A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O V Encontro Anual irá decorrer de 21 a 23 de maio de 2015, no ISCTE-IUL, Instituto Universitário de Lisboa. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
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Temos o prazer de comunicar que já está online o n. 24 da Revista
Convidamos todos os investigadores das ciências e tecnologias de informação e comunicação a submeter, até 30 de setembro de 2014, propostas de artigos, entrevistas e recensões para publicação na Revista n.º 25.
Os artigos devem respeitar as normas e estilos de redação e ser submetidos por via eletrónica, para o e-mail da Revista – prisma.cetac @

Revista n. # 24 is now online.
Until September 30, 2014, will be accepted proposals for research articles, interviews and reviews for publication in Revista n. # 25.
Articles must respect the rules and styles of writing and be submitted electronically to the Revista e-mail - prisma.cetac @

(info atualizada em 29/08/2014)


Censorship and Self-Censorship
Special issue of Between, journal of the Italian Association for the Theory and Comparative History of Literature (Compalit)

This issue aims at investigating the interconnection of censorship and self-censorship in a variety of domains, from literary works to audio-visual media, from criticism to cultural mediation, in order to re-examine the relationship between censorship and artistic expression. We will focus our investigation on the following themes:

1. Censorship and literary systems
Censorship arises from an incessant negotiating process between regulative forces and creative energies that does not only aim to silence opposing voices, but also procedurally establishes the possibilities of artistic expression. The dialectic relationship between institutional and pre-emptive censorship (Lavagetto) can be identified at both micro and macro levels of literary creation; accordingly, the mechanics of censorship and self-censorship permeate literary works in each of their phases, from composition (the constantly narrowing choice between different possibilities, as already argued by Maria Corti), to canon formation and, in general, mediation and transnational communication between literary systems (Even-Zohar).

2. Censorship and visual systems
Cinema, visual arts, and live performance often deploy images of sex, violence, horror, and death. Although stemming from marginal cinematographic genres (exploitation, extreme horror, hard core, etc.) and provocative artistic movements, these images are absorbed by the mainstream, allowing for the entrance of what is historically relegated to the regime of “ob/scenity” into the regime of “on/scenity”, according to the distinction proposed by Linda Williams. Moreover, the convergence between digital media and the web encourages new reception practices and the emergence of new kinds of audience—participatory communities that generate their own contents and prompt a continual and interesting negotiating process between obscenity and prohibition, which physiologically challenges the space of control of censorship.

We will welcome contributions on any aspects of censorship and self-censorship, such as but not limited to:
- The relationship between literary work and literary system
- Canon formation and the function of criticism
- Visible and invisible censorship
- Cultural mediation: publishing (translation, editing) and marketing (publication, circulation) dynamics
- Hierarchies between genres, registers, and expressive forms
- Democratic censorship and totalitarian censorship
- Images and political censorship
- The interconnections of art with politics and public morals
- Film genres and censorship
- Gender discourse and censorship
- New media, new audience, and censorship

Please send a 300-word abstract and a short biographical note to Antonio Bibbò (, Stefano Ercolino (, and Mirko Lino ( by September 15, 2014. Notification of acceptance will be given by September 30. The deadline for submission of accepted papers, which will be subject to peer review, and metadata is January 15, 2015, according to the instructions available at
Final articles must not exceed 40,000 characters (spaces included). We accept submissions in English, French, and Italian.

(info atualizada em 29/08/2014)


The 6th International Media Readings in Moscow
On October 17-18, 2014 the Faculty of Journalism, Lomonosov Moscow State University, is organizing The 6th International Media Readings in Moscow
Mass Media and Communications – 2014.

The topic of the conference is "Creative Industries in the Reindustrializing World: Media Practices of the West and the East".

Questions for discussion:
* To what extent do the reindustrialization processes change the economic strategies of the transition to information society / knowledge society in different countries?
* What is, in an age of digital revolution, the present-day balance of the consumption of creative industries’ products by corporate and individual clients?
* Which creative industries exhibit the highest level of adaptation to the changes in the industrial policy and mass consumption?
* What are the development concepts and strategies of creative industries in the countries of the West and the East?
* The media in the context of creative industries: resources, consumption, strategies.
* Creative industries, the media and the virtual economy / the economy of sign and space.
* The role and place of the “creative class” in the modern media industry.

Keynote speakers:
Prof. Terry Flew, Queensland University of Technology (Australia)
Prof. Eli Noam, Columbia University (USA)
Prof. Francois Heinderyckx, Université libre de Bruxelles (Belgium)
Prof. Josef Trappel, University of Salzburg (Austria)
Dr. Bjorn von Rimscha, University of Zurich (Switzerland)
Dr. Xin Xin, University of Westminster (Great Britain)

Deadline for submitting abstract and registration is September 15, 2014.

More information can be found at the official website of the conference
(info atualizada em 28/08/2014)


Photography and Visual Cultures in the 21st Century
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.

Confirmed Keynote Speakers: Francesco Casetti (Yale University), Mary Ann Doane (University of California, Berkeley), Philippe Dubois (Université Sorbonne Nouvelle – Paris III).

Official Languages of the Conference: Italian and English.

We will consider every proposal (300-500 words), with 5 keywords and a brief biography of the proponent, sent before September 15th, 2014, by email, to Selection's results will be announced before October 5th.

For more informations:
(info atualizada em 28/08/2014)


Post Doc at the Department of Communication Vienna
The University of Vienna seeks to fill the position of a Post doc at the DEPARTMENT OF COMMUNICATION.
Subject area: Media Innovation/Media Change and Political Communication (Prof. Homero Gil de Zúñiga)
Application deadline: 01.09.2014
Applications including a letter of motivation (German or English) should be sumbitted via the Job Center to the University of Vienna (, mentioning reference number 5161.

More information:
(info atualizada em 27/08/2014)


Edited collection on the CW series Arrow
Editors: Jim Iaccino, Cory Barker, and Myc Wiatrowski

In just two years on the air, the CW’s Arrow has garnered both fan and critical acclaim for its ambitious storytelling, well-produced action sequences, and solid performances. Arrow’s stories and characters offer opportunities for discussions of justice and vigilantism, masculinity, dual identities, and aesthetics. Furthermore, the series has thrived in adapting DC Comics stories and characters to television, but also in translating the spirit and stylistic flourishes of comics to the televisual medium. Arrow therefore also raises important questions about media franchising, adaptation, medium specificity, and industry trends. As a young series, very little has been written about Arrow in academic circles. This collection of essays seeks to provide the opening large-scale investigation into the CW series and examine Arrow from multiple perspectives and disciplines.

Potential topics for discussion include, but are not limited to:
--Representations of masculinity, femininity, race, sexuality, class, and family
--Explorations of justice, violence, the greater good, and morality
--Examinations of secret (and dual) identities, teamwork, and secret keeping
--Deceptions of a “realistic” superhero story and the slow introduction of more fantastical elements
--Arrow's narrative techniques, including the preponderance of flashbacks and serialization
--Arrow's fight choreography and action set pieces
--Chapters discussing individual episodes or story arcs
--Chapters discussing particular character arcs or relationships (Oliver-Felicity, Oliver-Slade, Thea-Roy, etc.)
--Arrow as an adaptation of the pre-existing Green Arrow stories and its employment of characters and arcs from the larger DC Comics universe
--Evolution of the Arrow figure from the Smallville series to the current show
--Arrow as part of the recent push for superhero series on television (including comparisons between Arrow and Marvel’s Agents of S.H.I.E.L.D., Arrow and The Flash)
--Critical reception to Arrow
--Fan readings, productions, and activities related to and about Arrow

This collection is under contract with McFarland, so all that remains is securing the contributions in a timely fashion for a planned text publication in late 2015-early 2016.

The deadline for proposals of 500 words is August 31, 2014. Please email your abstract and a brief bio to Please put “Arrow Abstract” in the subject line. If an abstract is selected for the collection, full essays of 5,000-7,000 words will be due by December 1, 2014.
(info atualizada em 27/08/2014)


Cine-Excess VIII: Are You Ready for the Country: Cult Cinema and Rural Excess
The University of Brighton, UK
14-16 November 2014

Over the last 7 years, the Cine-Excess International Film Conference and Festival has brought together leading scholars and critics with global cult filmmakers. Cine-Excess comprises of a 3 day conference alongside plenary talks, filmmaker interviews and 5-7 UK theatrical premieres of up and coming cult releases.

Previous guests of honour to the annual Cine-Excess event have included Catherine Breillat (Romance, Sex is Comedy), John Landis (An American Werewolf in London, The Blues Brothers, Trading Places), Roger Corman (The Masque of the Red Death, The Little Shop of Horrors, The Intruder, The Wild Angels, Bloody Mama), Stuart Gordon (Re-Animator, King of the Ants, Stuck), Brian Yuzna (Society, Beyond Re-Animator, The Dentist), Dario Argento (Deep Red, Suspiria, Inferno) Joe Dante (The Howling, Gremlins, The Hole), Franco Nero (Django, Keoma, Die Hard II), Vanessa Redgrave (Blow Up, The Devils, Julia), Ruggero Deodato (Last Cannibal World, Cannibal Holocaust, House on the Edge of the Park) Enzo G. Castellari (Keoma, The Inglorious Bast***s) and Sergio Martino (Torso, All the Colours of the Dark).

With the 2012 relocation of Cine-Excess to the School of Art, Design and Media at the University of Brighton, new developments connected to the event have included the recent 2013 launch of the peer-reviewed Cine-Excess E-Journal (, which publishes a selection of papers from the event.

Cine-Excess VIII is a collaboration between the School of Art, Design and Media and the C21: Centre for research in twenty-first century writings at the University of Brighton. To coincide with the 40th anniversary of Tobe Hooper and Kim Henkel’s ground breaking backwoods classic The Texas Chainsaw Massacre, Cine-Excess VIII considers cult representations of the rural space and its inhabitants, analyzing the extent to which depictions of the countryside often reveal fascinating issues of class, sexuality, race and regional distinction.

From early moonshine movies depicting ribald rural rule breaking, to survival splatter epics such as Deliverance (1972), The Texas Chainsaw Massacre (1974), Southern Comfort (1981), The Devil’s Rejects (2005) and beyond, the American countryside and its inhabitants come to evoke longstanding traditions of humour, horror and morbid fascination within a range of cult film genres. Beyond this established Stateside preoccupation with the South, Europe has also used cult imagery to acknowledge its own regional splits and divisions, which have fed into a range of representations, myths and case-studies that extended from eugenic case-study to exploitation cinema. In addition to these territories, other global cultures frequently figure the rural space as a site of either erotic emancipation or fearful foreboding in range of unsettling and iconic genres that warrant further investigation.

In order to explore these themes further, Cine-Excess VIII will consider the wide variety of representations of the cult countryside from a range of differing theoretical and methodological perspectives, while also considering larger national notions of the rural space within film, television, literature, comics and digital media. A number of iconic international filmmakers associated with rural cult cinema classics will be in attendance at Cine-Excess VIII to discuss their work and interact with academic speakers. Proposals are now invited for papers on any aspect of rural excess. However, we would particularly welcome contributions focusing on:
*‘White Trash’ Auteurs: From Tobe Hooper to Rob Zombie and beyond From
*Deliverance to Dukes of Hazard and Beyond: genres of cult country folk
*White Trash Terror: the American countryside in literature and film From
*Eugenics to Exploitation: historical case-studies of Southern ‘deviance’
*The Return of the Rural: a special panel on The Texas Chainsaw Massacre and its sequels
*Yuppies in Peril: class, culture and the politics of hatred
*Moonshine Madness: comic cycles and the country trickster
*From Southern Belles to Savage Sisters: female vendettas in the rural space
*Backwoods But British: the rural space in British film and literature
*Revenge of Nature: aniumal revolts in the cult countryside
The Queer Countryside: sexuality and the rural space
*Small Screen Southerners: TV representations of the countryside
*Europe’s Others: transnational representations of the rural
*Sounds of the South: the role of music and soundtrack in the rural movie
*Cult on Cults: Southern saviours and preachers of hate
*Bucks, Cucks and Harlots: eroticism and rural desire
*‘Hicksploitation’, ‘Blaxsploitation’ and race conflict within cult cinema
*Deep River Savages: Italian cult cinema and the cruel countryside
*Outback Outrages: the rural space in Australian cinema
*White Trash in Tech: rural rule breaking in online and videogame formats

We welcome individual paper submissions, panels and roundtable proposals related to a range of international traditions of rural excess.

Please send a 300-word abstract and a short (one page) C.V. by 3rd September 2014 to:

Dr Xavier Mendik
Director of the Cine-Excess Film Festival

Dr Katy Shaw
Director of C21: Centre for research in twenty-first century writings

A final listing of accepted presentations will be released on 17th September 2014.

A selection of conference papers from the event will be published in the Cine-Excess E-Journal in 2015.

For further information and regular updates on the event (including information on guests, keynotes and screenings) please visit
(info atualizada em 27/08/2014)


The Becoming of Archival Images in Documentary Filmmaking Seminar
CFP NeMLA, Toronto, April 30-May 3, 2015:
Chairs: Hudson Moura (University of Toronto), Marta Marín-Dòmine (Wifrid Laurier University) ??
Deadline: September 15, 2014

Archiving is in itself a gesture of the present caring about a past that one wishes to project into the future, or as Jacques Derrida puts it, a token of the future. However, contemporary cinema is marked by a new approach to the archive, most specifically to the circulation of archival images inserted in documentary films, through their materialization that implies the coexistence of at least three different modalities of appropriation: a) the canonical one that searches in these images the referent of past historical events; b) the use of archival images to fictionalize memorial narratives; and, c) the creation of false archival images to underline the tension between fiction and truth. Parallel to these trends in documentary filmmaking, the 21st century created the new phenomenon of ‘digital storages’ by the constant production of images that are instantly part of a virtual archive which aim is not necessarily that of becoming a “token of the future”, a trace of what it has been, but a storage of what constantly “is”: a huge global wasteland of images that are the result of multiple purposes that span from surveillance (CCTV) to the instant demand of global communication or the narcissistic inscription of oneself in the constant flow of the present. How do archives contribute to the invention of the past? What do archival images add to documentary filmmaking in terms of their value as “true” documents? When a documentary becomes an archive itself? This Seminar seeks to elicit the debate around the use of this quasi-infinite repository of images (digital storages) in documentary filmmaking (circulation, appropriation, creation of new meanings) as well as to open the possibility to reflect on the appropriation of the “archive” as a genre (the mimicking of the archives’ aesthetics) and its ethical implications.

Please send your 300-word proposal by September 15, 2014 through the NeMLA website or with any and all questions. Papers will be considered for an edited volume.
(info atualizada em 26/08/2014)


Euprera 2014 congress: communication ethics in a connected world
You are invited to register for the 2014 Annual Congress of the European Public Relations Education and Research Association, dedicated to “Communication Ethics in a Connected World” (11-13 September 2014, Brussels, The congress is organised by the LASCO laboratory, Université catholique de Louvain and IHECS institute, Belgium.

Three keynotes and more than 50 papers and panels will provide insights into recent research and discuss crucial issues: ethics in communication practices today, the tension between transparency and privacy, and empirical studies on a broad range of topics ranging from CEO communication to big data and cross-cultural communication in a European context.

The congress is open to everyone interested in learning about recent research in PR and organizational communication, and expanding his or her network across Europe. The full programme is available on the congress website (; information at Registration is possible until 5 September 2014.
Mr. Andrea Catellani
(info atualizada em 26/08/2014)


Call for Papers: Disability and Television
Special Edition of Journal of Popular Television
Guest edited by Rebecca Mallett (Sheffield Hallam University) and Brett Mills (University of East Anglia)

Debates about disability - whether related to production and industry, content and representation, or audiences and consumption - have been largely ignored in the study of television, and this special edition of Journal of Popular Television aims to encourage the field to engage in this increasingly significant topic. We intend to provide a space to explore the contributions television studies and disability studies can make to one another, as areas of enquiry but also as fields engaged in the socio-political world.

We acknowledge the wide range of ways in which 'disability' has been defined and welcome submissions that engage with the complexity of the term and the uses to which it is put. Likewise we are interested in 'television' in its broadest sense, whether fictional or non-fictional, from docudramas and comedy to news and sports across all platforms.

We are keen for the edition to include as wide a range of voices, formats and approaches as possible, so while the 'traditional' academic article is welcomed, we also encourage other formats, such as personal reflections, treatises and manifestos or anything else that may be relevant and appropriate. Submission lengths may also be variable, so shorter and longer pieces are also invited.

We therefore invite expressions of interest from those interested in contributing to the special edition. This is due to be published in Autumn 2015, and submissions would be due 28 February 2015.

If you're interested in contributing please contact Rebecca Mallett ( and Brett Mills ( by 8th September 2014 with an outline of your intended contribution; formal abstracts are not necessary at this stage. If you'd like to talk through any initial ideas with either or both of us before this date, please feel free to get in touch.
(info atualizada em 25/08/2014)


The Colour Fantastic: Chromatic Worlds of Silent Cinema
29 to 31 March, 2015
EYE Filmmuseum, Amsterdam

Twenty years on from the groundbreaking Amsterdam workshop ‘Disorderly Order’: Colours in Silent Film the conference will celebrate this milestone anniversary by providing a new forum to explore contemporary archival and academic debates around colour in the silent era. The conference will explore a diverse range of archival and academic topics and provide a stimulating environment for specialists from across different disciplines. It will also include screenings of restored and/or rarely seen films.

The event will be held at EYE(Amsterdam) on 29 to 31 March, 2015.

We welcome papers and in particular pre-formed panel proposals on the following themes: avant-garde and abstract colour; restoration and preservation; technologies; animation; intermediality; aesthetics and cultural contexts. We also welcome papers working with films from EYE’s Open Beelden website (

Proposals of 300 words for papers should be sent to: no later than 1 September 2014.

The conference is co-organised by EYE, Giovanna Fossati (University of Amsterdam), Tom Gunning (University of Chicago) and the Leverhulme Trust research project ‘Colour in the 1920s: Cinema and Its Intermedial Contexts’, run by Sarah Street (University of Bristol) and Joshua Yumibe (University of St Andrews / Michigan State University).

In conjunction with the conference, a new book on silent film colour, Fantasia of Color by Gunning, Fossati and Yumibe will be published by the University of Amsterdam Press and presented at EYE.
(info atualizada em 25/08/2014)


Situating research, situating practice: New voices in cultural research
Special Issue of Continuum: Journal of Media and Cultural Studies

As Jussi Parikka states: "Practices are in themselves theoretical excavations into the world of 'things', objects of (cultural) research conducted in a manner that makes the two inseparable. Practices probe, investigate, track, interrupt, intervene and question [...] Practices are theories in the very dynamic mode that makes 'theories work'" (Parikka 2011, p.34).

This turn towards 'practice' has been enthusiastically taken up by cultural studies scholars, who have deployed this methodology in relation to a diverse range of fields including media, consumption and sustainability. This special section follows on from the CSAA Intermezzo Symposium 'Doing Cultural Studies: Interrogating Practice'.

This special section offers a timely reflection on the role of practice theory in cultural studies. Using practice as a critical lens also presents an opportunity for emerging scholars to consider their own research practice and methodological orientation. It will showcase postgraduate students and early career researchers critically engaging with their own position as scholars and articulating what it means to 'practice' or 'do' cultural studies.

We are particularly interested in abstracts that engage with new methods of cultural research, new research sites, and new critical approaches. Please submit abstracts of up to 300 words to by 5 September 2014. If accepted, full papers will be due by 16 January 2015. The special section will be published in 2016.

Editors: Jenny Kennedy, James Meese and Emily van der Nagel
(info atualizada em 22/08/2014)


Documenting Africa: Creating Fact or Fiction through the Lens
Conference organised by the Africa Media Centre, University of Westminster
Date: Saturday 8 and Sunday 9 November 2014
Venue: University of Westminster, 35 Marylebone Road, London
Pedro has become one of the major players in film co-production in Southern Africa. He started his film career with the National Film Institute of Mozambique in 1977, and co-founded EBANO Multimedia, the first independent production company in Mozambique, which established itself as a significant entity in audio-visual production in the region.
Since then, he has produced, co-produced and line produced numerous short fiction, documentaries and feature films in Mozambique as well as in Angola, Zimbabwe, Ethiopia and South Africa. Amongst them are “Marracuene, two banks of a river”, “The tree of our forefathers”, “Fools”, Africa Dreaming”, “A Tempestade da Terra”, “Zulu Love Letter”, “Teza”, “Memories of Dreams”, “Island of the Spirits” and “Virgin Margarida” . Between 1997 and 2003, Pedro was the Chief Technical Adviser of the UNESCO- Zimbabwe Film & Video Training Project for Southern Africa in Harare, where he conceived and managed various training programs in countries of the sub-region.
Pedro Pimenta consulted with FIAF on the program dealing with African Film Archives and served as a jury member on various international film festivals.He is the founder and director of Dockanema, a documentary film festival in Mozambique .
This is the first call for papers for a two day conference on ‘Documenting Africa’ The 6th African Film Conference organised by the Africa Media Centre provides opportunities to bring together academic scholars and practitioners from around the world to discuss contemporary issues around how African’s portray themselves and how they are portrayed by others. Topics may include present day production, distribution, audiences, contested African histories, or post-colonial archives. With an explosion of new media and a further diversification of television landscapes over the last ten years, alongside a revival of documentaries for cinemas and radio documentary productions, this conference will critically engage with the realities of documentary in and about Africa. How has a form that is often criticized as a ‘Western version’ of re-creating reality evolved across the African continent? What are the problems and concerns of practitioners? Is the documentary form a useful and adequate format for educating the public? What are the specific themes and subject matters of African documentary? What roles have the digitisation of film and television archives played in the self-understanding of the African countries whose memories and visual histories have been frequently stored abroad? How does an up and coming generation deal with new possibilities in film and video making?
Papers may focus on, among other topics, the following::

Documentary, docu-drama and narratives based on fact. Which is more honest?
The role of funders in telling the story ie NGOs, Governments or Religious organisations.
Community group ‘ground up’ Documentary making.
Experimental/Art documentaries from Africa
Heritage and the Arts in documentaries (Music, Art and Performance)
The role of memory and personal histories in Documentary
Aestheticising or manipulating suffering. Can the Filmmaker ever be a neutral presence when filming images of violence and suffering
Censorship and restrictions.
Exhibition and Distribution. Film Festivals, the Internet, Education, Television and DVD
Transnational productions and global media corporations.
Ethnographic films and Colonial legacies
Film and television archivesDEADLINE FOR ABSTRACTS
The deadline for submission of abstracts is Friday 12 September, 2014. Successful applicants will be notified by Friday 20 September, 2014. Abstracts should not be more than 300 words long. They must include the title of the conference, presenter's name, affiliation, email and postal address, together with the title of the paper. Please ensure when saving your abstract that your name is part of the file name and it is a word document. Please email your abstract to Helen Cohen, Events Administrator at: (
This two day conference will take place on Saturday 8 and Sunday 9 November, 2014. The fee for registration (which applies to all participants, including presenters) will be £150, with a concessionary rate of £75 for students, to cover all conference documentation, refreshments lunches and administration costs. Registration will open in September 2014.
(info atualizada em 21/08/2014)


Screen Policies in the 21st Century
5th CinEcoSA Conference
17-18 November 2014
Université Sorbonne Nouvelle - Paris 3, France

Historically, film has been at the centre of cultural policies around the world. These public policies have striven to support a local film production, for both cultural and economic reasons. After dedicating the previous conference in 2013 to Film and TV policies in the English-speaking world, CinEcoSA ( now wishes to enlarge the discussion to 1) other media, 2) other regions around the world. Over the last three decades, the media environment has changed, with digitalisation and the development of new forms of screen media (video games, the Internet, mobile media), so much so that screen media is no longer geographically constrained in its production and distribution. New technologies have also potentially reduced the costs of producing and distributing films around the world. These changes have consequently challenged government policies aimed at the cultural protection and nurturing of local screen industries.

Since the late 20th century, the traditional boundaries on which cultural policies were based have been put into question. The idea of local and national film industries have to be dealt with in a context where many films are shot and post-produced outside the territory where they were developed. Hollywood is renowned for its runaway productions, but filmmakers from other countries, such as France or India, have roamed around the globe to take advantage of the incentives offered by numerous film production centres. States have thus had to balance the economic effort required to attract foreign productions with the cultural objective of developing a national screen production industry.

Another boundary which seems to be imploding is that between media. Film remains a standard bearer, but it is now part of a larger media ecosystem where television series, web series, interactive websites and video games hold their own. The recent British decision to extend production incentives to video games is a sign that traditional legislation is evolving to incorporate new forms of media. Digital technologies and the Internet have notably had a momentous impact on the media ecosystem. By easing film circulation, new technologies have also facilitated piracy of content, which has become increasingly rampant, reaching levels that 1980s VHS and 1990s DVD pirates could not have imagined. The piracy issue pitting State regulation vs. individual liberty has been at the centre of heated debates, from the SOPA legislation in the USA to the setting up of HADOPI in France. Not all countries have the same film and television policy history and not all react in the same way. One can contrast the situation in France, which has had a long history of film support, which must now be adapted to the digital environment, with that of the United Arab Emirates which have been developing a State-supported media industry only in the past decade and have thus immediately embraced the new media paradigm.

This conference aims at exploring the changes that have taken place in the institutional ecology of the screen media industries around the world since the late 20th century, including the changing role and priorities of governments in the support, development and protection of the industries, the role of market-based regulation, and the impact of technological innovation. The conference welcomes papers from different disciplinary perspectives to explore the way screen policies adapt to the transnational and transmedia logics of the digital era. Papers can present theoretical frameworks or focus on case studies. National analyses are welcome – however, comparative presentations are to be favoured when possible.

Topics may include, but are not restricted to:
- Evolution of State support for media production and distribution, media training programmes, festivals; support for new media (including video games) vs. old media
- State regulation of content (censorship) and circulation
- Debate around digital piracy, peer-to-peer networks
- Incentive schemes to attract foreign productions or film crews and competition between different geographic localities
- Interrelationship between regional, national and supra-national institutions and policy bodies, competition and/or collaboration between jurisdictions
- Co-production treaties
- Impact of digitalisation

Please send your proposals (title, 400-word abstract, 4 bibliographical references, brief biography) to and by 10 September 2014.

Working language of the conference: English. There may be provision for a limited number of delegates to present and participate from outside Europe via video conferencing.

Final papers will be considered for publication in English following a peer-review process.

For more information about CinEcoSA (Cinéma, Economie & Sociétés Anglophones), visit our website:

Organizing Committee
Joël Augros (Université Paris 8, Vincennes-Saint Denis)
Nathalie Dupont (Université de la Côte d’Opale)
Nolwenn Mingant (Université Sorbonne Nouvelle - Paris 3)
Cecilia Tirtaine (Université Sorbonne Nouvelle - Paris 3)

Scientific Committee
Joël Augros (Université Paris 8, Vincennes-Saint Denis)
Laurent Creton (Université Sorbonne Nouvelle - Paris 3)
Philip Drake (Edge Hill University, Liverpool)
Nathalie Dupont (Université de la Côte d’Opale)
Frédéric Gimello (Université d’Avignon)
David Newman (Simon Fraser University
Nolwenn Mingant (Université Sorbonne Nouvelle - Paris 3)
Roger Shannon (Edge Hill University, Liverpool)
Cecilia Tirtaine (Université Sorbonne Nouvelle - Paris 3)

(info atualizada em 20/08/2014)


From Multitude to Crowds in Social Movements – publics, gatherings, networks and media in the 21th century
Deadline for proposals: 31/08/2014

26-27 January 2015
International Conference hosted by the Catholic University of Portugal, in a CECC/CECL co-organization.
Deadline for proposals: 31/08/2014

Further info:

There has always been, in human history, collective action taken by ordinary people. The 19th and 20th centuries were a period of political affirmation of social groups and the concomitant emergence of social movements as collective endeavors to promote political and social change in any direction and by different means (Borch, 2012). This period saw the rise of the social movement in the sense of a set of people who deliberately commit themselves to a shared identity, a unifying belief, a common program and a collective struggle to prosecute that program of social action.

In the 21st century there has been a transformation of the traditional forms of action. Indeed, the repertoire of collective action (Tilly and Wood, 2009) has changed as the organization and public recognition are different in a time when the relevance of the media in social and political relations invites new orders of functioning. The revolutionary wave of demonstrations and protests, riots, and civil wars in the Arab world beginning on 18th December 2010 are an illustrative case. The Arab Spring had in communication tools, such as the Internet and social networks, a key factor for social mobilization and socio-political demands (Khondker, 2011). The same occurred in Portugal, Greece and Spain with social protests related to the global financial and economic crisis. Social networks were vital to the coordination of national and international collective actions, while traditional media such as television or the press were essential for the public recognition of their causes.

Even if recent technological changes put social actors in a global network society (Castells, 2009), that does not necessarily erase the need for a topological experience (with its physical and emotional aspects) (Collins, 2001). Social movements and publics still need to gather in crowds to reach their collective dynamics. So, how to characterize the reciprocal influence of multitudes, publics and crowds?

The International Conference “From Multitude to Crowds in Social Movements – publics, gatherings, networks and media in the 21th century” aims to discuss media relevance on present-day social movements and if and how collective action is being transformed in contemporary mediatized societies (Adolf, 2011; Burton, 2010). How should we think the relation between mediatization and public experience? What is the symbolic meaning attached to the occupation of public spaces such as streets, plazas or official premises? How do social movements’ commitment to change (Tilly, 1977) use social media to establish a unified system of belief? How do they relate to the “crisis of representation” in contemporary social and political systems? What is the place of crowds in social movements? What is the relation between multitudes, crowds and publics? How do publics engage in “public action regimes” (Cefaï and Pasquier, 2003)? How are Sociology, Political Science and Communication Sciences reacting to the new developments in social organization and public expression?

This two-day event brings together scholars from a variety of disciplines such as Communication Sciences, Sociology, or Political Science, to offer an updated perspective on the ways notions of multitude, crowds, social movements and media intersect. It proposes to study social movements repertoires and how social groups are led to adapt, improvise and invent new ones under the social constraints imposed by the use or presence of media.

Confirmed Speakers:
* Dr. Christian Borch (Copenhagen Business School, CBS, Department of Management, Politics and Philosophy);
* Dr. Erik Neveu (Sciences Po Rennes)
* Dr. Gustavo Cardoso (ISCTE- Lisbon Universitary Institute)
* Dr. João Carlos Correia (University of Beira Interior)

We welcome contributions that consider (but are not limited to) the following topics:
* Social Movements and the Crowd
* Social Movements History
* Social Movements and the Crowd
* Social Movements History
* Crowd Sociology
* Critical Theories on the Crowd, Multitude and Publics (Le Bon, Tarde, Durkheim, Freud, Canetti, Negri, Habermas)
* Theoretical Appraisals on Social Movements
* Theories on Public Experience
* The Publicity of Crowds, Publics and Multitudes
* Public Sphere and Social Movements
* Media and Crowds
* Traditional and New Media in the Emergence and Consolidation of Social Causes
* Media's Influence on Collective Action
* Digital and Social Media in Social Protests
* The Influence of Crowds and Multitudes on Public Agenda
* Social Movements and Democracy
* Crowds, Multitudes and Publics in Media Events
* Social Movements, Media and Imagination - Words of protest, songs of disapproval and images of appeal
* Media Visibility of Social Action
* Media, Crowds and the Law
* Media, Arts and Literature Representations of Crowds, Publics and Social Movements
* Multitude and Crowd in the 21th century- from Facebook to the street
* The Occupation of Public Spaces by Social Movements
* European Social Movements in diverse national contexts, ex:"Geração à Rasca" (Portugal), "Indignados" (Portugal), "Que se Lixe a Troika" (Portugal), "Movimiento 15 M" (Spain), and "Nunca Máis" (Spain)
* Contemporary Social Movements ex: Arab Spring; Obama presidential campaigns; Tea Party; "Occupy Wall Street" and the recent Political and Social Crisis in Ukraine, Greece, Venezuela and Brazil

Official Language: English

Further info:

Submission of Abstracts
We welcome proposals of no more than 300 words, by August, 31 2014, including a title, abstract, four keywords, a short-bio and affiliation details. Send the proposals in RTF or PDF format to the following email:

An Electronic Book (with ISBN) is expected to be published with a peer-reviewed selection of the best papers presented in the conference. Please note that the acceptance of the abstract does not guarantee publication in the Ebook.

* Submission of Abstracts Deadline: August, 31th 2014
* Notification of Acceptance: October, 1st 2014
Submission of Full Paper Deadline: December, 15th 2014
(info atualizada em 19/08/2014)


Second International Alphaville Conference
The Second International Alphaville: Journal of Film and Screen Media Conference will take place at University College Cork, Ireland on 4–6 September 2014.

Distinguished Keynote Speakers at the event will be Professor Laura Mulvey (Birkbeck, University of London) and Professor Maria Pramaggiore (National University of Ireland, Maynooth).

Registration closes on Monday 25 August 2014.

The conference programme and registration form can be downloaded from our conference website here:

Any queries should be sent to the conference organisers
(info atualizada em 19/08/2014)


Audience Research in Media Development: Is it Fo(r)ME?
The Catholic Media Council (CAMECO) and the Forum Medien und Entwicklung (FoME) [i] sincerely invite you to the 10th FoME-Symposium

5th-7th November, 2014
Gustav-Stresemann-Institut, Bonn, Germany

Audience research is of crucial interest to all those involved in the media. Journalists, editors and producers need to match programming and coverage to their target audiences. Media owners need to convince advertisers, that their respective media outlets will reach a specific audience, both in terms of size and composition. And advertisers and campaigners need information in order to select adequate channels to get their message across.

However, international media assistance rarely pays attention to audience research as key to both improving media performance and strengthening financial sustainability. In quite a number of developing countries reliable media usage data are hardly available, resulting in a lack of market transparency. Local media often lack knowledge or resources to commission audience research, or to conduct it themselves. Few media development programmes have integrated audience research as part of their project planning, monitoring and evaluation cycles.

The FoME symposium presents and discusses examples, where audience research has been used to enhance the performance of media houses and development programmes, and it aims at stimulating the debate on how audience research capacities in developing countries can be strengthened.

The symposium will be organised around four angles:
# Audience Research & Media Development discusses the role for international media assistance in audience research and provides insights into real-world examples, where audience research has become an integral part of media programming.
# Audience Research under Difficult Conditions presents experiences from war-torn countries and other areas, where conditions are challenging for political or logistic reasons.
# Defining and Segmenting Audiences will look at a number of different approaches to understanding audiences, including approaches such as value-based segmentation and media user typologies.
# Strengthening Audience Research Capacities will be about establishing national research standards and institutions, and helping local media to develop their ability to carry out or analyse research themselves.

Have a look at the programme at

Confirmed speakers include:
# Gavin Anderson, The Springfield Centre, United Kingdom
# Matthias Arnold, Sinus Institut, Germany
# Jarred Cinman, Interactive Advertising Bureau (IAB) / Native VML, South Africa
# Pablo Diego-Rosell, Gallup, Spain
# Natalie Forcier, Forcier Consulting, South Sudan
# Paul Haupt, Pan African Media Research Organisation (PAMRO), South Africa
# Jad Melki, American University of Beirut, Lebanon
# Mark Nelson, Center for International Media Assistance (CIMA), USA
# Francis Nyamnjoh, University of Cape Town, South Africa
# Maria Sadovskaya, European Radio for Belarus, Poland
# Erick Torrico, National Media Observatory (ONADEM), Bolivia
# Pamela Vallance, BBC Media Action, United Kingdom

Learn more about the speakers at

The "all-inclusive" conference fee is €250.-, including the registration fee, full board and lodging (two nights) at Gustav-Stresemann-Institut. This offer is only valid until 8th September, accommodation at the conference hotel may not be available after that day. The registration fee without accommodation (including meals) is €150.-.

Please register until 8th September:

If you have any further questions, do not hesitate to contact us: (registration & organisational matters), (concept & coordination).

We look forward to welcoming you in Bonn!

We are delighted that the Conference of International Broadcasters' Audience Research Services (CIBAR) is holding its annual conference in Paris from 3d to 5th November, so participants of both conferences may easily be able to attend the other event as well.

[i] FoME is a network of organisations from German-speaking countries, active in international media development, including Catholic Media Council (CAMECO), Deutsche Welle Akademie, Friedrich-Ebert-Stiftung (FES), Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ), Konrad-Adenauer-Stiftung (KAS), Media in Cooperation and Transition (MICT), n-ost Network for Reporting on Eastern Europe, Reporters Without Borders Germany, Robert Bosch Foundation, Zurich University of Applied Sciences Winterthur (ZHAW).
(info atualizada em 18/08/2014)


Call for Applications: YECREA Young Scholars’ Fund for ECC2014
We invite young scholars, members of YECREA and ECREA, to apply for conference fee funding so as to encourage their attendance at the 5th European Communication Conference, to be held in Lisbon, 12-15 November 2014.

The newly established young scholars’ fund, provided by ECREA, consists in an initiative of ECREA scholars aiming to facilitate young colleagues’ participation in the bi-annual European Communication Conference (ECC) in the form of fee waivers.

Applicants need to ensure that they are:
- young scholars’ according to YECREA’s definition (master students, PhD students and post-doc scholars without fixed or tenure-track positions)
- members of ECREA and YECREA
- authors of a submission officially accepted to be presented at the ECC
- not receiving any other funding resources

Young scholars who are eligible for funding have to submit an application stating the title of the accepted submission (including specification of other co-authors, if any), country and institution of affiliation, student status (master or PhD student, post-doc or research fellow etc.), statement that they are not receiving any other funding resources as well as indication of their travel costs to the conference site.

All applicants are asked to complete and submit the form (, together with supporting evidence (including estimated travel and accommodation costs, proof of enrolment/student status, confirmation of acceptance to present at ECC2014) to the YECREA management team via before 1 September 2014.

All applicants will be notified two weeks after this deadline. Successful applicants that have already paid fees will be reimbursed by ECREA.
(info atualizada em 15/08/2014)


Strangers in Strange Lands: Mapping the Relationship between Anthropology and Science Fiction
University of Kent, 15-16 November 2014, Canterbury, Kent

As part of the University of Kent's 50th Anniversary celebrations, the School of Anthropology and Conservation at the University of Kent invites prospective participants to submit an abstract for the forthcoming event "Strangers in Strange Lands: Mapping the Relationship between Anthropology and Science Fiction", a two-day symposium organised by current and former departmental PhD students and hosted by the School of Anthropology and Conservation with sponsorship from The Science Fiction Foundation (UK).

The symposium aims to promote the analysis of science fiction works as valid objects of anthropological inquiry, and in particular, as symptomatic traces of developing futures; thereby expanding the scope of anthropological scholarship. It is our intention to provide a platform for an energetic, multi-disciplinary discussion between established scholars and postgraduate students from a diverse range of institutions and disciplines.

Confirmed keynote speakers are Dolores Martinez, Emeritus Reader in Anthropology, School of Oriental and African Studies (SOAS); and Paul March-Russell, Specialist Associate Lecturer Comparative Literature, University of Kent. We are also pleased to announce that renowned science fiction author Gwyneth Jones will be a special guest speaker at this event. A round table discussion, led by Professor Bruce Kapferer, will be the closing highlight of the event.

Please send a 200-word abstract proposal, and 3-5 keywords, along with your full name, institutional affiliation and short biography (ca. 50 words)> by 30th August 2014.

See attached PDF for further details, or visit our website at:

and our Facebook Page:

Organising Committee
'Stranges in Strange Lands' Symposium
University of Kent
(info atualizada em 14/08/2014)


Call for Papers for Special Issue on Feminism and (Un)Hacking
Journal of Peer Production (JoPP)
Editors: Shaowen Bardzell, Lilly Nguyen, Sophie Toupin

There has been a recent growth in interest in feminist approaches to practices like hacking, tinkering, geeking and making. What started off as an interest in furthering representations of women in the technical fields of computer science and engineering, often along the lines of liberal feminism, has now grown into social, cultural, and political analyses of gendered modes of social reproduction, expertise, and work, among others. Practices of hacking, tinkering, geeking, and making have been criticized for their overtly masculinist approaches, often anchored in the Euro-American techno-centers of Silicon Valley and Cambridge that have created a culture of entrepreneurial heroism and a certain understanding of technopolitical liberation, or around the German Chaos Computer Club (CCC).

With this special issue of the Journal of Peer Production, we hope to delve more deeply into these critiques to imagine new forms of feminist technical praxis that redefine these practices and/or open up new ones. How can we problematize hacking, tinkering, geeking and making through feminist theories and epistemologies? How do these practices, in fact, change when we begin to consider them through a feminist prism? Can we envision new horizons of practice and possibility through a feminist critique?

In this call, we understand feminist perspectives to be pluralistic, including intersectional, trans, genderqueer, and race-sensitive viewpoints that are committed to the central principles of feminism-agency, fulfillment, empowerment, diversity, and social justice. We refer to the term hacking with a full understanding of its histories and limitations. That said, we use it provisionally to provoke, stimulate, and reimagine new possibilities for technical feminist practice. Hacking, as a form of subjectivity and a mode of techno-political engagement, has recently emerged as a site of intense debate, being equally lauded as a political ethos of freedom and slandered as an elitist form of expertise. These fervid economic and political ideals have been challenged and at times come under attack because they not only displace women and genderqueer within these technological communities but, more importantly, because they displace gendered forms of reflection and engagement.

Drawing on a growing community of feminist scholarship and practices, we hope to build on this momentum to invite submissions that reconceptualize the relationship between feminism and hacking. We aim to highlight feminist hackers, makers and geeks not only as new communities of experts, but as new modes of engagement and novel theoretical developments. In turn, with this special issue, we hope to challenge both concepts of feminism and hacking to ask several questions. How can feminist approaches to hacking open up new possibilities for technopolitics? Historically, hacking discourses center on political and labor aesthetics of creation, disruption, and transgression. How can feminist theories of political economy push technopolitical imaginaries towards alternate ideals of reproduction, care, and maintenance? Conversely, we also ask how notions of hacking can open up new possibilities for feminist epistemologies and modes of engagement?

We seek scholarly articles and commentaries that address any of the following themes and beyond. We are also interested in portraits, understood broadly, of feminist hackers, makers and geeks that help us better understand feminist hacker, maker and geek culture. We also solicit experimental formats such as photo essays or other media that address the special issue themes.

• What is distinctive about feminist hacking or hackers? How does feminist hacking practices help create a distinct feminist hacking culture?
• Why are feminist hacking practices emerging? Which constellation of factors help the emergence of such practices?
• What do we know about the feminist hacker spectrum? i.e. what are the differences among feminist hacking practices and how can we make sense of these distinctions?
• What tensions in hacking and/or in hacker practices and culture(s) come to the fore when feminist, anti-patriarchal, anti-racist, anti-capitalist and/or anti-oppression perspectives are taken?
• What does feminist hacker ethic(s) entail?
• What kind of social imaginaries are emerging with feminist hacking and hackers?
• What kinds of hacking are taking place beyond the Euro-American tradition?

Submission abstracts of 300-500 words due by September 8, 2014, and should be sent to

All peer reviewed papers will be reviewed according to Journal of Peer Production guidelines; see

Full papers and materials (peer reviewed papers around 8,000 words and testimonies, self-portraits and experimental formats up to 4,000 words) are due by January 31st, 2015 for review.
(info atualizada em 14/08/2014)


INTERFACE CRITIQUE – Developing a cultural science perspective of the human-machine interface
Call for Papers for an interdisciplinary symposium at the Institute for Theory and Practice of Communication at the Berlin University of Arts, November 7th - 8th 2014, Berlin, Germany.

GUIs, TUIs and NUIs: An „I“ in acronyms to describe human-machine interfaces has become as common as mysterious. The more it is taken for granted, the more it seems to escape our understanding. What does “interface” mean in the context of contemporary technical development? The trend towards unobstrusiveness is conspicuous: “Deep integration”, “actionable notifications” or “Shytech” - the visual aesthetic trends tend to hide mechanisms, functions and processes. How can we critically examine interfaces that increasingly disappear into the background?

The symposium tries to understand the phenomenon “interface” in its dynamic development in order to develop critical perspectives beyond culturally pessimistic reflexes. We are looking for papers dealing with topics such as inclusion and exclusion, subjectivation and desubjectivation, continuities and non-simultaneity. Considering that many interfaces are not only connected with each other, but also merge into one another, that they not only enable communication with technology, but also normalize it, it becomes evident: understanding interfaces is an approach to understanding the world.

We suggest the following perspectives:
Panel 1 - Theories, Terms, Concepts

From an understanding of “interface” as a separating but also mediating device to more controversial explorations of the term, this panel wants to discover new ways of thinking about interfaces. The theoretical discourse on “interfaces” varies from space theory (Drucker) to theories of power (Galloway). In the tension between these interdisciplinary perspectives the interface appears as an oscillating nexus, whose dynamic and actuality provokes ever new definitions. Spatial, process-oriented or as an effect – in this panel we invite to discover new understandings of the term, to step into its shadow, fathom the unseen and question assumed fixations.

Panel 2 - Micro history
Focusing on the artefacts’ context and the details of actual practice, this panel draws relations between the historical protagonists and their surrounding world. The micro-historical approach offers an analysis of time periods within which the historical contexts are withdrawn from its écriture automatique, from the institutional and technological logic, and thereby throws the “human factor” back into the macro-historical discourse. Think of investigations about selected individiuals (designers, developers, entrepreneurs) and their environment, about concrete strategic orientations and actions of certain companies, or even about specific updates, revisions oder extensions of services, apps or operating systems.

Panel 3 - Trends and Paradigms
Within this panel we want to discover the paradigms of interface design as subjects of cultural criticism and reflection. It deals with current and past trends, with historical developments of design paradigms and the interactions of utilization and development, appropriation and normalization. How adaptive, open and context-sensitive is and was the conception of interfaces? Who gives whom how much room for appropriation? Is it possible to think concepts such as Skeuomorphism, flat or material design as concepts of cultural history? What does it mean to conceive the interface as an apparatus?

Panel 4 - Talk and Narration of and through interfaces
Hard- and software converge to create new forms of communication that
we often live with before we can talk about them. We ask about the hermeneutics of interfaces, about the interpretation of their texts, signs and symbols. We are interested in narratives: those that enroll in interfaces and those that will – as parts of our culture – also be part of the writing of history. How do wording conventions (UIDL) and metaphors (such as stream, tweet, cloud etc.) become established? How and with which tonality do interfaces talk with users? Which zones, gaps, restrictions and accesses can be articulated? And what does this mean for our everyday construction of language and reality?

The symposium follows an interdisciplinary approach and addresses researchers of all disciplines who want to discuss their work in the context of cultural science. Explicitly invited (besides cultural scientists) are researchers of technical disciplines and designers. Papers can refer to the panels depicted above, but can also open up other perspectives. Proposals can be in English or German. Please send your abstract with a maximum of 300 words and a short biography to Deadline is August 15th.

August 15th: Deadline for submissions
November 7th/8th: Conference in Berlin
Mail for Abstracts:

Conference organizers:
Florian Hadler (Berlin University of Arts) –
Joachim Haupt (Berlin University of Arts) –
(info atualizada em 13/08/2014)


Two open positions at Winchester School of Art (University of Southampton)
Two open positions at Winchester School of Art (University of Southampton), broadly in the area of digital culture, global media and network society.

Associate professorship: and lecturer:
(info atualizada em 13/08/2014)


Rated M for Mature: Sex and Sexuality in Video Games
Call for Completed Chapter, Book Project on Video Games

We are looking for a single completed chapter for our edited collection. We have a signed contract with a publisher and a delivery date of January of 2015 but have lost one of our submissions due to unforeseen circumstances. So we need to replace it with a completed or mostly completed submission.

The focus of the collection, as can be seen in the title, is Sex and Sexuality in Video Games.

Our three sections:

The (R)Evolution of Video Games and Sex
- Chapters on the history of sex and sexuality in video games, including censorship, translation, and production

Video Games and Sexual (Dis)Embodiment
- Analyses of the body, player interaction, and sexual identity and performance in gameplay

Systems/Spaces of Sexual (Im)Possibilities
- Analyses and close-readings of game spaces and mechanics, with attention to sexuality and sex as mechanics, representative features, or spatial dimensions of play"

If you have something you feel would fit in with one of these themes, please send it along with a short author(s) bio to Matthew Wysocki ( or Evan W. Lauteria (>). We are looking for submission at around 5600 words.
(info atualizada em 13/08/2014)


Communication, Postcoloniality, and Social Justice: Decolonizing Imaginations
A four-day conference: Sponsored by the Waterhouse Family Institute for the study of Communication and Society (WFI) at Villanova University, PA, 26th-29th March, 2015, Location: Villanova University (Specifics to be announced later)

About Waterhouse Family Institute: Founded in 2010, the WFI’s mission is to foreground the centrality of communication scholars, activists, and professionals to the study of and advocacy for social justice. To that end, the WFI is dedicated to creating opportunities for the productive and collaborative exploration of these issues in ways that cross sedimented boundaries, whether they be academic, methodological, or national. The WFI annually sponsors research grants for scholars whose projects embody and extend its mission (typically awarding a total of $40,000 to scholars across the globe), and supports projects that highlight communication scholars’ abilities to advocate for social change. Since its inaugural launch in October, 2010, the WFI has sponsored events, lectures, and symposia creatively engaging the essential link between communication/media and social justice. Past symposia have addressed the communicative production and contestation of truth (2011-12), the clash between institutional values and social justice advocacy (2012-13), and dialogic approaches to diversity in secondary and higher education (2013-14). Continuing the social justice focus, the WFI is very pleased to announce a conference on “Communication, Postcoloniality, and Social Justice: Decolonizing Imaginations,” and hopes that this important scholarly event will chart some possible pathways for Communications research (broadly conceived) in the 21stcentury.

Conference Organizers: Bryan Crable; Raka Shome (Biographies of organizers presented at the end of call for papers)

Keynote Speakers: Arjun Appadurai (New York University, USA),
Inderpal Grewal (Yale University, USA)
Ravi Sundaram (Center for the Study of Developing Societies, India)

Plenary Speakers: (confirmed so far) Boulou Ebanda De B’Beri (Canada); Mohan Dutta (Singapore); John Erni (Hong Kong); Nitin Govil (USA); Ramaswami Harindranath (Australia); Aniko Imre (USA); Shanti Kumar (USA), Soyini Madison (USA); Radhika Parameswaran (USA); Sandra Ponzanesi (Netherlands); Arvind Rajagopal (USA); Raka Shome (USA); Ramesh Srinivasan (USA) (Awaiting confirmation from other speakers)

Three Plenary Sessions: 1) Significance of postcolonial studies for communication and media research 2) Postcolonial feminist and queer approaches 3) Postcoloniality and the Global South: Logics of Modernity beyond the West/North

In the past two decades, postcolonial theory has become increasingly influential in various spaces in the Social Sciences and Humanities. Recent communication and media scholarship has also shown some interest in postcolonial frameworks. However, there has not been a focused and sustained conversation in Communication/Media Studies in the United States and we think, even outside, that has engaged the ways in which communication and media studies, and postcolonial studies can mutually inform each other in the advancement of social justice projects. The conference emerges from the recognition that diverse logics, networks, and trajectories of communication and media today (as well as in the past) play a significant role in the production of colonial power relations in contemporary globality.

The organizers of Communication, Postcoloniality and Social Justice: Decolonizing Imaginations thus invite proposals from scholars who employ postcolonial frameworks to study various communication and media phenomena—including their embedded-ness in various logics of transnationality. We are interested in exploring how communication/media scholarship, with its varied rich perspectives, may make contributions to broad field of postcolonial studies by foregrounding the importance of communication/media frameworks for understanding colonial cultures, and transnational relations. At the same time we recognize that many of the core concepts and assumptions in the fields of Communication and Media Studies are rooted in Western/Northern exclusionary intellectual frameworks. Thus, we wish to explore how postcolonial analytical frameworks may productively enrich our understandings of various communication and media phenomena and enable us to decolonize normative frameworks in the field so as to be responsive to various struggles engendered by contemporary (and past) post/colonial logics. The conference aims to provide a productive space that can facilitate dialogue and interconnections amongst scholars conducting postcolonial scholarship in communication and media studies. We also hope that this conference can provide a space for building intellectual solidarities amongst scholars in Media and Communication who are concerned with the politics of colonialisms (including their varied transnational logics) as they inform our research and influence our social, economic, cultural, and academic practices.

This call for papers will be available for download on the Communication Department of Villanova University website by the end of week of May 5th. A conference website will be put up by the end of May—please check there for updates.

REGISTRATION FEES: $250 (includes some meals and coffee; specifics will be confirmed in fall, 2014)

FORMAT: We welcome proposals from scholars, activists, and researchers from various parts of the world. Papers must demonstrate an engagement with the field of postcolonial studies. (Just any descriptive study of colonialism, while suitable for other venues, will not fit the goals of this conference). Submissions must be made by August 30, 2014. Acceptance of papers will be announced sometime in October 2014. PLEASE EMAIL SUBMISSIONS SIMULTANEOUSLY TO: Bryan Crable ( and Raka Shome ( In subject heading please write: “Submission for Communication, Postcoloniality and Social Justice conference.” Given the volume of submissions we expect to receive, we will not be able to acknowledge receipt of every submission.

Please choose any one format:
1) Panel proposals: Panels on a theme relevant to the conference are welcome. A panel should have between 3-4 panelists (including discussant. Chair may be one of the presenters, or you may select your own Chair/moderator who is not a presenter). Please submit title, panel abstract (which should include names/affiliation of participants, description and justification of panel). REQUIRED: 350 word panel description/justification, and approximately 200 words abstract of each paper to be presented.
2) Individual paper proposals: Please send an abstract of around 350 words. Name, paper title, and institutional affiliation must be included.

A statement of commitment to attend is required of all participants. Please include that in your proposal submissions.
(info atualizada em 13/08/2014)


SYNOPTIQUE Call For Papers

The archive, as a concept, an action, and a physical repository of historical traces and material fragments, has a central place within contemporary film and moving image studies. The archive is not only a location for historical research; it also functions as a source of images and materials to be mined by filmmakers and media artists. Many studies of the archive have focused on these two dominant approaches to the use and formulation of moving image archives, especially in studies of documentary and avant-garde compilation or found footage cinema.

Increasingly, film and media scholars are also turning to the archive to revise histories of film theory, film production, and its distribution and circulation, especially in post-colonial, historiographical, and transnational film scholarship. As such, the archive becomes as much a site of struggle and contested histories, as it is a site of creative inspiration and cultural preservation.

With the transnational and global turn in film scholarship, a greater analysis of the circulation and display of archival materials and moving images is necessary to understand how archival access might impact the current assessment of global and local shifts. In this special issue on the moving image archive, we wish to focus on both the sites of archival preservation and display of moving images (including museums, art galleries, institutional archives, private collections, and the Internet), as well as the circulatory and creative networks that connect them. In doing so, we intend to bring questions of circulation and exhibition into dialogue with the archive, in addition to a focus on the archive as a concept and method of artistic practice.

Submissions may include, but are not by any means limited to, topics such as:
• Archival preservation, access, technologies, and practice
• Archive as concept or methodology (landscape as archive, Internet archive, etc.)
• Archival images in experimental films, videos, and games (compilation, found footage, database films, etc.)
• Archives, gesture, sound, and performance
• Digital archives and digitalization of archival materials
• Documentary and the evidentiary uses of archival moving images
• Community organizations and archival display
• Critiques of archival theory, media studies theory, and film theory
• Global flows and circulation of archival materials and images
• Institutional histories of a specific archive
• New media, remix cultures, and the archive
• Spaces of display and archival practice (museums, non-theatrical spaces, online databases, etc.)

Essay submissions for the peer-review section should be approximately 15-30 pages including the bibliography (maximum 7,500 words), and formatted according to MLA guidelines. This special issue is invested in exploring the archive in all its conceptual and practical manifestations, so we also welcome shorter pieces (2-8 pages, maximum 2,000 words) related to archival images or practice for our non-peer review section. This section includes conference or exhibition reports, book reviews, research creation pieces related to archival images or practice (including video essays, photograph series, and other digital projects accompanied by an explanatory text), and interviews with artists or archival practitioners.

All submissions must be in either French or English. Papers should be submitted by October 10, 2014. A link on will guide you through the submission process. Feel free to contact us with any questions you may have at:
(info atualizada em 12/08/2014)