A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O V Encontro Anual irá decorrer de 21 a 23 de maio de 2015, no ISCTE-IUL, Instituto Universitário de Lisboa. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
[Saber mais] [Inscrever-se na AIM]


Queer Film Culture: Queer Cinema and Film Festivals
International Conference
University of Hamburg, 14-15 October 2014
in conjunction with Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival (14-19 October 2014)

The queer film and festival landscape has seen vast changes in the last 25 years. On the occasion of the 25th anniversary of the Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival we want to assess the status of queer film culture in the form of queer cinema and film festivals today. Considering the availability of queer images, are queer film festivals still necessary? The vast number of more than 200 active festivals worldwide suggests they are. Then, what are the tasks and functions that queer film festivals serve for today’s queer film culture? What is shown at these events? The buzz of recent arthouse releases such as Weekend and Blue Is the Warmest Color beckons the question: What is queer cinema today? Have we reached a post-gay era of global art cinema or has a the New Wave Queer Cinema arrived?

This two-day international conference hosted by the University of Hamburg, taking place during and in conjunction with the Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival will bring together a stellar cast of international film and festival studies scholars, critics and festival programmers to discuss these issues. Two keynotes delivered by Prof. B. Ruby Rich (University of California, Santa Cruz) and Dr. Marijke de Valck (University of Amsterdam) will frame the conference and bring together the fields of film festival studies and queer cinema. In three panels we will approach Queer Film Culture from various angles. In a first panel, festival scholars will present current research on LGBT/Q film festivals. In a second panel, festival programmers will discuss the current tasks and challenges of LGBT/Q film festivals. In a third panel, film scholars will assess the current trends in queer cinema. In addition, the documentary film Queer Artivism, which is screened with the filmmakers in attendance, will provide audiovisual input from five LGBT/Q film festivals.

Conference language is English. Attendance is free. Please register by 10 October 2014 at:

More information is available on the conference website:

Organization & Contact
The conference is organized by Skadi Loist with support by the Körber Fonds Nachwuchsforschung and the Institut für Medien und Kommunikation, Universität Hamburg.

Skadi Loist
Universität Hamburg
Institut für Medien und Kommunikation
Von-Melle-Park 6, Postfach 20
20146 Hamburg
(info atualizada em 22/09/2014)


Misrepresenting Faith: Media Crises, Controversies and Conspiracies
The Centre for the Study of Global Media and Democracy and the Faiths and Civil Society Unity, Goldsmiths, University of London, invite you to a one-day symposium on 4 November 10-5pm on:

From #creepingsharia Twitter storms to headlines about women Bishops, questions of faith, religion and belief are a constant feature of the contemporary media landscape. What these media messages say, how they circulate, and what is done with them by whom, are critical issues. How do media and political elites engage with faith and identity? What messages and misrepresentations result? And what are the challenges and opportunities at a time when the under 30s are more likely to encounter news on Facebook than in a newspaper?

Bringing together academics from media and communications, sociology, anthropology and religious studies, practitioners and campaigners we will explore the role of media in a plethora of crises, controversies and conspiracies concerning faith in Britain today and discuss practical steps towards building a positive media environment around identities of religion and belief.

Ben Pimlott lecture theatre, Goldsmiths, Lewisham Way, London SE14 6NW

Places are FREE but limited. Please register at:
(info atualizada em 19/09/2014)


Two positions at the University of Toronto Mississauga: Culture and New Media and Media Theory
We would like to bring your attention to a new Assistant Professor of Culture and New Media position in the Institute of Communication, Culture, Information & Technology at the University of Toronto Mississauga.

You will find the posting below and online at:

Assistant Professor – Culture and New Media
Institute of Communication, Culture, Information and Technology (ICCIT)

The Institute of Communication, Culture, Information and Technology (ICCIT) at the University of Toronto Mississauga invites applications for a tenure-stream position in the area of Culture and New Media at the rank of Assistant Professor. The appointment will commence on July 1, 2015.

We seek a candidate to build on the strengths of the Institute through research that examines the intersection of culture and new media in relation to the social, political, and economic dimensions of life in both Canada and abroad. We are particularly interested in individuals doing work in areas like digital culture, surveillance studies, and globalization.

Applicants must have earned a Ph.D. degree by the appointment start date (or shortly thereafter) in a related field and have a demonstrated record of excellence in teaching and research. The successful candidate will teach undergraduate and graduate courses focusing on culture and new media and s/he will have a graduate appointment in one of the University’s tri-campus graduate departments.

Salary will be commensurate with qualifications and experience.

The Institute of Communication, Culture, Information and Technology at the University of Toronto Mississauga focuses on teaching and research excellence in its four undergraduate programs: Communication, Culture and Information Technology (CCIT), Interactive Digital Media (IDM), Digital Enterprise Management (DEM), and Professional Writing and Communication (PWC). Currently, ICCIT is building a research complement in social networking and communication, interactive and immersive digital media and culture, and the theory and practice of design, with an emphasis on all aspects of digital media. ICCIT is also actively engaged with the community and profit and non-profit organizations.

All qualified candidates are invited to apply online by clicking on the link below. Submission guidelines can be found at: We recommend combining attached documents into one or two files in PDF/MS Word files in the following format:
1) Letter, CV, and research & teaching statements
2) Publications

Applicants must have three referees send signed letters directly to Professor Anthony Wensley, Director, ICCIT, University of Toronto Mississauga via email by the closing date, November 21, 2014.

For more information on the Institute of Communication, Culture, Information and Technology, please visit our website:

To apply online please click:

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.

The University of Toronto is strongly committed to diversity within its community and especially welcomes applications from visible minority group members, women, Aboriginal persons, persons with disabilities, members of sexual minority groups, and others who may contribute to the further diversification of ideas.

We would like to bring your attention to a new Associate Professor of Media Theory position in the Institute of Communication, Culture, Information & Technology at the University of Toronto Mississauga.
You will find the posting below and online at:

Associate Professor – Media Theory
Institute of Communication, Culture, Information and Technology (ICCIT)

The Institute of Communication, Culture, Information and Technology (ICCIT) at the University of Toronto Mississauga invites applications in the area of Media Theory at the rank of Associate Professor. The appointment will commence on July 1, 2015.

Applicants must have a Ph.D. in a relevant field and must demonstrate a record of excellence in research and teaching, have an established reputation in the field, and have an active record of publication in the area of critical communication studies. We seek scholars from a wide range of analytical approaches to media theory, including communication studies, information studies, science and technology studies, cultural studies, queer/feminist theory, political economy, political science, and policy studies.

The successful candidate will teach undergraduate and graduate courses in her/his area of specialization and must be experienced in educating and mentoring graduate students, junior researchers and/or professionals. The successful candidate’s graduate appointment will be in one of the University’s tri-campus graduate departments. Previous administrative experience, and experience in developing new curricula at both the graduate and undergraduate levels, would be assets. Salary will be commensurate with qualifications and experience.

The Institute of Communication, Culture, Information and Technology at the University of Toronto Mississauga focuses on teaching and research excellence in its four undergraduate programs: Communication, Culture, Information and Technology (CCIT), Interactive Digital Media (IDM), Digital Enterprise Management (DEM), and Professional Writing and Communication (PWC). Currently, the ICCIT is building a research complement in social networking and communication, interactive and immersive digital media and culture, and the theory and practice of design, with an emphasis on all aspects of digital media. ICCIT is also actively engaged with the community and profit and non-profit organizations.

All qualified candidates are invited to apply online by clicking on the link below. Submission guidelines can be found at: We recommend combining attached documents into one or two files in PDF/MS Word files in the following format:
1) Letter, CV, and research & teaching statements
2) Publications

Applicants should also provide the names and contact details of three referees in their application. All application materials must be submitted online by the closing date, October 17, 2014.

For more information on the Institute of Communication, Culture, Information and Technology, please visit our website:

To apply online please click:

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.

The University of Toronto is strongly committed to diversity within its community and especially welcomes applications from visible minority group members, women, Aboriginal persons, persons with disabilities, members of sexual minority groups, and others who may contribute to the further diversification of ideas.

Nicole S. Cohen, PhD
Assistant Professor, University of Toronto
Institute of Communication, Culture and Information Technology (UTM) & Faculty of Information || 905-828-3906 || CCT 3004
(info atualizada em 19/09/2014)


Politics and Humour: Theory and Practice
A two-day interdisciplinary conference at The University of Kent
Friday 16th and Saturday 17th January 2015.

The School of Arts, University of Kent, wishes to circulate the following call for papers for a two-day comedy conference on 16 and 17 January 2015. This event wishes to stimulate the dialogue between the theory and practice of comedy, and hopes to bring together theorists and practitioners, academics and performers, on the topic of politics and humour. The conference will host two days of papers alongside workshops, with stand-up comedy performances in the evening of Friday 16th and a concluding roundtable discussion in the late afternoon of Saturday 17th.

Confirmed participants include Dr Oliver Double (University of Kent), Dr Brett Mills (University of East Anglia), Dr Louise Peacock (University of Hull) and keynote speaker Dr Sharon Lockyer (Brunel University).

We invite participants from various disciplines and backgrounds (including non-academics) to submit proposals for participation in the event. This CFP is open to all, and we specifically encourage postgraduate students and practice-based researchers to submit proposals for presentations. We invite proposals for presentations of 20 minutes, but we are willing to consider proposals that diverge from this format. Possible topics for presentations include, but are not limited to:
· Political stand-up comedy (such as the work of Mark Thomas, Tony Allen, Lenny Bruce)
· Political cartooning (such as the work of Jules Feiffer, Tom Tomorrow, Jen Sorensen)
· Political comedy in audio-visual media (such as Have I Got News For You?, The Daily Show, One Hundred Years of Evil)
· Political comedy in magazines (such as Private Eye, Mad, The Onion)
· Political comedy and real-life politics (such as Beppe Grillo’s Five Star Movement, Bassem Youssef’s ‘Egyptian Daily Show’ and the Arab Spring)
· Political comedy and digitalisation (such as the satire boom on TV, effects of social media)
· The political efficacy of political comedy (such as Colbert at the White House Correspondents Dinner)
· The politics of representation in comedy (such as representation of disability, gender, race or sexuality)

Please send abstracts of no more than 250 words to by Wednesday 1st October 2014, along with a brief biography and an outline of any technical or other requirements your presentation may have. For any proposals that diverge from the 20-minute format, we advise to contact us in advance of the deadline to discuss the options. For any further information, do not hesitate to contact us via email.

The conference organisers
Dieter Declercq, Tory Gillespie, Shaun May, and Maja Milatovic-Ovadia
(info atualizada em 18/09/2014)


Atelier de Cinema Espanhol - Instituto Cervantes de Lisboa
Irá decorrer entre 6 e 27 de outubro, o atelier El cine español y la “españolada”: un viaje a través de la historia cinematográfica entre cultura popular y cine de autor.

Sinopse: El presente taller quiere ofrecer una panorámica sobre la peculiaridad de un género que pertenece exclusivamente al ámbito hispánico: la representación de las idiosincrasias españolas hecha por producciones tanto nacionales como foráneas. Bajo el macro-género de la “españolada” se encuentran, de hecho, películas folclóricas como El Relicario (Rafael Gil, 1970), obras maestras del cine clásico español, como por ejemplo Bienvenido Mr. Marshall (Luis García Berlanga, 1953) o más recientes películas de autor, como Jamón Jamón (Bigas Luna, 1992) y Los Amantes pasajeros (Pedro Almodóvar, 2013).

(info atualizada em 18/09/2014)


Vacancies in the Media School, Bournemouth University
The Media School at Bournemouth University has just published a range of academic vacancies that might be of interest. See below for complete list, or visit:

Bournemouth University is creating the most stimulating, challenging and rewarding university experience in a world-class learning community by sharing our unique fusion of excellent education, research and professional practice and inspiring our students, graduates and staff to enrich the world.

The Media School at Bournemouth University is one of the largest of its kind in the world and has a global reputation for combining research and teaching practice.

For further information and discussion, or the opportunity for an informal visit, please contact the person associated with each of the posts via the links below.

Closing date for all posts: 01/10/14

Professor of Journalism Ref. No. MED503

Professor of Visual and Digital Culture Ref. No. MED502

Senior Lecturer in Film and Television Studies Ref. No. MED497

Senior Lecturer in Marketing Communications Ref. No. MED504

Lecturer in Computer Animation Ref. No. MED505

Lecturer in Digital Media Design Ref. No. MED498

Associate Lecturer in Film and Television Production Ref. No. MED499
(info atualizada em 18/09/2014)


Job Posting: Assistant Professor, Tenure Stream, School of Creative Industries, Ryerson University, Toronto
The Ryerson University (Toronto, Canada) School of Creative Industries, in our Faculty of Communication and Design, is hiring for a tenure-stream Assistant Professor.

Please see the job description linked to here:
(info atualizada em 17/09/2014)


Job position in Interactive Media
The Department of Communication at the University of Haifa invites applications from outstanding candidates for an open-rank position in the field of interactive media.* The Department of Communication currently offers single and double major B.A. programs in theoretical communication studies, a research M.A. and Ph.D. programs, as well as a M.A. in strategic communications. Faculty in the department study and teach the meanings and effects of communication in an age of evolving technologies and cultures, using a variety of methodological approaches.

We seek applicants whose research addresses the contemporary media landscape, with an emphasis upon interactive media broadly defined (e.g., social media, gaming, big data). Preference will be given to candidates that have completed a post-doctorate and can teach both theoretical and applied courses in interactive media, and hence practical experience in the field will be considered an advantage.

Only candidates that are expected to have completed their Ph.D. by October 2015 will be considered. While a Ph.D. in communication is preferred, excellent candidates in related fields will also be considered. The language of instruction at the University of Haifa is Hebrew, but a period of adjustment is an option.

Applications should be submitted by email no later than October 7, 2014 to: Prof. Yariv Tsfati, ( ) with the heading "Interactive Media Faculty Search" and should include the following documents:

1) A complete curriculum vitae, including an academic biography that describes the candidate's current research interests and future research plan;
2) A brief description of three potential courses in the field of interactive media;
3) A list of three references. (Please do not send letters until requested by the committee.);
4) Copies of selected recent publications.

Applicants will be informed by October 30, 2014 as to the status of their submission. Candidates who qualify can expect a final decision by the end of January. The appointment will begin on October 1, 2015.
(info atualizada em 17/09/2014)


“Be your selfie: identity, aesthetics and power in digital self-representation”
Networking Knowledge: Journal of the MeCCSA Postgraduate Network

This issue of Networking Knowledge will investigate the practice of the “selfie”, one of the most significant phenomena of self-representation in the digital mediascape. Selfies are a notable example of how visual technologies, in conjunction with social media platforms, are reshaping traditional notions such as subjectivity, community, the public sphere and celebrity, among others

This issue aims to expand current scholarship by grounding the analysis of the selfie within two different yet auxiliary perspectives: on one hand, the debate on self-representation developed in the tradition of aesthetics, visual studies, and art history; on the other hand, an approach based on cultural studies, with a critique of how the selfie reproduces, reinforces or potentially subverts notions of identity as based on gender, race, class and other social axes.

Selfies often solicit some of the fundamental features at work in the tradition of self-portraiture, such as the use of mirrors, the intimacy of the gesture, and the act of masquerading. But what happens when these “intimate” shots are conceived for the global scenario of social media? What structures of power determine their production, circulation and consumption? This is a phenomenon that invites analysis from a multiplicity of perspectives, accounting also for how audiences engage in processes of identification, appropriation and/or rejection of such images.

Networking Knowledge invites postgraduate students and early career researchers to submit proposals on this topic. This issue welcomes theoretical and methodological contributions, as well as specific case studies and analyses; possible topics include, but are not limited to:
Selfie / self-portrait: body, face, background and foreground, masquerade...
Selfie/ sexuality and gender: hegemonic models, queer, beauty canons, girlhood and boyhood, the pornographic selfie...
Selfie / photography: digital/analog, mobile phones, truth and fiction...
Selfie / stardom: celebrity and gossip, self-branding, fandom and imitation...
Selfie / politics: politicians and power, “intimization” of politics, new communication strategies...
Selfie / narration: biography, confession, archive...
Selfie / social media: circulation, exchange of social capital, community, privacy...
Selfie / device: frames, mirrors...

Abstracts and enquiries should be sent to the issue’s guest editors:
Laura Busetta

Valerio Coladonato

For further details on the journal, please visit:

DEADLINE FOR ABSTRACTS (5000 characters max): October 1st 2014
Please include in the proposal 3-5 key bibliographic references, as well as your name, surname, e-mail address and institutional affiliation.

DEADLINE FOR FULL PAPERS: December 15th 2014

The articles will be submitted to anonymous peer-review.

(info atualizada em 16/09/2014)


Art, Culture & Ethics in Black and White: 100 Years of D.W. Griffith's The Birth of a Nation
Friday 28th November 2014, 12-5pm at the British Library Conference Centre (in partnership with the Eccles Centre for American Studies)

Inspired by the centenary of one of the most controversial films ever made, this symposium will consider some of the issues raised by Griffith’s 1915 film. The event is organised by the Eccles Centre for American Studies at the British Library in collaboration with the University of Central Lancashire, Edge Hill University and the University of Manchester. The symposium marks the launch of a series of events from November 2014 to November 2015 exploring the centenary of The Birth of a Nation.

Keynote speaker, Professor Michael Hammond (University of Southampton)

Proposals for papers welcome, deadline 22nd September 2014 to Jenny Barrett and Ian Scott (see below). Topics may include but are not limited to:
• The Birth of a Nation as popular culture
• national mythologies of the American South
• race and racism
• transnationalism and the distribution and reception of the film
• memorialisation, art, politics and ethics in relation to the film.
For further information on the launch and the events in 2015, please contact Dr Ian Scott ( or Dr Jenny Barrett (

The event is free but booking is essential:
(info atualizada em 16/09/2014)


Processo Seletivo Simplificado - PSS para contratação de Professor por Tempo Determinado da Unespar – Campus de Curitiba II
Estão abertas inscrições para testes seletivos para professores de cinema para o curso de Cinema e Vídeo da FAP/UNESPAR.
- roteiro e direção (1 vaga)
- direção de fotografia e estudos de cinema (1 vaga)
(info atualizada em 15/09/2014)


Call for postdoctoral research fellowships at the UOC, for UOC Departments and Research Institutes
The program of postdoctoral research fellowships has as its objective the recognition of new researchers within existing UOC research groups. The new personnel will make it possible to expand the research teams of UOC research groups, as well as improve the quality and competitiveness of the R+D+Innovation being carried out.

The awarding of these grants will be carried out in function of certain indicators demonstrating the scope and productivity of the various research areas of the UOC. The program will be carried out by means of a single call offering three postdoctoral grants. This program is financed by the Fundació per a la Universitat Oberta de Catalunya (Foundation for the Universitat Oberta de Catalunya, FUOC).

The objective of the call is to encourage fellowships at the Universitat Oberta de Catalunya for teaching and research personnel who have acquired their doctoral degrees at another university in any active research area of the University's departments for a period of three years. The existence and scope of the said grant will be adjusted to corresponding budgetary availability, and will be for an overall maximum of 371,000 Euros for the three years.

The program of postdoctoral research fellowships is set out in the terms of Law 14/2011, for Science, Technology and Innovation. In agreement with Article 22 of Law 14/2011, for Science, Technology and Innovation, the beneficiaries of the program will receive an employment contract providing access to the Spanish System of Science, Technology and Innovation, for the term of one year. The maximum length of the contract, including all prorogues, will be three years. Contract renewal will require a favourable report from the Research and Doctoral Commission, which will evaluate the fulfilment of the research objectives as agreed upon by the beneficiary of the grant, and in the time period foreseen.

The period of presentation of applications·and of the required accompanying documentation will be from July 30 to October 1, 2014. Further information at
(info atualizada em 15/09/2014)


Imagining Crisis
York University Cinema & Media Studies Graduate Student Conference 2014
Toronto, Canada
November 21-23, 2014

Midway into the second decade of the 21st century, the term crisis has emerged as a dominant signifier, descriptor, and instrument of provocation and analysis. Crisis marks both a separation and a turning point, a break and a place of decision. In this light, crisis can be a critical tool, a means through which to imagine change, a site in which to work at questioning established limits (social, political, epistemological, ontological). As spaces of potential intervention in the given state of affairs, crises emerge from within and against a great variety of transitional moments, marking them as endpoints and/or origins.

Crisis can also be seen as the raison d’être of contemporary systems of control under neoliberal “24/7” capitalism. Indeed, in a world of “posts” (post: 911, “Axis of Evil”, economic collapse, Egyptian Revolution, Snowden, etc.), where economic, governmental, and mediatic forces of continuity now arguably absorb and integrate rupture and exception into their norms, have we reached a kind of crisis point of the very notion of crisis? Are we “post-crisis”? “Imagining Crisis” takes as its starting point the question of the crisis of crisis, and how to imagine crisis — to take on a crisis of the imagination — in way specific to our contemporary moment.

What kinds of questions and contingent answers does crisis — or the crises specific to our time, to our academic, activist, and artistic practices — provoke? Conversely, how can we question the very notion of crisis, or use crisis to imagine and bring into being new forces? How does crisis make things politically and socially visible; and how does crisis as a critical term reveal itself?

Crisis can offer cinema and media studies scholars, filmmakers, media artists, and activists of many stripes an experimental and diagnostic space for critique and research. For example: is film studies reaching a crisis point in terms of its role in academia or in relation to significant changes in its purported object of study (celluloid film and/or digital video)? For media artists, are the institutions of the art gallery or the film festival at a point of transformation or obsolescence? Do social media sites like Facebook and Twitter present necessary challenges to or opportunities for political and social activism? The multiplicity of ways in which crises present themselves as spurs and challenges to imagination and image technologies, as well as how crisis itself needs to be interrogated as a useful (or not) analytical term, is what “Imagining Crisis” seeks to begin to map out.

Topics for discussion and papers may include but are not limited to:
- film as a cultural and material object in a state of transformation, decay, and/or mutation;
- academic and disciplinary transformations and the challenges they pose to critical thought, practice and pedagogy;
- representations of ecological and environmental development and disaster in film and media;
- changes in social (sexual, moral, etc.) conventions as represented in film and television programs;
- the roles of attention, participation and/or boredom in the contemporary mediascape;
- the representation and/or the critical analysis of precarious labour and identities (immaterial and manual labour, union busting, small studios, etc.);
- changes in media platforms and social networks and how they have affected the practice of film criticism, history, and/or analysis;
- navigating the blurring of boundaries between privacy and publicity;
- temporality and historical change as located in/through media objects and discourses;
- the human, the animal, the posthuman, and the cyborg as (post)historical subjects.

We welcome papers that engage with the work of contemporary scholars and theorists like, but not limited to, McKenzie Wark, Rosi Braidotti, Alexander Galloway, Eugene Thacker, Wendy Chun, and Benjamin Noys. We also welcome filmmakers, media practitioners, and activists to present and discuss their work.

The confirmed Keynote Speaker for “Imagining Crisis” is McKenzie Wark, author of A Hacker Manifesto, Gamer Theory, 50 Years of Recuperation of the Situationist International, The Beach Beneath the Street, and The Spectacle of Disintegration, among others. He is a Professor at the New School for Social Research and Eugene Lang College in New York City.

Please send a 300 word abstract, brief bibliography, and bio (with institutional affiliation, if applicable) as email attachments to by September 28, 2014.

Notifications about acceptance or rejection of proposal will be sent by October 1, 2014.

“Imagining Crisis” will be held at York University, Toronto, Canada from November 21-23, 2014.
The conference is cosponsored by Sensorium: Centre for Digital Arts & Technology, York University.
(info atualizada em 12/09/2014)


Recall International Conference "Photography and Visual Cultures"
International Conference 

Photography and Visual Cultures in the 21st Century: Italy and the Iconic turn
Rome, Italy - 4-5 December 2014
Palladium Theatre, Roma Tre University

Photography and Film are still conceived as two separate entities in most Italian academic studies, sometimes tracing a genealogy between these two media, still considering them as different forms of visual representation due to the heavy burden of the classical humanistic tradition. In the international theoretical and cultural debate, differently, new methods emerge at the beginning of the 21st Century – in a meaningful temporal convergence with the growing hegemony of digital cultures and languages. Leaving aside ontological assumptions, these new perspectives outline instead a wider "iconic turn", proposing it as a necessary synthesis to account for several different artistic, medial and cultural issues, marking their distance from any alphabetical logos.

Many theorists, such as Belting, Freedberg, Mitchell, Crary, Boehm, reflect on the multifarious shaping of visual culture not only from a comparative standpoint, but from a simultaneous one. Such an angle is the only one that allows the deep metamorphoses introduced by visual and audio-visual media in the realm of art to clearly come to light – so to fully comprehend blurring borders between "high" and "low" cultures that characterized the 20th Century.

Photography, as it produces a still and static image, condenses events and ideas; it proves therefore to be the true cradle of contemporary visual cultures and a seminal stage in their development, contributing in a substantial way to the dismantling of all fixed and firm identities that permeates characterizes the increasingly secularized modern world. The ability to spread everywhere, through endless reproducibility and the multiple layers of vision they activate, places the photographic images of objects and phenomena, of spaces and geographies, of people and social bodies at the core of modernity. The immense effects of these mobile simulacra on the construction of subjectivity couldn’t possibly be over-emphasized powerfully contributed to widening the range of available sensations and to the the articulation of a new sensorial culture (Benjamin, Kracauer, Hansen). Photography establishes a new regime of perception that goes beyond the cognitive and conscious register, and entails a vast array of emotions, sentiments, fantasies, visions; this regime also endows audiences with the possibility to confront with modernity in its most conflicting aspects. Placing itself at the metaphorical crossroad between the society of spectacle and that of surveillance, photography displays at the same time, with its manifold potential, both the oppressive and the liberating qualities of modern society and of its technical and cultural development.

Our Conference’s aim is to explore the centrality of photography and its indissoluble link with cinema within the scopic regimes of modernity and of our century. Enhancing the interdisciplinary value of visuality, the Conference intends to overcome the specificity of each medium, finally and fully underlining their protean dimension. The choice to address a wide temporal frame, focusing on both past scenarios and contemporary scapes, stems from the consolidated awareness of the essential interactions between different chronological phases – be it through forms of prefiguration, of endless interlacing of anachronisms (Warburg, Didi-Huberman), of re-working and cross-media remediation (Bolter-Grušin, Jenkins). The photographic image’s connection to memory and history makes it not only a fundamental historical source (as it has been proved), but also an index and a trace of the present.

The Conference will focus primarily on Italy and on the state of the studies in our country; of course in a wider perspective, so that international contributions are very welcomed. It aims to empower a most needed reflection on the role of visual cultures in the construction of national identities, both in an individual and a collective perspective.

Proposed papers should focus also – but not exclusively – on the following topics:
· Theoretical reflection about the aesthetic and cultural relations between photography, cinema, and other visual media; also locating the fragmented panorama of exchanges and crossings, beginning from the second half of 19th Century, within the international context.
· Photography Studies in Italy in their relation with visual cultures and in a comparative perspective.
· Use of photography in film and performing arts (i.e. documentation of the research for filming locations, of the work on the set, and of live performances).
· Photographic footage, reportage and their role in the production of news, documentaries, feature films, with a particular attention to cinematographic press, photographic magazines and photo-stories, addressing the linkages among photography, cinematic myths, stardom, and the female image they mould.
· Contribution of photography to the construction of landscape, both rural and urban, and to the affective configuration of lived spaces and emotional geographies.
· Amateur photography as a social practice for the construction of individual, familial and collective identities, and its contemporary evolution in social media – a context in which images are invested with ever-growing importance, as tools for representation and self-representation, for the re-actualization of shared memories, and for collective action.

Keynote Speakers: Mary Ann Doane (University of California, Berkeley), Francesco Casetti (Yale University), Philippe Dubois (Université Sorbonne Nouvelle - Paris III), Antonio Somaini (Université Sorbonne Nouvelle - Paris III).
Official languages of the Conference: English and Italian.

We will consider every proposal (300-500 words), with 5 keywords and a brief biography of the proponent, sent before September 15th, 2014, to

Selection's results will be announced before October 5th.

For more information:

(info atualizada em 12/09/2014)


Console-ing Passions 2015
CP 23 Rebooting Feminism
Console-ing Passions International Conference on Television, Video, Audio, New Media and Feminism
June 18-20, 2015 Dublin

Deadline for Abstracts: October 1, 2014. Applicants will be notified of acceptance by Jan 31, 2015. Please submit all proposals to:

Founded by a group of feminist media scholars and artists in 1989, Console-ing Passions held its first official conference at the University of Iowa in 1992. Since that time, Console-ing Passions has become the leading international scholarly network for feminist research in television, video, audio, and new media.

23 years after the group’s founding, we find ourselves in a dramatically different media landscape, as well as a world in which the meanings of feminism, postfeminism, and the intersections of feminism with race, sexuality, and class are hotly contested in the academy, in the popular press, and in contemporary media representations. Console-ing Passions 2015 asks, after decades of postfeminist retrenchment, is feminism due for a reboot?

CP23 seeks to bring together papers, panels, screenings, and workshops that investigate both feminism and media studies at a crossroads. We are particularly interested in work that brings together two or more of Console-ing Passions’ driving themes: gender, race and ethnicity, nationality, sexuality, and class. The 2015 conference invites pre-constituted panels and workshops, as well as individual papers that consider the breadth of feminist concerns related to television, digital, video, audio, and new media, as well as mobile and gaming technologies. Pre-constituted panels and workshops are especially encouraged.

Possible topics include considerations of gender in relation to:
*intersectional feminisms
*feminism in a “post-racial” moment
*“Rebooting Feminism:” what comes after postfeminism?
*feminism, the economy & austerity
*media production and industries
*media audiences and fans
*gaming and virtual worlds
*masculinities, trans identities, sexualities
*sex work and pornography
*neoliberalism and gender
*transmedia, theories of convergence and their critiques
*transnational cultural flows and “Ex-pat TV”
*social media and digital domains
*feminism and popular music
*feminism and the New Europe
*spiritual belief and practice and media
*feminism and the political right
*new feminist icons (Elizabeth Warren, Wendy Davis, Julia Gillard)
*campaigns for social justice
*stardom and celebrity
*affect and emotion studies

Pre-Constituted Panel Proposals: Panel coordinators should submit a 200-word rationale for the panel as whole. For each contributor, please submit a 250-word abstract, a short bio, and contact information. Panels that include a diversity of panelist affiliations and experience levels are strongly encouraged. Panels should include 3-4 papers.

Individual Papers: Individuals submitting paper proposals should provide an abstract of 250 words, a short bio, and contact information.

Workshop Proposals: We seek workshop ideas that focus on scholarly issues in the field and matters of professionalization. Topics might include: media activism; mentoring; the job market; digital networking; workplace politics; teaching; tenure and promotion; publishing; etc. Prospective coordinators should submit a 350-word rationale (including some discussion of why the topic lends itself to a workshop format), a short bio, and contact information. For each proposed workshop participant, please submit a title, short bio, and contact information. Workshops are intended to encourage discussion; contributors will deliver a series of brief, informal presentations.

Please visit our website for information about events, schedules, travel information, and more.

Please direct all questions about the conference and the submission process to:

Follow us on twitter: @CPDublin2015

Find us on Facebook:
Check out our amazing city center conference venue, The Marker Hotel:

Conference Organizers: Maeve Connolly, Kylie Jarrett, Jorie Lagerwey, Diane Negra, Maria Pramaggiore, Emma Radley, and Stephanie Rains

(info atualizada em 11/09/2014)


1º Simpósio - A Fusão das Artes no Cinema
Os Caminhos do Cinema Português promovem o encontro de Especialistas e Artistas, de diferentes âmbitos da arte contemporânea, promovendo a análise das actuais práticas artísticas e os novos papeís dos diferentes agentes envolvidos na dinâmica criativa e operativa da arte e da cultura hoje.

A partir desta questão central, articulam-se cinco temas principais, que serão abordados em conferência e mesas redondas. A discussão ciêntifica sobre as práticas inter-disciplinares presentes no cinema e de que forma estas se relacionam terá como principais eixos temáticos:
5.Artes Plásticas

Estamos a aceitar resumos/abstracts, máximo de 500 palavras, até 25 de Setembro no nosso site ( ).

O Comité Ciêntifico deste simpósio é composto por:
- Dr. Abílio Hernandez (U. Coimbra)
- Dra. Clara Almeida Santos (U. Coimbra)
- Dr. Fausto Cruchinho (U. Coimbra)
- Dr. Alexandre Ramires
- Dr. Carlos Fragateiro (U. Aveiro)
- Dra. Ana Catarina Pereira (U. Beira Interior)
- Dra. Cristina Faria (ESEC - I. Politécnico Coimbra)
- Dr. António Pedro Pita (U. Coimbra)
- Arq. Carlos Antunes (U. Coimbra)
- Dr. José Maças de Carvalho (U. Coimbra)

O simpósio decorrerá em pleno Festival Caminhos do Cinema Português no dia 21 Novembro em Coimbra, Portugal.

Os participantes com comunicações terão os seus trabalhos publicados em revista própria do simpósio com ISBN. Eles terão direito além da revista e coffee-break ao bilhete diário do festival (tarde e noite).

Os preços para participar neste primeiro simpósio são:
— 30€ com comunicação
— 10€ público-geral

Língua de Trabalho: Português e Inglês.
Call for Papers até 25 de Setembro em
(info atualizada em 10/09/2014)


Call for Papers / Entries / Visual Contributions
Public 51: Colour

Edited by Scott Lyall and Christine Davis
Publication Spring 2015

Before the most primitive dyes could be developed – before ink – there must have been colouring agents. There must have been wonder as colour saturated the tissue for thought. There could never be grey matter (as Marcel Duchamp described it).

But is it really still possible to wonder about colour? Does colour still empower and give significance to the world? Does colour command emotion, creativity – even a soul – in ways that liberate productive energies, conscious thought, and forceful signs? How does colour record the who and what of our epoch, and how might it be fixed and given over to posterity? How is colour changing – technologically and culturally – and how does changing colours change difference for the arts?

Beginning from discussions between collaborating artists, this special issue of PUBLIC seeks partners and correspondents from all milieus where colour is currently changing, and being rethought. From philosophical deployment to bio-chemical induction, from environmental evidence to spirits and mythologies, and from art historical objects (traces of colour preserved as artworks) to the manufacturing sectors that develop new techniques for color production, distribution, organization, and consumption.

Our premise is that colour has a future in the arts if it affects significant contrasts in contemporary perception. Accepted contributions will record these effects, and – borrowing a term from cinema, will function as RUSHES: image-capture (retentions) that have yet to be installed within synthetic cultural theories, abstract models, or scored codes. The conditions of these rushes cannot be deduced from general ‘theory’, a scientific norm, or philosophical first principles. They depend on transformations of sensible experience, of ways of perceiving, being affected, and recording. Colour rushes appear as either facts or fictions, or as fantasies, erasures, spirit energies, and forces. Sometimes, they appear by way of literal documentation, but they are never fully abstracted from figures (that is, metaphors). Colour records effects of colonization and resistance, of technical euphoria, and environmental fear. Colour can be fast (like rushes fixed on recording media); and it can move in flickering images that circumnavigate our globe. (Of course, colour can also hang in the air like an atmosphere – the strange feeling of global drift beneath the grey of (computing) Clouds.

We are looking for changing colour as condensed in written aphorisms – or allegories, affirmations, confessions and sorrows, margin notes, postings, poetic licenses, and shared files. We seek descriptive words on any colour, of any kind, of any length up to 1,200 – 1,500 words. Contributors will be individual, collective, or anonymous – and are free to propose more than one entry for this volume. We also encourage extracts from broader research projects, without regard to whether the focus of this research is colour, or if the author otherwise intends to build a bridge to the visual arts. Images, with captions, may also be proposed – although “Artists’ Projects” will not be specifically differentiated.

PUBLIC 51 will be a rush of changing Colour. Please send proposals of no more than 300 words along with a short bio to the Managing Editor by no later than October 1, 2014.

Proposals (300 words): October 1, 2014
Invitations sent out: October 15, 2014
Full contributions due: January 5, 2015
Publication: late Spring 2015

Aleksandra Kaminska, Managing Editor
(info atualizada em 10/09/2014)


Aniki: Revista Portuguesa da Imagem em Movimento | Call for papers # 2.2
Os artigos para este dossier devem ser enviados até ao próximo dia 30 de dezembro de 2014 | The call for papers for this dossier will be open until December 30th, 2014 | Artículos de este archivo para ser enviado hasta el próximo 30 de diciembre 2014.

(Scroll down for English and Spanish versions)

Dossier da Aniki editado por Vicente Sánchez-Biosca (Universitat de València)

Nos últimos anos, a problemática dos arquivos fílmicos invadiu a reflexão da História, filosofia e psicologia. Das cinematecas aos discursos sobre o trauma e a memória, o arquivo reivindicou um protagonismo que, há apenas duas décadas atrás, estava nas mãos dos profissionais das cinematecas e de cineastas ou documentaristas especializados.

No entanto, os documentos de arquivo, ainda considerados fetiches, são objeto de intervenção por parte de quem os reutiliza. Nos usos mais convencionais que fazem os canais de História das televisões, são coloridos e adaptados às condições sonoras da atualidade, reduzindo ou anulando, por conseguinte, a sua historicidade. Noutras ocasiões, são explorados por procedimentos digitais, montados, comentados em voz-off, interrompidos. Mas existe algo mais: a necessidade de recorrer ao arquivo gerou uma especial angústia naqueles casos em que um acontecimento não possui um documento que o cristalize ou, quando existe, seja considerado insuficiente ou inadequado. Nestes casos, a ficção constrói um arquivo paradoxal que se projetará para o futuro. Como alguns estudos recentes puseram em destaque, o efeito de arquivo é muitas vezes acompanhado por um afeto de arquivo, uma ambígua coloração emocional (Jaimie Baron).

Nenhum conjunto de imagens demonstra melhor isto do que a representação de acontecimentos extremos em que a imagem e o som são postos à prova, da propaganda totalitária à violência, da apropriação de uma imagem para inverter a sua intenção ou sentido original ao seu entendimento como traço indelével da memória coletiva.

Este dossier tem por objeto a genealogia desses documentos de arquivo, a sua (re)criação, as migrações a que foram submetidos, tanto na dimensão diacrónica (ao longo da história), como sincrónica (entre os diferentes media através dos quais se desliza: fotografia, cinema, televisão, Internet…). Desta forma, procura analisar as consequências que estes deslocamentos e reescritas possuem na esfera pública (a leitura do passado, a memória coletiva, a escrita da história).

Vicente Sánchez-Biosca é professor catedrático de Comunicação Audiovisual na Universitat de València e foi professor visitante nas Universidades de Paris III e Paris I, New York University, Universidade de São Paulo, entre outras. Entre os seus últimos livros contam-se NO-DO: el tiempo y la memoria (2000), El pasado es el destino. Propaganda y cine del bando nacional en la guerra civil (2011), ambos em colaboração com Rafael R. Tranche, Cine de historia, cine de memoria. La representación y sus límites (2006), Cine y guerra civil española: del mito a la memoria (2006). Atualmente, dirige um projeto de investigação sobre a função da imagem na construção do carisma dos líderes políticos em Espanha e outro sobre a representação das vítimas de genocídios.

Visite para consultar as Instruções aos Autores e para submeter o seu artigo. Os artigos recebidos serão sujeitos a um processo de selecção e de revisão cega por pares.


Special section of Aniki edited by Vicente Sánchez-Biosca (Universitat de València)

In the last decades, so called film footage has triggered of increasing interest beyond its usage by specialists and filmmakers. Historians, as well as philosophers and psychologists have discovered in footage material from archives a reason to pursue their reflections on the representation of the past, including memory and trauma.

Yet, even if it could still be considered a fetish, the film footage is now constantly reworked and appropriated. Conventional uses by TV channels with History programs attempt to adapt the images from the past to the standards of the present, but in so doing they run the risk of annihilating its historicity (an error historians call presentism or anachronism). On other occasions, mainly in metalinguistic documentaries, the exploration of footage is carried out by means of editing, zooming and freezing within the narrative flow. Moreover, our civilization tends to fix important events into images to such a degree that a lack of crystallization results in an anxiety akin to the horror vacui. When this occurs, fiction takes over and contributes to the construction of an imaginary that could be considered a document in the future. As Jaimie Baron has recently highlighted, the archive effect is often accompanied by an archive affect.

Perhaps there is no better cluster of images to express this than the one representing extreme events, such as propaganda, counterpropaganda, violence and genocide. In those cases, the images and sounds, or their insufficiency, are put to the test of representation or witnessing, and their place in collective memory.

This special thematic dossier of Aniki aims to address the genealogy of films based on footage, as used for historical o memorial purposes. It also wishes to analyze its circulation, both on a diachronic level (over time) and on a synchronic level (its circulation between different media: photography, film, television, internet...). Thus, it attempts to analyze the consequences of these displacements and rewritings in the public sphere (the reading of the past, the collective memory, the writing of history).

Vicente Sánchez-Biosca teaches Audiovisual Communication at Universitat de València and was visiting professor in Paris III e Paris I, New York University, Universidade de São Paulo, and others. His most recent books are NO-DO: el tiempo y la memoria (2000), El pasado es el destino. Propaganda y cine del bando nacional en la guerra civil (2011), both with Rafael R. Tranche, Cine de historia, cine de memoria. La representación y sus límites (2006), Cine y guerra civil española: del mito a la memoria (2006). Currently, he is the lead researcher of a project about the role of the image in the construction of the charisma of political leaders in Spain, and of another project about the representation of genocide victims.

Visit for Author guidelines and to submit your article. Submitted articles will be selected and subject to a blind peer review process.


Dossier de Aniki editado por Vicente Sánchez-Biosca (Universitat de València)

En los últimos años, la problemática de los archivos fílmicos ha invadido la reflexión de la Historia, la filosofía y la psicología. Desde las cinematecas hasta los discursos sobre el trauma y la memoria, el archivo cinematográfico ha cobrado un protagonismo que apenas dos décadas atrás era patrimonio casi exclusivo de los profesionales de las cinematecas y de cineastas o documentalistas experimentales.

Sin embargo, a pesar de que los documentos de archivo se han convertido en fetiches, ello no ha impedido una constante reutilización que implica transformaciones importantes. En los usos convencionales realizados por los canales de Historia, el material es coloreado y adaptado a las condiciones sonoras y perceptivas de la actualidad, anulando su historicidad. En otras ocasiones, las imágenes son exploradas por procedimientos digitales, montados y comentados por una voiceover. Hay algo más: la necesidad de recurrir al archivo genera angustia cuando un acontecimiento carece de documento visual que lo cristalice o cuando los que existen se juzgan inadecuados. En estos casos, la ficción construye un paradójico archivo que será proyectado hacia el futuro. Como algunos estudios recientes han puesto de relieve, el efecto de archivo viene a menudo acompañado por un afecto de archivo, una particular coloración emocional (Jaimie Baron).

Nada confirma mejor el uso de estos recursos que la representación de acontecimientos extremos en los que la imagen y el sonido son puestos a prueba, desde la propaganda totalitaria hasta el ejercicio de la violencia, desde la apropiación de la imagen para invertir su intención o sentido original hasta su consideración como huella en la memoria colectiva.

El presente dossier tiene por objeto abordar la genealogía de los documentos archivísticos y su (re)creación, sus migraciones, tanto en el eje diacrónico (a lo largo de la historia), como en el sincrónico (entre los media por los que se desliza: fotografía, cine, televisión, internet…). Asimismo, se tratará de analizar las consecuencias que tales desplazamientos y reescrituras tienen en la esfera pública (lectura del pasado, memoria colectiva, escritura de la historia).

Vicente Sánchez-Biosca es profesor de Comunicación Audiovisual en la Universidad de Valencia y fue profesor visitante en las Universidades de París III y París I, la Universidad de Nueva York, la Universidad de São Paulo, entre otras. Sus libros más recientes son:NO-DO: el tiempo y la memoria (2000), El pasado es el destino. Propaganda y cine del bando nacional en la guerra civil (2011), ambos en colaboración con Rafael R. Tranche, Cine de historia, cine de memoria. La representación y sus límites (2006), Cine y guerra civil española: del mito a la memoria (2006). Actualmente conduce un proyecto de investigación sobre el papel de la imagen en la construcción del carisma de los líderes políticos en España y otro sobre la representación de las víctimas de genocidios.

Visite para consultar las Instrucciones para los autores y para enviar su artículo. Los artículos recibidos son sometidos a un proceso de selección y evaluación anónima.
(info atualizada em 10/09/2014)


Streets to Screens: Mediating Conflict Through Digital Networks
The Centre for Global Media and Democracy, Goldsmiths, University of London in partnership with the Journal of Information, Communication and Society and Department of SOciology, York University invites you to the following event - please register for a place.
Location: LG01, Professor Stuart Hall Building
Time: 7 November 2014, 09:30 - 17:30
Streets to Screens: Mediating Conflict Through Digital Networks
This one-day symposium will explore a number of key issues in mediating conflicts today...

From Gaza to Ukraine, Afghanistan to Syria, social media is being used by people within conflict zones to organise, document and communicate their lives and struggles from the streets to our screens. As these pieces of content travel through time and space, they come into contact with various actors – from activists, to NGOs, news agencies, and global audiences – who attempt to claim purchase on the narrative of those events as they unfold. Over the course of the last decade, we have seen the emergence of forms of reportage that seek to navigate the diverse and fractured media ecology. These mediations are said to challenge the ways in which the mainstream media cover conflicts and global publics are invited to bear witness.

This one-day symposium will explore a number of key issues in mediating conflicts today, and will address some of the following questions:
- What role do networked eyewitnesses, activists and citizen journalists play in conflict communication today?
- What are the challenges faced by those mediating conflict online?
- In what ways are social media content produced within the zone of conflict shaping the coverage produced by news organisations?
- What are the implications of these forms of reportage for eyewitnesses, activists, citizen journalists, perpetrators, NGOs, journalists, news media, audiences and global publics?

A selection of the best papers will be published in a special issue of the journal Information, Communication and Society
Speakers Include:
Stuart Allan, Cardiff University
Malachy Browne, Storyful
Lilie Chouliaraki, LSE
Andrew Hoskins, University of Glasgow
Ben O'Loughlin, Royal Holloway
Sam Gregory, WITNESS
Liam Stack, New York Times
Claire Wardle, UNHCR
And many more!

Tickets are FREE but registration is required. For more information please visit:
(info atualizada em 09/09/2014)


Correspondents: History , Identity, Contemporary Challenges
About Journalism, an international review in journalism studies is pleased to remind you the call for papers: Correspondents: History , Identity, Contemporary Challenges.
(Download full call in PDF here:

This issue of About Journalism is devoted to news correspondents - to those relocated journalists who report news (political, social, cultural...) for the benefit of their media. In keeping with the international and trilingual mandate of About Journalism, the more specific aim is to analyze the phenomena of journalists' mobility, exchanges and translations (especially between French, English and Portuguese), while aiming to not confuse the contemporary status of "reporter" (usually hastily dispatched to the scene of an event) and "correspondent" (assigned to a city and /or a foreign country).

This issue focuses on three questions:
1. The History of Correspondence.
2. Status, Business Practices, Sociability.
3. Challenges to Correspondence in the Digital Age.

Papers published in English, French, Spanish or Portuguese.

Please indicate your interest in this issue of About Journalism – Sur le journalisme – Sobre jornalismo by sending a two-page summary of your article proposal to the guest editors before September 15, 2014, at the following email addresses:

Summaries and articles may be submitted in English, French, Spanish or Portuguese.

The deadline for submission of complete articles (between 30,000 and 50,000 characters,
including references and footnotes) is January 15, 2015. Articles should be submitted electronically at:
(info atualizada em 09/09/2014)


International Conference on Communication
Leeds, West Yorkshire
United Kingdom
Venue: tbc
1-2 November 2014

Communication is understood as a process of transferring information through verbal words, non-verbal signs, written word or as a transfer of information through modern communication technology. However, in order to have a successful communication the process should be a two-way oriented and communication should create meaning and mutual understanding, and communication should inter-connect people. Indeed, we may ask ourselves how do we understand communication? What does it mean to communicate in contemporary world?

In the EU, for example, bureaucracy in Brussels is trying to communicate messages of united Europe based on fundamental rights and the so-called European values, and yet majority of Europe (EU and non-EU alike) is witnessing various forms of radicalisation and growth of populism. International media are trying to transfer information on ongoing events but the coverage is often framed into opinions of writers very often bigoted and biased that increases animosities and contributes toward lack of adequate communication that could/should create mutual understanding.

On the other hand, cultural communication occurs separately, and artists seem to be the only ones who are making an attempt to communicate in a way that does not create misunderstanding. This is visible in dancing troops that are performing in various places in the world, and in international film festivals, for example.

Papers are invited (but not limited to) for the following panels:
Media communication
Journalism practices
Communication on Internet
Political communication
Communication of values
Inter-cultural communication
Cultural events as a form of communication
Dance and communication
Film and communication
Communication of values in the EU
Communication policies of the EU
Communication and Identities
Communication of gender identities
Communication and Discrimination
Religious communication and inter-faith dialogue
Communication and Globalisation

Prospective participants are also welcome to submit proposals for their own panels.

Submissions of abstracts (up to 500 words), and an email contact should be sent to by 1st October 2014.

The Centre established a peer review journal and a working paper series. Conference papers will be considered for publication.

We welcome paper proposals from scholars, NGO activists, Master and PhD students, and independent researchers.

Conference fee is GBP 180, and it includes:
The registration fee
Conference bag and folder with materials
Conference publication
Access to the newsletter, and electronic editions of the Centre
Opportunity for participating in future activities of the Centre (research & co-editing proceedings)
Discount towards participation fee for future conferences
Drinks and meals during both days of the conference
Certificate of attendance
Social programme in Leeds (optional)

Unfortunately, the Centre has no available funds for covering transport and accommodation in the UK. Participants are responsible for finding funding to cover transportation and accommodation costs during the whole period of the conference.

The Centre will not discriminate based on the origin and/or methodological/paradigmatic approach of prospective conference participants.

Information for participants with Visa requirements:
The Centre for Research in Social Sciences and Humanities is registered as a private institution in Croatia, and so far we hosted conferences in Austria. We have been issuing confirmations and invitation letters for conferences in Austria since March 2014, and so far no conference participant has been refused Schengen Visa by Austrian embassies. However, since United Kingdom is not part of Schengen area Visa regime of the British Home Office may differ from the one in the rest of the EU. If you have not travelled to the UK before, we advise that you check Visa requirements of the UK regardless whether you need Visa for visiting Schengen area or not. Visa self-assessment is available at the website of the Home Office at this link:
(info atualizada em 09/09/2014)


3 vacancies for full professor in Communication Science, University of Amsterdam
The University of Amsterdam, department of Communication Science, has three vacancies for the position of full professor. These are related to the following fields:

- Full professor in Health Communication:
- Full professor in Communication & Consumer Behaviour:
- Full professor in Corporate Communication:

More information can be obtained by sending an e-mail to
(info atualizada em 08/09/2014)


Professor auxiliar na área disciplinar de Comunicação e Artes (Cinema)
Edital - Doutor António Carreto Fidalgo, professor catedrático e reitor da Universidade da Beira Interior, faz saber que, pelo prazo de trinta dias úteis a contar do dia imediato àquele em que o presente edital for publicado no Diário da República, está aberto concurso documental internacional, para recrutamento na modalidade de contrato de trabalho em funções públicas por tempo indeterminado, para 1 posto de trabalho e provimento da respetiva vaga na categoria de professor auxiliar na área disciplinar de Comunicação e Artes (Cinema) do mapa de pessoal docente da Universidade da Beira Interior, com a remuneração estabelecida nos termos da legislação aplicável.
A avaliação do período experimental, quando aplicável, é feita nos termos do Regulamento de Concursos e Contratação da Carreira Académica.

O concurso é aberto nos termos do artigo 37.º a 51.º e 62 -A do Estatuto da Carreira Docente Universitária aprovado pelo Decreto -Lei n.º 448/79, de 13 de novembro, com a redação dada pelo Decreto -Lei n.º 205/2009, de 31 de agosto, e alterado pela Lei n.º 8/2010, de 13 de maio adiante designado por ECDU, e demais legislação aplicável, designadamente do Regulamento de Concursos e Contratação da Carreira Académica da Universidade da Beira Interior, adiante designado por Regulamento, republicado no Diário da República, 2.ª série, n.º 36, de 20 de fevereiro de 2014, Despachos do Reitor e Vice-Reitor n.º 2014/R/19 de 2 de abril e n.º 2014/R/53 de 31 de julho, após emissão de declaração a que se refere o nº 5 do artigo 24.º da Lei nº 80/2013 de 28 de novembro.

Mais informações em
(info atualizada em 08/09/2014)


The Scandinavian Invasion: Perspectives on the Nordic Noir Phenomenon
Edited by William Proctor

The crime genre has a long-established history in the Scandinavian countries: from the ten-part series of novels by Sjöwall and Wahlöö featuring Inspector Martin Beck to Henning Mankell’s critique of Swedish society through the lens of the Kurt Wallander novels. Since the publication of Stieg Larsson’s The Millennium Trilogy in 2005 featuring anti-heroine, Lisbeth Salander, we have seen the birth of a global phenomenon that has spread across multiple media windows including literature, film and, most notably perhaps, television. Authors such as Jo Nesbo (The Snowman), Lars Kepler (The Hypnotist), Lotte and Søren Hammer (The Hanging) and more besides, regularly feature in book store charts and on internet shopping sites. In the UK, BBC Four continue to champion the genre by airing The Killing, Borgen, and more recently, The Bridge alongside other series, such as Mammon and Arne Dahl. How can we begin to account for the popularity of the so-called Nordic Noir genre in the UK and beyond? How has this impacted other texts outside of the Scandinavian Peninsula? What can audiences and fan cultures teach us about this phenomenon? More simply, why Nordic Noir and why now?

The term itself, Nordic Noir, has also grown beyond its initial ambit to encompass multiple genres rather than restricted to crime or the police procedural. Arrow Films releases Scandinavian drama on the Nordic Noir label which includes crime, but also, other genres, such as history (Anno 1790), for instance. In this way, the genre has expanded in significant ways as a ‘cultural category’ that is discursively constructed rather than confined to a limited and finite designation. Following Jason Mittell, the Nordic Noir genre ‘operates in an ongoing historical process of category formation genres are constantly in flux, and thus their analyses must be historically situated’ (2004: xiv).

This collection aims to offer a varied range of perspectives on the Nordic Noir phenomenon and invites scholars to submit abstracts of 300 – 500 words. I am particularly interested in audiences and fan cultures, but other avenues of exploration may include (but not limited to):
· Genre analysis.
· History
· Society and Culture.
· Literature, Cinema, Television.
· Non-Crime texts (such as Akta Manniskor or Anno 1790 and so forth).
· Reception and Audiences.
· Gender.
· Sexuality.
· Representation.
· Influence and impact in other cultures.
· The new wave of literature.
· Industry.
· Branding.

All proposals will be considered within the remit of Nordic Noir and its impact. Deadlines for abstracts: October 1st 2014. This will form part of the proposal to Edinburgh University Press who have expressed an interest in the project.

Abstracts to be forwarded to: Please send any queries, ideas etc to the same.
(info atualizada em 08/09/2014)


Political Cinema for the 21st Century
7-8 February 2015
Venue: Birmingham City University Parkside Campus and Vivid Projects gallery

Call for papers/presentations
Neoliberal capitalism and its disastrous social, political and ecological consequences are wreaking havoc around the globe. In Britain as elsewhere, governments are cutting wages for the employed and taxes for the wealthy, and are busy waging campaigns of privatisation and (en)closure that are rendering hard-won social gains – such as universal healthcare or access to higher education – beyond the reach of working people. Without the support of their allies in the media industries, governments would find it immeasurably harder to manufacture the consent this kind of class warfare requires.

While the mainstream media remains overwhelmingly in the hands of the rich, artists and activists around the world are working hard to use the tools available to challenge that media power. In Britain as elsewhere, radical film culture has expanded significantly in recent years, and there is now a wealth of organisations and individuals dedicated to the production, distribution and exhibition of films broadly aligned with the politics of the radical left. In September 2013, representatives from a number of these organisations met to discuss ways in which those involved in radical film culture could work together to support its development, growth and sustainability, and formed the Radical Film Network (RFN) as a result (

Political Cinema for the 21st Century is the inaugural event of the RFN. A conference, exhibition and launch for the network, it aims to interrogate the idea of ‘radicalism’ in film culture and provide a forum to debate the past, present and future of radical film both in Britain and around the world. To that end, we invite all those with an interest in political film culture to come and share their work and ideas – as individual or organisation, filmmaker or audience member, researcher or critic. Contributions could cover (but are not limited to) topics such as:
* What is ‘radical’ film / culture?
* The political and aesthetic avant-gardes
* Politically and aesthetically radical moving-image practice/s
* Radicalism in artists’ film and video
* Video-activism
* Liberalism and the ‘social issue’ documentary
* The roles and responsibilities of political filmmakers/organisations/researchers/critics
* New technologies/formats/platforms: consequences and possibilities
* Economics, funding and financial sustainability in radical film culture
* Key films/filmmakers/organisations/networks and movements, in Britain and elsewhere
* Theoretical perspectives on radicalism and the moving image
* Film and television policy
* Cultural institutions and the film and television industries: infiltration, assimilation and/or opposition?
* Political cinema and pedagogy

Presentations can be in any format and up to 20 minutes in length. Proposals for panels of speakers are also very welcome. Please send all proposals for individual presentations, panels and other contributions to Steve Presence ( The deadline for proposals is October 1st 2014.

Keynote speakers to be confirmed.

Supported by the Centre for Moving Image Research at the University of the West of England, Bristol; the Screen Cultures group at the Birmingham Centre for Media and Cultural Research, BCU; and Vivid Projects gallery, Birmingham.
(info atualizada em 05/09/2014)