objects but assemblages that change and sometimes mutate over time, or lack clearly definable boundaries. The studentship offers the opportunity to develop a */practice-based doctoral research/* focused on Rhizome’s Artbase, which will establish new understandings of the relationship between the technical and cultural coding of software, and methods through which new works can be accessioned and made usable by an online audience.

Born-digital artworks are some of society's most vulnerable cultural materials, where obsolescence and loss of cultural history are perpetual risks. From interactive software-based art, to early hyptertext literature, these works ('born-digital' because they were created in digital form, rather than having been converted from print or analogue equivalents) are an important record of our cultural and aesthetic history as a digital society. Born-digital archives hold heterogeneous types of artworks that require a new terminological framework and registration methods.

Whilst there has been significant research exploring the transformation of physical objects into digital surrogates in museum digitisation projects, the problems of preserving and maintaining access to born-digital art, challenges many principles of preservation and curation originating in analogue culture. Born-digital artefacts still tend to be treated like objects ('content') independent of systems ('platform') that handle them. This misunderstanding leads to the idea that the systems can be switched out and it is only the 'content' that needs to be curated, archived or preserved, turning a blind eye to what has been a key mode of production and expression in digital art: the design of systems and the negligibility of a separation of ‘content’ and ‘form’.

The research therefore aims to develop perspectives on born-digital archives as a process of cultural and technical mediation. The relevance of theories that describe and analyse ephemeral or changing artworks, such as performance and dramaturgy and their emerging models will be considered. Furthermore it will develop a methodological overview of the curation of born-digital art in online archives, taking into account the specific dynamics between artwork, user and software environment.

The PhD project will take the form of an embedded, qualitative study, developed in partnership with Rhizome, in which the researcher will become part of the organisational culture of this world-class digital art institution. Fieldwork will involve the revision and development of art-historical criteria for the Rhizome ArtBase on top of which modes for the presentation, and in extension: institutional ownership, of born-digital art will be developed.

*The Partnership*

This Partnership offers a collaborative supervisory team, including Dr Annet Dekker and Professor Andrew Dewdney at London South Bank University and Rhizome’s Digital Conservator, Dragan Espenschied. The successful candidate will profit from the academic and practical resources of both partner institutions, becoming a full participant in the community of research students at The Centre for the Study of the Networked Image and embedded in the organisational culture of Rhizome.

The Centre for the Study of the Networked Image is part of London South Bank University and brings together a group of researchers who are seeking new knowledge and understanding of how network and computational culture has and is changing the production and reception of art and photography.

**Rhizome is both an 'online organisation' and an independent affiliate-in-residence of the New Museum, New York, where many of its public events are held. Through this programme, Rhizome is one of the only institutions internationally who are actively and significantly involved with the preservation of born-digital art on a hands-on level. The ArtBase serves as the bedrock of Rhizome's award-winning, research-based Digital Preservation program, led by renowned Digital Conservator, Dragan Espenschied.


Applicants should have a good undergraduate degree and a Master’s qualification in a relevant discipline.

Studentships are open to residents of the United Kingdom or the European Union including the Channel Islands and Isle of Man. Candidates must be ‘ordinarily resident’ in the UK in order to be eligible for a ‘full’ award (fees plus stipend). EU nationals who are not ordinarily resident in the UK may be eligible for ‘fees-only’ awards. Non-EU students are not eligible. Eligibility is dependent upon satisfying AHRC academic and residency criteria: see Page 13 of the RCUK Training Grant Terms and Conditions <>:

Prior curatorial or programming experience, demonstrated interest in current and past forms of digital art, and software design and is desirable.

*Value of Award*

The studentship funding is subject to final confirmation by the AHRC but will be fully funded for three years full-time (or five years part-time) and will begin in October 2016.
The award will include a full fee waiver capped at the value of the full-time Home/EU rate for M.Phil/PhD degrees, in addition to an annual stipend set at Research Council rates (currently £14,057 plus £2000 London weighting, paid quarterly; pro rata in the case of a part-time award)

In addition the AHRC provides an extra £550 per annum for Collaborative Doctoral Award students, and the student will be eligible to apply for funding from London South Bank University and Rhizome for certain other research-related expenses.

*Application Process*

All candidates must apply online to London South Bank University here:

Please provide an additional covering letter indicating the scholarship you are applying for and your particular research interests in the field of the proposed doctorate.

The deadline for applications is *Monday 4th July 2016.* Interviews will be held in the week of July 25th.

*Informal Enquiries*

For an informal discussion about this scholarship please contact Professor Andrew Dewdney:
(info atualizada em 21/06/2016)


Job opportunities at London South Bank University
I’d like to draw your attention to a number of jobs in our School of Arts and The Creative Industries,
Ranging from Journalism, Games, and Visual Effects, to Film, and so on:

This is a fantastic, and lively, department and we have brand new studios (launched in February this year by Sir Michael Grade). The campus has several new buildings, and plans for expansion in the future. The Elephant and Castle is very well served by transport (the Bakerloo and Northern Lines, plus the Jubilee line nearby).
We are at the bottom of Blackfriars Road, a five minute walk to the Thames, and the new Garden Bridge, when it eventually arrives.

The School is pushing ahead with our research agenda and – last week – hosted the MeCCSA Practice Network Annual conference. A number of new Research Centres will be slowly grown, alongside the already established Centre For the Networked Image, which has a research collaboration with the Photographers Gallery, and Ongoing projects with The Tate.

We also have an exciting new partnership with Ryerson University in Toronto, Ontario. Ryerson is a very similar University to LSBU, with almost completely matching aims and mission. Our School is ‘matched’ to Ryerson's School Of Communication and Design (, and also with their School of Engineering.
(info atualizada em 21/06/2016)


Jobs at Loughborough University, London
We have two lectureships available at the Institute for Media & Creative Industries at Loughborough University, London. A lectureship is akin to an Assistant Professorship

Please share this information with potentially interested people.

The information is available at this site
(info atualizada em 20/06/2016)


ECREA Special Issue for Critical Studies in Television
European Cultures of Production

Production Studies has given Television Studies a welcome chance to investigate the processes of putting television together, highlighting sense-making structures that are engaged with in the processes of production (see Caldwell 2008, Caldwell et al. 2009, Lotz 2006, Levine 2006, Mayer 2011, Banks and Conor 2016, etc.). While, as Levine (2006) highlights, this has uncovered the ‘audience-like’ behaviour of production personnel, an ECREA-organised conference (‘Making Television in the 21st Century’, Aarhus University, October 2013) has also investigated how these processes of labour have been changed as a result of digitalisation. This special issue of Critical Studies in Television aims to extend the debates by looking at the wider contexts in which television production operates – its cultures of production – and to build on the work by Mayer (2011) and especially Banks and Conor (2016) to widen the focus of existing debates by focusing on production contexts beyond
the Anglophone sphere. We are interested in abstracts that propose to investigate the conditions and television cultures that determine television production across Europe.
Abstracts could deal with, but are not restricted to:
- Issues of regulation
- Legal conditions such as those that regulate working hours, copyright, etc.
- The role and work of labour unions
- Institutional structures in which productions operate
- Economic conditions that determine how productions can be managed
- Hidden labour and job roles very specific to particular production contexts
- The professional networks and collaborative processes of production personnel
- Aspects of distribution that impact on the production of content
- Historical cases of productions within their particular context
- The relationship between audiences and productions
- The impact of digital technologies on production processes

Abstracts of no more than 500 words plus brief biographical notes should be sent to Simone Knox and Elke Weissmann by the 31st July 2016. We will endeavour to give feedback by September 2016. Full articles will have to be submitted by July 2017. The special issue will be published in summer 2018.
(info atualizada em 20/06/2016)


PhD and Post-doc positions at the Department of Communication at the University of Vienna
The Department of Communication at the University of Vienna has advertised 1 post-doc (6 years) and 2 PhD positions (4 years) in Journalism Studies. The appointees will work in the journalism studies research group led by Prof Folker Hanusch. Deadline for applications is 23 June 2016.

For more information, see the advertisements below and see the following links:

(info atualizada em 17/06/2016)


Media and Journalism Journal nº 29 - Media and Colonialisms

Media and Journalism Journal nº 29 - Media and Colonialisms | Deadline 20th June *

A little more than 40 years have passed since the Portuguese democratic revolution of April 25, 1974 and the independence of African countries. There are several symptoms of a renewed interest on this recent past from the part of Portuguese scholars and artists, almost always filled with memories both happy and traumatic. Throughout this time, the scientific field of Communication Sciences has been more attentive to issues such as the freedom of speech and of the press, as well as the relationship between journalism and democracy. Although, these themes relate to that of colonialism and post-colonialism they seldom were approached in that context. However, there are currently a number of researchers of journalism, media and contemporary cultures that have been investigating, with multiple approaches, the relations between media and colonialisms. Those from the past, as well as those emerging today, or a mixture of both past and present.

We invite all to participate in this new issue of the Journal of Media and Journalism, which seeks to reflect upon the role of the media in the construction and deconstruction of empires. From television to the Internet, from cinema to photography, from media and journalism, to the news and to the simple words of a poem how were colonialisms made and unmade, yesterday as today? Are there or not new forms of colonialism manifesting in the media? Do Media Empires exist (in a broad sense of the expression)? What is the role of the media, and of journalism in particular, in these contexts? Is it a real menace to democracies or a side effect? What differentiates colonialism from other forms of domination? Is the Internet a means to decolonize with its promise of an hypercommunication? Or does it accomplish a control society (Deleuze) establishing new forms of colonization? Are there desired and desirable colonial imaginaries? How are artists and academics looking into the colonial archives, including their personal and family memories?

We accept articles on these and other issues centered on the relationship between media and colonialism, from different areas and approaches, such as:

* Media and Colonialisms
* Media and Identity Constructions
* Colonial and Postcolonial Imaginaries
* Media, Gender and New Forms of Colonialism
* Internet and Social Networks
* Radio and Sound Cultures (Is listening a form of obedience?)
* Visual Cultures, Colonial and Postcolonial Representations
* Contemporary Cultures in Post-colonialism
* Cinema and Colonial Archives
* Contemporary Art and Memory
* Economics and the Media
The Journal of Media and Journalism is currently a publication of the Center for Research in Communication and Digital Culture - CIC.Digital - pole of FCSH- New University of Lisbon. It is published in Portuguese, English and Spanish and uses a double-blind review arbitration system.

Media and Journalism is a scientific journal that aims to be a forum for discussion and dissemination of research conducted on the field of media and journalism within and outside the country.

The Call for Papers ends on June 20, 2016. This issue will be published in November 2016


Texts should be sent to the coordinators of this issue by June 20:
Teresa Mendes Flores : Ana Cabrera:

We accept texts with maximumm 50 000 caracters, in Times News Roman, font 12, 1,5 spacing.
(info atualizada em 17/06/2016)


Research Associate post on ESRC 'Digital Interfaces and Debt' project at Newcastle University
Newcastle University is looking to appoint a post-doctoral researcher with experience of qualitative methods to work on the ESRC funded project ‘Digital Interfaces and Debt: understanding mediated decision making processes in high cost short term credit products’.

Situated in the School of Arts and Cultures, this interdisciplinary project will investigate how digital interfaces are changing experiences of accessing High Cost Short Term Credit (HCSTC) and understandings of becoming indebted. As a research associate with a background in economic, social or cultural geography or an associated social science discipline (e.g. sociology, anthropology), you will play a crucial role in recruiting and interviewing research participants for the study in the North East of England and work closely with national project partners in the third and public sectors.

You will work closely alongside the primary investigator Dr James Ash and co-investigators Dr Ben Anderson and Dr Paul Langley (Durham University) to develop public interest and recommendation reports from the project that will contribute to demonstrable research impact.

This position is fixed term for 12 months and is expected to start in September 2016.

For an informal discussion to find out more about the role please contact Dr James Ash on +44 (0)191208 5804 or via email at>

For more details and to apply:

Closing date: 23 June 2016
(info atualizada em 17/06/2016)


Cinema 8 CFP: Marx’s Philosophy
/Cinema: Journal of Philosophy and the Moving Image /invites submissions
for its 8th issue devoted to the philosophy of Karl Marx and its links
with cinematic art.

Marxism, as a tool for social analysis and transformation, has
influenced politicized and progressive filmmakers such as Sergei
Eisenstein and Sembène Ousmane, in theory and in practice, as well as
shaped theoretical discussions around film and history, aesthetics,
economics, and ideology. Key topics of this discussion have been
reproducible art and active collective experience (Walter Benjamin) and
cultural and social hegemony (Antonio Gramsci), among others.

In the 1960s, Louis Althusser reconceptualised ideology as illusion and
allusion, moving from V. I. Lenin’s and Gramsci’s articulations, and
indeed from Marx’s statements, that connect ideological forms to class
relations — and also erasing the qualitative difference between theory
and practice. This shift toward idealism has had a great impact in film
studies and critical theory. In addition, postmodern thinking has
profoundly influenced contemporary cultural critique, some strains of
which are described as Marxist and exemplified by Fredric Jameson’s or
Slavoj Žižek’s works (with or without the prefixes “post-” or “neo-”).
This influence can be seen as having a function in ideological struggle,
fulfilled through ideas such as discourse determinism and contingency
politics that forgo Marx’s philosophy and its critical focus on class.
In fact, his critical analysis of the capitalist mode of production is
inseparable from a philosophical basis that is materialist and
dialectical. The scientific quality of knowledge is founded on an
exposition that explains the internal connections of phenomena,
materialistically founded: that is to say, phenomena as a complex of
real relations, inherently dialectical. Knowledge is therefore
simultaneously a modality of being and an ingredient for its
transformation. It questions, but it is also mediated by, objective
reality. Thus it is determined and it determines. To be sure, in Marx’s
philosophy the existence of a material, plurally determined, objective
basis, does not exclude subjective configuration. Subjectivity, while
not being arbitrary, it is certainly active and, while being reflective,
it is also creative.

These aspects form the basis for a productive association and exchange
between Marx’s philosophy and cinema — one that rejects turning his
philosophy into a dogmatist system as well as avoids forgoing the
specificity of cinematic works of art. The relative autonomy of culture
from the economic basis that we find articulated in Marx and later in
Marxists like Benjamin means that culture is the result of
determinations that are not deterministic. This is quite different from
a postmodern conceptualization of culture and art as completely
independent from economic structures, social relations, and historical
situations, either vaguely free-floating or constrainedly singular. For
this reason, as Teresa L. Ebert perceptively argues, cultural critique
is more necessary than ever in a period in which the structural crisis
of capitalism has deepened. The main purpose of this issue is to
contribute to such a critique within the sphere of film studies based on
the philosophical reflections of Marx.

Proposals should directly engage with Marx’s philosophical writings and
analyze cinematic works of art in detail or specific aspects of
cinematic art. Submissions may also dialogue with the thinking of
Friedrich Engels and other thinkers (Benjamin, Gramsci, Lenin, Rosa
Luxemburg, but also Ebert, et al.) who have developed Marx’s
philosophical contribution without estranging from it, particularly in
the fields of aesthetics and the philosophy of art (e.g., Adolfo Sánchez
Vázquez). They may address the following subjects, but are not limited
to them:
• alienation;
• antagonism/contradiction;
• capital and surplus value;
• capitalism and imperialism;
• class struggle and class consciousness;
• common and singular, collective and individual;
• dialectics and totality;
• historical materialism;
• ideology;
• liberation from exploitation and freedom from necessity;
• materialism;
• the one and the multiple;
• praxis and theory;
• the proletariat and the bourgeoisie;
• ontology and humanism;
• religion and social order/change; atheism and religion;
• human beings as socially constituted;
• socialist revolution;
• the state and its abolition.

The submission deadline is 15 July 2016 (for 500-word abstracts).
Prospective authors should submit a short CV along with the abstract. A
selection of authors will be invited to submit full papers based on the
editor’s evaluation of the abstracts and according to the journal
guidelines by 31 July 2016. The deadline for this final submission is 31
October 2016. Acceptance of the abstract in July does not guarantee
publication, since all papers are subjected to double blind peer-review.
Submissions are accepted in English and Portuguese (and in French and
Spanish, but only from native speakers of these languages).

/Cinema /also invites submissions to its special sections: interviews,
conference reports, and book reviews. For further details, please
consult the journal’s website (

Feel free to contact the editor for this issue, Sérgio Dias Branco
, with specific
queries or> with general
(info atualizada em 17/06/2016)


Latin American Filmmaking: From the New Cinemas to Neoliberalism
How has neoliberalism affected film and filmmaking in Latin America?

In the 1960s, Latin America lived a short phase of hope for political change, independence and cultural vitality. In the wake of dictatorships soon to be brutally installed in Brazil, Argentina, Chile and other Latin American countries, intellectuals and artists actively participated in social reformation processes. The New Latin American Cinema,mostly represented by Cinema Novo, Third Cinema and Imperfect Cinema, were cinematic languages developed to offer social empowerment and to resist foreign political domination and economic exploitation. Forty years onwards, the landscape is profoundly changed. Most Latin American nations live with a neoliberal political and economic model in which filmmaking more often than not reflects a culture that is linked with commercial models.

Our volume explores the pan-American project of the New Latin American Cinema as an important political impetus and as a film-historical point of departure to examine continuities and changes in current film that happened as a result of neoliberal political and economic realities. Weinvite papers that investigate the following questions: What has changed and what has remained from the idea of revolutionary, militant cinemas of the 1960s and 1970s in contemporary films, such as /Nine Queens /(2000), /Elite Squad /(2007), /No/ (2012), or /Heli /(2013)?How did the privatizing of state-owned companies and dismantling of welfare systems give shape to narrative and aesthetic formats, and affect distribution and exhibition practices of Latin American film? Have some of the older filmmaking practices resurged in the new films? If so, in which forms do questions of the past become addressed?

Possible areas of investigations may include but are not limited to:
·film aesthetics and narratives
·filmmaking practices
·distribution and exhibition strategies
·the role of the state in film production
·preferred genres, redefinition of political cinema
·film funding and film festivals

We encourage submissions from graduate students, postdoctoral researchers, and faculty in English or Spanish. 500-word abstracts and a 100-word bio are due by 30 June, 2016. Notification of selection will be made by 31 July, 2016. Final papers of 6000 words are due by 30 December, 2016. Please send abstract and bio to ** *and/or **
(info atualizada em 16/06/2016)


“Future of Global Media” & “Global Education Sauna”
Summer School courses in cultural studies in the University of Eastern Finland

UEF Summer School offers two 5 ECTS courses in cultural studies in August 2016: *“Future of Global Media”*, which traces the future developments of international media industries and *“The Schools of Tomorrow – Global Education Sauna”*, which looks at Finnish education and schooling on a global perspective. The courses are taught by William Doyle – an internationally esteemed TV producer(with experience from HBO, PBS, A&E networks) , script-writer and non-fiction writer from New York.

Application period runs until 30 June 2016. For applying and further info please see
(info atualizada em 15/06/2016)


Call for expressions of interest for Marie Sklodowska-Curie Individual Fellowship applications
The Marie Sklodowska-Curie action has a long tradition of facilitating European research exchanges. Amongst others, the action awards "individual, trans-national fellowships [...] to the best or most promising researchers for employment in EU Member States or Associated Countries, based on an application made jointly by the researcher and host organisation in the academic or non-academic sectors," as can be read on the European Commission's Marie Sklodowska-Curie website.

We want to call for expressions of interest from experienced researchers to apply for an Individual Fellowship (IF) within the framework of the Marie Sklodowska-Curie action, to be hosted within the Media and Communication Studies (MCS) Unit of the Department of Informatics and Media at Uppsala University (Sweden).

More specifically, we want to call for candidates who wish to work within the field of post-structuralist media studies.

The following conditions of the Marie Sklodowska-Curie action need to be taken into account:
* Within the action, "experienced researchers" are defined as people who, at the deadline for the submission of proposals, are in possession of a doctoral degree or have at least four years of full-time equivalent research experience.
* The researcher may be of any nationality.
* The researcher shall not have resided or carried out their main activity (work, studies, etc) in Sweden for more than 12 months in the 3 years immediately prior to the reference date.
* The researcher must move or have moved from any country to Sweden.
* The duration of an Individual Fellowship is between 12 and 24 months.
* Financial support for Marie Sklodowska-Curie Individual Fellowship consists out of a living allowance, mobility allowance and family allowance.

More information can be found at the webpage of the Marie Sklodowska-Curie call (see below).

Expressions of interest should be communicated to Prof. Dr. Nico Carpentier at <>, before 1 July 2016, at 17:00 CET.

An expression of interest should contain the following components:
* An academic CV
* A motivation letter (which also addresses the benefits of moving to Sweden)
* A one page note on the planned research project within the field of post-structuralist media studies
* One sample of your work (preferably an article or book chapter, with a max. of 10000 words)

Candidates are requested, before submitting an expression of interest, to carefully read the call documents that can be found at the webpage of the Marie Sklodowska-Curie call (see below), in particular the Guide for Applicants IF 2016.

Candidates that have their expressions of interest approved are expected to work with their supervisor on a proposal that will have to be submitted electronically, using the European Commission's Online Submission Service (SEP), before 17 September 2016, 17:00 CET.

Marie Sklodowska-Curie action call page:

Marie Sklodowska-Curie action - Guide for Applicants IF 2016:

Department of Informatics and Media at Uppsala University (Sweden):
(info atualizada em 15/06/2016)


Job Openings: Erasmus University Rotterdam (Netherlands)
The Department of Media and Communication at Erasmus University Rotterdam is looking for four Assistant Professors and 2 Lecturers:

Assistant Professor (Universitair Docent) in Media, Communication and Business (f/m, 0.8-1.0 fte)

Assistant Professor (Universitair Docent) in Intercultural Communication (f/m, 0.8-1.0 fte)

Assistant Professor (Universitair Docent) in International and Global Communication (f/m, 0.8 fte-1.0 fte)

Assistant Professor (Universitair Docent) in Organizational and Corporate Communication (f/m, 0,8fte-1.0 fte)

Lecturer (WD) in Academic Skills in Media and Communication (f/m, 0.5-1.0 fte)

Lecturer (WD) in Media and Communication (f/m, 0.5-0.8 fte)
(info atualizada em 14/06/2016)


“New ways ever free”: David Bowie, Landscapes & Heritage
Symposium, December 2, 2016
Université Toulouse-Jean Jaurès, France

/Station to Station./

In the wake of Bowie’s passing, images and voices have multiplied to evoke the diverse landscapes of his work, from the musical styles to the characters he imagined to the many facets of a career that has seen Bowie take on several roles, sometimes simultaneously, leading him from music to drama (/The Elephant Man/) to cinema (/The Man who Fell to Earth/, /Merry Christmas Mr. Lawrence/, /The Hunger/, /Twin Peaks: Fire Walk with Me/) and the visual arts—a wide array of fields which he explored with passion and managed to leave his indelible and sometimes decisive mark on.

/Changes (“Turn and face the strange”)./

The call of the strange—as the title of the 2012 conference on Bowie “A Strange Fascination?” emphasized—resonates in his work, to the point of becoming the signature of many records, performances, music videos or cult songs. It is a signature made manifest in the countless figures of openess that traverse the whole. The themes of expansion, escape and alienation combine with motifs such as rifts and wanderings, which constantly resound in his music through a multiplicity of influences, stylistic editing, with the novel suddenly shooting forth, often via the plasiticity of his voice, which likewise follows the many corridors of the strange, the transgeneric and the transborder.

/Bowie is./

From stardust to blackstar to the various forms of “black suns” his characters inhabit, Bowie’s œuvre is an exploration of atmospheres, a confluence of literary and artistic discourses, a memory and an anticipation of history, a neverending odyssey ceaselessly opening on vistas that involve art, redefinitions of gender and genre, and discourses on the human and the post-human.

/Bowie remains./

It is what “remains” of Bowie that we wish to explore, in its various artistic, literary, sociological and historical manifestations—all testify to the fact that his œuvre is open to a wide variety of theoretical approaches (aesthetics, musicology, gender and queer studies, cultural studies, philosophy, semiotics, etc.), that it is an œuvre whose identity, like that of its creator, is characterized by fluidity, movement and an ongoing quest.

Proposals in English or French, including a title, an abstract (200-300 words), a short bibliography and a biographical blurb, should be sent by June 16, 2016 to Nathalie Vincent-Arnaud (>), Emeline Jouve (>), Philippe Birgy (>) and David Roche (>).

Nathalie Vincent-Arnaud (Toulouse-Jean Jaurès, CAS EA 801)
Emeline Jouve (Albi-Champollion, CAS EA 801)
Philippe Birgy (Toulouse-Jean Jaurès, CAS EA 801)
David Roche (Toulouse-Jean Jaurès, CAS EA 801)
(info atualizada em 14/06/2016)